Saturday 22 January 2011

MONGOL GALLERY PAGES 55 TO 61

INT. THE MONGOL GALLERY - DAY


The place has been transformed, the paintings withdrawn from the space, and instead, tables and chairs designed in such a way that intimate conversations can form and all can discuss the Alaric they knew and loved.


PETER

Thanks for coming everybody. I have to say, I don't think Alaric
would have wanted long faces so let's drink, eat and celebrate his life. He died fighting for what he believed in so, in the words of Joe Hill,
'Don't mourn! Organise!"

BOUDICCA

Peter's right and of course, thanks to Alaric, Peter and I have a lot of
organising to do in order to make Alaric's shop work in the way he
would have wished.

PETER

So let's begin with a toast. To Alaric. Long may his light shine.

ALL

Alaric.


FADE TO:


INT - NUMBER 76 BUS - DAY


Anna sits on the upper deck of the bus, gazing out of the window while Fleet Street moves slowly past. We see an open topped tourist bus overtaking the bus Anna is in. Anna takes out her cellphone.


ANNA

Hello? Hello? Damn! Yes, sorry, you're speaking with Anna Kern.
I'm on my way. I hope you're there.


Anna closes her phone and sighs.


ANNA

Verdommte Ansaphone.


She gazes fiercely out at the empty offices moving past the window as the bus crawls through London.


CUT TO:


INT. MONGOL GALLERY - DAY


Liam taps a spoon on the side of his glass.

LIAM

A moment's attention please. Alaric was a bookseller. I've known
him maybe two weeks but in that time, he introduced me to a few
concepts in philosophy and particularly to this book.


Liam holds up a copy of Orson Scott Card's "Speaker for the Dead".


LIAM

It is fitting that a bookseller's legacy to me should be the knowledge
of a book, and of course, the knowledge that he would wish me to
return the favour. The book talks of a way of celebrating the dead,
not by lying about how good they were or cursing all the bad in their
life, but by speaking what people might have said themselves if they
were still alive, and painfully honest.


Daniel smiles and begins making a sketch of Liam.


LIAM

So. Who was Alaric Hanworth? A bookseller? Yes we know. A
supportive, loving big brother? Would you not agree Boudicca? A
wizard. How many of you knew that about him. He was a skilled
conjuror, but also he looked at the universe with eyes tinged with
magic. He lived in a cartoon world of absolutes and of shades of
grey. A modern gay man, although anyone who knew him would

CONTINUED
CONTINUED

LIAM

know Alaric hated the term and referred to himself as 'queer' or 'an old
poof'. But more than that. Alaric was our shield and defender. We
never knew it, but he held the line, there in his shop against dark
forces that sought to come into our world. I know what you're
thinking. Hard nosed journalist finally lost it? Or maybe not. Maybe you're nodding your head. Either way, it's true. There is evil in the
world, and every day and with every breath, Alaric stood against that
evil. Let us hope someone takes up his sword and shield.

BOUDICCA

I will take up his sword

`PETER

And I will take up his shield.

LIAM

All of us must, as a community.


The doors burst open. Nick de Musca is there.


de MUSCA

Never take a sword to a gunfight.


de Musca pulls a knife and lunges at Boudicca but pulls his stroke as Daniel moves quickly between them.


FATHER DEMETRIOS

In the Name of the Lord Jesus Christ, begone from this place.


de Musca snarls and runs out into the street.


FADE TO:



INT. NUMBER 76 BUS - DAY

The bus is now at a standstill. Passengers are becoming more and more agitated. Cellphone conversations are growing louder and we hear frantic arguments in Polish and Portuguese.

ANNA

Where are we?

PASSENGER

Moorgate, just past London Wall.

DRIVER

Ladies and Gentleman, I'm sorry to have to say, this bus will
terminate at the next stop because of a fault. Your tickets will be
good on other modes of transport.


The bus pulls to a stop and we follow Anna as she steps out into.


EXT. MOORGATE - DAY

Anna speaks to a newspaper seller.

ANNA

What's the best way to get to Stoke Newington.

NEWSPAPER SELLER

That way, Finsbury Circus, Liverpool Street, British Rail to Stokey.
Be there in half an hour tops.


The Newspaper's words become voiceover as Anna begins running through Finsbury Circus and makes her way to Liverpool Street Station.

CUT TO:


EXT. CHURCH STREET DAY

Cook has pulled a knife and is moving menacingly toward Nick de Musca.




COOK

Makes the world go round, schmuck

de MUSCA (laughs)

Batty boy, don't you know who I am?


They fight. Of course, Cook does not stand a chance and yet, somehow, when de Musca cuts him, it is only an arm and then de Musca is gone in the confusion. Cook winces and holds his arm as his white sleeve goes red and drips blood.


CUT TO:


INT. NATIONAL EXPRESS TRAIN - DAY

Anna is looking nervously out of the window as the train moves North from Liverpool Street. Nick de Musca sits down beside her.


de MUSCA

Last chance to back down slut.

ANNA (glaring)

Get you gone.

de MUSCA

Your funeral. Or maybe it'll be your toy boy's.

ANNA

Stop your games, I'm not susceptible.


Anna gets up and leaves the carriage. We see that she's got off at Hackney Downs station. She dashes out of the station and flags down a black cab. We follow her to....


INT. BLACK CAB - DAY


ANNA

Church Street, Stoke Newington. The Mongol Gallery.
CABBIE

On the way Missus. You okay love?

ANNA

No idea. I hope so.


The Cabbie makes conversation as the cab moves through Hackney and we follow Anna to.


EXT. CHURCH STREET - DAY


The cab pulls up outside the Mongol Gallery. Liam is attempting to bandage Cook's wound while Daniel looks on and Peter and Boudicca try to restrain Father Demetrios from running after de Musca, who is nowhere to be seen in any case. Father Demetrios is readfaced and breathless.

ANNA

Keep the Change


Anna leaves the cab and immediately throws her arms around Daniel who returns the gesture.

ANNA

Daniel, you're okay. I thought...

PETER

He isn't Ms Kern, he really isn't.

Mongol Gallery day four and a half

Six more pages to go to reach the sixty page deadline. I have to confess, I'm exhausted and only hope I can do this. I may drink some soup before or after but either way, after a day of babysitting a three-year-old, I'm not sure I have the energy but I have to try because tomorrow, we (Vaccination) will be recording what I hope will be the rest of our album so it's tonight necessarily and for certain.

Wish me Luck

Wednesday 19 January 2011

MONGOL GALLERY PAGES 48 to 54

INT. EUROSTAR - DAY


Nick de Musca is still taunting Anna


de MUSCA

You don't think you can do anything when you get to England, do
you? Your boyfriend's lost his mind, the demon slayer's lost in
dreams of greed and the wizard is dead. You don't think you can do
anything to stop me, do you?

ANNA

I don't have a clue what you are talking about so why don't you just go away?

de MUSCA

I think I will, but I'll leave you something to think about.


de Musca stands and, in full view of the other passengers, tears open Anna's blouse. He does not touch her more than this but, slowly, she begins to bleed.


ANNA (more enraged than afraid)

Godverdomme! Just fuck off!

de MUSCA

Temper temper...


de Musca disappears in a puff of smoke.

FADE TO GREY


FADE UP TO


EXT. CHURCH STREET - DAY


A Hearse pulls up outside Alaric's bookshop, after passing the Mongol Gallery, which is still boarded after the window was broken. JANET KIRK climbs out of the car and knocks on the door. Peter opens it.
JANET KIRK

Good morning. I'm Janet Kirk from Kirk McCauley. I realise that
you have dealt with Mr McCauley before this and I hope that this
change will not cause you distress on this saddest of days.

PETER

Of course not.


Peter introduces the others who nod when their names are called. It is COOK's first appearance. He is a thin, tall man, much younger than Alaric, and clearly distressed by his death. It is also the first appearance of Alaric's sister, BOUDICCA.


PETER

These are Daniel, Tia, Liam, Cook, Alaric's sister Boudicca and of
course you know Father Demetrios.


Peter, Daniel, Liam and Cook take their places, along with two BEARERS provided by the undertakers and carry the coffin to the hearse. Father Demetrios speaks over the coffin before beginning its journey to the church.


FATHER DEMETRIOS

Of course, the funeral will be at The Church of Saint John the
Theologian in Mare Street. I can show you the way if you don't know
it. In fact, I would prefer to walk in front of the car if that is
permitted.

