Post by flynn24 on Jul 30, 2008 12:10:42 GMT
Here is what I have done so far... its been slow-going as I have been quite busy.
The Book of Dordran
Created by T.S. Flynn
Episode 1: "Let There Be Light"
Written by T.S. Flynn
EXT. SPACE -- NIGHT
Vast in it's infinite complexity and seeming emptiness. Our only companion is the darkness, punctuated by occasional pin-pricks of light, some giving the illusion of colour, but most are just plain white.
One by one they begin to move, to circle each other. To dance into a spinning spiral of colour... mixing quickly into white. And as they become closer and closer to a stream of light, images can be seen faintly, appearing and disappearing. Strange fractured bodies and events. A head of a woman here, a blood-spattered field there. A man and woman in coitus, passion flowing from them like radiation. And then nothing... just black and two voices, one male and weary, the other female and meek, but determined.
A beat, silence but for breathing and then...
Male voice (V.O.):
Longer then you could care to imagine...
Female voice (V.O.):
(Stronger now)
How long?!
Another beat, the stars are a swirling mass of colour, violent and beautiful now.
As the last exchange between the two voices comes to an end the spirals of light turn red and funnel into a black dot in the centre of our universe, forming a twisted and demented eye, the pupils of which dilate. Then a scream, unearthly and destructive coincides, suggesting some primitive and powerful force to be reckoned with.
INT. LEONARD'S BEDROOM -- MIDNIGHT
Surprisingly clean and normal. It is decorated with a homely feel to it, the wardrobe is mahogany and the king-size four-poster bed is likewise. Two people inhabit the dark covers, one, a long dark haired woman, is sleeping soundly. The other is young man, thin and pale as a ghost, with dark ginger hair, sitting bolt upright, breathing heavily.
He gets up and walks to a bathroom off screen.
INTER-CUT TO:
INT. BATHROOM -- CONTINUED
As Leonard stands at the mirror above the basin, we see his face clearly for the first time. He eyes are green, but bloodshot. He looks like a man who has just been in a fight, but no bruises or cuts are visible.
As we close to his face in the mirror we can still hear the echoing scream from what was apparently his dream, as it grows louder and the red tendrils creep into the mirror, covering his face... the mirror cracks, a few shards fall from it and then a slender, attractive voice sounds, obliterating it.
Breathing heavily, the man, LEONARD THIRCH, does not answer straight away and looks to the mirror again, it is not cracked and shows no signs that anything had ever happened, but now a solitary stream of blood is running from his nose to lips.
JEAN
(Continued):
Leonard? Was it... another one?
This worries the woman, JEAN FAULKNER, and she walks up, hugging Leonard from behind, her beautiful face now seen in all it's majesty in the mirror, drawing her hands up and down his arms, slowly, as if to warm them.
Leonard smiles. If one thing could bring him back to earth it is the fears of someone else. The fears of his beloved fiancee. He turns his head and kisses her lightly, passion creeping in from both lovers and the kiss deepens.
He lifts Jean up and carries her to the bed with surprising strength for such a skinny man.
INT. BEDROOM -- CONTINUED
The two fall to the bed, in a passionate and loving embrace. But even now, with his love bubbling away inside of him, that faint scream can be heard as we close in on his eyes... going deeper and deeper until his pupils cover our world and slowly, the deep red begins to creep in, tendril by tendril. Amidst this inferno we hear the two voices again...
Male Voice (V.O.):
You understand? What I'm asking you to do?
A beat, a scream is beginning to get louder, slowly.
A slight pause then...
The screams are getting louder, and heavy breathing from the lovers is heard, and so is the intense, quick breaths of the female voice. And after a moment or two...
As she says this the scream reaches it's crescendo and there is metallic sound and the woman's screams of agony entwine with the mysterious one's of anger. And the un-mistakable sounds of lovemaking join the strange chorus until we-
CUT TO BLACK
----------------------------------------------------------------------------------------
The eye, demented and flowing fills our everything again, more screams fill our ears... they are deranged, full of hate and pain and at once the lower, to be replaced by the two unknown voices.
