tag:blogger.com,1999:blog-21153766281642393872024-02-08T09:19:55.208-08:00Seventeen Movies in a Year?!!ur.alcuin@googlemail.comhttp://www.blogger.com/profile/01022240199948025118noreply@blogger.comBlogger21125tag:blogger.com,1999:blog-2115376628164239387.post-75406466214343832622011-04-08T05:51:00.000-07:002015-04-26T08:01:06.052-07:00The endOkay, the time has come to abandon this project for now. I wrote one more page but then my life drifted into babysitting, playing music, being ill and all sorts of things that are incompatible with the singlemindedeness essential to being a writer of anything on a large scale.<br />
<br />
I can write small pieces, poetry and the like, that much I know but at least until I retire from my job as a faceless bureaucrat, I am not going to have the space to write the major pieces I need to write. And for the time being, I just don't have the ruthlessness.<br />
<br />
I'll leave this up here as a monument to the futility, nay hubris, of my ambition but for now this particular blog is over. I'm sorry if anyone hoped to see it finished.ur.alcuin@googlemail.comhttp://www.blogger.com/profile/01022240199948025118noreply@blogger.com0tag:blogger.com,1999:blog-2115376628164239387.post-18225884765050846752011-02-02T12:39:00.001-08:002011-02-02T12:39:58.007-08:00MONGOL GALLERY PAGES 62 TO 68INT - THE MONGOL GALLERY - DAY<br /><br /><br />The camera focuses on Daniel's face, his eyes fiercely concentrating, then our view point moves to Anna in close up. She frowns and the camera pans out as she talks to Peter.<br /><br /><br /> ANNA<br /><br /> What do you mean? What is wrong with him?<br /><br /> PETER<br /><br /> He's lost the power of speech, haven't you Daniel.<br /><br /><br />Daniel nods. He frowns and tries to speak. The effort is too much and instead he draws a rose on his sketchbook. He hands the rose to Anna. Although it is drawn, she sniffs it and smiles. The camera focuses on her hand where blood bubbles to the surface as if she has been pricked by a rose thorn.<br /><br /><br /> ANNA<br /><br /> Ouch<br /><br /> PETER<br /><br /> There are some compensations. I take it he was never much of an <br /> artist before?<br /><br /> ANNA<br /><br /> He was a poet as much as a journalist. His words were wonderful. <br /> He once painted me a marvellous picture with words alone.<br /><br /><br />FADE TO GREY:<br /><br /><br />FADE UP FROM GREY TO...<br /><br /><br />INT. A MONGOL TENT - DAY<br /><br /><br />The scene is rich with reds and browns and golds. The walls are covered with richly woven rugs and here and there are incense burners producing smoke. Daniel and Anna are there. Daniel is dressed in robes that might not have been out of place on a Mongol Khan, or at the very least, a Mongol Khan imagined by a film maker. <br />Anna, on the other hand is naked but for a brief and transparent garment of palest, thinnest, sheerest silk and golden chains at her throat, wrists and ankles. There are bells on the chains and she wears jewels in her ears, navel, all of her fingers, in her hair, and in her nose, her nipples, her eyebrows, everywhere. The vision, perhaps of a Victorian orientalist pornographer.<br /><br /><br /> DANIEL<br /><br /> Come to me Naksh.<br /><br /><br />Anna starts to climb to her feet<br /><br /><br /> DANIEL<br /><br /> On your belly, like a serpent.<br /><br /> ANNA (perhaps a little sarcastically)<br /><br /> As you wish my Lord.<br /><br /><br />Sarcastically or not, Anna moves sensuously across brocade rugs that cover the floor of the tent before pressing her lips to Daniel's slippers. He reaches down and pulls her to her feet and they kiss.<br /><br /><br />FADE TO GREY<br /><br /><br />FADE UP TO...<br /><br /><br />INT. THE MONGOL GALLERY - DAY<br /><br /><br /> ANNA<br /><br /> He could be a complete asshole, you know, but he spoke so <br /> beautifully that often as not, I found I could not hate him, could not <br /> but go along with whatever game he was playing. You know how <br /> that gets sometimes? Really unhealthy I know, but it's fun for a <br /> while.<br /><br /> PETER<br /><br /> Naksh?<br /><br /> ANNA<br /><br /> He says it's Turkish. Means 'Beautiful'. He got it from a book about <br /> Aimee du Becq de Rivery. Did you ever hear of her?<br /><br /> PETER<br /><br /> I'm afraid not. That sounds more Alaric's thing and sadly, we just had his funeral today.<br /><br /><br />Peter sniffs before continuing.<br /><br /><br /> PETER<br /><br /> Sorry about that, please, carry on. Who was she?<br /><br /> ANNA<br /><br /> Late eighteenth, early nineteenth century. She was born in Haiti when it was still the French colony of Saint Domingue. She was a <br /> childhood friend of Josephine de Beauharnais, who married Napoleon Bonaparte. They both set out for France around the same time but <br /> while Josephine became Napoleon's lover, Aimee became a slave of <br /> the sultan. She ended up becoming mother of a new Sultan and de <br /> facto ruler of the Ottoman Empire despite having the legal status of <br /> property. Daniel loved the story for some reason.<br /><br /><br />As she speaks, Daniel is listening, clearly understanding but unable to speak. Could it be that he is crying? His expression is ambiguous.<br /><br /><br /> PETER<br /><br /> Do you know, he sold something very precious after you two split up. I guess he hoped to get you back somehow. <br /><br /> ANNA (reaching up to stroke Daniel's cheek)<br /><br /> That's sweet. What has he said to his precious wife and children back in Des Moines?<br /><br /> PETER<br /><br /> He's married?<br /><br /><br /><br /> ANNA (with a wry half-smile)<br /><br /> And that says it all, don't you think. <br /><br /><br />Anna turns to look at Daniel.<br /><br /><br /> ANNA<br /><br /> Asshole. You didn't have to go to extremes. I told you. All you had <br /> to do was walk out of your Norman Rockwell life and let me co-star <br /> in the movie of your life. It wasn't too much to ask was it? <br /><br /><br />Daniel makes no response.<br /><br /><br /> ANNA<br /><br /> Like I said. Fucking asshole.<br /><br /><br />CUT TO...<br /><br /><br />INT. ALARIC'S BOOKSHOP - DAY<br /><br /><br />Boudicca, Liam and Cook are looking through the stock in the shop.<br /><br /><br /> BOUDICCA<br /><br /> Damn, this is just chaos.<br /><br /> COOK<br /><br /> I could run it for you. It would remind me of Alaric.<br /><br /> LIAM<br /><br /> That's not the point is it?<br /><br /> BOUDICCA<br /><br /> No. I have promised to take on Alaric's sword and I don't even know <br /> what he did. Liam, can you call Peter please. I think we need to work at this together, sword and shield.<br /><br /> LIAM (walking to the top of the stairs and taking out his cellphone)<br /><br /> Yeah, will do. <br /><br /> LIAM (offscreen)<br /><br /> Peter? Liam. Yeah journalist Liam. Look, Boudicca's asked me to <br /> call. She thinks you need to get together and talk about what you <br /> agreed at the funeral. ...Can't you leave him with Ms Kern?... Okay, <br /> see you soon.<br /><br /> LIAM (reappearing down the stairs)<br /><br /> He's on the way. Maybe Cook and I should make ourselves scarce for a while.<br /><br /> BOUDICCA<br /><br /> Nah... you two carry on here. I'll go meet him on the way.<br /><br /><br />Boudicca goes up the stairs and we CUT TO...<br /><br /><br />INT - THE ROSE AND CROWN - DAY<br /><br /><br />The pub is almost empty with small tables scattered about as if it were an overstocked showroom. There is a group playing dominoes at one table while Boudicca and Peter sit at another but many more are empty. They each have a pint of Guinness.<br /><br /><br /> BOUDICCA<br /><br /> I'm conscious that when we spoke about being sword and shield, it <br /> felt like an oath but I haven't a clue what Alaric did.<br /><br /> PETER<br /><br /> Maybe we should ask Father Demetrios?<br /><br /> BOUDICCA<br /><br /> I've a feeling he's an interested party. <br /><br /> PETER<br /><br /> I'm sure he's on our side.<br /><br /> BOUDICCA<br /><br /> And I'm sure he's on his own side, or that of the Greek Orthodox <br /> Church which may or may not be ours.<br /><br /> PETER<br /><br /> Well we know de Musca's the enemy.<br /><br /> BOUDICCA<br /><br /> The enemy of my enemy is my friend? I don't buy that. I reckon de <br /> Musca has enemies all around the world and some of those enemies <br /> may even be on his side. The question has to be what side was Alaric <br /> on? Who can we trust?<br /><br /> PETER<br /><br /> Can we trust one another.<br /><br /> BOUDICCA<br /><br /> We are sword and shield. We're going to have to<br /><br /> PETER<br /><br /> I'm not even sure I can trust myself. We know how seductive de <br /> Musca can be.<br /><br /> BOUDICCA<br /><br /> What? What do you think he can offer you?ur.alcuin@googlemail.comhttp://www.blogger.com/profile/01022240199948025118noreply@blogger.com0tag:blogger.com,1999:blog-2115376628164239387.post-33069338209843849502011-02-02T10:59:00.000-08:002011-02-02T11:32:42.829-08:00Mongol Gallery Day FiveI know, I left it too long and the momentum sank down into the sand until I have to start again from a standing start. It happens unfortunately. Life intervenes and my good intentions become another broken promise to myself. <br /><br />The spur is, someone made a comment on <a href="http://www.43things.com/entries/view/2641719">43 things</a>, asking if I'd written the novel I said I was going to write, and sadly, I had not, so here I am, fully repentant and starting again. All those who have encouraged me, this is for you.<br /><br />Today according to <a href="http://talentdevelop.com/interviews/vking.html">Viki King</a> I should be reaching page 75. If you recall from <a href="http://17my.blogspot.com/2011/01/movies.html">earlier</a>, that is the point where Daniel (and Peter too for that matter) realises that he doesn't even get what he dealt with the devil for. <br /><br />I have the distraction of three year old and cat being in the house and needing to be separated. Let's hope that doesn't interfere.ur.alcuin@googlemail.comhttp://www.blogger.com/profile/01022240199948025118noreply@blogger.com0tag:blogger.com,1999:blog-2115376628164239387.post-26710792398452352162011-01-22T13:18:00.000-08:002011-01-22T13:19:38.937-08:00MONGOL GALLERY PAGES 55 TO 61INT. THE MONGOL GALLERY - DAY<br /><br /><br />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.