JANET KIRK

Certainly I know it. It's a couple of miles though and the roads are
busy. If you feel it's essential to walk, then of course but I feel I must
let you know that.

FATHER DEMETRIOS

Thank you. I appreciate your concern but Mr Hanworth died a hero
and I wish to mark my respect for that.

JANET KIRK

As you wish, Father.


Alaric's coffin is loaded into the hearse. Cook and Boudicca climb into the Hearse itself while the others get into Liam's car, apart from Father Demetrios who walks in front of the procession that begins its journey to the church. We follow the procession for a while before we.


CUT TO:


INT. EUROSTAR DAY


Anna has repaired her blouse. Having no safety pin, she has instead used a button bearing the legend "Ik Houd Mijn Eigen Fatsoen!" There are spots of blood on her clothes and her expression is fierce.


ANNA

What do you think you are looking at? Didn't care when I was being
attacked did you? That's why society falls apart. Assholes!


Nobody reacts and Anna gazes angrily at the Kent countryside. The train slows down and comes to a stop.


ANNA

Now what?


ANNOUNCEMENT

Ladies and Gentlemen. There will be some delay in reaching London
due to a cow on the line. We will keep you informed.


The announcement is repeated in Dutch, French and German.


ANNA

Godverdomme!


Anna is drumming her fingers with one hand, while the other, white-knuckled, grips the armrest on her seat.


CUT TO:


INT. THE CHURCH - DAY


In the middle of Alaric's funeral. Father Demetrios called for people to speak about their memories of Alaric. The first to speak is Cook.


COOK

Umm. Hi. I feel a bit of a fraud standing here. Most people think
Alaric and I were lovers and it is true that I loved him. I still do.
Love doesn't stop just because those we love go away, does it? But
our relationship was never like that. I believe Alaric was celibate for
most of my life. I hated that, but I respected it. I respect you Alaric, I
always will... and our love can't be murdered as easily as you were.

BOUDICCA

He was my brother. He was a bookseller. He was a shield against the horrors to come. I hope there is someone to fill his shoes but I know
that in my life, there will be an Alaric shaped hole. I miss you big
brother. I don't want you to go. I wish... I WISH I was going with
you but that is not my fate. I wish you well, my big brother. Go with
love.

LIAM

I've only known Alaric a short time. It was not long enough. I found
he had an integrity so rare these days. He was a good man.

TIA

I don't have anything to say but Daniel does and Daniel can't speak.
He drew this sketch while the service was going on.


Tia holds up a drawing of Alaric. In the picture, of course, Alaric is alive.

INT. THE PICTURE - DAY

ALARIC

Yeah. I'm dead. I know this. And thanks all for coming to my
funeral but you know how I died. You know why I died. You know
what you need to do... if you don't want me to come back and haunt
you.

INT. THE CHURCH - DAY


PETER

There's little I can say on top of what's been said. I was too stupid to
understand what Alaric was saying. Nothing is free and sometimes
the price is more than the prize is worth. A part of me would do
anything to have Alaric back, but we all know that the world doesn't
work that way. I hope. I need to believe that Alaric has gone on to a
better place. Thank you Father. Thank you all for coming. I hope
you can all come to the reception at the Mongol Gallery after the
reading of the will.


CUT TO:


INT. EUROSTAR - DAY


ANNOUNCER

Ladies and Gentlemen, I regret to have to tell you that this train will
be diverted to the old Eurostar terminal at London Waterloo. Your
tickets will be valid on reasonable bus and London Underground
routes. Eurostar apologises for any inconvenience caused.


Anna glares around her, eyes fierce.


ANNA

Are they messing with me? Am I going paranoid.


FADE TO:


INT. WATERLOO FORMER EUROSTAR TERMINAL- DAY


Passengers are disembarking through a terminal that has clearly not been used for years. Customs, police and Eurostar officials clearly have little more clue than the passengers where they are supposed to be or go.




EUROSTAR OFFICIAL

Welcome to England. Do you know where you need to go.

ANNA

Stoke Newington?

EUROSTAR OFFICIAL

You could try Waterloo and City Line, change for the Central Line
and then change for a train from Liverpool Street. It's probably
quickest, but the simplest is probably to take a 76 or 341 bus.


Anna nods her thanks and walks toward the exit.

Mongol Gallery Day 4

I know it's not the fourth day but I need structure from somewhere. I'm waiting in today while a man comes to destroy our bedbugs so, I have time for a crack at day four.

On day four, Viki King's book recommends that I write up to page 60. If you remember from earlier on this blog, page sixty is when Anna Kern arrives at the Mongol Gallery. Given that she's already on Eurostar, that could be pretty quick, but I need to take twelve to fifteen pages. Of course, Alaric's condition might slow things down a little so I should be okay.

Wish me luck!

Sunday 16 January 2011

MONGOL GALLERY PAGES 41 to 47

INT. THE MONGOL GALLERY - DAY

Peter's eye is already beginning to swell and he is holding a bloody tissue to his nose. Tia is still there, apologetic now.


TIA

I'm sorry Mr Elsingham. I was a bit shocked. I need this job and I'm
not like that.

PETER

O' worry boud id Dia. I udderstad.


Alaric rushes in through the front door accompanied by FATHER DEMETRIOS from the local Greek Orthodox Church.


ALARIC

Got here as quick as I can Peter. This is Father Demetrios. Can you
show us the painting in question?

DEMETRIOS (examining the painting)

Well it's not a relic...

ALARIC

No Father, it's less than a month old.

DEMETRIOS

But if what you say is true, this is some kind of manifestation. Who is this woman?

PETER

We think she's Anna Kern, Daniel's ex girlfriend.

DEMETRIOS

So she's not a nun or a preacher then? Maybe a Rock Star?

PETER

We think she's a politician, either Belgian or European.

ALARIC

She's an MEP for the Dutch Party of Decency.

DEMETRIOS

So. Not somebody whose image would resonate. Then we're dealing
with some kind of curse here. This woman is in grave danger.

PETER

Oh my God... did I do this?

ALARIC

No Peter, we know who did this. What kind of danger, Father?

DEMETRIOS

Someone, some spiritual being, has gone to a lot of trouble to tie her
to several curses. Do you know where I can find the artist.

PETER

Daniel's sleeping upstairs. Tia could you go get him please?


CUT TO:

INT. GARE Du MIDI, BRUSSELS - DAY


Anna is one of a crowd of people waiting to board the Eurostar train. She is silent while others talk.

MOTHER

Clothilde, sweetie. don't do that.

CLOTHILDE

When can we get on Mama.

MOTHER

Should be any minute.




BUSINESSMAN (speaking into cellphone)

Well I want them all there by the time I reach England. You've got
about three hours, so don't fuck up.

MOTHER

There we go sweetie. Let's go shall we.

CLOTHILDE

Will Grandma be pleased to see us?

MOTHER

You betcha. How could she not be pleased to see her prettiest
granddaughter?


Anna and the rest of the crowd move onto the train.


CUT TO:


INT. THE MONGOL GALLERY - DAY


Tia has returned with Daniel. Daniel is seated while Father Demetrios examines him.


DEMETRIOS

Can you speak at all my son?

PETER

He can't.

DEMETRIOS

Not you. Him. Can you?


Daniel shakes his head.





DEMETRIOS

No don't shake your head. Speak. In the name of the Lord Jesus
Christ I bid you speak.

PETER

He can't.

ALARIC

Hush Peter. Let the Father do his job.

DEMETRIOS

And what of you, unclean spirit in occupation of this young man? I
bid you speak in the name of the Lord Jesus Christ.


Nick de Musca appears in a puff of smoke like a conjuror in a magic show.


de MUSCA

He's not possessed old Man. And even if he was, you have neither the
faith nor the authority to cast out the demons involved here.

DEMETRIOS

Begone foul fiend.

de MUSCA

Oh be quiet you tedious little fuckwit. You're playing with the big
boys and this is the business of prophecy so fuck off back to your
church with your tail between your legs.

DEMETRIOS

Foul demon, your profanity merely shows your weakness.

de MUSCA

Whatsamatter faggot? Couldn't find a Catholic priest? This one is
useless. but I'm going to punish you for interfering.


de Musca moves as if cracking a whip and we see Alaric fly across the room as if struck, taking out the plate glass window as he crashes through it.

de MUSCA

Mijnheer van Helsing. You'd better make your mind up soon while
you still have a choice.