The woman almost interrupts, angrily.
Getting no answer from the woman he continues the story.
Suddenly the eye and screams and voices are gone to be replaced by-
INT. URSULA CALL-CENTRE -- DAY
A typical call centre. Many desks and computers are laid out in cubicles. Some are manned and some aren't. It's busy, nonetheless with voices taking up any silence that may be left. Leonard is at the one we a focused on now, sitting almost motionless in his chair and staring into space with an expression of being hit by high-beam lights.
A tall, harassed-looking middle-aged man is standing at the cubicle entrance. He is the Manager, MARK.
He bangs the desk hard and as we linger on Leonard, he jumps up, starting. He turns to see the source of the interruption.
Leonard:
(Tiredly)
Mark. Is there a problem?
Mark looks at him half bewildered/half exasperated.
INT. MARK'S OFFICE -- MOMENTS LATER
Mark and Leonard enter the office. Mark closes the door and moves to sit at his desk.
Leonard obliges, and looks at Mark.
Mark:
Yes and no, Len. Yes and no.
Leonard almost baulks at this, clearly he is not as tough in life as he is in the sack.
Leonard:
Of-of course not. I just- I just meant that...
Mark:
Leonard. Will you stop?!
Leonard laughs a little, and Mark looks confused.
Leonard is curious at this.
Leonard knows he's busted.
Mark smiles.
Leonard stands up and looks out towards the call-centre. His voice is caught somewhere between elation and pity.
Leonard (CONT):
I can't do it. I respect you too much, boss.
I'd never usurp you.
Mark gets up and goes and pats Leonard on the back.
FADE TO:
EXT. LONDON STREETS -- EVENING
Late afternoon, several hours later. Lines of traffic cascade through street after street as we zone in on one, a black convertible and the driver is Leonard.
The Book of Dordran
Created by T.S. Flynn
Episode 1: "Let There Be Light"
Written by T.S. Flynn
Teaser:
EXT. SPACE -- NIGHT
Vast in it's infinite complexity and seeming emptiness. Our only companion is the darkness, punctuated by occasional pin-pricks of light, some giving the illusion of colour, but most are just plain white.
One by one they begin to move, to circle each other. To dance into a spinning spiral of colour... mixing quickly into white. And as they become closer and closer to a stream of light, images can be seen faintly, appearing and disappearing. Strange fractured bodies and events. A head of a woman here, a blood-spattered field there. A man and woman in coitus, passion flowing from them like radiation. And then nothing... just black and two voices, one male and weary, the other female and meek, but determined.
Male voice (V.O.):
(Almost a whisper)
It isn't over. He'll return someday... and I fear I
I won't be around to help, to hold him back.
(Almost a whisper)
It isn't over. He'll return someday... and I fear I
I won't be around to help, to hold him back.
Female voice (V.O.):
(Comforting)
Why can't we end it now? He couldn't stop us.
Think of the lives we could save.
(Comforting)
Why can't we end it now? He couldn't stop us.
Think of the lives we could save.
A beat, silence but for breathing and then...
Male voice (V.O.):
He is protected.
He is protected.
Female voice (V.O.):
How long?
How long?
Male voice (V.O.):
Longer then you could care to imagine...
Female voice (V.O.):
(Stronger now)
How long?!
Another beat, the stars are a swirling mass of colour, violent and beautiful now.
Male voice (V.O.):
Seven centuries.
Female voice (V.O.):
(Shock, devastated)
No... you... you lied to me. You promised me you
could save us. YOU PROMISED!
Seven centuries.
Female voice (V.O.):
(Shock, devastated)
No... you... you lied to me. You promised me you
could save us. YOU PROMISED!
Male voice (V.O.):
(Calm)
There is still hope... there is always hope.
(Beat and then)
I have an idea.
(Calm)
There is still hope... there is always hope.
(Beat and then)
I have an idea.
As the last exchange between the two voices comes to an end the spirals of light turn red and funnel into a black dot in the centre of our universe, forming a twisted and demented eye, the pupils of which dilate. Then a scream, unearthly and destructive coincides, suggesting some primitive and powerful force to be reckoned with.