<br /><br /><br /> PETER<br /><br /> Thanks for coming everybody. I have to say, I don't think Alaric <br /> 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, <br /> 'Don't mourn! Organise!"<br /><br /> BOUDICCA<br /><br /> Peter's right and of course, thanks to Alaric, Peter and I have a lot of <br /> organising to do in order to make Alaric's shop work in the way he <br /> would have wished.<br /><br /> PETER<br /><br /> So let's begin with a toast. To Alaric. Long may his light shine.<br /><br /> ALL<br /><br /> Alaric.<br /><br /><br />FADE TO:<br /><br /><br />INT - NUMBER 76 BUS - DAY<br /><br /><br />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.<br /><br /><br /> ANNA<br /><br /> Hello? Hello? Damn! Yes, sorry, you're speaking with Anna Kern. <br /> I'm on my way. I hope you're there.<br /><br /><br />Anna closes her phone and sighs.<br /><br /><br /> ANNA<br /><br /> Verdommte Ansaphone.<br /><br /><br />She gazes fiercely out at the empty offices moving past the window as the bus crawls through London.<br /><br /><br />CUT TO:<br /><br /><br />INT. MONGOL GALLERY - DAY<br /><br /><br />Liam taps a spoon on the side of his glass.<br /><br /> LIAM<br /><br /> A moment's attention please. Alaric was a bookseller. I've known <br /> him maybe two weeks but in that time, he introduced me to a few <br /> concepts in philosophy and particularly to this book.<br /><br /><br />Liam holds up a copy of Orson Scott Card's "Speaker for the Dead".<br /><br /><br /> LIAM<br /><br /> It is fitting that a bookseller's legacy to me should be the knowledge <br /> of a book, and of course, the knowledge that he would wish me to <br /> return the favour. The book talks of a way of celebrating the dead, <br /> not by lying about how good they were or cursing all the bad in their <br /> life, but by speaking what people might have said themselves if they <br /> were still alive, and painfully honest.<br /><br /><br />Daniel smiles and begins making a sketch of Liam.<br /><br /><br /> LIAM<br /><br /> So. Who was Alaric Hanworth? A bookseller? Yes we know. A <br /> supportive, loving big brother? Would you not agree Boudicca? A <br /> wizard. How many of you knew that about him. He was a skilled <br /> conjuror, but also he looked at the universe with eyes tinged with <br /> magic. He lived in a cartoon world of absolutes and of shades of <br /> grey. A modern gay man, although anyone who knew him would <br /><br /> CONTINUED<br />CONTINUED<br /><br /> LIAM<br /><br /> know Alaric hated the term and referred to himself as 'queer' or 'an old<br /> poof'. But more than that. Alaric was our shield and defender. We <br /> never knew it, but he held the line, there in his shop against dark <br /> forces that sought to come into our world. I know what you're <br /> 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 <br /> world, and every day and with every breath, Alaric stood against that <br /> evil. Let us hope someone takes up his sword and shield.<br /><br /> BOUDICCA<br /><br /> I will take up his sword<br /><br /> `PETER<br /><br /> And I will take up his shield.<br /><br /> LIAM<br /><br /> All of us must, as a community.<br /><br /><br />The doors burst open. Nick de Musca is there.<br /><br /><br /> de MUSCA<br /><br /> Never take a sword to a gunfight.<br /><br /><br />de Musca pulls a knife and lunges at Boudicca but pulls his stroke as Daniel moves quickly between them.<br /><br /><br /> FATHER DEMETRIOS<br /><br /> In the Name of the Lord Jesus Christ, begone from this place.<br /><br /><br />de Musca snarls and runs out into the street.<br /><br /><br />FADE TO:<br /><br /><br /><br />INT. NUMBER 76 BUS - DAY<br /><br />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.<br /><br /> ANNA<br /><br /> Where are we?<br /><br /> PASSENGER<br /><br /> Moorgate, just past London Wall.<br /><br /> DRIVER<br /><br /> Ladies and Gentleman, I'm sorry to have to say, this bus will <br /> terminate at the next stop because of a fault. Your tickets will be <br /> good on other modes of transport.<br /><br /><br />The bus pulls to a stop and we follow Anna as she steps out into.<br /><br /><br />EXT. MOORGATE - DAY<br /><br />Anna speaks to a newspaper seller.<br /><br /> ANNA<br /><br /> What's the best way to get to Stoke Newington.<br /><br /> NEWSPAPER SELLER<br /><br /> That way, Finsbury Circus, Liverpool Street, British Rail to Stokey. <br /> Be there in half an hour tops.<br /><br /><br />The Newspaper's words become voiceover as Anna begins running through Finsbury Circus and makes her way to Liverpool Street Station.<br /><br />CUT TO:<br /><br /><br />EXT. CHURCH STREET DAY<br /><br />Cook has pulled a knife and is moving menacingly toward Nick de Musca.<br /><br /><br /><br /><br /> COOK<br /><br /> Makes the world go round, schmuck<br /><br /> de MUSCA (laughs)<br /><br /> Batty boy, don't you know who I am?<br /><br /><br />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.<br /><br /><br />CUT TO:<br /><br /><br />INT. NATIONAL EXPRESS TRAIN - DAY<br /><br />Anna is looking nervously out of the window as the train moves North from Liverpool Street. Nick de Musca sits down beside her.<br /><br /><br /> de MUSCA<br /><br /> Last chance to back down slut.<br /><br /> ANNA (glaring)<br /><br /> Get you gone.<br /><br /> de MUSCA<br /><br /> Your funeral. Or maybe it'll be your toy boy's.<br /><br /> ANNA<br /><br /> Stop your games, I'm not susceptible. <br /><br /><br />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....<br /><br /><br />INT. BLACK CAB - DAY<br /><br /><br /> ANNA<br /><br /> Church Street, Stoke Newington. The Mongol Gallery.<br /> CABBIE<br /><br /> On the way Missus. You okay love?<br /><br /> ANNA<br /><br /> No idea. I hope so.<br /><br /><br />The Cabbie makes conversation as the cab moves through Hackney and we follow Anna to.<br /><br /><br />EXT. CHURCH STREET - DAY<br /><br /><br />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.<br /><br /> ANNA<br /><br /> Keep the Change<br /><br /><br />Anna leaves the cab and immediately throws her arms around Daniel who returns the gesture.<br /><br /> ANNA<br /><br /> Daniel, you're okay. I thought...<br /><br /> PETER<br /><br /> He isn't Ms Kern, he really isn't.ur.alcuin@googlemail.comhttp://www.blogger.com/profile/01022240199948025118noreply@blogger.com0tag:blogger.com,1999:blog-2115376628164239387.post-55864309662124160872011-01-22T12:10:00.000-08:002011-01-22T12:16:49.048-08:00Mongol Gallery day four and a halfSix 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 (<a href="http://www.myspace.com/vaccination4life">Vaccination</a>) will be recording what I hope will be the rest of our album so it's tonight necessarily and for certain.<br /><br /><span style="font-style:italic;">Wish me Luck</span>ur.alcuin@googlemail.comhttp://www.blogger.com/profile/01022240199948025118noreply@blogger.com0tag:blogger.com,1999:blog-2115376628164239387.post-15559859647214683032011-01-19T04:56:00.001-08:002011-01-19T04:56:44.574-08:00MONGOL GALLERY PAGES 48 to 54INT. EUROSTAR - DAY<br /><br /><br />Nick de Musca is still taunting Anna<br /><br /><br /> de MUSCA<br /><br /> You don't think you can do anything when you get to England, do <br /> you? Your boyfriend's lost his mind, the demon slayer's lost in <br /> dreams of greed and the wizard is dead. You don't think you can do <br /> anything to stop me, do you?<br /><br /> ANNA<br /><br /> I don't have a clue what you are talking about so why don't you just go away?<br /><br /> de MUSCA<br /><br /> I think I will, but I'll leave you something to think about.<br /><br /><br />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.<br /><br /><br /> ANNA (more enraged than afraid)<br /><br /> Godverdomme! Just fuck off!<br /><br /> de MUSCA<br /><br /> Temper temper...<br /><br /><br />de Musca disappears in a puff of smoke.<br /><br />FADE TO GREY<br /><br /><br />FADE UP TO<br /><br /><br />EXT. CHURCH STREET - DAY<br /><br /><br />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.<br /> JANET KIRK<br /><br /> Good morning. I'm Janet Kirk from Kirk McCauley. I realise that <br /> you have dealt with Mr McCauley before this and I hope that this <br /> change will not cause you distress on this saddest of days.<br /><br /> PETER<br /><br /> Of course not. <br /><br /><br />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.<br /><br /><br /> PETER<br /><br /> These are Daniel, Tia, Liam, Cook, Alaric's sister Boudicca and of <br /> course you know Father Demetrios.<br /><br /><br />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.<br /><br /><br /> FATHER DEMETRIOS<br /><br /> Of course, the funeral will be at The Church of Saint John the <br /> Theologian in Mare Street. I can show you the way if you don't know <br /> it. In fact, I would prefer to walk in front of the car if that is <br /> permitted.<br /><br /> JANET KIRK<br /><br /> Certainly I know it. It's a couple of miles though and the roads are <br /> busy. If you feel it's essential to walk, then of course but I feel I must <br /> let you know that.<br /><br /> FATHER DEMETRIOS<br /><br /> Thank you. I appreciate your concern but Mr Hanworth died a hero <br /> and I wish to mark my respect for that.<br /><br /> JANET KIRK<br /><br /> As you wish, Father.<br /><br /><br />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.<br /><br /><br />CUT TO:<br /><br /><br />INT. EUROSTAR DAY<br /><br /><br />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.<br /><br /><br /> ANNA<br /><br /> What do you think you are looking at? Didn't care when I was being <br /> attacked did you? That's why society falls apart. Assholes!<br /><br /><br />Nobody reacts and Anna gazes angrily at the Kent countryside. The train slows down and comes to a stop.<br /><br /><br /> ANNA<br /><br /> Now what?<br /><br /><br /> ANNOUNCEMENT<br /><br /> Ladies and Gentlemen. There will be some delay in reaching London <br /> due to a cow on the line. We will keep you informed.