bending_sickle | You never know when you read a script how it's going to turn out.* (Reply)

WHAT JUST HAPPENED
Or: How to Crush a Sickle

SCENE ONE

INT. BEDROOM

SICKLE is sitting at a desk - the drawer handles are missing. She is typing, a concentrated look on her face. She stops, leans forward and rereads the document, scrolling up and down a number of times before being satisfied. CLOSE-UP on the final line: "Thank you for your time and consideration. Sincerely, SICKLE."

INT. HALLWAY

SICKLE walks down a dark hallway. CLOSE-UP on the USB STICK in her hand.

INT. LIVING ROOM

SICKLE'S MOTHER is sitting on a sofa with a laptop. SICKLE inserts the USB STICK into the laptop.

SICKLE

Do you want to read my cover letter?
CLOSE-UP on the opening document, then PAN OUT to SICKLE'S MOTHER and SICKLE sitting on the couch. TRACK on SICKLE as she leaves the room. Disjointed scenes of SICKLE waiting, pacing the hallway and rooms as SICKLE'S MOTHER reads.

SICKLE'S MOTHER

It's great!
PAN OUT to SICKLE's face as she stands by the sofa. Her expression is guarded.

SICKLE

Really? Everything's okay? You don't think there's anything missing?

SICKLE'S MOTHER

No, it looks good. Anyway, I don't know why you ask me: I don't know anything about all this.

SICKLE

I just wanted to know what you thought.
CLOSE-UP on SICKLE removing the USB STICK. TRACK SICKLE moving towards the door.

SICKLE

I'll read this over this afternoon, then, just to be sure, and send it along with the application.

SICKLE'S MOTHER

Did you look into the other programme?

SICKLE

No, not yet. I'll do it this afternoon.

SICKLE'S MOTHER

How could you not have done it already? March is almost over - a whole other month wasted! At this rate you'll never get anywhere, what with not doing anything at all. Don't you have the least bit interest in anything?

SICKLE'S MOTHER continues to speak, but the sound is muted, thrumming in the background. SICKLE's response is also muted and intelligible, at lower volume than SICKLE'S MOTHER, as she exits the room. FOCUS on the door closing in the darkness of the hallway.

INT. BEDROOM

Camera PANS OVER the bed to SICKLE's head as she sits slumped on the floor beside the bed. FOCUS onto SICKLE's hand holding a worn tissue. The thrumming sound effect dimms as muted sobs are brought to focus.

SCENE TWO

INT. BEDROOM, BATHROOM, HALLWAY

Disjointed images of SICKLE crying, running her hands and face under a tap and getting dressed. The muted, thrumming sound effect of SICKLE'S MOTHER is heard in the background. FOCUS on a mirror as SICKLE steps into view, slowly pulling her expression into control from despair to neutrality. SICKLE'S MOTHER's voice seagues this image with that of the two leaving the house and walking down the road.

EXT. STREET

SICKLE'S MOTHER

Don't pull that face.
Disjointed images of SICKLE and SICKLE'S MOTHER walking down the street. Cut in are images of SICKLE at the mirror, in reverse, so that the neutral expression slowly breaks down. SICKLE'S MOTHER's voice is laid over these images.

SICKLE'S MOTHER

Oh God, what a face you've got today.

When we get to the photographer, you'd better put on a better face.

I can't stand it with you loking like that.

SCENE THREE

INT. OFFICE

SICKLE, SICKLE'S MOTHER, WOMAN and MAN are standing, with WOMAN and MAN in suits, standing by a desk. Introductions have just been done and SICKLE'S MOTHER is speaking to WOMAN and MAN. She is bouyant and cheerful. WOMAN looks at SICKLE.

WOMAN

Wow, child, you're so tanned!
SICKLE makes as if to reply, but SICKLE'S MOTHER interrupts, laughing.

SICKLE'S MOTHER

Oh yes, she's gone skiing! But look, it's only her face that's tanned!
SICKLE'S MOTHER gestures to her jawline.

SICKLE'S MOTHER

She was wearing a turtleneck, you see, so she's only tanned right here.

Camera FOCUS on SICKLE then cuts to flashbacks:

INT. BEDROOM

SICKLE is standing in front of the mirror, turning her head and examining her marked tanline with displeasure.

INT. BATHROOM

SICKLE is brushing powder along her jaw and neck, trying to blend in the tan. Her face is worried and focused.

INT. HALLWAY

SICKLE stands before SICKLE'S MOTHER, her head to one side.

SICKLE

Is it okay? Does it look okay? I tried to blend in the tan so it wouldn't look so silly.