CUT TO:
INT. LEONARD'S BEDROOM -- MIDNIGHT
Surprisingly clean and normal. It is decorated with a homely feel to it, the wardrobe is mahogany and the king-size four-poster bed is likewise. Two people inhabit the dark covers, one, a long dark haired woman, is sleeping soundly. The other is young man, thin and pale as a ghost, with dark ginger hair, sitting bolt upright, breathing heavily.
He gets up and walks to a bathroom off screen.
INTER-CUT TO:
INT. BATHROOM -- CONTINUED
As Leonard stands at the mirror above the basin, we see his face clearly for the first time. He eyes are green, but bloodshot. He looks like a man who has just been in a fight, but no bruises or cuts are visible.
As we close to his face in the mirror we can still hear the echoing scream from what was apparently his dream, as it grows louder and the red tendrils creep into the mirror, covering his face... the mirror cracks, a few shards fall from it and then a slender, attractive voice sounds, obliterating it.
JEAN:
(Small, but comforting)
Leonard? Are you awake?
(Small, but comforting)
Leonard? Are you awake?
Breathing heavily, the man, LEONARD THIRCH, does not answer straight away and looks to the mirror again, it is not cracked and shows no signs that anything had ever happened, but now a solitary stream of blood is running from his nose to lips.
JEAN
(Continued):
Leonard? Was it... another one?
LEONARD:
Yes. It was... vivid. So vivid. So clear.
Yes. It was... vivid. So vivid. So clear.
This worries the woman, JEAN FAULKNER, and she walks up, hugging Leonard from behind, her beautiful face now seen in all it's majesty in the mirror, drawing her hands up and down his arms, slowly, as if to warm them.
JEAN:
You have to see someone about them.
Every night for three weeks Leonard.
You have to see someone about them.
Every night for three weeks Leonard.
(Beat, and then timidly)
You're beginning to scare me...
You're beginning to scare me...
(Noticing his bloodied washcloth and
a small amount of blood near his nose)
Look at what it's doing... what if it doesn't
stop at a bloody nose.
a small amount of blood near his nose)
Look at what it's doing... what if it doesn't
stop at a bloody nose.
Leonard smiles. If one thing could bring him back to earth it is the fears of someone else. The fears of his beloved fiancee. He turns his head and kisses her lightly, passion creeping in from both lovers and the kiss deepens.
LEONARD:
I'm almost finished the book... half my ideas
stem from these dreams.
I'm almost finished the book... half my ideas
stem from these dreams.
(Looking directly into her eyes)
Besides... I have you. And that's all the help
I need.
Besides... I have you. And that's all the help
I need.
JEAN:
(Kisses her partner, her night dress falling
down her body, revealing milky skin)
But... Am I enough?
(Kisses her partner, her night dress falling
down her body, revealing milky skin)
But... Am I enough?
LEONARD:
(Caressing her body, kissing her neck and
down and down)
You're everything.
(Caressing her body, kissing her neck and
down and down)
You're everything.
He lifts Jean up and carries her to the bed with surprising strength for such a skinny man.
INTER CUT TO:
INT. BEDROOM -- CONTINUED
The two fall to the bed, in a passionate and loving embrace. But even now, with his love bubbling away inside of him, that faint scream can be heard as we close in on his eyes... going deeper and deeper until his pupils cover our world and slowly, the deep red begins to creep in, tendril by tendril. Amidst this inferno we hear the two voices again...
Male Voice (V.O.):
You understand? What I'm asking you to do?
A beat, a scream is beginning to get louder, slowly.
Female Voice (V.O.)
Yes.
Yes.
(Timidly)
Will I feel anything when it starts?
Will it hurt?
Will I feel anything when it starts?
Will it hurt?
A slight pause then...
Male Voice (V.O.):
(Tenderly)
Yes. For a few moments... you will
feel everything. The effect is deri-
ved from pain and suffering... in you.
But you're strong. Stronger then you
realise.