<br /><br /><br />The announcement is repeated in Dutch, French and German.<br /><br /><br /> ANNA<br /><br /> Godverdomme!<br /><br /><br />Anna is drumming her fingers with one hand, while the other, white-knuckled, grips the armrest on her seat.<br /><br /><br />CUT TO:<br /><br /><br />INT. THE CHURCH - DAY<br /><br /><br />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.<br /><br /><br /> COOK<br /><br /> Umm. Hi. I feel a bit of a fraud standing here. Most people think <br /> Alaric and I were lovers and it is true that I loved him. I still do. <br /> Love doesn't stop just because those we love go away, does it? But <br /> our relationship was never like that. I believe Alaric was celibate for <br /> most of my life. I hated that, but I respected it. I respect you Alaric, I <br /> always will... and our love can't be murdered as easily as you were.<br /><br /> BOUDICCA<br /><br /> 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 <br /> that in my life, there will be an Alaric shaped hole. I miss you big <br /> brother. I don't want you to go. I wish... I WISH I was going with <br /> you but that is not my fate. I wish you well, my big brother. Go with <br /> love.<br /><br /> LIAM<br /><br /> I've only known Alaric a short time. It was not long enough. I found <br /> he had an integrity so rare these days. He was a good man.<br /><br /> TIA<br /><br /> I don't have anything to say but Daniel does and Daniel can't speak. <br /> He drew this sketch while the service was going on.<br /><br /><br />Tia holds up a drawing of Alaric. In the picture, of course, Alaric is alive. <br /><br />INT. THE PICTURE - DAY<br /><br /> ALARIC<br /><br /> Yeah. I'm dead. I know this. And thanks all for coming to my <br /> funeral but you know how I died. You know why I died. You know <br /> what you need to do... if you don't want me to come back and haunt <br /> you.<br /><br />INT. THE CHURCH - DAY<br /><br /><br /> PETER<br /><br /> There's little I can say on top of what's been said. I was too stupid to <br /> understand what Alaric was saying. Nothing is free and sometimes <br /> the price is more than the prize is worth. A part of me would do <br /> anything to have Alaric back, but we all know that the world doesn't <br /> work that way. I hope. I need to believe that Alaric has gone on to a <br /> better place. Thank you Father. Thank you all for coming. I hope <br /> you can all come to the reception at the Mongol Gallery after the <br /> reading of the will.<br /><br /><br />CUT TO:<br /><br /><br />INT. EUROSTAR - DAY<br /><br /><br /> ANNOUNCER<br /><br /> Ladies and Gentlemen, I regret to have to tell you that this train will <br /> be diverted to the old Eurostar terminal at London Waterloo. Your <br /> tickets will be valid on reasonable bus and London Underground <br /> routes. Eurostar apologises for any inconvenience caused.<br /><br /><br />Anna glares around her, eyes fierce.<br /><br /><br /> ANNA<br /><br /> Are they messing with me? Am I going paranoid.<br /><br /><br />FADE TO:<br /><br /><br />INT. WATERLOO FORMER EUROSTAR TERMINAL- DAY<br /><br /><br />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.<br /><br /><br /><br /><br /> EUROSTAR OFFICIAL<br /><br /> Welcome to England. Do you know where you need to go.<br /><br /> ANNA<br /><br /> Stoke Newington?<br /><br /> EUROSTAR OFFICIAL<br /><br /> You could try Waterloo and City Line, change for the Central Line <br /> and then change for a train from Liverpool Street. It's probably <br /> quickest, but the simplest is probably to take a 76 or 341 bus.<br /><br /><br />Anna nods her thanks and walks toward the exit.ur.alcuin@googlemail.comhttp://www.blogger.com/profile/01022240199948025118noreply@blogger.com0tag:blogger.com,1999:blog-2115376628164239387.post-24080709956685339772011-01-19T03:05:00.000-08:002011-01-19T03:18:30.832-08:00Mongol Gallery Day 4I know it's not the fourth day but I need structure from somewhere. I'm waiting in today while a <a href="http://www.bedbugsuk.co.uk/?gclid=CIKv0LaQxqYCFQ4f4Qod4l1yHA">man</a> comes to destroy our <a href="http://en.wikipedia.org/wiki/Bedbug">bedbugs</a> so, I have time for a crack at day four.<br /><br />On day four, <a href="http://www.heroturko.org/h/How-To-Write-A-Movie-In-21-Days-By-Viki-King/">Viki King's book</a> recommends that I write up to page 60. If you remember from <a href="http://17my.blogspot.com/2011/01/movies.html">earlier on this blog</a>, 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.<br /><br /><span style="font-style:italic;">Wish me luck</span>!ur.alcuin@googlemail.comhttp://www.blogger.com/profile/01022240199948025118noreply@blogger.com0tag:blogger.com,1999:blog-2115376628164239387.post-76577766986813673692011-01-16T08:04:00.000-08:002011-01-16T08:05:35.313-08:00MONGOL GALLERY PAGES 41 to 47INT. THE MONGOL GALLERY - DAY<br /><br />Peter's eye is already beginning to swell and he is holding a bloody tissue to his nose. Tia is still there, apologetic now. <br /><br /><br /> TIA<br /><br /> I'm sorry Mr Elsingham. I was a bit shocked. I need this job and I'm <br /> not like that.<br /><br /> PETER<br /><br /> O' worry boud id Dia. I udderstad.<br /><br /><br />Alaric rushes in through the front door accompanied by FATHER DEMETRIOS from the local Greek Orthodox Church.<br /><br /><br /> ALARIC<br /><br /> Got here as quick as I can Peter. This is Father Demetrios. Can you <br /> show us the painting in question?<br /><br /> DEMETRIOS (examining the painting)<br /><br /> Well it's not a relic...<br /><br /> ALARIC<br /><br /> No Father, it's less than a month old.<br /><br /> DEMETRIOS<br /><br /> But if what you say is true, this is some kind of manifestation. Who is this woman?<br /><br /> PETER<br /><br /> We think she's Anna Kern, Daniel's ex girlfriend.<br /><br /> DEMETRIOS<br /><br /> So she's not a nun or a preacher then? Maybe a Rock Star?<br /><br /> PETER<br /><br /> We think she's a politician, either Belgian or European.<br /><br /> ALARIC<br /><br /> She's an MEP for the Dutch Party of Decency.<br /><br /> DEMETRIOS<br /><br /> So. Not somebody whose image would resonate. Then we're dealing <br /> with some kind of curse here. This woman is in grave danger.<br /><br /> PETER<br /><br /> Oh my God... did I do this?<br /><br /> ALARIC<br /><br /> No Peter, we know who did this. What kind of danger, Father?<br /><br /> DEMETRIOS<br /><br /> Someone, some spiritual being, has gone to a lot of trouble to tie her <br /> to several curses. Do you know where I can find the artist.<br /><br /> PETER<br /><br /> Daniel's sleeping upstairs. Tia could you go get him please?<br /><br /><br />CUT TO:<br /><br />INT. GARE Du MIDI, BRUSSELS - DAY<br /><br /><br />Anna is one of a crowd of people waiting to board the Eurostar train. She is silent while others talk.<br /><br /> MOTHER<br /><br /> Clothilde, sweetie. don't do that.<br /><br /> CLOTHILDE<br /><br /> When can we get on Mama.<br /><br /> MOTHER<br /><br /> Should be any minute.<br /><br /><br /><br /><br /> BUSINESSMAN (speaking into cellphone)<br /><br /> Well I want them all there by the time I reach England. You've got <br /> about three hours, so don't fuck up.<br /><br /> MOTHER<br /><br /> There we go sweetie. Let's go shall we.<br /><br /> CLOTHILDE<br /><br /> Will Grandma be pleased to see us?<br /><br /> MOTHER<br /><br /> You betcha. How could she not be pleased to see her prettiest <br /> granddaughter?<br /><br /><br />Anna and the rest of the crowd move onto the train.<br /><br /><br />CUT TO:<br /><br /><br />INT. THE MONGOL GALLERY - DAY<br /><br /><br />Tia has returned with Daniel. Daniel is seated while Father Demetrios examines him.<br /><br /><br /> DEMETRIOS<br /><br /> Can you speak at all my son?<br /><br /> PETER<br /><br /> He can't.<br /><br /> DEMETRIOS<br /><br /> Not you. Him. Can you?<br /><br /><br />Daniel shakes his head.<br /><br /><br /><br /><br /><br /> DEMETRIOS<br /><br /> No don't shake your head. Speak. In the name of the Lord Jesus <br /> Christ I bid you speak.<br /><br /> PETER<br /><br /> He can't.<br /><br /> ALARIC<br /><br /> Hush Peter. Let the Father do his job.<br /><br /> DEMETRIOS<br /><br /> And what of you, unclean spirit in occupation of this young man? I <br /> bid you speak in the name of the Lord Jesus Christ.<br /><br /><br />Nick de Musca appears in a puff of smoke like a conjuror in a magic show.<br /><br /><br /> de MUSCA<br /><br /> He's not possessed old Man. And even if he was, you have neither the <br /> faith nor the authority to cast out the demons involved here.<br /><br /> DEMETRIOS<br /><br /> Begone foul fiend.<br /><br /> de MUSCA<br /><br /> Oh be quiet you tedious little fuckwit. You're playing with the big <br /> boys and this is the business of prophecy so fuck off back to your <br /> church with your tail between your legs.<br /><br /> DEMETRIOS<br /><br /> Foul demon, your profanity merely shows your weakness.<br /><br /> de MUSCA<br /><br /> Whatsamatter faggot? Couldn't find a Catholic priest? This one is <br /> useless. but I'm going to punish you for interfering.<br /><br /><br />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. <br /><br /> de MUSCA<br /><br /> Mijnheer van Helsing. You'd better make your mind up soon while <br /> you still have a choice.<br /><br /> DEMETRIOS (lifting his cross and gesturing)<br /><br /> Foul fiend I command you in the name of the Lord Jesus Christ, son <br /> of God, leave this place.<br /><br /> de MUSCA<br /><br /> Oh don't worry Rabbi or whatever the fuck you are. I'm going, for <br /> now.<br /><br /><br />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.<br /><br />FADE TO.<br /><br /><br />INT. EUROSTAR TRAIN - DAY<br /><br /><br />Anna is sitting alone. She is drowsing but not asleep.<br /><br /><br /> BRITISH IMMIGRATION OFFICER<br /><br /> Passport please madam.<br /><br /> ANNA<br /><br /> Here it is.<br /><br /> BRITISH IMMIGRATION OFFICER<br /><br /> Thank you.<br /><br /><br />After examining the passport, the immigration officer moves further down the train checking other passports.<br /><br /><br />de Musca appears next to Anna in a puff of smoke.