DEMETRIOS (lifting his cross and gesturing)

Foul fiend I command you in the name of the Lord Jesus Christ, son
of God, leave this place.

de MUSCA

Oh don't worry Rabbi or whatever the fuck you are. I'm going, for
now.


de Musca disappears in another puff of smoke. Peter and Tia rush over to Alaric but Daniel gets there first. Daniel presses his fingers to the pulses on Alaric's neck. Daniel shakes his head, his expression sad. There are tears in Peter's eyes.

FADE TO.


INT. EUROSTAR TRAIN - DAY


Anna is sitting alone. She is drowsing but not asleep.


BRITISH IMMIGRATION OFFICER

Passport please madam.

ANNA

Here it is.

BRITISH IMMIGRATION OFFICER

Thank you.


After examining the passport, the immigration officer moves further down the train checking other passports.


de Musca appears next to Anna in a puff of smoke.



ANNA

I don't think you can smoke here.

de MUSCA

Yeah, real funny but we both know that inside you're shitting yourself
Ms Kern, not to mention dripping wet with the thought of what's been happening to you.

ANNA

I don't know who you are but BACK OFF!

de MUSCA (laughing)

They can't believe it's real Anna. They can't intervene.

ANNA

What do you want?

de MUSCA

Do you remember?


FADE TO:


INT. EUROPEAN PARLIAMENT - DAY


Anna is in the European Parliament. It is a scene just like the one in the toilet where she moves as if being fucked by an unseen lover. This time though, she is in the chamber, fully clothed at first as she begins to move, but rapidly ripping away all her own clothes.

CUT TO:

INT. FLAT ABOVE THE MONGOL GALLERY - NIGHT


Daniel and Peter are seated. Daniel is painting. Peter is watching television. We see the previous scene again, this time on the television screen.


PETER (ashen faced)

Oh my God.

Saturday 15 January 2011

Mongol Gallery Pages 33 to 40

EXT. CHURCH STREET - NIGHT

Nick de Musca, still laughing, steps outside the Mongol Gallery into the street. He turns back and grins, both at us and at Peter.

de MUSCA

This is the way it's going to be Mr Elsingham. Whether you ask for
anything or not, you're going to show Daniel's paintings, probably
publish them, maybe even put them on the Internet. That's all I want
from you anyway. It's not as if your soul wasn't already mine after all.

PETER (off screen)

See I don't believe you.

de MUSCA

Your beliefs are of no interest to me whatsoever Mijnheer van
Helsing, at least not as long as you don't number yourself among
'whosoever believeth on Him', but I find with this secular world
you've built for yourselves, that's so rarely the case. I don't think I
have to worry about you.


Peter walks out into the street and into shot, while Alaric walks into shot from the direction of his shop.


de MUSCA (pushing Alaric aside)

Get out of my way wizard. We both know why you people are called
faggots. It's cos you burn so well. You'll be mine as surely as him.

ALARIC

I'd tell you to go to Hell de Musca, but it'd be pointless. Just get out
of my sight.


Alaric turns his back on the Devil and leads Peter back into the Gallery.


INT. THE MONGOL GALLERY - NIGHT


ALARIC

Put the kettle on Peter. We need to talk.

PETER (making a cup of tea as suggested)

About?

ALARIC

What do you think? Daniel. His work,. The weird magical stuff
that's been going on. Chiliasm. Faustus, the whole kit and kaboodle.

PETER

Can't we just agree to disagree? What about West Ham last night, eh? Great goal didn't you think. Thought the Gooners were going out for
sure until the last minute.

ALARIC

Peter for fuck's sake.

PETER

What can I say? He says it's all going to happen anyway. He doesn't
need me. Maybe I should ask for something. Fame? Fortune?
Angelina Jolie?

ALARIC

You remember who we're talking about? Old Nick? The Devil?
Beelzebub. Lord of the Flies and Father of Lies. You can't even trust
him as far as you could row the Titanic.

PETER

You're getting him mixed up with Peter Mandelson.

ALARIC

Do you see me laughing, Peter? Try to hang onto yourself for crying
out loud. I'm there for you but I know you don't want to hear that
right now. I'm looking out for you but don't make me fucking watch.
Come to my shop when you're ready to watch and even if you don't,
never forget I got your back.


Alaric stands and walks out of the shop, leaving Peter in stunned silence for a moment. He returns thirty seconds later, by which time Peter has made the tea. He has in his hand, a tiny leather bag on a silver chain. He puts it around Peter's neck.



ALARIC

Wear that then. Let's hope it protects you from the devil and his lies.
You're in my prayers. I only hope I'm not out of practice.


CUT TO:


INT. EUROPEAN PARLIAMENT BUILDING, BRUSSELS - DAY


Anna is in a corridor, discussing farming subsidies with a British MEP.

BRITISH MEP

Look, I'd love to help you Ms Kern but my constituents would never
agree to it, not even for your help with ending the CAP.

ANNA

Really? Don't you think they'd overlook it if you could be the British
politician who ended the Common Agricultural Policy. The French
would all hate you as well. Isn't that something British voters hold
dear?

BRITISH MEP

Oh Good Gracious yes, up to a point, dear lady, and this is the point
beyond...

ANNA (eyes glazed)

Suppose I gave you a B...!


Anna stops talking. Her face is pale and she turns and literally runs along the corridor before bursting through into the ladies' toilet. The camera follows her as she locks herself in a stall.


ANNA

Fuck! What's happening.


Anna's hands move away from her body and we watch as the clothes seem to be ripped from her body by an invisible demon. She screams but the scream becomes a moan. Soon sh is naked and moving as if being fucked by the invisible demon. There is nobody there but we see her respond to thrusts we can only imagine.

ANNA

Aaah. What the fuck is happening to me? Get off me. Leave me.
Laat mij zijn! Jeezus. Help me.


CUT TO:

INT. THE BAR OF KITTY O'SHEA'S IRISH PUB, BRUSSELS - NIGHT

The British MEP is clearly drunk as he talks with a couple of other drinkers who may well be fellow MEPs.

BRITISH MEP

Not a word of a lie. She offered me a blow job in return for my vote
on the Fortress Europe thingummy. If I wasn't a happily married man.

ANOTHER DRINKER

You need to stop drinking, Signor. Clearly you are not able to handle
it.

BRITISH MEP

You What. (clenches his fist) Want me to knock your block off?

THIRD DRINKER

Calm down both of you. I believe you. Typical damned Dutch
liberal. Probably doesn't even think there's anything wrong with it.


CUT TO:


INT. THE MONGOL GALLERY - DAY


Peter is examining a painting. It is the one transformed by de Musca. There is some sticky substance on it. He looks around. The only other person in the gallery is TIA a pretty young exhibition assistant.


PETER (looking up but remaining crouched down)

Tia? Would you mind coming over here please?



TIA

Mr Elsingham?

PETER (pointing at the substance)

What do you think that is?

TIA

Don't know.

PETER

So look?


Tia moves closer and touches a fingertip to the substance. She sniffs it and her expression changes from curiosity to fury. She punches Peter in the face and makes his nose bleed before rushing out.


TIA

Pervert! You're old enough to be my dad.


Peter too sniffs the substance and looks shocked. He holds a handkerchief to his nose.


PETER

Fuck.


FADE TO BLACK

FADE UP TO


INT. ALARIC'S SHOP - DAY


Alaric is at the counter talking to a customer.

ALARIC

Of course, Colin Wilson saw everything through his own English
Middle Class perspective. His outsider was very different from that
of Camus. More protagonist than victim of course, but at the same
time, so insufferably bourgeois.

COSTUMER

That's true, but his take on Ouspensky makes much of it worthwhile.


The telephone rings.


ALARIC (answering the phone)

Excuse me... Hello, Hanworth Books, how may I help you?


The customer nods and walks over to examine the books on the stacks.


ALARIC

Oh hello. Are you okay?


Peter's voice is indistinct on the phone.


ALARIC

Seriously? Vaginal secretions? [...pauses...] Well I've heard of tears
appearing on artifacts, even milk, both in statues of the Virgin Mary
and with Hindu Gods. Even blood appears on occasion, but no. I've
never heard of that before. Something unholy is going on Peter. I'm
coming round.


