A Short from on Set

FILM SYNOPSIS:

They couldn’t have known that in the wilderness of Alaska, the son of Sylvia Plath would hang himself. They only went there to grieve their own private sorrows.

SCENE:

A recently married couple are driving home from a long day of work and other related endeavors. It’s mid-evening:

“So a lot of corruption goes on, but only the failed attempts are illustrated. Just how much corruption goes on to succeed is unknown, and we have to guess that only a few are caught. Yeah, so the widespread corruption that goes on unaccounted for is rampant and frighteningly commonplace.”

“And that’s your point?”

“Why must you demean me?”

“You use these words like demean and nobody understands you.”

“I’m simply talking about the nature of life.”

“So dramatic.”

“Yeah, just like the ‘so’ in your retort.”

“I’m hungry.”

CUT CUT CUT! The director pops up from his chair to guide the young actors.

Listen he says addressing the couple, I need you to understand what these characters are facing. What we have here is another missed opportunity for a moment of clarity, to indulge in the dramatic!

But! You know at the same time that it doesn’t make a difference anyway. Anything profound born in a moment is part of the past just as quick. All in all its just moments, one after another. One brings a cry so ferocious that laughter is enlivened alongside the pulsating heart…And then! And then we live with these moments while new moments are cascading around us. We are a living history, some with moments that have broken us, and others with those that have risen us from the ashes. Most with a little of each incessantly until our life is over.

The director, turns and faces the camera or the cameraman and slowly says the following:

I am homeless, like you are. I am only too aware of the fragility of that home we make and call our own. There are those who save us, and to those same, we turn our rage. Though in the afternoon light, when everyone has gone to contend with the masses, and all is still in the empty home, the simple truth streams in through the blinds. The contempt and the anger, the stress and the defenses, the blame and the misgivings, are no longer. Not by anything concrete or definable have they gone. But by the breakdown of the complex to the basic.

The director turns again to the actors.

 It is going from the dread of dragging your bones through another day to a wide-eyed fascination for one’s external stimuli. And ha! The difference is only a moment. So much of the control involved in a moment is beyond humanly initiated, but that doesn’t stop us from putting all our energy into that perceived control. And when it all crashes down us, and we are left with NOTHING, the whole world is new again. We must redefine ourselves, accept who we are, and live honestly-accepting of our new role. No, I do not drive the bus, you must say to yourself, as you squeeze your beloved a moment longer. Now, let’s continue with the scene, as if I hadn’t stopped you. But this time, keep in mind what I have told you. And, ACTION!

“You’re always hungry,what are we going to fix anyway, there’s nothing at home,” meanwhile secretly remembering the eggs and corned beef in a tin at the back of the cabinet.

“Yes, I’m hungry and tired, I still gotta take a shower, take out the trash, brush my teeth, eat something-how about I fix us up some corned beef and eggs?

…(beat)

Aren’t you glad I thought of that?”

“Yes, my sweet apple pie.”

(And they drove the rest of the way home in their whiny Toyota, each experiencing their own moments that proceeded to fade into the blurring landscape.)

 

CUT. SCENE, THAT’S A WRAP PEOPLE.

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