<br /><br /><br /><br /> ANNA<br /><br /> I don't think you can smoke here.<br /><br /> de MUSCA<br /><br /> Yeah, real funny but we both know that inside you're shitting yourself <br /> Ms Kern, not to mention dripping wet with the thought of what's been happening to you.<br /><br /> ANNA<br /><br /> I don't know who you are but BACK OFF!<br /><br /> de MUSCA (laughing)<br /><br /> They can't believe it's real Anna. They can't intervene.<br /><br /> ANNA<br /><br /> What do you want?<br /><br /> de MUSCA<br /><br /> Do you remember?<br /><br /><br />FADE TO:<br /><br /><br />INT. EUROPEAN PARLIAMENT - DAY<br /><br /><br />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.<br /><br />CUT TO:<br /><br />INT. FLAT ABOVE THE MONGOL GALLERY - NIGHT<br /><br /><br />Daniel and Peter are seated. Daniel is painting. Peter is watching television. We see the previous scene again, this time on the television screen.<br /><br /><br /> PETER (ashen faced)<br /><br /> Oh my God.ur.alcuin@googlemail.comhttp://www.blogger.com/profile/01022240199948025118noreply@blogger.com0tag:blogger.com,1999:blog-2115376628164239387.post-53289234209221649582011-01-15T08:30:00.000-08:002011-01-15T08:31:43.355-08:00Mongol Gallery Pages 33 to 40EXT. CHURCH STREET - NIGHT<br /><br />Nick de Musca, still laughing, steps outside the Mongol Gallery into the street. He turns back and grins, both at us and at Peter.<br /><br /> de MUSCA<br /><br /> This is the way it's going to be Mr Elsingham. Whether you ask for<br /> anything or not, you're going to show Daniel's paintings, probably <br /> publish them, maybe even put them on the Internet. That's all I want <br /> from you anyway. It's not as if your soul wasn't already mine after all.<br /><br /> PETER (off screen)<br /><br /> See I don't believe you.<br /><br /> de MUSCA<br /><br /> Your beliefs are of no interest to me whatsoever Mijnheer van <br /> Helsing, at least not as long as you don't number yourself among <br /> 'whosoever believeth on Him', but I find with this secular world <br /> you've built for yourselves, that's so rarely the case. I don't think I <br /> have to worry about you.<br /><br /><br />Peter walks out into the street and into shot, while Alaric walks into shot from the direction of his shop.<br /><br /><br /> de MUSCA (pushing Alaric aside)<br /><br /> Get out of my way wizard. We both know why you people are called <br /> faggots. It's cos you burn so well. You'll be mine as surely as him.<br /><br /> ALARIC<br /><br /> I'd tell you to go to Hell de Musca, but it'd be pointless. Just get out <br /> of my sight.<br /><br /><br />Alaric turns his back on the Devil and leads Peter back into the Gallery.<br /><br /><br />INT. THE MONGOL GALLERY - NIGHT<br /><br /><br /> ALARIC<br /><br /> Put the kettle on Peter. We need to talk.<br /><br /> PETER (making a cup of tea as suggested)<br /><br /> About?<br /><br /> ALARIC<br /><br /> What do you think? Daniel. His work,. The weird magical stuff<br /> that's been going on. Chiliasm. Faustus, the whole kit and kaboodle.<br /><br /> PETER<br /><br /> 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 <br /> sure until the last minute.<br /><br /> ALARIC<br /><br /> Peter for fuck's sake.<br /><br /> PETER<br /><br /> What can I say? He says it's all going to happen anyway. He doesn't <br /> need me. Maybe I should ask for something. Fame? Fortune? <br /> Angelina Jolie?<br /><br /> ALARIC<br /><br /> You remember who we're talking about? Old Nick? The Devil? <br /> Beelzebub. Lord of the Flies and Father of Lies. You can't even trust <br /> him as far as you could row the Titanic.<br /><br /> PETER<br /><br /> You're getting him mixed up with Peter Mandelson.<br /><br /> ALARIC<br /><br /> Do you see me laughing, Peter? Try to hang onto yourself for crying <br /> out loud. I'm there for you but I know you don't want to hear that <br /> right now. I'm looking out for you but don't make me fucking watch. <br /> Come to my shop when you're ready to watch and even if you don't, <br /> never forget I got your back.<br /><br /><br />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.<br /><br /><br /><br /> ALARIC<br /><br /> Wear that then. Let's hope it protects you from the devil and his lies. <br /> You're in my prayers. I only hope I'm not out of practice.<br /><br /><br />CUT TO:<br /><br /><br />INT. EUROPEAN PARLIAMENT BUILDING, BRUSSELS - DAY<br /><br /><br />Anna is in a corridor, discussing farming subsidies with a British MEP.<br /><br /> BRITISH MEP<br /><br /> Look, I'd love to help you Ms Kern but my constituents would never <br /> agree to it, not even for your help with ending the CAP.<br /><br /> ANNA<br /><br /> Really? Don't you think they'd overlook it if you could be the British <br /> politician who ended the Common Agricultural Policy. The French <br /> would all hate you as well. Isn't that something British voters hold <br /> dear?<br /><br /> BRITISH MEP<br /><br /> Oh Good Gracious yes, up to a point, dear lady, and this is the point <br /> beyond...<br /><br /> ANNA (eyes glazed)<br /><br /> Suppose I gave you a B...!<br /><br /><br />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.<br /><br /><br /> ANNA<br /><br /> Fuck! What's happening.<br /><br /><br />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.<br /><br /> ANNA<br /><br /> Aaah. What the fuck is happening to me? Get off me. Leave me. <br /> Laat mij zijn! Jeezus. Help me.<br /><br /><br />CUT TO:<br /><br />INT. THE BAR OF KITTY O'SHEA'S IRISH PUB, BRUSSELS - NIGHT<br /><br />The British MEP is clearly drunk as he talks with a couple of other drinkers who may well be fellow MEPs.<br /><br /> BRITISH MEP<br /><br /> Not a word of a lie. She offered me a blow job in return for my vote <br /> on the Fortress Europe thingummy. If I wasn't a happily married man.<br /><br /> ANOTHER DRINKER<br /><br /> You need to stop drinking, Signor. Clearly you are not able to handle <br /> it.<br /><br /> BRITISH MEP<br /><br /> You What. (clenches his fist) Want me to knock your block off?<br /><br /> THIRD DRINKER<br /><br /> Calm down both of you. I believe you. Typical damned Dutch <br /> liberal. Probably doesn't even think there's anything wrong with it. <br /><br /><br />CUT TO:<br /><br /><br />INT. THE MONGOL GALLERY - DAY<br /><br /><br />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.<br /><br /><br /> PETER (looking up but remaining crouched down)<br /><br /> Tia? Would you mind coming over here please?<br /><br /><br /><br /> TIA<br /><br /> Mr Elsingham?<br /><br /> PETER (pointing at the substance)<br /><br /> What do you think that is?<br /><br /> TIA<br /><br /> Don't know.<br /><br /> PETER<br /><br /> So look?<br /><br /><br />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.<br /><br /><br /> TIA<br /><br /> Pervert! You're old enough to be my dad.<br /><br /><br />Peter too sniffs the substance and looks shocked. He holds a handkerchief to his nose.<br /><br /><br /> PETER<br /><br /> Fuck.<br /><br /><br />FADE TO BLACK<br /><br />FADE UP TO<br /><br /><br />INT. ALARIC'S SHOP - DAY<br /><br /><br />Alaric is at the counter talking to a customer.<br /><br /> ALARIC<br /><br /> Of course, Colin Wilson saw everything through his own English <br /> Middle Class perspective. His outsider was very different from that <br /> of Camus. More protagonist than victim of course, but at the same <br /> time, so insufferably bourgeois.<br /><br /> COSTUMER<br /><br /> That's true, but his take on Ouspensky makes much of it worthwhile.<br /><br /><br />The telephone rings.<br /><br /><br /> ALARIC (answering the phone)<br /><br /> Excuse me... Hello, Hanworth Books, how may I help you?<br /><br /><br />The customer nods and walks over to examine the books on the stacks.<br /><br /><br /> ALARIC<br /><br /> Oh hello. Are you okay?<br /><br /><br />Peter's voice is indistinct on the phone.<br /><br /><br /> ALARIC<br /><br /> Seriously? Vaginal secretions? [...pauses...] Well I've heard of tears <br /> appearing on artifacts, even milk, both in statues of the Virgin Mary <br /> and with Hindu Gods. Even blood appears on occasion, but no. I've <br /> never heard of that before. Something unholy is going on Peter. I'm <br /> coming round.<br /><br /><br />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.<br /><br /><br /> ALARIC<br /><br /> You know what this is?<br /><br /> CUSTOMER<br /><br /> Gurdjieff's first book. 1950 edition I think.<br /><br /><br />Alaric offers the book to the customer.<br /><br /> ALARIC<br /><br /> It's yours free if you leave this second. I need to lock up.<br /><br /><br />There is a moment when it seems the customer may demure but he shrugs and takes the book.<br /><br /> CUSTOMER (leaving the shop)<br /><br /> Thanks. I'll definitely be back.<br /><br /><br />Alaric follows the customer and locks up the shop.ur.alcuin@googlemail.comhttp://www.blogger.com/profile/01022240199948025118noreply@blogger.com0tag:blogger.com,1999:blog-2115376628164239387.post-37883006694885020182011-01-15T06:11:00.001-08:002011-01-15T06:52:16.067-08:00Mongol Gallery Day 3 (after an absence).Anyone who remembers my <a href="http://gimmeacolumn.blogspot.com/">previous</a> <a href="http://whatearths.blogspot.com/">attempts</a> to <a href="http://alcuininsull.blogspot.com/2009_01_01_archive.html">write regularly</a> 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".<br /><br />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 <a href="http://www.last.fm/listen/user/Alcuinsull/mix">last fm</a> 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.<br /><br />On Thursday, I went to an open mic at the <a href="http://www.embassybar.com/">Embassy, Islington</a> where I had fun singing <a href="http://alcuininsull.blogspot.com/2011/01/lost-songs-of-billy-strayhorn.html">The Lost Songs of Billy Strayhorn</a>, <a href="http://www.billystrayhorn.com/1997/biography.htm">Billy Strayhorn</a>'s own song "<a href="http://www.youtube.com/watch?v=ILDqWHutba0&feature=related">Lush Life</a>" and reading my poem "The Gospel According to Spider Calhoun". I'm not going to do this every week, but realistically with open mics, <a href="http://fr-fr.facebook.com/Vaccination4Life?filter=1">Vaccination</a> 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.