Alaric puts down the phone and picks up an E P Dutton first edition of George Gurdjieff's "Beelzebub's Tales to His Grandson". He calls the customer over.


ALARIC

You know what this is?

CUSTOMER

Gurdjieff's first book. 1950 edition I think.


Alaric offers the book to the customer.

ALARIC

It's yours free if you leave this second. I need to lock up.


There is a moment when it seems the customer may demure but he shrugs and takes the book.

CUSTOMER (leaving the shop)

Thanks. I'll definitely be back.


Alaric follows the customer and locks up the shop.

Mongol Gallery Day 3 (after an absence).

Anyone who remembers my previous attempts to write regularly will know that if I miss a few days for whatever reason, I tend to beat myself up over it, abandon the whole project and sulk for a while. I know damn well though that writing is what I'm meant to do, so I shall write my excuses here and then get back on track with the continuing evolution of the screenplay "The Mongol Gallery".

So, I think I've missed three days now. On Wednesday, I was babysitting young Tashai Simpson, my stepgrandson who needs 110% of my attention. I find that, when I write, I need to plug in the headphones and listen to my mix radio on last fm and I can't do that while babysitting. Realistically, that's going to take away two or three of the periods I have set aside for writing. I won't change the title of this blog to "fourteen or fifteen movies in a year" but merely recognise the appropriateness of the question mark.

On Thursday, I went to an open mic at the Embassy, Islington where I had fun singing The Lost Songs of Billy Strayhorn, Billy Strayhorn's own song "Lush Life" and reading my poem "The Gospel According to Spider Calhoun". I'm not going to do this every week, but realistically with open mics, Vaccination gigs, recordings and the like, there could be sixty odd days when I won't be writing this year, so that puts it down to twelve movies in a year.

And then there was Friday. The bus was just so slow, I was knackered by the time I came home and didn't have the energy to write. Added to that, it was my one opportunity this week to have time to sit down and chat with my wife. Awright, let's call it ten movies in a year, I won't beat myself up. It's still impressive. I'm going to follow Barbara Sher's advice and just keep on keeping on. I actually bought her book "I could do anything if I only knew what it was" something like fifteen years ago but I know what it is. I'm supposed to write. I'm supposed to sing. I'm supposed to make movies.

So. Back to Viki King. On Day Three, I should be writing pages 30 to 45. So, from the masturbation scene to the moment when Peter realises the effect his actions are having on the real world and in particular on Anna Kern.

Wish me luck.

Tuesday 11 January 2011

MONGOL GALLERY PAGES 27 to 32

INT. ANNA'S FLAT - NIGHT


Anna's flat is small and functional with very little about it that is personal. One of the few personal touches is a photograph of her and Daniel. There is something wild about the scene in the picture as if Daniel and Anna are two wild animals who want to devour the photographer. There is nothing wild about Anna though. She is very much the prim and proper centre-right politician heading into middle age.


Anna is sitting at her table with her laptop open. The laptop pings and we see Anna opening an email and reading the contents.


ANNA

So what KIND of trouble has he got himself into?


No answer is forthcoming of course. Anna goes to the wall and picks up her telephone.


ANNA

Met Anna Kern.


There is a pause while an indistinct voice comes from the other end of the conversation.


ANNA

So, I need to take some time off and get over to England. Nice if I
can make it business but I have to go anyway. So when's the next
window? Fine, I'll stay till then but find me a fact-finding or
something Ja?


After another pause she continues.


ANNA

Dank je wel. Later.


She puts the phone down and returns to Internet banking.


CUT TO:

INT. ALARIC'S SHOP - DAY


ALARIC

There we go Daniel. I've sent it. Nothing more I can do.


Daniel makes a sketch, which we do not see. Alaric looks at it.


ALARIC

Yes Daniel and I find myself aroused despite my obvious
shortcomings. That's part of the trouble.


FADE TO BLACK.

FADE UP TO


INT. THE MONGOL GALLERY - DAY


Alaric has walked in while Peter is rearranging numerous leaflets with miniaturised versions of Daniel's sketches.


ALARIC

I can't help having a sense of foreboding Peter. There's a lot of
magic involved and it's not like we don't understand who de MUSCA is.

PETER (snappishly)

Alaric, you're jealous. I've not sold my soul but it's not often an
opportunity like this comes along. I've got to take it. Daniel's going
to make me rich and famous. Not de Musca, Daniel. What's wrong
with that?

ALARIC

Peter, Daniel's a journalist, or at least was before he lost the power
of speech. Can't you see the agenda?


PETER

I've been thinking about that. Maybe there's nothing supernatural
about it. Maybe he's had a stroke. Weird things happen when you
fuck with the brain.

ALARIC

You don't believe that for a moment, Peter do you?

PETER (sighing)

No. God help me.

ALARIC

So you know what to do then.

PETER

I can't. Maybe if I kept out the pornographic ones and anything
controversial. Maybe he won't get what he wants.

ALARIC

You're trying to second guess the devil, Peter. That never ends well.


FADE TO BLACK

FADE UP TO


INT. THE MONGOL GALLERY - NIGHT

Peter is alone in the gallery. There are dark circles under his eyes. The door opens and Nick de Musca walks in.


de MUSCA

Good evening Mr Elsingham. How does it feel to have your dreams
at your fingertips?

PETER

What do you want?



de MUSCA

That really is rather rude Peter. Would you like me to wash your
mouth out with soap?

PETER

I apologise. What can I do for you?

de MUSCA

There, that's better. The poof's right you know. This is not a free
gift. There are consequences. You know that don't you? Of course
you do. And yet you carry on. I haven't even had to offer you
anything. You really should think of something to ask for. Bad for
business otherwise.


Nick de Musca lifts his hand and gestures toward a portrait of Anna Kern in a rather conservative looking suit. As he gestures, it is as if he rips away Anna's clothing. The camera concentrates on the action in the painting. Disembodied hands, that look much like de Musca's hands reach out to rip the clothes from Anna.

FX - a bell rings

A TRAMP has just entered the gallery. He walks straight toward the painting de Musca has just altered and takes down his trousers.

de MUSCA

Seems you're not the only one around her with no free will Peter.

PETER

I'm not my grandfather.

de MUSCA

Never said you were.

The Tramp takes his cock in hand and begins to masturbate.


TRAMP

Bitch bitch bitch bitch baaaahhhhh

de MUSCA

He's there before the goal. He dribbles, he shoots.
PETER

Dammit. Get out. Get out


Peter chases the tramp out into the street with his trousers around his ankles. It could be a funny scene but nobody's laughing apart from de Musca.

MONGOL GALLERY Day 2B and maybe 3

I have four pages to write to finish day two (and get to the long foreshadowed wanking scene). After that, Viki King recommends writing fifteen pages on day three to get to page 45 (where Peter will know the consequences of his actions for Anna Kern).

Let's see if I can get those 19 pages written in an hour and a half.

Monday 10 January 2011

MONGOL GALLERY PAGES 20 to 26

FADE TO BLACK

FADE UP TO


INT. BAR NIGHT


This is the bar of the Rose and Crown where Alaric, Peter, Liam and Daniel are drinking. Daniel has a sketchbook with him.

LIAM

So let me get this straight. You're saying this is down to demonic
possession or something?

ALARIC

Demonic, certainly, but possession doesn't come into it. Daniel sold
his voice. He hopes to get his ex back, mad as that may sound. And
although Peter hasn't sold anything, I'm fairly sure all this... it's not to
our benefit.

PETER

Why? Why would it benefit de Musca if Daniel's work is displayed.

ALARIC

I don't know. But you do know that he was at the launch don't you?


Daniel looks at Alaric with a rather shocked expression. So for that matter, does Peter.

PETER

He wasn't. I didn't see him.

LIAM

I did.


Liam points to a sketch of Anna Kern.


LIAM

Do you know who this is?

PETER

Anna Kern. Daniel's ex.

LIAM

Yes. And do you know who Anna Kern is?


CUT TO:


INT. DEBATING CHAMBER OF THE EUROPEAN PARLIAMENT

Anna Kern stands and makes a speech to the other Members. She speaks in Dutch but we hear her in English due to instant translation. The translator is in the lower foreground but Anna in in the centre of the screen.


