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Ser

VIEWS: 6 PAGES: 5

									                  “SER”

                   By

              Alonso Martin
             (C) March, 2004

          Black & White/Colour


Based on the book „La invención de Morel‟
                    By

           Adolfo Bioy Casares
                                                          FADE IN:

BLACK SCREEN

Music starts playing in the background (St. Matthews‟s passion #1
J.S. Bach)

The credits roll. After the main credits are shown, the
ficticious interview, taken from a magazine, is shown. The main
subject of the interview is Morel‟s house, containing an
invension of his own.

                                               FADE OUT AND IN TO:

EXT. FOREST – (DAY)

We see a figure running down a hill, in slow motion. The camera
begins to zoom in slowly. No sound is heard, only the music. The
man stops.

                                                    CROSS FADE TO:

INT. MOREL‟S HOUSE – DINING TABLE – (NIGHT)

The CAMERA points at a book, and a person writing on it. The
lightening is rather Rembrandt-esque. His writing is rather slow
and meditative. As the CAMERA DOLLIES OUT, Morel, husband-to-be
to Clementia, elegant, is revealed writing something on the book.
The CAMERA PAUSES lightly when he is entirely visible.

The CAMERA, then, PANS slowly to the RIGHT, revealing Clementia,
a beautiful young woman, resting on the furniture. The CAMERA
DOLLIES IN lightly, and reveals more of her.

Slowly afterwards, the CAMERA DOLLIES OUT again, and continues to
PAN RIGHT. The CAMERA LOOKS at the hallway, where the stairs are
visible. Morel comes down from the stairs, rather rapidly, but
calmly and patiently. He glances at the main entrance, and
continues walking. The CAMERA keeps PANNING RIGHT. Morel goes by
the left end of the CAMERA, and heads where Clementia is resting.

The CAMERA PANS RIGHT, and focuses details hanging on the wall: a
painting, and a door. The door slowly opens, but the person that
was going to enter regrets doing so. We only see the door moving
slightly.

As the CAMERA continues to PAN RIGHT, it has already given a 360º
spin, and cuts to the man and the book. However, the man is not
Morel anymore. We now see a man with ragged clothes, seemingly
tired of life, willing to grasp any chance of saving himself from
getting lost in his own depression.
He is reading the book, and the CAMERA starts DOLLING IN.
The CAMERA then PANS upwards, showing the man‟s face, still
reading. Shortly afterwards, a bump is heard, and he looks up
frightened.
He realizes that they‟ve left, and walks to the billiard room,
and the CAMERA DOLLIES RIGHT to the wall, getting close to it. He
exits.
                                                           CUT TO:

INT. MOREL‟S HOUSE – BILLIARD ROOM – (DAY)

The CAMERA is located in front of the staircase. The man is going
upstairs, trying to look for the source of the bump.
He moves very cautiously, hoping not to be discovered. Soon
afterwards, and the CAMERA begins to DOLLY IN. He takes a „U‟
turn right to the billiard room. While doing this, the CAMERA
captures an EXTREME CLOSE UP of his profile.

He walks behind the billiard table, and the CAMERA goes on front
of it, walking to the window on the end, and TRUCKS following the
man. When he begins to reach the window, the CAMERA dismisses
him, and points out the window. It gets very close to one of the
cells, and now the entire screen goes white.

After a few seconds, the screen fades back to the image, and we
see Clementia walking down through the garden. She walks on the
snow, appearing not to be noticing it.

She stares at the horizon, turns around, and returns following
her path. After she exits, the CAMERA TRUCKS LEFT, and fades to
white again. Soon afterwards, it fades back to another EXTREME
CLOSE UP of the prisoner, staring outside, watching her depart.
After a few seconds, he turns around, exiting the room the same
way he entered. The CAMERA remains still for a few seconds,
giving a few moments for the scene to take an end.

                                          FADE TO BLACK AND BACK TO:

EXT. MOREL‟S HOUSE – GARDEN – (DAY)

We now see a tree from below. The CAMERA moves slowly UPWARDS,
and then PANS to the LEFT.