<br /><br />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 <a href="http://wishcraft.com/">advice</a> and just keep on keeping on. I actually bought her book "<a href="http://www.barbarasher.com/icoulddo.htm">I could do anything if I only knew what it was</a>" 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.<br /><br />So. Back to <a href="http://www.writersstore.com/healing-the-hollywood-heart">Viki King</a>. 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.<br /><br /><span style="font-style:italic;">Wish me luck</span>.ur.alcuin@googlemail.comhttp://www.blogger.com/profile/01022240199948025118noreply@blogger.com0tag:blogger.com,1999:blog-2115376628164239387.post-24465571164982162122011-01-11T15:26:00.000-08:002011-01-11T15:28:38.455-08:00MONGOL GALLERY PAGES 27 to 32INT. ANNA'S FLAT - NIGHT<br /><br /><br />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.<br /><br /><br />Anna is sitting at her table with her laptop open. The laptop pings and we see Anna opening an email and reading the contents.<br /><br /><br /> ANNA<br /><br /> So what KIND of trouble has he got himself into?<br /><br /><br />No answer is forthcoming of course. Anna goes to the wall and picks up her telephone.<br /><br /><br /> ANNA<br /><br /> Met Anna Kern.<br /><br /><br />There is a pause while an indistinct voice comes from the other end of the conversation.<br /><br /><br /> ANNA<br /><br /> So, I need to take some time off and get over to England. Nice if I <br /> can make it business but I have to go anyway. So when's the next <br /> window? Fine, I'll stay till then but find me a fact-finding or <br /> something Ja?<br /><br /><br />After another pause she continues.<br /><br /><br /> ANNA<br /><br /> Dank je wel. Later.<br /><br /><br />She puts the phone down and returns to Internet banking.<br /><br /><br />CUT TO:<br /><br />INT. ALARIC'S SHOP - DAY<br /><br /><br /> ALARIC<br /><br /> There we go Daniel. I've sent it. Nothing more I can do.<br /><br /><br />Daniel makes a sketch, which we do not see. Alaric looks at it.<br /><br /><br /> ALARIC<br /><br /> Yes Daniel and I find myself aroused despite my obvious <br /> shortcomings. That's part of the trouble.<br /><br /><br />FADE TO BLACK.<br /><br />FADE UP TO<br /><br /><br />INT. THE MONGOL GALLERY - DAY<br /><br /><br />Alaric has walked in while Peter is rearranging numerous leaflets with miniaturised versions of Daniel's sketches.<br /><br /><br /> ALARIC<br /><br /> I can't help having a sense of foreboding Peter. There's a lot of <br /> magic involved and it's not like we don't understand who de MUSCA is.<br /><br /> PETER (snappishly)<br /><br /> Alaric, you're jealous. I've not sold my soul but it's not often an <br /> opportunity like this comes along. I've got to take it. Daniel's going <br /> to make me rich and famous. Not de Musca, Daniel. What's wrong <br /> with that?<br /><br /> ALARIC<br /><br /> Peter, Daniel's a journalist, or at least was before he lost the power<br /> of speech. Can't you see the agenda?<br /> <br /><br /> PETER<br /><br /> I've been thinking about that. Maybe there's nothing supernatural <br /> about it. Maybe he's had a stroke. Weird things happen when you <br /> fuck with the brain.<br /><br /> ALARIC<br /><br /> You don't believe that for a moment, Peter do you?<br /><br /> PETER (sighing)<br /><br /> No. God help me.<br /><br /> ALARIC<br /><br /> So you know what to do then.<br /><br /> PETER<br /><br /> I can't. Maybe if I kept out the pornographic ones and anything <br /> controversial. Maybe he won't get what he wants.<br /><br /> ALARIC<br /><br /> You're trying to second guess the devil, Peter. That never ends well.<br /><br /><br />FADE TO BLACK<br /><br />FADE UP TO<br /><br /><br />INT. THE MONGOL GALLERY - NIGHT<br /><br />Peter is alone in the gallery. There are dark circles under his eyes. The door opens and Nick de Musca walks in.<br /><br /><br /> de MUSCA<br /><br /> Good evening Mr Elsingham. How does it feel to have your dreams <br /> at your fingertips?<br /><br /> PETER<br /><br /> What do you want?<br /><br /><br /><br /> de MUSCA<br /><br /> That really is rather rude Peter. Would you like me to wash your <br /> mouth out with soap?<br /><br /> PETER<br /><br /> I apologise. What can I do for you?<br /><br /> de MUSCA<br /><br /> There, that's better. The poof's right you know. This is not a free <br /> gift. There are consequences. You know that don't you? Of course <br /> you do. And yet you carry on. I haven't even had to offer you <br /> anything. You really should think of something to ask for. Bad for <br /> business otherwise.<br /><br /><br />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. <br /><br />FX - a bell rings<br /><br />A TRAMP has just entered the gallery. He walks straight toward the painting de Musca has just altered and takes down his trousers.<br /><br /> de MUSCA<br /><br /> Seems you're not the only one around her with no free will Peter.<br /><br /> PETER<br /><br /> I'm not my grandfather.<br /><br /> de MUSCA<br /><br /> Never said you were.<br /><br />The Tramp takes his cock in hand and begins to masturbate.<br /><br /><br /> TRAMP<br /><br /> Bitch bitch bitch bitch baaaahhhhh<br /><br /> de MUSCA<br /><br /> He's there before the goal. He dribbles, he shoots.<br /> PETER<br /><br /> Dammit. Get out. Get out<br /><br /><br />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.ur.alcuin@googlemail.comhttp://www.blogger.com/profile/01022240199948025118noreply@blogger.com0tag:blogger.com,1999:blog-2115376628164239387.post-73166914467771559332011-01-11T14:29:00.001-08:002011-01-11T14:34:09.640-08:00MONGOL GALLERY Day 2B and maybe 3I have four pages to write to finish day two (and get to the long foreshadowed wanking scene). After that, <a href="http://talentdevelop.com/interviews/vking.html">Viki King</a> recommends writing fifteen pages on day three to get to page 45 (where Peter will know the consequences of his actions for Anna Kern).<br /><br />Let's see if I can get those 19 pages written in an hour and a half.ur.alcuin@googlemail.comhttp://www.blogger.com/profile/01022240199948025118noreply@blogger.com0tag:blogger.com,1999:blog-2115376628164239387.post-71373841380295199572011-01-10T15:09:00.000-08:002011-01-10T15:13:20.004-08:00MONGOL GALLERY PAGES 20 to 26FADE TO BLACK<br /><br />FADE UP TO<br /><br /><br />INT. BAR NIGHT<br /><br /><br />This is the bar of the Rose and Crown where Alaric, Peter, Liam and Daniel are drinking. Daniel has a sketchbook with him.<br /><br /> LIAM<br /><br /> So let me get this straight. You're saying this is down to demonic <br /> possession or something?<br /><br /> ALARIC<br /><br /> Demonic, certainly, but possession doesn't come into it. Daniel sold <br /> his voice. He hopes to get his ex back, mad as that may sound. And <br /> although Peter hasn't sold anything, I'm fairly sure all this... it's not to <br /> our benefit.<br /><br /> PETER<br /><br /> Why? Why would it benefit de Musca if Daniel's work is displayed.<br /><br /> ALARIC<br /><br /> I don't know. But you do know that he was at the launch don't you?<br /><br /><br />Daniel looks at Alaric with a rather shocked expression. So for that matter, does Peter.<br /><br /> PETER<br /><br /> He wasn't. I didn't see him.<br /><br /> LIAM<br /><br /> I did.<br /><br /><br />Liam points to a sketch of Anna Kern.<br /><br /><br /> LIAM<br /><br /> Do you know who this is?<br /><br /> PETER<br /><br /> Anna Kern. Daniel's ex.<br /><br /> LIAM<br /><br /> Yes. And do you know who Anna Kern is?<br /><br /><br />CUT TO:<br /><br /><br />INT. DEBATING CHAMBER OF THE EUROPEAN PARLIAMENT<br /><br />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.<br /><br /><br /> ANNA (and translator)<br /><br /> Some members have spoken at great and nauseating length about the alleged <br /> Islamic tide about to overrun Europe. Such intemperate <br /> language may have been common sixty or seventy years ago although <br /> then it was Gypsies and Jews rather than Moslems who were the <br /> targets of the impotent wrath of the continent's little men with broken <br /> ambitions and dead dreams. The truth is we DO face a tide of evil that<br /> will wash over Europe, but it is not Islam or Communism or any other <br /> kind of ideology that is threatening to destroy us. It is a tide of apathy.<br /> An anything goes marketplace where immorality raises no eyebrows <br /> and violence can sell motorcars. We in the Fatsoens Partij hope to <br /> stand against this rising tide and build the dykes that will keep us safe, <br /> all of us whatever our religions, our sexualities, our races, our <br /> ambitions, anything that we use to divide us. That is why we need to <br /> educate our youth and arm them against the idea that nothing matters. <br /> It does matter. Decency matters.<br /><br /><br />Four members stand up and walk out of the chamber but others applaud.<br /><br /><br />CUT TO:<br /><br /><br />INT. BAR OF THE ROSE AND CROWN - NIGHT<br /><br /><br /> PETER<br /><br /> Oh. Oh shit. And is she a big name politician?<br /><br /> LIAM<br /><br /> She's the one standing up to the Gerd Wilders's of this world.<br /><br /> PETER<br /><br /> And Daniel's obsessed with her. There are some sketches that can <br /> only be considered pornographic.<br /><br /> ALARIC<br /><br /> So there's the answer. Maybe the devil wants to bring her down in <br /> some way.<br /><br /> PETER<br /><br /> So we can leave those ones out maybe.<br /><br /> ALARIC<br /><br /> Worth a try I guess.<br /><br /><br />INT. THE MONGOL GALLERY - DAY<br /><br />Peter is alone in the gallery, putting the finishing touches to the latest exhibition. a PHOTOGRAPHER and WEB DESIGNER knock on the door.<br /><br /><br /> PHOTOGRAPHER<br /><br /> Are you ready for us Mr Elsingham?<br /><br /> PETER<br /><br /> Hmm? Oh yes. I think I have the layouts right. They give a sample of<br /> Daniel's work that shows off the brush strokes and the simple, magical <br /> lyricism of his painting.