ANNA (and translator)

Some members have spoken at great and nauseating length about the alleged
Islamic tide about to overrun Europe. Such intemperate
language may have been common sixty or seventy years ago although
then it was Gypsies and Jews rather than Moslems who were the
targets of the impotent wrath of the continent's little men with broken
ambitions and dead dreams. The truth is we DO face a tide of evil that
will wash over Europe, but it is not Islam or Communism or any other
kind of ideology that is threatening to destroy us. It is a tide of apathy.
An anything goes marketplace where immorality raises no eyebrows
and violence can sell motorcars. We in the Fatsoens Partij hope to
stand against this rising tide and build the dykes that will keep us safe,
all of us whatever our religions, our sexualities, our races, our
ambitions, anything that we use to divide us. That is why we need to
educate our youth and arm them against the idea that nothing matters.
It does matter. Decency matters.


Four members stand up and walk out of the chamber but others applaud.


CUT TO:


INT. BAR OF THE ROSE AND CROWN - NIGHT


PETER

Oh. Oh shit. And is she a big name politician?

LIAM

She's the one standing up to the Gerd Wilders's of this world.

PETER

And Daniel's obsessed with her. There are some sketches that can
only be considered pornographic.

ALARIC

So there's the answer. Maybe the devil wants to bring her down in
some way.

PETER

So we can leave those ones out maybe.

ALARIC

Worth a try I guess.


INT. THE MONGOL GALLERY - DAY

Peter is alone in the gallery, putting the finishing touches to the latest exhibition. a PHOTOGRAPHER and WEB DESIGNER knock on the door.


PHOTOGRAPHER

Are you ready for us Mr Elsingham?

PETER

Hmm? Oh yes. I think I have the layouts right. They give a sample of
Daniel's work that shows off the brush strokes and the simple, magical
lyricism of his painting.

WEB DESIGNER

You know. I think this is doable. We can use these screens as screens
online and let people walk through by clicking the sides. Yeah. It'll
make the site feel like a kind of labyrinth. Something like an
installation from the paintings.


PHOTOGRAPHER (begins to take photographs)

Right you are then. Let's have at it. Gonna be beautiful. You know, I
saw an exhibition like this in Holland or Belgium or maybe Hamburg.
Paintings by some dyke who loved cunt so much, she made it symbolic
in her work. The layout was only paintings and yet it felt like walking
into a womb. It's not the same experience here but Daniel's got the
same intensity.

PETER (sighs)

I don't know whether you're trying to wind me up but either way, let's
get on with it shall we?

INT. ALARIC'S BOOKSHOP - DAY

The Bookshop is a chaotic, overstocked second hand bookshop. It seems to specialise in science fiction, the occult and conspiracy theories. Alaric is at the counter. Daniel is drinking tea but keeps showing a sketch to Alaric.


ALARIC

You want to send her an email?


Daniel moans and bangs his head against a stack of books.


ALARIC

Duh! Sorry, you want ME to send her one. Won't she screen them?


Daniel taps the sketch. The camera wavers, focuses on the sketch then moves inside it.


INT. INSIDE THE SKETCH - DAY


Daniel is dressed in a stereotypical mime costume ala Marcel Marceau. He steps out of the screen of a laptop and into the place where Anna is, a bedroom perhaps. He is attempting through mime to make Anna understand his frustration but she understands nothing. Daniel gets down on his knees and offers up to her first a bunch of red roses and then a small gold ring with a solitaire diamond of the finest water.

ANNA

Idiot Daniel. You were not supposed to let me go.


Daniel frowns and stops miming. He looks lost. Tearful.


ANNA

We broke up and then spent the next what, six hours together? Didn't
that give you a clue? Godverdomme mongoolkoenig! You were
supposed to ... oh I don't know what you were supposed to do but
running off to England with your tail between your legs, that was
definitely not it.

ANNA

You've lost it, idiot.

ALARIC (Voice over)

That is not Anna speaking Daniel. It is your fears.

DANIEL

Is it?


CUT TO:

INT. Alaric's shop.

ALARIC

Alright. I'll do it.


Alaric lifts his laptop from its place under the counter and opens it up. He begins to type and as he does so, the words float up from the laptop, appear on the screen briefly and then float off as if they were made of smoke.

ALARIC (typing)

Dear Mevrouw Kern. My name is Alaric Hanworth. I am the
proprietor of a bookshop in London. You don't know me, but we have
a mutual acquaintance. His name is Daniel Jekyll and I believe you
were important to him.


Daniel looks over Alaric's shoulder as he types.




ALARIC

I think you're right. The sooner you and she can get back together,
the sooner I can persuade Peter to abandon this lunatic scheme of his.

ALARIC (typing again)

I'm afraid that something terrible has happened to Daniel. He is
unable to speak or type and so has asked me to do so. He needs you.
He needs you very much.

ALARIC

Don't you think that sounds a bit needy?


Daniel frowns and then nods.


ALARIC

Okay then let's change it.

ALARIC (Typing)

I hope that you will agree to meet me, preferably in London to discuss
Daniel's well-being. He has suffered some kind of breakdown and his
doctor has suggested that you may be able to help.

ALARIC

Better?

Mongol Gallery Day Two A

So. I went back to work today. Travel was a nightmare. See how I'm ful of excuses. I'm a day behind already and I have two hours to produce another ten pages in order to catch up.

Again, the final scene will be the homeless man masturbating in front of a picture of Anna Kern.

If anyone saw my previous attempts to keep writing every day, you'll know that in the past, I'd've given up by now. I'm glad to say I haven't. I'm still going.

Wish me luck!

Sunday 9 January 2011

Mongol Gallery pages 11 to 20

FADE UP FROM BLACK

INT. THE MONGOL GALLERY - NIGHT

Peter is lying on the floor, his head resting on Alaric's coat. Alaric is leaning over him. The table is covered with sketches in charcoal and pastille. Daniel is still sketching.

ALARIC

Peter? Welcome back to the land of the living. I've been worried
about you. It's as if you weren't even there for the last few hours.
Where've you been?

PETER (whispering)

Nowhere.

ALARIC (with a smile)

Now you know that's illogical captain.

PETER

I mean it literally. No place. Just me and the devil.


Alaric doesn't say anything for a moment but offers Peter a hand to help him up.

ALARIC

Everything okay?

PETER

No. It's all fucked. Life is shit. The name is Elsingham. You accept that don't you Alaric? My father changed it. It's the only name I've
ever known.

ALARIC

Perspicacious bugger was he?

PETER

In spades. Full on Grandad van Helsing speech.

ALARIC

I imagined he might have been more imaginative.

CUT TO:

EXT. HACKNEY 1912 - NIGHT

The world is darker, barely lit by gaslight. We see Evering Road in Hackney as it was in 1912, with several music halls as if Hackney were the West End.

The legend appears in the foreground saying "Hackney 1912".

ABRAHAM van HELSING walks past the camera. He is an old man, far to old for the role he might get in a Dracula story. There is a clear family resemblance to Peter. (He may even be played by the same actor). He is dressed in a black coat, top hat and trousers. His style is clearly Victorian as if he is still tied to fashions of twenty years before. He carries a cane.

He comes to the entrance to the Bartram's Music Hall. We see posters on the wall advertising "Theatre des Vampires" and "Tonight One NIght Only - Magda Szabo - The Viennese Nightingale".

Abraham walks past the entrance.


DOORMAN

Evening Squire. Interest you in the show?

ABRAHAM

Thank you my good man, but not tonight.


Abraham pauses to light a cigar from a gas light. He continues walking only to move against a wall and duck down a back alley. He takes out his pocketwatch. There is a door at the back labelled "STAGE DOOR". It is much shabbier than the main entrance but there is a doorman here as well. This one has a heavy Balkan accent.


BACKDOOR MAN

She's not taking visitors, my friend.

ABRAHAM
(letting the watch swing on its fob before the man's eyes)

She'll see me. Watch the shiny my friend. Watch it closely. See how
it moves.


Abraham continues to speak softly and we see the Backdoor man's eyes begin to close. He slumps sideways and Abraham opens the door behind him.
ABRAHAM

You haven't seen me.


Abraham walks through the door and we follow him into...


INT. BACKSTAGE IN BARTRAM'S MUSIC HALL - NIGHT


Abraham makes his way through the darkness. He moves unsteadily clearly less mobile than he was. He freezes as he knocks over some boxes. The theatre is silent in the aftermath of the noise but nobody comes and Abraham continues his movement.