(Tenderly)
Yes. For a few moments... you will
feel everything. The effect is deri-
ved from pain and suffering... in you.
But you're strong. Stronger then you
realise.
(Beat)
Are You ready?
Are You ready?
The screams are getting louder, and heavy breathing from the lovers is heard, and so is the intense, quick breaths of the female voice. And after a moment or two...
Female Voice (V.O.):
Yes.
Yes.
As she says this the scream reaches it's crescendo and there is metallic sound and the woman's screams of agony entwine with the mysterious one's of anger. And the un-mistakable sounds of lovemaking join the strange chorus until we-
CUT TO BLACK
End Teaser
----------------------------------------------------------------------------------------
Act One
The eye, demented and flowing fills our everything again, more screams fill our ears... they are deranged, full of hate and pain and at once the lower, to be replaced by the two unknown voices.
Male Voice (V.O.):
(Angrily, but not shouting... more disappointed)
What were you thinking? Leaving here? You know
that we can't leave. Not under any circumst-
(Angrily, but not shouting... more disappointed)
What were you thinking? Leaving here? You know
that we can't leave. Not under any circumst-
The woman almost interrupts, angrily.
Female Voice (V.O.):
(Equally angry, but her voice is dangerously
close to a shout)
What did want me to do? I'm trapped here,
day in and day out. It's monotonous!
(Equally angry, but her voice is dangerously
close to a shout)
What did want me to do? I'm trapped here,
day in and day out. It's monotonous!
Male Voice (V.O):
I know... I know.
I know... I know.
(Beat)
You knew how it would be. How-
it had to be. I went over and over this
before we agreed to the plan.
You knew how it would be. How-
it had to be. I went over and over this
before we agreed to the plan.
(Calmly)
You just need to sleep, you've hardly
slept a wink in a week... I know a great
cure-all. Mother taught it to me long ago.
You just need to sleep, you've hardly
slept a wink in a week... I know a great
cure-all. Mother taught it to me long ago.
Getting no answer from the woman he continues the story.
Male Voice (V.O, CONT):
Yes. I had been taking unkindly to the
many memories I was picking up, indeed
I was quite unruly. I wouldn't eat, I abused
certain abilities... but then mother me gave this-
Yes. I had been taking unkindly to the
many memories I was picking up, indeed
I was quite unruly. I wouldn't eat, I abused
certain abilities... but then mother me gave this-
Female Voice (V.O.):
(Angry, sudden and loud)
I'm LONELY, Dordran. Alright?
(Angry, sudden and loud)
I'm LONELY, Dordran. Alright?
(Beat)
I want a LIFE. I need one. I need SOMEONE.
I want a LIFE. I need one. I need SOMEONE.
(Sadly, softly)
I can't do it, Dordran. I can't be alone. I'm
not strong enough.
I can't do it, Dordran. I can't be alone. I'm
not strong enough.
DORDRAN (V.O.):
(Sympathetic)
Yes you are Annaliese. You are strong. You-
were the..
(Sympathetic)
Yes you are Annaliese. You are strong. You-
were the..
ANNA (V.O.):
(Angry, distraught)
NO! Don't start on that again. It's not the same.
(Angry, distraught)
NO! Don't start on that again. It's not the same.
(Beat)
You trully don't understand, do you? Let me break
it down for you, Dordran.
You trully don't understand, do you? Let me break
it down for you, Dordran.
(She takes a breath)
You were alone, functioning alone, long before I came
to you with your window for victory. You have never felt
what it is to love someone, to have someone in your
arms.
You were alone, functioning alone, long before I came
to you with your window for victory. You have never felt
what it is to love someone, to have someone in your
arms.
(Beat)
I HAD that. I loved him. And I BETRAYED him to you.
When you did your trick... thats what I felt. I felt HIM.
I felt the way I cared about him, the things he showed
me. And when I found out what he was... I ran. Ran away
at the first sign of imperfection, like an idiot child. I aban-
-donded him when he needed me the mo-
I HAD that. I loved him. And I BETRAYED him to you.
When you did your trick... thats what I felt. I felt HIM.