<br /><br /> WEB DESIGNER<br /><br /> You know. I think this is doable. We can use these screens as screens <br /> online and let people walk through by clicking the sides. Yeah. It'll <br /> make the site feel like a kind of labyrinth. Something like an <br /> installation from the paintings.<br /><br /><br /> PHOTOGRAPHER (begins to take photographs)<br /><br /> Right you are then. Let's have at it. Gonna be beautiful. You know, I <br /> saw an exhibition like this in Holland or Belgium or maybe Hamburg.<br /> Paintings by some dyke who loved cunt so much, she made it symbolic<br /> in her work. The layout was only paintings and yet it felt like walking <br /> into a womb. It's not the same experience here but Daniel's got the <br /> same intensity.<br /><br /> PETER (sighs)<br /><br /> I don't know whether you're trying to wind me up but either way, let's <br /> get on with it shall we?<br /><br />INT. ALARIC'S BOOKSHOP - DAY<br /><br />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. <br /><br /><br /> ALARIC<br /><br /> You want to send her an email?<br /><br /><br />Daniel moans and bangs his head against a stack of books.<br /><br /><br /> ALARIC<br /><br /> Duh! Sorry, you want ME to send her one. Won't she screen them?<br /><br /><br />Daniel taps the sketch. The camera wavers, focuses on the sketch then moves inside it.<br /><br /><br />INT. INSIDE THE SKETCH - DAY<br /><br /><br />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.<br /><br /> ANNA<br /><br /> Idiot Daniel. You were not supposed to let me go.<br /><br /><br />Daniel frowns and stops miming. He looks lost. Tearful.<br /><br /><br /> ANNA<br /><br /> We broke up and then spent the next what, six hours together? Didn't <br /> that give you a clue? Godverdomme mongoolkoenig! You were <br /> supposed to ... oh I don't know what you were supposed to do but <br /> running off to England with your tail between your legs, that was <br /> definitely not it.<br /><br /> ANNA<br /><br /> You've lost it, idiot.<br /><br /> ALARIC (Voice over)<br /><br /> That is not Anna speaking Daniel. It is your fears.<br /><br /> DANIEL<br /><br /> Is it?<br /><br /><br />CUT TO:<br /><br />INT. Alaric's shop.<br /><br /> ALARIC<br /><br /> Alright. I'll do it. <br /><br /><br />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.<br /><br /> ALARIC (typing)<br /><br /> Dear Mevrouw Kern. My name is Alaric Hanworth. I am the <br /> proprietor of a bookshop in London. You don't know me, but we have <br /> a mutual acquaintance. His name is Daniel Jekyll and I believe you <br /> were important to him. <br /><br /><br />Daniel looks over Alaric's shoulder as he types.<br /><br /><br /><br /><br /> ALARIC<br /><br /> I think you're right. The sooner you and she can get back together, <br /> the sooner I can persuade Peter to abandon this lunatic scheme of his.<br /><br /> ALARIC (typing again)<br /><br /> I'm afraid that something terrible has happened to Daniel. He is <br /> unable to speak or type and so has asked me to do so. He needs you. <br /> He needs you very much.<br /><br /> ALARIC<br /><br /> Don't you think that sounds a bit needy?<br /><br /><br />Daniel frowns and then nods.<br /><br /><br /> ALARIC<br /><br /> Okay then let's change it.<br /><br /> ALARIC (Typing)<br /><br /> I hope that you will agree to meet me, preferably in London to discuss <br /> Daniel's well-being. He has suffered some kind of breakdown and his <br /> doctor has suggested that you may be able to help.<br /><br /> ALARIC<br /><br /> Better?ur.alcuin@googlemail.comhttp://www.blogger.com/profile/01022240199948025118noreply@blogger.com0tag:blogger.com,1999:blog-2115376628164239387.post-33947502312391957342011-01-10T14:02:00.000-08:002011-01-10T14:05:24.279-08:00Mongol Gallery Day Two ASo. 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.<br /><br />Again, the final scene will be the homeless man masturbating in front of a picture of Anna Kern.<br /><br />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.<br /><br /><span style="font-style:italic;">Wish me luck!</span>ur.alcuin@googlemail.comhttp://www.blogger.com/profile/01022240199948025118noreply@blogger.com0tag:blogger.com,1999:blog-2115376628164239387.post-82982524864217459972011-01-09T14:56:00.000-08:002011-01-09T14:57:26.038-08:00Mongol Gallery pages 11 to 20FADE UP FROM BLACK<br /><br />INT. THE MONGOL GALLERY - NIGHT<br /><br />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.<br /><br /> ALARIC<br /><br /> Peter? Welcome back to the land of the living. I've been worried <br /> about you. It's as if you weren't even there for the last few hours. <br /> Where've you been?<br /><br /> PETER (whispering)<br /><br /> Nowhere.<br /><br /> ALARIC (with a smile)<br /><br /> Now you know that's illogical captain.<br /><br /> PETER<br /><br /> I mean it literally. No place. Just me and the devil.<br /><br /><br />Alaric doesn't say anything for a moment but offers Peter a hand to help him up. <br /><br /> ALARIC<br /><br /> Everything okay?<br /><br /> PETER<br /><br /> 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 <br /> ever known.<br /><br /> ALARIC<br /><br /> Perspicacious bugger was he?<br /><br /> PETER<br /><br /> In spades. Full on Grandad van Helsing speech.<br /><br /> ALARIC<br /><br /> I imagined he might have been more imaginative.<br /><br />CUT TO:<br /><br />EXT. HACKNEY 1912 - NIGHT<br /><br />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.<br /><br />The legend appears in the foreground saying "Hackney 1912".<br /><br />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.<br /><br />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".<br /><br />Abraham walks past the entrance.<br /><br /><br /> DOORMAN<br /><br /> Evening Squire. Interest you in the show?<br /><br /> ABRAHAM<br /><br /> Thank you my good man, but not tonight.<br /><br /><br />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.<br /><br /><br /> BACKDOOR MAN<br /><br /> She's not taking visitors, my friend.<br /><br /> ABRAHAM <br /> (letting the watch swing on its fob before the man's eyes)<br /><br /> She'll see me. Watch the shiny my friend. Watch it closely. See how <br /> it moves.<br /><br /><br />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.<br /> ABRAHAM<br /><br /> You haven't seen me.<br /><br /><br />Abraham walks through the door and we follow him into...<br /><br /><br />INT. BACKSTAGE IN BARTRAM'S MUSIC HALL - NIGHT<br /><br /><br />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.<br /><br />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.<br /><br /><br />INT. STAR'S DRESSING ROOM - NIGHT<br /><br /><br />The room is well lit and spacious. MAGDA SZABO sits in front of a mirror, making up her face. She sees Abraham in reflection.<br /><br /> MAGDA<br /><br /> You should not be here.<br /><br /><br />Abraham reaches inside his coat.<br /><br /> ABRAHAM<br /><br /> I beg to differ.<br /><br /> MAGDA<br /><br /> Flowers? How sweet, but you still should not be here.<br /><br /><br />It is not a bunch of flowers. Abraham brings out a sharpened wooden stake.<br /><br /><br /> ABRAHAM<br /><br /> You have no reflection.<br /><br /><br />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.<br /><br />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.<br /><br />We follow Abraham through the confusing darkness of the backstage area until he bursts out of the door and we.<br /><br />CUT TO<br /><br /><br />EXT. DARK ALLEY - NIGHT<br /><br /><br />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.<br /><br /> INSPECTOR STRANGE<br /><br /> Abraham van Helsing. I am arresting you for the murders of <br /> Catherine duBois, Anne McLeod and Theresa Beck and the <br /> attempted murder of Magda Szabo. Yes, attempted. I took the liberty of arranging a theatrical device for you.<br /><br /> ABRAHAM<br /><br /> You fool. You know what I do is right.<br /><br /> STRANGE<br /><br /> Come on van Helsing. You're not going to resist are you?<br /><br /> ABRAHAM<br /><br /> I'm an old man. Too old maybe. I hope others will take the candle.<br /><br /><br />FADE TO BLACK<br /><br /><br />FADE UP TO<br /><br /><br />INT. THE MONGOL GALLERY - NIGHT<br /><br />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.<br /><br /><br /> ALARIC<br /><br /> It was a hundred years ago dear boy. Your grandfather was hanged in <br /> 1916. You're allowed to have your own life. It's not something you <br /> have to sell your soul to gain.<br /><br /><br />Peter is looking at Daniel's stretches.<br /><br /><br /> PETER<br /><br /> You know these are damned good?<br /><br /> ALARIC<br /><br /> Yeah, they look okay.<br /><br /><br />Alaric glances at the sketches but Peter's reaction is much stronger. <br /><br /><br /> PETER<br /><br /> Seriously. These could be worth a fortune. I could pay off the <br /> mortgage. And you're right. I don't need to sell my soul or anything.<br /><br /><br />Peter turns to Daniel and asks.<br /><br /><br /> PETER<br /><br /> Daniel, I know you can't speak but can you write.<br /><br /><br />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.<br /><br /><br /> PETER<br /><br /> 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.<br /><br /><br /> ALARIC<br /><br /> I think I know somebody as it goes dear boy. A lawyer who deals <br /> with the Deaf community.<br /><br /> PETER<br /><br /> I don't think Daniel even knows how to sign.<br /><br /> ALARIC<br /><br /> Doesn't matter. My friend can work with that.<br /><br /><br />FADE TO BLACK<br /><br /><br />FADE UP TO<br /><br /><br />INT. THE MONGOL GALLERY - NIGHT<br /><br />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. <br /><br />In the foreground we see the legend "TWO WEEKS LATER" but it quickly fades away.<br /><br /><br />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.<br /><br /><br /> PRETTY GIRL<br /><br /> It looks beautiful and sordid at the same time. Like a high-end <br /> brothel.<br /><br /> BNAC<br /><br /> Not the first thoughts that came to my mind my dear. I find it all<br /> rather tawdry I'm afraid. And this conceit of the mute artist. I have <br /> no idea why they think that will work in this day and age. They're all <br /> charlatans. Besides. When have you ever been in a high-end brothel?