Abraham comes to a door marked with a star. There is light coming from underneath. He pushes the door open. Nobody moves to stop him.


INT. STAR'S DRESSING ROOM - NIGHT


The room is well lit and spacious. MAGDA SZABO sits in front of a mirror, making up her face. She sees Abraham in reflection.

MAGDA

You should not be here.


Abraham reaches inside his coat.

ABRAHAM

I beg to differ.

MAGDA

Flowers? How sweet, but you still should not be here.


It is not a bunch of flowers. Abraham brings out a sharpened wooden stake.


ABRAHAM

You have no reflection.


The mirror shows that this is patently untrue. Magda tries to get to her feet but for all his age and decrepitude, Abraham is too quick and plunges the stake into Magda's back. This is no vampire staking as many may have expected. Instead, red arterial blood spurts from the wound and Magda screams, though her scream fades quickly.

Abraham runs from the room as Policemen appear as if by magic among a great deal of commotion. Whistles blow and bells ring and in the confusion, Abraham manages to get out, pausing only to turn his coat inside out, showing a different lining.

We follow Abraham through the confusing darkness of the backstage area until he bursts out of the door and we.

CUT TO


EXT. DARK ALLEY - NIGHT


Abraham bursts out of the door at the rear of the theatre. The Backdoor Man is still unconscious. Abraham tries to run deeper into the alleyway but comes to a dead end. He turns around but it is too late. INSPECTOR STRANGE is in the mouth of the alley.

INSPECTOR STRANGE

Abraham van Helsing. I am arresting you for the murders of
Catherine duBois, Anne McLeod and Theresa Beck and the
attempted murder of Magda Szabo. Yes, attempted. I took the liberty of arranging a theatrical device for you.

ABRAHAM

You fool. You know what I do is right.

STRANGE

Come on van Helsing. You're not going to resist are you?

ABRAHAM

I'm an old man. Too old maybe. I hope others will take the candle.


FADE TO BLACK


FADE UP TO


INT. THE MONGOL GALLERY - NIGHT

Nothing much has changed here. Daniel is still sketching. Peter is sitting at the table now, drinking a cup of tea and Alaric is still solicitous.


ALARIC

It was a hundred years ago dear boy. Your grandfather was hanged in
1916. You're allowed to have your own life. It's not something you
have to sell your soul to gain.


Peter is looking at Daniel's stretches.


PETER

You know these are damned good?

ALARIC

Yeah, they look okay.


Alaric glances at the sketches but Peter's reaction is much stronger.


PETER

Seriously. These could be worth a fortune. I could pay off the
mortgage. And you're right. I don't need to sell my soul or anything.


Peter turns to Daniel and asks.


PETER

Daniel, I know you can't speak but can you write.


Daniel shrugs and attempts to write his name. The scribble looks as if it should be writing but is completely illegible. Daniel looks distressed. He shakes his head.


PETER

Bugger. Daniel. I'd like to represent you. Your sketches are brilliant but if you can't speak, I don't see how we could have a contract.


ALARIC

I think I know somebody as it goes dear boy. A lawyer who deals
with the Deaf community.

PETER

I don't think Daniel even knows how to sign.

ALARIC

Doesn't matter. My friend can work with that.


FADE TO BLACK


FADE UP TO


INT. THE MONGOL GALLERY - NIGHT

The gallery has been transformed. Gone is the cramped, almost domestic setting we have seen earlier. Instead, we have a proper viewing space with countless sketches and paintings on the wall. We recognise some of them as Daniel's work. A number of well known art critics are milling around along with some pretty boys and girls from the lower rungs of the art industry.

In the foreground we see the legend "TWO WEEKS LATER" but it quickly fades away.


A BIG NAME ART CRITIC (BNAC) is sipping champagne and his arm is resting on the shoulder of a PRETTY GIRL. He is looking at a rather macabre painting of the attempted murder of Maga Szabo as seen in an earlier scene.


PRETTY GIRL

It looks beautiful and sordid at the same time. Like a high-end
brothel.

BNAC

Not the first thoughts that came to my mind my dear. I find it all
rather tawdry I'm afraid. And this conceit of the mute artist. I have
no idea why they think that will work in this day and age. They're all
charlatans. Besides. When have you ever been in a high-end brothel?

PRETTY GIRL

What? Don't you think I'm high-end enough?


The pretty girl grins but she does seem to be mildly insulted. The camera moves around the room to another picture, this time of Daniel and Anna standing on a balcony of a tall tower, looking out over a futuristic landscape strangely empty of people. Here the MAYOR is chatting with an MP and a minor POP STAR. The MP has his arm around the Pop Star's shoulders. The pop star is looking intently at the painting and paying little attention to the man whose arm is around her.


MP

Well, yes, it's a splendid vision isn't it?

POP STAR

Bit Future Legend for me. Them two should have red mutant eyes.

MAYOR

I'm not sure I understand.

POP STAR

Hunger City. The Halloween Cat lives on top of the tower. Bowie?
Diamond Dogs? Geez, don't they teach anything at public school?

MP

I think it's Rotterdam.


The Camera moves on. We see Nick de Musca in the flesh, sipping champagne and chatting amiably to a CHAT SHOW HOST.


CHAT SHOW HOST

But why on earth do you think my life lacks anything?

de MUSCA

Everybody's life lacks something. The trick is to find it.


The Camera moves on to show Daniel sitting in a quiet corner near the entrance. He is watching people come and go. He looks hopefully at every face and with each one, we see a little hope die in his eyes. He stands up and walks over to Alaric, who is talking to a high priced LAWYER.
ALARIC

Daniel, what's the matter. Oh no, sorry, you can't.


Daniel tries to speak but nothing comes out. In frustration he points to a painting of Anna Kern.

ALARIC

You were hoping Anna would come?

LAWYER

So she's a real person?


Daniel nods. Then he nods again.

ALARIC

Maybe she doesn't know about the exhibition.


Daniel glares at Alaric. He is clearly frustrated. He points at the picture again. He takes a sketch pad from the pocket of his jacket and draws a picture of a laptop, which he shows to Alaric.

ALARIC

I don't get it.


Daniel stomps off and looks for Peter. On the way, he passes several groups of people chatting about his paintings. One or two smile at him or offer to shake his hand. They all try to speak to him but all he can do is nod or shake his head.

Eventually, he finds Peter talking to LIAM a journalist.


PETER

That's Elsingham. E-L-S-I-N-G-H-A-M. And no, I don't expect to
make a lot of money out of this. I just want to make Daniel available
to the world. Oh, Hello Daniel. Have you met Liam? Daniel, Liam,
Liam, Daniel.




LIAM

Oh bugger, we have met. Danny. Danny Jekyll? We were on the
Evening Standard together when you first came over?


Daniel nodded but again tries and fails to speak.

In the Interim

Well, my wife came home after a couple of hours and I'd only done nine pages, so I guess tomorrow is day two and a half rather than day three.

Mongol Gallery - Day Two

Viki King advises us on day two to read over the first ten pages we wrote on day one so that we know who's point of view tells the story (It might have been Daniel, but I find Peter more interesting and so we make it from his point of view).

She then advises us to write the next twenty pages. That means we're aiming for the event at the end of page thirty that makes the protagonist react. In the case of the Mongol Gallery, that is ...

"Page 30: Peter has placed Daniel's picture of Anna Kern in the Gallery and is shocked when a punter stands in front of it and begins masturbating."

She says it takes three hours. Well. I'm not sure I have three hours because my wife comes home in two and besides, I have some mince on a slow boil. We will see.

Wish me luck!

Saturday 8 January 2011

Mongol Gallery Day One - Script

FADE IN:

INT. THE MONGOL GALLERY - DAY

PETER is taking tea with his friend ALARIC. Peter is thirty something, dressed in lazy fashion as if his clothes came from a catalogue. His hair is dark and his tan is natural. Alaric is around sixty dressed as a man of his age might if George Melly was his role model, but Alaric can't quite pull off the look.

Through the window, we can see Stoke Newington Church Street. It's a Sunday afternoon and there is little foot traffic but the buses and cars still travel. The sun is shining.

ALARIC

Oh, lovely tea Peter. What is it?

PETER

Tesco's own brand.

Peter turns toward the window.

PETER

What the fuck?

