Sharon Calleja ll WORK IN PROGRESS. WORKING TITLE: “Partners In Fear” by Ira Bex As the opening film’s CREDITS come to their end of the run we DISSOLVE THRU THEM TO: EXT. SEASCAPE – DULL WINDY DAY WIDE OPEN VISTA of an OCEAN which might be anywhere in the world so it seems, for as yet our location has not been ESTABLISHED. Between us and the HORIZON the clouding does not appear as if it is going to be of any real concern – the WIND RISING off the sea’s swelling surface, is powerful enough for sea gulls within the frame’s view to almost HOVER at times as if by will like a Petrel. OUR POV is looking out over an AUSTRALIAN NAVEL ship’s stern – but the viewer isn’t aware of this yet. Sounds of bird life, the ship’s driving engine along and the atmospherics of waves and wind… INT. SHIP’S BRIDGE – SAME DAY The ship’s crew are in NAVAL DRESS to accommodate the weather conditions. The officers of the watch clearly stand out above the lower ranks and everyone, is a little tense. WIDE SHOT ESTABLISHES the FIRST and SECOND OFFICER of the WATCH near the HELMSMAN and a NAVEL RATING – HELMSMAN busy piloting the vessel and the RATING are focused on the ship’s windshield; which is out-of-shot. First Officer glances at his wristwatch and goes on to addresses no one in particular. FIRST OFFICER Well, we’re on time and in position – so where the devil are our friends? SECOND OFFICER Knowing the Yanks – they won’t be far away. Might even be right beneath us – (STAMPS the SHIP’S FLOOR with sole of issued footwear.) - it’s smoother sailing in sea like this, below surface. EXT. SAME LOCATION – DULL WINDY DAY PRESIDES. EASTABLISH AUSSIE NAVAL SHIP in profile from STERN to BOW moving LEFT to RIGHT from couple of KILOMETRES off. NOW we witness a USN SUBMERINE’S bow breaking through the SWELL of the sea as she surfaces – the vessel running PARALLEL and MATCHING the same speed as the Navy ship. Water and white sea foam drains away off the SUB’S exposed decking and CONNING TOWER – deck hatchings break open and SUB’S CREW MEMBERS appear from below deck, their set tasks already mind established, as they make preparations of what we the viewer is completely in the dark about – but with the rigging the sub’s crew are carrying out it would appear they are going to TRANSFER personnel from the SUBMERINE to the NAVY SHIP while on the move. The SUBMERINE begins to angle slightly towards the ship which NOISILY signals it’s about to SLOW SPEED and LINES are being RIGGED on both vessels to set-up a BOSUN’S CHAIR for the obvious TRANSFER. CUT TO: CONTINUE (CONTINUED) INT. SUBMARINE AND CRAMPED CONDITIONS – TIME CONSECUTIVE Establish the bottom area of the CONNING TOWER’S WELL – it’s a collection of anxious AMERICAN people, made up of US NAVY personnel and a civilian family – parents of teenagers KANDY and LEO FRANKLIN. The stress of the moment shows in the face of the mother FRANKLIN of the teenagers – as she makes a last minute check of her daughter’s attire for by the oiliness of the family’s brows it is going to be a body shock once they hit the air outdoors. The head of the family is GEORGE FRANKLIN who is at the head of the family queue right behind the NAVY MAN who’s at the foot of the tower and responsible for leading them up the ladder-way to TOP SIDE. The family clutching few belongings other than what they are standing up in; and there is no doubting they are borderline REFUGEES. The atmosphere of the working sub’s interior acts like a morbid background piece of music to the scene. OUR POV from the far side of the LADDER-WAY heading skywards with the AMERICAN NAVY OFFICER responsible for getting his charges up top-side; prepares for the climb. The spoken accent throughout these scenes is AMERICAN. US NAVY OFFICER (over his shoulder to GEORGE) Right – all set to go? GEORGE I should hope so. (the OFFICER hauls himself up the first ladder run as he begins to climb. ) GEROGE has a quick look over his shoulder back at his nervy family. All of them could be about to step out of a SPACE CAPSULE without pressure suits. NAVY OFFICER moves OOS as he continues up the ladder and the CONNING TOWER and the rest of the family bring up the rear. The few crew members seeing the civilians off move forward into the now un-crowded space with anxious looks on their faces – JAYCY FRANKLIN has somehow dropped back to the REAR of the PARTY, she’s caught up with pulling the hood of her Anorak over her blond hair, then sets off up the ladder her derriere a reminder of why most men prefer the shape of a woman’s good derriere to be. Then she is gone… DISSOLVE TO: INT. NAVYSHIP’S BUNK CABIN – SOMETIME LATER OUR ANGLE from somewhere near ship’s PORTHOLE shooting across the cabin towards the CONTINUE (CONTINUED) CLOSED door paneling – from beyond the DOOR we can assume there’s a COMPANIONWAY. Muffled voices are heard approaching the area from outside which become more define as those beyond near us. The first recognizable voice we hear other than that of the AMERICAN CIVILIANS FAMILY is that of the SECOND OFFICER from the BRIDGE SCENE when we established the set and cast. SECOND OFFICER (voice - off) …Well how was that, hey? You all survived a hairy transfer from one vessel to another, in a goddamn Boson’s chair! – voices come thick and fast through this scene. GEORGE (American voice – off) It’s okay to laugh now. But it’s something I wouldn’t want to experience on a daily basis ... It wasn’t any Coney Island ride – let me tell you. The CABIN door is opened by the SECOND OFFICER and we see the FRANKLIN family crowding up behind him – all straining to get a glimpse of their accommodation as they clutch their possessions to their bodies. The officer stands aside and the first one through the cabin doorway is Kandy. She was expecting their cabin to be something like that of an Ocean Liner’s. But discovers reality – living in here isn’t going to be any picnic for family. KANDY (to Mother) Mom, this accommodation’s positively horrible. Come, come n’ see for yourself? SECOND OFFICER (in the open doorway) It may not be much; but it’s more spacious than that sub. You ladies must realise these vessels you’re dealing with are designed for War; combat livin’. It’s not a home, away from home – POV ANGLE ON SECOND OFFICER from out in the passageway – he starts to draw the cabin door SLOWLY close. SECOND OFFICER (cont.) - I’ll leave you folks to get sorted out before your Mister Bonnington and - Captain Seymour come to welcome you aboard. Bye for now … - - (Gently closing the Door the OFFICER sets off retracing his earlier steps down the - passageway HEADING TOWARDS OUR POV until his bulk blocks out the lens…)
Posted on: Thu, 31 Oct 2013 07:42:08 +0000
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