<br /><br /> PRETTY GIRL<br /><br /> What? Don't you think I'm high-end enough?<br /><br /><br />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.<br /><br /><br /> MP<br /><br /> Well, yes, it's a splendid vision isn't it? <br /><br /> POP STAR<br /><br /> Bit Future Legend for me. Them two should have red mutant eyes.<br /><br /> MAYOR<br /><br /> I'm not sure I understand.<br /><br /> POP STAR<br /><br /> Hunger City. The Halloween Cat lives on top of the tower. Bowie? <br /> Diamond Dogs? Geez, don't they teach anything at public school?<br /><br /> MP<br /><br /> I think it's Rotterdam.<br /><br /><br />The Camera moves on. We see Nick de Musca in the flesh, sipping champagne and chatting amiably to a CHAT SHOW HOST.<br /><br /><br /> CHAT SHOW HOST<br /><br /> But why on earth do you think my life lacks anything?<br /><br /> de MUSCA<br /><br /> Everybody's life lacks something. The trick is to find it.<br /><br /><br />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.<br /> ALARIC<br /><br /> Daniel, what's the matter. Oh no, sorry, you can't.<br /><br /><br />Daniel tries to speak but nothing comes out. In frustration he points to a painting of Anna Kern.<br /><br /> ALARIC<br /><br /> You were hoping Anna would come?<br /><br /> LAWYER<br /><br /> So she's a real person?<br /><br /><br />Daniel nods. Then he nods again.<br /><br /> ALARIC<br /><br /> Maybe she doesn't know about the exhibition.<br /><br /><br />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.<br /><br /> ALARIC<br /><br /> I don't get it.<br /><br /><br />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.<br /><br />Eventually, he finds Peter talking to LIAM a journalist.<br /><br /><br /> PETER<br /><br /> That's Elsingham. E-L-S-I-N-G-H-A-M. And no, I don't expect to <br /> make a lot of money out of this. I just want to make Daniel available <br /> to the world. Oh, Hello Daniel. Have you met Liam? Daniel, Liam,<br /> Liam, Daniel.<br /><br /><br /><br /><br /> LIAM<br /><br /> Oh bugger, we have met. Danny. Danny Jekyll? We were on the <br /> Evening Standard together when you first came over?<br /><br /><br />Daniel nodded but again tries and fails to speak.ur.alcuin@googlemail.comhttp://www.blogger.com/profile/01022240199948025118noreply@blogger.com0tag:blogger.com,1999:blog-2115376628164239387.post-74038709151764037122011-01-09T14:54:00.000-08:002011-01-09T14:56:08.778-08:00In the InterimWell, 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.ur.alcuin@googlemail.comhttp://www.blogger.com/profile/01022240199948025118noreply@blogger.com0tag:blogger.com,1999:blog-2115376628164239387.post-42921658502737241642011-01-09T12:09:00.000-08:002011-01-09T12:18:52.557-08:00Mongol Gallery - Day Two<a href="http://vikiking.com/">Viki King</a> advises us on day two to read over the <a href="http://17my.blogspot.com/2011/01/mongol-gallery-day-one-script.html">first ten pages we wrote on day one</a> 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).<br /><br />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 ...<br /><br />"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."<br /><br />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.<br /><br /><span style="font-style:italic;">Wish me luck!</span>ur.alcuin@googlemail.comhttp://www.blogger.com/profile/01022240199948025118noreply@blogger.com0tag:blogger.com,1999:blog-2115376628164239387.post-49097950878005908922011-01-08T13:44:00.001-08:002011-01-08T13:45:42.218-08:00Mongol Gallery Day One - ScriptFADE IN:<br /><br />INT. THE MONGOL GALLERY - DAY<br /><br />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.<br /><br />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. <br /><br /> ALARIC<br /><br /> Oh, lovely tea Peter. What is it?<br /><br /> PETER<br /><br /> Tesco's own brand.<br /><br />Peter turns toward the window.<br /><br /> PETER<br /><br /> What the fuck?<br /><br />We follow Peter's gaze, through the window...<br /><br /><br />EXT: CHURCH STREET - DAY<br /><br />...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.<br /><br />Daniel tries the doors of several shops as he runs. None open until he reaches the Mongol Gallery. The door burst open and we.<br /><br />FADE TO TITLES:<br /><br />RUN TITLES<br /><br />FADE TO:<br /><br />INT. THE MONGOL GALLERY - DAY<br /><br />Daniel has burst in through the door of the Gallery. Alaric stands to help him into a chair while Peter moves toward the door.<br /> ALARIC<br /><br /> Come on, let's get a cuppa tea inside you. Peter, bar the door can't <br /> you.<br /><br /> PETER<br /><br /> Too late.<br /><br />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.<br /><br />Alaric looks down at Daniel's hands. He takes hold of his wrist and lifts the hand to show to Peter.<br /><br /> ALARIC<br /><br /> Look at his hands.<br /><br />The camera moves closer, focusing on Daniel's hands<br /><br />CU. DANIEL'S HANDS<br /><br />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.<br /><br /> ALARIC (continued)<br /><br /> Some kind of artist would you say? If it is, this is his first day.<br /><br /> <br /> PETER<br /><br /> He came to the right place then. I knew it would be a good idea to <br /> have the studio and gallery together.<br /><br />The camera pulls back to...<br /><br />INT. THE MONGOL GALLERY - DAY<br /><br />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.<br /><br /><br /> PETER<br /><br /> His name's Daniel Jekyll. Hmm, got a press card and a pass to the <br /> European Parliament. Don't think he's an artist.<br />Alaric waves three fingers in front of Daniel.<br /><br /> ALARIC<br /><br /> Daniel? Can you hear me Daniel?<br /><br /><br />Daniel nods.<br /><br /> PETER<br /><br /> Are you okay Daniel?<br /><br /><br />Daniel shakes his head. He still hasn't spoken. Alaric meets Peter's eye and frowns.<br /><br /> ALARIC<br /><br /> Daniel? What is wrong?<br /><br /><br />Daniel says nothing.<br /><br /> ALARIC<br /><br /> Daniel can you speak?<br /><br /><br />Daniel shakes his head.<br /><br /> ALARIC (seeming more alarmed than he ought)<br /><br /> I don't believe it.<br /><br /><br />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.<br /><br /> ALARIC<br /><br /> What happened Daniel?<br /><br /><br />Daniel hunches over the sketchpad and begins drawing furiously. The camera focuses on the paper and then seems to pass through to...<br /><br /><br /><br /><br /><br />INT. BRUSSELS TO LONDON EXPRESS - DAY<br /><br /><br />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.<br /><br />Nick de Musca is balding and overweight, looking like nothing so much as a travelling salesman or a down at heel American televangelist.<br /><br /><br /> NICK de MUSCA<br /><br /> 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. <br /> (he offers his hand)<br /> Nick de Musca.<br /><br /> DANIEL<br /><br /> Danny Jekyll<br /><br /> NICK de MUSCA<br /><br /> 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?<br /><br /><br />Daniel rolls his eyes but de Musca is insistent.<br /><br /> de MUSCA<br /><br /> 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 <br /> know. I deal in solutions.<br /><br /><br />Daniel is not interested but de Musca makes a silly little boy pout.<br /><br /> de MUSCA<br /><br /> Oh please. Indulge me. Business trouble? Girl trouble? Been caught having sexual relations with a goat? (he grins) S'a joke, don't worry. <br /> I'll bet it's a girl. You have the air of the lovelorn about you. Am I <br /> right?<br /><br /><br /> DANIEL (sighing)<br /><br /> Is it so obvious. I broke up with my girlfriend about seven hours ago<br /><br /> de MUSCA<br /><br /> And of course, she was the love of your life, without whom all is <br /> pointless and all your colours grow grey? I was serious when I said I <br /> dealt in solutions.<br /><br /><br />Daniel looks decidedly uncomfortable and opens his mouth to speak. de Musca reaches out to touch a fingertip to Daniel's lips.<br /><br /> de MUSCA<br /><br /> No Daniel, hear me out.<br /><br /><br />We see a look of shock in Daniel's eyes and his mouth closes and stays closed. We cut back to...<br /><br />MCU. NICK de MUSCA (DANIEL'S POV)<br /><br /> de MUSCA<br /><br /> Like I said. I travel in inconsequentials. Don't worry, I don't mean <br /> souls. I don't do souls any more. They're simply not that valuable. <br /> Oh come on, don't tell me you never guessed Old Nick? Lord of the <br /> Flies? Beelzebub? Oh well, guess you can't tell me can you? Not <br /> unless I give you your voice back.<br /><br /><br />Daniel squirms, clearly struggling to speak.<br /><br /> de MUSCA<br /><br /> Oh come on, here's the deal. You've lost the love of your life and all <br /> 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. <br /> I guess because the other guy is the word and has been since the <br /> beginning, we in Hell are left with images. And that's where we can <br /> help each other. Give me your voice and I'll help you get that colour <br /> back into your life. <br /><br /><br />FADE TO THE PICTURE DANIEL HAS DRAWN IN CHARCOAL<br />THE CAMERA PULLS BACK AND WE GO TO<br /><br /><br />INT. THE MONGOL GALLERY - DAY<br /><br /><br />Peter and Alaric look at the picture and then back at Daniel.<br /><br /> PETER<br /><br /> How the Hell can we get all that from a picture.<br /><br /> ALARIC<br /><br /> Magic. Pure and Simple.<br /><br /> PETER<br /><br /> You're taking this rather calmly. Magic? What next? Hermione <br /> Grainger comes riding down church street on a broomstick?<br /><br /> ALARIC<br /><br /> I've seen things in my time Peter. I run a bookshop remember and we <br /> sell a fair few occult books. This is Hackney after all. People want a <br /> way out. Some of the grimoires in the back room are all too real. I <br /> once exorcised a fifteen year old boy who had managed to get <br /> possessed by an Aztec god.<br /><br /><br />Daniel is doing other sketches now. Almost absentmindedly, Peter hands him a set of artists pastilles. Daniel begins to produce coloured sketches.<br /><br /> PETER<br /><br /> Oh come on Alaric!<br /><br /> ALARIC<br /><br /> There are more things in Heaven and Earth, Horatio than are dreamed of in our philosophy. Surely you of all people should know that.