I felt the way I cared about him, the things he showed
me. And when I found out what he was... I ran. Ran away
at the first sign of imperfection, like an idiot child. I aban-
-donded him when he needed me the mo-
MARK (V.O.):
(Angry)
LEONARD!
(Angry)
LEONARD!
Suddenly the eye and screams and voices are gone to be replaced by-
SMASH CUT TO:
INT. URSULA CALL-CENTRE -- DAY
A typical call centre. Many desks and computers are laid out in cubicles. Some are manned and some aren't. It's busy, nonetheless with voices taking up any silence that may be left. Leonard is at the one we a focused on now, sitting almost motionless in his chair and staring into space with an expression of being hit by high-beam lights.
A tall, harassed-looking middle-aged man is standing at the cubicle entrance. He is the Manager, MARK.
Mark:
HEY!
HEY!
He bangs the desk hard and as we linger on Leonard, he jumps up, starting. He turns to see the source of the interruption.
Leonard:
(Tiredly)
Mark. Is there a problem?
Mark looks at him half bewildered/half exasperated.
CUT TO:
INT. MARK'S OFFICE -- MOMENTS LATER
Mark and Leonard enter the office. Mark closes the door and moves to sit at his desk.
Mark:
(Gesturing)
Sit, Leonard. Sit.
(Gesturing)
Sit, Leonard. Sit.
Leonard obliges, and looks at Mark.
Leonard:
Alright. Lets do this. What is it? Is there
A problem?
Alright. Lets do this. What is it? Is there
A problem?
Mark:
Yes and no, Len. Yes and no.
Leonard:
Spit it out, I have plenty of work to do.
As you well know, you gave it to me.
Spit it out, I have plenty of work to do.
As you well know, you gave it to me.
Mark:
Oh... so you're having trouble coping?
Workload getting to you?
Oh... so you're having trouble coping?
Workload getting to you?
Leonard almost baulks at this, clearly he is not as tough in life as he is in the sack.
Leonard:
Of-of course not. I just- I just meant that...
Mark:
I KNOW what you meant, Len. That's what
I like about you, sense of humour is worse
than mine.
I KNOW what you meant, Len. That's what
I like about you, sense of humour is worse
than mine.
Leonard:
(Confused)
Then why did you, I mean why am I-
(Confused)
Then why did you, I mean why am I-
(Beat)
Oh no. You found about the post-it's. I swear,
I only took ONE lot. Just the ONE. I needed
some for my fiance and I didn't have the time
to buy them on the way ho-
Oh no. You found about the post-it's. I swear,
I only took ONE lot. Just the ONE. I needed
some for my fiance and I didn't have the time
to buy them on the way ho-
Mark:
Leonard. Will you stop?!
Leonard laughs a little, and Mark looks confused.
Leonard:
(Smiling)
Got you, boss. No sense of humor he says.
(Smiling)
Got you, boss. No sense of humor he says.
Mark:
(Smiling back)
Jeez Len. And I didn't say NO sense of
humor. Just a crap one.
(Smiling back)
Jeez Len. And I didn't say NO sense of
humor. Just a crap one.
(Beat)
Anyway, lets not get sidetracked. I didn't
bring you in for a chat, kid.
Anyway, lets not get sidetracked. I didn't
bring you in for a chat, kid.
Leonard:
Really? Could have fooled me.
Really? Could have fooled me.
Mark:
I bought you in because we have some
bad news and good news.
I bought you in because we have some
bad news and good news.
Leonard is curious at this.
Leonard:
Alright, I'll bite.
Alright, I'll bite.
Mark:
Over the last several weeks we have noticed
your performance has been somewhat lack-
ing. Your calls have been taking longer than
usual and you've been late twice.
Over the last several weeks we have noticed
your performance has been somewhat lack-
ing. Your calls have been taking longer than
usual and you've been late twice.
Leonard knows he's busted.
Leonard:
Look, Mark. I can explain. I've been having
some trouble sleeping and I didn't want it
to worry anyone arou-
Look, Mark. I can explain. I've been having
some trouble sleeping and I didn't want it
to worry anyone arou-
Mark:
Regardless. It DOES worry us, Len. And
that has lead to the decision to terminate
your position.