We follow Peter's gaze, through the window...


EXT: CHURCH STREET - DAY

...to show the almost empty street where DANIEL is running from a gang of skinheads. Daniel is wide eyed as if he's just stepped into his worst nightmare. He wears a torn business suit, no tie, no shirt, only the jacket and on his feet are a pair of training shoes. The skins are generic. There's something almost unfinished about them, as if we'd bought a bunch of skins from general casting.

Daniel tries the doors of several shops as he runs. None open until he reaches the Mongol Gallery. The door burst open and we.

FADE TO TITLES:

RUN TITLES

FADE TO:

INT. THE MONGOL GALLERY - DAY

Daniel has burst in through the door of the Gallery. Alaric stands to help him into a chair while Peter moves toward the door.
ALARIC

Come on, let's get a cuppa tea inside you. Peter, bar the door can't
you.

PETER

Too late.

We see a skinhead's hand slap against the glass door of the Gallery. The window does not break though and the hand dissolves into smears of paint that drip down the door. Daniel still appears terrified. Then, as the skinheads outside melt into pools of multicoloured mud that flow down along the pavement before dripping down the drain, so does Peter.

Alaric looks down at Daniel's hands. He takes hold of his wrist and lifts the hand to show to Peter.

ALARIC

Look at his hands.

The camera moves closer, focusing on Daniel's hands

CU. DANIEL'S HANDS

Daniel's hands are soft, banker's hands, writer's hands, hands that have never known hard physical work. They are stained with paint, mostly red but the rest of the rainbow is present.

ALARIC (continued)

Some kind of artist would you say? If it is, this is his first day.


PETER

He came to the right place then. I knew it would be a good idea to
have the studio and gallery together.

The camera pulls back to...

INT. THE MONGOL GALLERY - DAY

Peter puts his hand inside Daniel's pocket and draws out the stub of a Eurostar ticket, an American passport and a wallet full of plastic. Daniel stands unmoving, dribbling slightly.


PETER

His name's Daniel Jekyll. Hmm, got a press card and a pass to the
European Parliament. Don't think he's an artist.
Alaric waves three fingers in front of Daniel.

ALARIC

Daniel? Can you hear me Daniel?


Daniel nods.

PETER

Are you okay Daniel?


Daniel shakes his head. He still hasn't spoken. Alaric meets Peter's eye and frowns.

ALARIC

Daniel? What is wrong?


Daniel says nothing.

ALARIC

Daniel can you speak?


Daniel shakes his head.

ALARIC (seeming more alarmed than he ought)

I don't believe it.


Daniel rummages among the artists' materials on sale and opens a sketch pad, which he hands to Daniel along with a stick of artist's charcoal.

ALARIC

What happened Daniel?


Daniel hunches over the sketchpad and begins drawing furiously. The camera focuses on the paper and then seems to pass through to...





INT. BRUSSELS TO LONDON EXPRESS - DAY


Daniel is dressed in the suit we saw him in when we first saw him, although it is in somewhat better repair and he has a shirt and tie. He is still wearing training shoes though. He is clearly miserable. NICK de MUSCA walks down the aisle and sits himself down in the seat opposite Daniel's. It is not the only empty seat, in fact there are few other people in the carriage.

Nick de Musca is balding and overweight, looking like nothing so much as a travelling salesman or a down at heel American televangelist.


NICK de MUSCA

Mind if I sit here? Yeah I know, wicked question isn't it. I put you in a position where you'd be rude to object even though there are plenty of other places for me to sit.
(he offers his hand)
Nick de Musca.

DANIEL

Danny Jekyll

NICK de MUSCA

Any relation to Mr Hyde? No sorry, I'll bet you get this all the time don't you? Anyway Daniel Jekyll, what's eating you?


Daniel rolls his eyes but de Musca is insistent.

de MUSCA

Oh come on Danny Boy, you can tell me. I might even be able to help. It's been known to happen. I travel in inconsequentials you
know. I deal in solutions.


Daniel is not interested but de Musca makes a silly little boy pout.

de MUSCA

Oh please. Indulge me. Business trouble? Girl trouble? Been caught having sexual relations with a goat? (he grins) S'a joke, don't worry.
I'll bet it's a girl. You have the air of the lovelorn about you. Am I
right?


DANIEL (sighing)

Is it so obvious. I broke up with my girlfriend about seven hours ago

de MUSCA

And of course, she was the love of your life, without whom all is
pointless and all your colours grow grey? I was serious when I said I
dealt in solutions.


Daniel looks decidedly uncomfortable and opens his mouth to speak. de Musca reaches out to touch a fingertip to Daniel's lips.

de MUSCA

No Daniel, hear me out.


We see a look of shock in Daniel's eyes and his mouth closes and stays closed. We cut back to...

MCU. NICK de MUSCA (DANIEL'S POV)

de MUSCA

Like I said. I travel in inconsequentials. Don't worry, I don't mean
souls. I don't do souls any more. They're simply not that valuable.
Oh come on, don't tell me you never guessed Old Nick? Lord of the
Flies? Beelzebub? Oh well, guess you can't tell me can you? Not
unless I give you your voice back.


Daniel squirms, clearly struggling to speak.

de MUSCA

Oh come on, here's the deal. You've lost the love of your life and all
the colour has drained away. I've been following your career for some time. You have a way with words you know? That's rare on my side.
I guess because the other guy is the word and has been since the
beginning, we in Hell are left with images. And that's where we can
help each other. Give me your voice and I'll help you get that colour
back into your life.


FADE TO THE PICTURE DANIEL HAS DRAWN IN CHARCOAL
THE CAMERA PULLS BACK AND WE GO TO


INT. THE MONGOL GALLERY - DAY


Peter and Alaric look at the picture and then back at Daniel.

PETER

How the Hell can we get all that from a picture.

ALARIC

Magic. Pure and Simple.

PETER

You're taking this rather calmly. Magic? What next? Hermione
Grainger comes riding down church street on a broomstick?

ALARIC

I've seen things in my time Peter. I run a bookshop remember and we
sell a fair few occult books. This is Hackney after all. People want a
way out. Some of the grimoires in the back room are all too real. I
once exorcised a fifteen year old boy who had managed to get
possessed by an Aztec god.


Daniel is doing other sketches now. Almost absentmindedly, Peter hands him a set of artists pastilles. Daniel begins to produce coloured sketches.

PETER

Oh come on Alaric!

ALARIC

There are more things in Heaven and Earth, Horatio than are dreamed of in our philosophy. Surely you of all people should know that.

PETER

And what the fuck do you mean by that Alaric.

ALARIC

You know you hate it if I say it.


Peter glances down at the sketch that Daniel is working on. It shows Daniel and ANNA KERN in the Jubelpark in Brussels earlier that day.
FADE TO:

EXT. JUBELPARK - DAY


Daniel and Anna are sitting on a bench in the park. Other people walk by but it is rare for people to sit down at the benches. Their body language is that of a couple in love. They are turned one to the other as if excluding the rest of the world.

ANNA

I don't believe you will ever leave her.

DANIEL

We've spoken about this. Why do you think I'm here today. I'm
getting a transfer to Brussels so I can be near you. She's not coming.
It's you and me Anna. Us against the world.

ANNA (beginning to cry now)

I have to consider myself single now. This can't go on.

DANIEL (offering a tissue, wiping Anna's eyes)

Why are YOU crying. At the very least you could let me be the one
who cries when you rip out my heart.

ANNA

You are the one in charge, Daniel. You know that. It's always been
that way. I've been yours since it started. But if you don't use your
power, then it's gonna fade away. That much is obvious I would have
thought.

DANIEL

Then don't do this. Get down on your knees and apologise. Put your
head in my lap and tell me you'll never leave me.

ANNA

I want to Daniel. You know I want to but I can't.

DANIEL

Let's Walk.

Daniel stands and offers Anna his hand. She takes it and they walk into the park. She is still crying and her eyes and face blotchy with the misery of the moment. They've broken up and yet they are still holding hands.

ANNA

I need to be the one Daniel. You know that. If I could believe you,
I'd put my heart in your hands. I'd resign my seat in the European
Parliament and devote myself to being your loving slave. I can't
though. I just can't believe you.

DANIEL

Shit. And you're the one who's crying. It's cruel is what it is. You
break my heart into little pieces and stomp on the pieces and then I'm
the bad one. You should be a fucking politician.