<br /><br /> PETER<br /><br /> And what the fuck do you mean by that Alaric.<br /><br /> ALARIC<br /><br /> You know you hate it if I say it.<br /><br /><br />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.<br />FADE TO:<br /><br />EXT. JUBELPARK - DAY<br /><br /><br />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.<br /><br /> ANNA<br /><br /> I don't believe you will ever leave her.<br /><br /> DANIEL<br /><br /> We've spoken about this. Why do you think I'm here today. I'm <br /> getting a transfer to Brussels so I can be near you. She's not coming. <br /> It's you and me Anna. Us against the world.<br /><br /> ANNA (beginning to cry now)<br /><br /> I have to consider myself single now. This can't go on.<br /><br /> DANIEL (offering a tissue, wiping Anna's eyes)<br /><br /> Why are YOU crying. At the very least you could let me be the one <br /> who cries when you rip out my heart.<br /><br /> ANNA<br /><br /> You are the one in charge, Daniel. You know that. It's always been <br /> that way. I've been yours since it started. But if you don't use your <br /> power, then it's gonna fade away. That much is obvious I would have <br /> thought.<br /><br /> DANIEL<br /><br /> Then don't do this. Get down on your knees and apologise. Put your <br /> head in my lap and tell me you'll never leave me.<br /><br /> ANNA<br /><br /> I want to Daniel. You know I want to but I can't.<br /><br /> DANIEL<br /><br /> Let's Walk.<br /><br />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.<br /><br /> ANNA<br /><br /> I need to be the one Daniel. You know that. If I could believe you, <br /> I'd put my heart in your hands. I'd resign my seat in the European <br /> Parliament and devote myself to being your loving slave. I can't <br /> though. I just can't believe you.<br /><br /> DANIEL<br /><br /> Shit. And you're the one who's crying. It's cruel is what it is. You <br /> break my heart into little pieces and stomp on the pieces and then I'm <br /> the bad one. You should be a fucking politician.<br /><br /> ANNA<br /><br /> Maybe I'll email you in a day or two when I feel ready to answer all <br /> your journalistic eloquence. Right now, I just feel so damned let <br /> down.<br /><br /><br />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.<br /><br /><br />FADE TO:<br /><br />INT. THE MONGOL GALLERY - DAY<br /><br />Peter seems to jump as if coming out of a trance. He is looking at Daniel's sketches. <br /><br /> PETER<br /><br /> Where was I? Whatever. How did they break up. They look like <br /> they're in love.<br /><br /> ALARIC<br /><br /> Yeah, they do, don't they? I had a romance like that once. Beautiful <br /> brown boy. We were both too stubborn to back down and admit we <br /> weren't over. <br /><br /> PETER<br /><br /> All this magic is doing my head in.<br /><br /><br />Peter looks down at the sketch again. The world swims...<br /><br /><br />FADE TO:<br /><br />INT. NOWHERE - NIGHT<br /><br />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.<br /><br /> de MUSCA<br /><br /> Goede Middag, Pieter, or perhaps Goeden Avond. Time doesn't <br /> really matter much in this place.<br /><br /> PETER<br /><br /> Pardon?<br /><br /> de MUSCA<br /><br /> Oops, silly me, the Dutchman was your grandfather wasn't he? Not<br /> you. You're just the owner of a crappy run down gallery selling fifth <br /> rate paintings by third rate artists. Bums you out doesn't it.<br /><br /><br />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. <br /><br /> de MUSCA<br /><br /> This is my place, Peter. Don't try to throw your weight around. I'm<br /> not about to make you some kind of indecent proposal. That can wait until I need something from you.<br /><br /> PETER<br /><br /> You have nothing I need. There is no love of my life, and as you say, <br /> my gallery is shit. You have nothing to say to me. Now, if you don't <br /> mind, in the name of Jesus, release me.<br /><br /><br />de Musca scowls at that but he snaps his fingers and the manacles fade away.<br /><br /> <br /><br /><br /><br /><br /> de MUSCA<br /><br /> You can go, but I'll leave you something to think about. The thing is, <br /> I do know what you want. What you need is a fame of your own, a <br /> fame that works as well with your own name rather than having to <br /> rely on your grandfather's notoriety.<br /><br /><br />FADE TO:<br /><br />INT. THE MONGOL GALLERY - DAY<br /><br />Peter's face is ashen.<br /><br /> ALARIC<br /><br /> Peter, you look like you've seen a ghost.<br /><br /> PETER<br /><br /> Worse than that.ur.alcuin@googlemail.comhttp://www.blogger.com/profile/01022240199948025118noreply@blogger.com0tag:blogger.com,1999:blog-2115376628164239387.post-38056903379932287662011-01-08T11:15:00.001-08:002011-01-08T11:21:02.151-08:00The 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.<br /><br />In the case of The Mongol Gallery that means ...<br /><br />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.<br />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"<br />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".<br /><br />I have two hours, starting now. <span style="font-style:italic;"> Wish me luck</span>!ur.alcuin@googlemail.comhttp://www.blogger.com/profile/01022240199948025118noreply@blogger.com0tag:blogger.com,1999:blog-2115376628164239387.post-9241138027102106392011-01-07T09:22:00.000-08:002011-01-07T10:45:48.532-08:00The MoviesViki King suggests we begin with a "nine minute movie" that sets out what happens on:<br />Page 1: The opening image<br />Page 3: A line at the end of page three to tell us what the movie is about.<br />Page 10: A line to tell us what it is the protagonist wants.<br />Page 30: An event that throws our character a <a href="http://en.wikipedia.org/wiki/Curveball"><span style="font-style:italic;">curve ball</span></a> and shows us how he plans to deal with it.<br />Page 45: An idea for a scene that will show the start of the protagonist's growth.<br />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.<br />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.<br />Page 90: This is the beginning of the end. Here we get an idea of the resolution.<br />Page 120: And this is the outcome. What is the protagonist's new life.<br /><br />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.<br /><br /><span style="font-weight:bold;">1. The Mongol Gallery</span><br /><span style="font-style:italic;">How far would you go?</span><br /><br />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.<br />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"<br />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".<br />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.<br />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.<br />Page 60: Anna Kern visits the gallery and Peter realises that what Daniel has lost was his voice and his abilities with the language.<br />Page 75: "There are no guarantees", says Nick de Musca as Daniel realises that he has not got back Anna after all. Peter frowns<br />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.<br />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."<br /><br /><span style="font-weight:bold;">2. Babylon Rule</span><br /><span style="font-style:italic;">If you wanna beat Babylon, you gotta play Babylon rule</span><br /><br />Page 1: Black Mamba (Stan) is rapping in a club<br />Page 3: Stan cuts off his dreadlocks and changes into a suit. "Ever hear of Batesian mimicry?", he asks.<br />Page 10: (In answer to Dollman) Stan says, "I want a decent world for my kids and my sisters".<br />Page 30: Sunshine tells Stan, after he's hospitalised her pimp, "So now I'm your responsibility. You have to protect me".<br />Page 45: "I'm not just gonna replace him", says Stan. "I'm gonna make it better."<br />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.<br />Page 75: Stan sees a friend murdered in the street. The Police do nothing.<br />Page 90: Stan stands for the local council saying, "Babylon is powerful but it is corrupt, and one day it will fall"..<br />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.<br /><br />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.<br /><br />3. <span style="font-weight:bold;">Chamberlainstrasse</span> - 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.<br /><br />4. <span style="font-weight:bold;">The Promised Child</span> - in which a lovelorn blind singer travels through space looking for Rapunzel, the singleship pilot he once loved.<br /><br />5. <span style="font-weight:bold;">John the Bomb</span> - in which a child, born in the teeming slums of the Undercity, is destined to wreak vengeance on the Shiny Ones.<br /><br />6. <span style="font-weight:bold;">What Would Lucy Do?</span> - 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?<br /><br />7. <span style="font-weight:bold;">The Death and Resurrection of Moll Cutpurse</span> - a horror story (with Rock 'n' Roll).<br /><br />I'm sure I'll think of the other ten as the year drags on.<br /><br /><span style="font-style:italic;">Wish me luck?</span>ur.alcuin@googlemail.comhttp://www.blogger.com/profile/01022240199948025118noreply@blogger.com0tag:blogger.com,1999:blog-2115376628164239387.post-4380083632782413412011-01-07T09:01:00.000-08:002011-01-07T09:20:53.727-08:00The PremiseBack in 1988, when I was a twenty-something who really should have been paying attention, Viki King wrote a book called <a href="http://www.writersstore.com/how-to-write-a-movie-in-21-days-viki-king"><span style="font-style:italic;">How to Write a Movie oin 21 Days</span> </a>.<br /><br />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.<br /><br />I bought the book from the <a href="http://www.harvard.com/">Harvard Bookstore</a> 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. <span style="font-style:italic;">Esto es la vida mierda</span>. 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).<br /><br />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.<br /><br />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.ur.alcuin@googlemail.comhttp://www.blogger.com/profile/01022240199948025118noreply@blogger.com0