EXT. STREET

SICKLE is walking by SICKLE'S MOTHER, running her hands carefully along her jaw and chin with concern.

SICKLE

Does it still look okay? I mean, in the daylight? Can you tell?

INT. OFFICE

Scene opens on SICKLE's face again. SICKLE'S MOTHER's laughter is heard and SICKLE's mouth twitches in a frown. PAN to show SICKLE'S MOTHER, WOMAN and MAN laughing at SICKLE'S MOTHER's gestures of turtlenecks and sunburns.

SCENE FOUR

INT. BEDROOM

Scene starts off similar to SCENE ONE. Shots of SICKLE'S NOTEBOOK with notes and To-Do lists are interspersed, set to the sound of typing keys. The lists are progressively shown with items crossed off. The passage of the morning is indicated by SICKLE'S MOTHER entering thrice into the room, the camera focused on her and the typing sound constant.

SICKLE'S MOTHER

All right, I'm off to buy vegetables. Good bye, darling.

Just got back - I'm going across the street for bread.

Hey sweetheart, I'm back.
Shot of the clock - it is 1 pm. The typing stops and SICKLE pushes the chair back and stands.

INT. LIVING ROOM

SICKLE sits down on the couch beside SICKLE'S MOTHER, exhaling loudly, looking tired.

SICKLE

I just couldn't work anymore. I've been at it all morning!

SICKLE'S MOTHER

What did you do?

SICKLE

I looked through the World Food Programme for internships - no such luck, 'cause they're only for current students. But I filled out their online CV form. And I looked into some other UN volunteer webpages... Right now I was working on making a whole new CV for this IPGRI organization: they don't have internships, but you can apply for a temp. job. They make you write the CV in their own style, though, so there I was, rewriting my CV for the hundredth time.

SICKLE'S MOTHER

What about that other thing? Did you call the people your dad gave you the number for?

SICKLE

What thing? Oh, that, no. I've been doing this other stuff today. And anyway, I don't know who these people are - where they're working - and Dad's handwriting is atrocious anyway. I can barely figure out what they're called!

SICKLE'S MOTHER

How could you not have done it already? March is almost over - a whole other month wasted! At this rate you'll never get anywhere, what with not doing anything at all. Don't you have the least bit interest in anything?

The last line - both audio and image - is intermixed with that from SCENE ONE. The muted sound effect comes in, with SICKLE's sobs barely audible.

SCENE FIVE

INT. BEDROOM

A quick shot of SCENE TWO's mirror and kleenex.

INT. KITCHEN

SICKLE is setting the table whilst SICKLE'S MOTHER is making a salad. Camera FOCUS is on SICKLE's hands as she places things down, some with a touch of aggression or frustration. A shot of SICKLE's face in the mirror at its saddest is quickly shown. SICKLE takes out a package of ham, with an immediate shot of her putting it away to SICKLE'S MOTHER's voice:

SICKLE'S MOTHER

No, not that ham. That one'll last longer than the other one.
SICKLE takes out a breadbasket, then replaces it to SICKLE'S MOTHER's voice.

SICKLE'S MOTHER

No, don't use that breadbasket for the rye bread, it'll ruin the cloth.

SICKLE removes the cloth to SICKLE'S MOTHER's voice.

SICKLE'S MOTHER

Not that basket, I said. Use a plate.

SICKLE does not use a plate, but instead places a napkin into the bread basket, then lays the bread in.

SICKLE'S MOTHER

I can't stand it with you, slamming things and throwing them down!

SICKLE's hands snatch back from the basket. Her face is confused, still sad, with red-rimmed eyes.

SICKLE'S MOTHER

I can't stand it when you're like this! Can't you do things without whipping them out angrily?!?

FOCUS on SICKLE'S MOTHER who is shouting, waving her arms out like a child throwing a tantrum in time to her words.

SICKLE'S MOTHER

I hate you when you're like that! I hate you, hate you, hate you! I'm not going to let you embitter my life! Do you hear?

The shouting continues visually, but the audio changes to a buzzing whine then the previous muted roaring thrum. FADE TO BLACK.

INT. BEDROOM

Similar PAN over the bed as in SCENE ONE, with the FOCUS ending over SICKLE's shoulder. She is very still, her breathe audible over the muted thrum of SICKLE'S MOTHER's voice. Suddenly, her arms jerks towards her head OFFSCREEN and moves vigorously. The rustle of hair as it is pulled is hear in the sudden silence, then SICKLE's arm lowers, crossing the camera, and SICKLE is still again. The muted thrum starts up again and SICKLE's shoulder tenses.

Quote of the Day: Vladimir Nabokov