                                      FADE OUT TO WHITE AND BACK TO:

EXT. MOREL‟S HOUSE – GARDEN – (DAY)

We see a road, and the CAMERA is PANNING down. It moves around
the vegetation, showing leaves, and a downhill.

                                                             CUT TO:

EXT. MOREL‟S HOUSE – GARDEN – (DAY)

There are trees shown, contrasting with the white sky. The CAMERA
PANS RIGHT, and begins to FADE OUT to Black & White.

                                          FADE TO BLACK AND BACK TO:
EXT. MOREL‟S HOUSE – ENTRANCE

There is a red door, and we begin to get closer to it.
As this happens, we see the main character go past us.
He opens the door, and closes it behind him. The CAMERA
still is not inside the building, and goes through the
door. Within the small room inside, we see the main
character closing the door, and the CAMERA goes through
the door again.

We now see the main character standing by the staircase.
Morel comes down, as in the first scenes, salutes the
main character, and walks towards Clementia, to wake her
up.

As he gets to Clementia, and touches her shoulder, the
main character walks to the other way, naturally and
calmly. Clementia wakes up.

                                                             CUT TO:

EXT. MOREL‟S HOUSE – GARDENS – (DAY)

We are shown a small garden, semi-dry. The CAMERA PANS RIGHT very
slowly, showing all the vegetation. We see these sequences on
colour.

                                                             CUT TO:

EXT. MOREL‟S HOUSE – GARDENS – (DAY)

Now we see a very green scenary, and the CAMERA is ZOOMING IN. As
with the past scenes, it does it very slowly.

EXT. MOREL‟S HOUSE – BACKYARD – (DAY)

We see a man running desperately, and in very slow motion.

                                                             CUT TO:

INT. MOREL‟S HOUSE – BASEMENT – (NIGHT)

We are presented with a dark room, the lightening is very
extreme, and only what the light touches is seen. We see
Clementia moving objects from one side of the room to the other.
The CAMERA remains still and fixed on a corner of the room,
having a LONG SHOT of her being shown. Eventually, the CAMERA
begins moving slowly towards her when she faces back.

INT. MOREL‟S HOUSE – BASEMENT – (NIGHT)

A feather is being followed by the CAMERA, and as it falls, the
CAMERA DOLLIES OUT. We soon notice an EXTREME CLOSE UP to a hand
grabbing the feather. It is raised, and we soon see Clementia‟s
CLOSE UP. The CAMERA begins to DOLLY OUT; Clementia‟s movements
are very slow, and we see the CAMERA following, for a few
moments, her hand moving down with the feather in it. The CAMERA
has now DOLLIED OUT, and we see Clementia framed as if though
there were two people being shot, and not just her. She turns
around, laughs lightly, and goes up the stairs. LONG SHOT.

                                                             CUT TO:

EXT. MOREL‟S HOUSE – GARDEN – (DAY)
We see Dora and Morel, laughing together and enjoying
eachother. Dora notices something on the ground, behind
Morel. She points at it, and Morel notices it.

                                                               CUT TO:

EXT. MOREL‟S HOUSE – GARDEN – (DAY)

We see a wallet on the floor, what Dora and Morel have
noticed. The CAMERA ZOOMS IN slowly.
                                                               CUT TO:

EXT. MOREL‟S HOUSE – GARDEN – (DAY)

We have, now, an extreme close up of Dora‟s eyes. She
slowly looks ahead, to us, and she finds something.
The CAMERA begins to give room for Morel while PANNING
and STROLLING right. Morel looks at the CAMERA, too.

                                                    CUT TO:

EXT. MOREL‟S HOUSE – GARDEN – (DAY)



                                                              FADE OUT

END CREDITS begin to roll:

                              CAST
            The prisoner              Juan Cárdenas
            Clementia                 Ericka Thresher
            Morel                     Tod Frazer
            Gustav                    Alonso Martin
            Dora                      Ceeg Johnson
            Cecil                     Sophie
            Ester                     Lily
            The maid                  Shawn Thorne
            Man 1                     Patrick Kirby


            „Based on „La invención de Morel‟ by Adolfo
            Bioy Casares‟

								
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