Regardless. It DOES worry us, Len. And
that has lead to the decision to terminate
your position.
Leonard:
WHAT! You're firing me?!
WHAT! You're firing me?!
Mark:
Unfortunately, yes. You have demonstr-
ated a lack of consideration. All you had to
do was come to us and ASK for leave... and
we would have given it to you.
Unfortunately, yes. You have demonstr-
ated a lack of consideration. All you had to
do was come to us and ASK for leave... and
we would have given it to you.
Leonard:
You can't do this! I love this job, it gives me
so many story ide- I mean the customers
love to tell me stories on how I helped them.
You can't do this! I love this job, it gives me
so many story ide- I mean the customers
love to tell me stories on how I helped them.
Mark:
I know. Which brings me to my next point.
I know. Which brings me to my next point.
Leonard:
The good news?
The good news?
Mark:
Yes. The good news is that while we no
longer require your services on the floor,
or on the phones. A new managerial pos-
ition has opened up here.
Yes. The good news is that while we no
longer require your services on the floor,
or on the phones. A new managerial pos-
ition has opened up here.
(Beat)
And we want you to take it.
And we want you to take it.
Leonard:
You're promoting me? Wait... you're
firing me but you're promoting me?
You're promoting me? Wait... you're
firing me but you're promoting me?
Mark:
Thats about it, yeah.
Thats about it, yeah.
Leonard:
You said a position had opened up...
whose exactly? I've been checking
the gazette for months now between
calls...
You said a position had opened up...
whose exactly? I've been checking
the gazette for months now between
calls...
Mark:
Mine, kid.
Mine, kid.
Leonard:
Yours?
Yours?
Mark smiles.
Mark:
It's funny, when I hired you two
years ago... I didn't peg you for deaf.
YES mine. I'm retiring.
It's funny, when I hired you two
years ago... I didn't peg you for deaf.
YES mine. I'm retiring.
Leonard:
Mark. I can't take your position. It's
everything to you.
Mark. I can't take your position. It's
everything to you.
Mark:
It was. But I'm getting old, kid. And
I'm not going to end up like MY father...
Working my arse off at 95 for a pittance
because this company has no retiring
age.
It was. But I'm getting old, kid. And
I'm not going to end up like MY father...
Working my arse off at 95 for a pittance
because this company has no retiring
age.
Leonard:
You aren't OLD Mark. You are more alive
than anyone out there on the floor.
You aren't OLD Mark. You are more alive
than anyone out there on the floor.
Leonard stands up and looks out towards the call-centre. His voice is caught somewhere between elation and pity.
Leonard (CONT):
I can't do it. I respect you too much, boss.
I'd never usurp you.
Mark gets up and goes and pats Leonard on the back.
Mark:
It's my time, kid. Thats just the way things are.
If you don't get out, they'll work you to the bone.
I tried to change that around here. I failed.
It's my time, kid. Thats just the way things are.
If you don't get out, they'll work you to the bone.
I tried to change that around here. I failed.
(Beat)
So I gotta hand the fight over to someone...
and I'm damned if I'm trusting Jimmy Two
Shoes to do it and if you don't take it, I go-
tta offer it to him. He's the next best.
So I gotta hand the fight over to someone...
and I'm damned if I'm trusting Jimmy Two
Shoes to do it and if you don't take it, I go-
tta offer it to him. He's the next best.
Leonard:
So.. what will you do?
So.. what will you do?
FADE TO:
EXT. LONDON STREETS -- EVENING
Late afternoon, several hours later. Lines of traffic cascade through street after street as we zone in on one, a black convertible and the driver is Leonard.
Mark (V.O.):
Oh, I don't know, kid. But, I'll think of
something.
(Beat)
You just get yourself some rest... you
look like you need it more than I do.
Oh, I don't know, kid. But, I'll think of
something.
(Beat)
You just get yourself some rest... you
look like you need it more than I do.