ANNA

Maybe I'll email you in a day or two when I feel ready to answer all
your journalistic eloquence. Right now, I just feel so damned let
down.


Daniel stands close to Anna, well within her comfort zone. He takes hold of her shoulders and kisses her firmly on the lips. She responds, melting into his embrace. She is still crying.


FADE TO:

INT. THE MONGOL GALLERY - DAY

Peter seems to jump as if coming out of a trance. He is looking at Daniel's sketches.

PETER

Where was I? Whatever. How did they break up. They look like
they're in love.

ALARIC

Yeah, they do, don't they? I had a romance like that once. Beautiful
brown boy. We were both too stubborn to back down and admit we
weren't over.

PETER

All this magic is doing my head in.


Peter looks down at the sketch again. The world swims...


FADE TO:

INT. NOWHERE - NIGHT

Peter finds himself in an indistinct landscape with orange light shining through dry ice, like something from the stage show of an amateurish 1970s rock band. Nick de Musca is waiting for him.

de MUSCA

Goede Middag, Pieter, or perhaps Goeden Avond. Time doesn't
really matter much in this place.

PETER

Pardon?

de MUSCA

Oops, silly me, the Dutchman was your grandfather wasn't he? Not
you. You're just the owner of a crappy run down gallery selling fifth
rate paintings by third rate artists. Bums you out doesn't it.


Peter bunches his fists, moving as if to attack de Musca, but de Musca merely snaps his fingers and Peter finds his hands cuffed behind him.

de MUSCA

This is my place, Peter. Don't try to throw your weight around. I'm
not about to make you some kind of indecent proposal. That can wait until I need something from you.

PETER

You have nothing I need. There is no love of my life, and as you say,
my gallery is shit. You have nothing to say to me. Now, if you don't
mind, in the name of Jesus, release me.


de Musca scowls at that but he snaps his fingers and the manacles fade away.






de MUSCA

You can go, but I'll leave you something to think about. The thing is,
I do know what you want. What you need is a fame of your own, a
fame that works as well with your own name rather than having to
rely on your grandfather's notoriety.


FADE TO:

INT. THE MONGOL GALLERY - DAY

Peter's face is ashen.

ALARIC

Peter, you look like you've seen a ghost.

PETER

Worse than that.

The Mongol Gallery - Day One.

Viki King recommends that on the first day, we write the first ten pages. This means we need to get from the page one image, through the Page 3 idea to the statement at the end of page ten.

In the case of The Mongol Gallery that means ...

Page 1: Peter and a friend are drinking tea in the Mongol Gallery. Through the window we see Church Street on an overcast Sunday afternoon. Daniel runs away from a gang of skinheads before bursting through the door of the Gallery.
Page 3: Peter watches as Nick de Musca says to Daniel, "I don't buy souls any more, but I'm sure we can come to some arrangement"
Page 10: "Of course I know what you want, Peter", says de Musca, "You want a fame of your own that's nothing to do with your grandfather".

I have two hours, starting now. Wish me luck!

Friday 7 January 2011

The Movies

Viki King suggests we begin with a "nine minute movie" that sets out what happens on:
Page 1: The opening image
Page 3: A line at the end of page three to tell us what the movie is about.
Page 10: A line to tell us what it is the protagonist wants.
Page 30: An event that throws our character a curve ball and shows us how he plans to deal with it.
Page 45: An idea for a scene that will show the start of the protagonist's growth.
Page 60: Something shows that it'll be harder than the protagonist thought to reach his goal, but the difficulty makes him want it even more.
Page 75: By this point, everything changes. The hero is about to give up but then he sees there's a goal he didn't even know he had and he simply cannot give up.
Page 90: This is the beginning of the end. Here we get an idea of the resolution.
Page 120: And this is the outcome. What is the protagonist's new life.

That's the format, and here are some of the movies I plan to write. Here are titles, loglines and the nine minute movie for each of the seventeen movies I intend to write.

1. The Mongol Gallery
How far would you go?

Page 1: Peter and a friend are drinking tea in the Mongol Gallery. Through the window we see Church Street on an overcast Sunday afternoon. Daniel runs away from a gang of skinheads before bursting through the door of the Gallery.
Page 3: Peter watches as Nick de Musca says to Daniel, "I don't buy souls any more, but I'm sure we can come to some arrangement"
Page 10: "Of course I know what you want, Peter", says de Musca, "You want a fame of your own that's nothing to do with your grandfather".
Page 30: Peter has placed Daniel's picture of Anna Kern in the Gallery and is shocked when a punter stands in front of it and begins masturbating.
Page 45: Peter is watching television and sees footage of Anna Kern's breakdown in the European Parliament. He knows it is linked to the pictures.
Page 60: Anna Kern visits the gallery and Peter realises that what Daniel has lost was his voice and his abilities with the language.
Page 75: "There are no guarantees", says Nick de Musca as Daniel realises that he has not got back Anna after all. Peter frowns
Page 90: At Daniel's funeral, Peter realises that he is not going to get what he wants as a gallery owner, but he recognises that he shares something with his grandfather, the desire to guard against evil.
Page 120: Peter walks away from the ruins of the gallery. We see de Musca call the fire brigade and the cops but Peter looks at him blankly and says, "you lose, de Musca."

2. Babylon Rule
If you wanna beat Babylon, you gotta play Babylon rule

Page 1: Black Mamba (Stan) is rapping in a club
Page 3: Stan cuts off his dreadlocks and changes into a suit. "Ever hear of Batesian mimicry?", he asks.
Page 10: (In answer to Dollman) Stan says, "I want a decent world for my kids and my sisters".
Page 30: Sunshine tells Stan, after he's hospitalised her pimp, "So now I'm your responsibility. You have to protect me".
Page 45: "I'm not just gonna replace him", says Stan. "I'm gonna make it better."
Page 60: Stan is woken at 5AM by police breaking down his door. They find nothing but that's not the point. The point is, they can do this any time.
Page 75: Stan sees a friend murdered in the street. The Police do nothing.
Page 90: Stan stands for the local council saying, "Babylon is powerful but it is corrupt, and one day it will fall"..
Page 120: It doesn't matter whether or not Stan wins this time, he has become a defender of the community. He is the one people will go to, and when a seat comes up in Parliament, Stan will win.

That's two of them but I need another fifteen. I have the ideas but plenty of time to work out the details before I have to start writing them. For now, here are some of the ideas I have that I'll work on later.

3. Chamberlainstrasse - in which Hans Oster, a loyal subject of Kaiser Wilhelm III seeks to defend the Reich against a threat from followers of the late fuhrer.

4. The Promised Child - in which a lovelorn blind singer travels through space looking for Rapunzel, the singleship pilot he once loved.

5. John the Bomb - in which a child, born in the teeming slums of the Undercity, is destined to wreak vengeance on the Shiny Ones.

6. What Would Lucy Do? - in which Alison, one of a generation of children severely psychologically damaged by a drug taken by their mothers during pregnancy is guided by the ghost of her unborn sister - but is Lucy real?

7. The Death and Resurrection of Moll Cutpurse - a horror story (with Rock 'n' Roll).

I'm sure I'll think of the other ten as the year drags on.

Wish me luck?

The Premise

Back in 1988, when I was a twenty-something who really should have been paying attention, Viki King wrote a book called How to Write a Movie oin 21 Days .

At the time, I still thought I could make a living as a poet, maybe at worst writing the odd short story to supplement my income as the new Byron. Foolish as I was, I never realised I needed the book.

I bought the book from the Harvard Bookstore in December 1995 but even then, I didn't use it. Instead, I wrote a novel. I finished it in 1997 or 1998. Sadly, I couldn't find a publisher. So it goes. Esto es la vida mierda. Ever since then, I've been trying to write another, but it's so hard, so depressing to work for months with no reward (and yet nowhere near as depressing as twenty years at the bottom of the civil service ladder).

So, as a way out, I've picked up Viki King's book again and decided to try it out. I don't know if anyone has used the book to write a movie in 21 days, but I am going to try. More than that though. I'm going to keep on at this for a year inshallah.

17 times 21 days is 357 days, or about a week short of a year. There are 358 days left in this year, so I shall start tomorrow. (Saturday 8 January 2011). This is not a new yar's resolution, of course, because the new year has come and gone. Nevertheless. Happy New Year.