The reason why i say this is only supposedly our final draft is because when it comes to filming, we may change lines to ones we decide in the moment sound better. If this happens we will add an updated version onto our blogs at a later date.
Colour coding of the script
- Anything not to do with one specific character
- Elizabeth
- Brad
- Anglia
SCENE ONE
(Music playing)
Elizabeth walking down the isle
Brad: (Mouthing) i love you
(music fades they face each other)
SCENE TWO
Elizabeth: (gasp)
Brad: “Wake up you worthless bitch, i’m hungry.”
(phone rings)
Brad: “Don’t you dare get that, you know what she’ll say,” (1second pause) “I’m the only one who will love you, remember that.”
(Brad answers the phone)
Brad: “Hello Anglia, how are you?” (2second pause) “Yes I'm well, we’re both well,” (2second pause) “sorry Anglia just letting Elizabeth have a sleep she’s so tired from work,” (sarcastic tone) (2second pause) “ill get her to call you when she wakes up.”
(Brad walks over to Elizabeth)
Brad: “I’m off to work now,” (1second pause) “dont be making any calls behind my back, i will find out if you do,” (2second pause) (kisses her cheek) “I love you my Elizabeth.”
(Brad leaves, slamming the front door)
(Elizabeth falls to the floor and starts to well up as theres a gentle knock on the door)
Person 1: “Elizabeth,” (2second pause) “I know you’re in there,” (1second pause) “let me help you,” (2second pause) “I know what he’s like,” (1second pause) “please,” (2second pause) “let me help.”
(Knocking on the door gets louder and harsher)
Elizabeth: “NO”
THE END
When we were writing our script we knew we wanted to keep the wife’s character silent :(Elizabeth), this was to show how obedient and submissive she is, as though she has no mind of her own. We have given the husband’s character (Brad) more lines so he is the clear dominant figure of the relationship. We also want to put across this idea of how he speaks for her, controls her actions and even controls who she speaks to. Showing also the toxic nature of their relationship.
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