The voice over in the internal world, mostly refers to what’s above it.
actor gestures mostly tie to dialog below them
EXT. SOUTHERN CALIFORNIA OIL FIELDS - EARLY EVENING
JAMES POV: Rusted industrial debris is dispersed throughout the desert brush. At uneven intervals, oil pumps nod in the background. The arrangement is haphazard and in slight disrepair, but still conveys a sense of utility. A wash runs through the compound. The juxtaposition of water, rust and sand contributes to the otherworldly feel of the setting. The mise en scene is enhanced by industrial decay: a mixture of absence and presence, abandoned but clearly in use. James prepares to speak into a communicator as his focus shifts to an industrial complex on the horizon.
JAMES
Blast perimeter secured.
ANNOUNCER
15 second warning, 15 second warning
James lowers the communicator and faces left towards LUKE and two male demolition workers in their late 20s to late 30s. All wear standard issue safety gear. LUKE stands closest to James and turns to acknowledge him with a conspiratorial smile. Behind Luke, the remaining workers hurry to set-up a flip camera.
ANNOUNCER
10 second warning, 10 second warning
All present begin the countdown from 10. James’ focus is on a close-up of Luke’s profile as he counts down. The two workers struggle with the camera in the background. When the group reaches 7, James turns towards the industrial complex. At the announcer’s call of “FIRE” the landscape becomes unnaturally still and all sound is muffled until it becomes silence. The announcer’s command is the only sound that reaches through the stillness.
ANNOUNCER
FIRE
[1] OUTSIDE WORLD EYES OPEN
[2] INSIDE WORLD EYES CLOSED
[1] The world falls into slow motion/delay effect as the industrial complex implodes on the horizon. It is silent in the whole aftermath of the explosion sequence except for James’ voice overs reflecting on his memories in the internal world. Most of the action in this sequence takes place in the internal world. Since James’ attention is riveted on what’s happening in his mind, the action in the external world is in extreme slow motion and slightly out of focus as if his eyes are wandering or gazing vacantly. Dust plumes rise and settle slowly. In the immediate aftermath, everyone claps and cheers. Luke, in selective focus, removes his communicator from his pocket and speaks into it as the remaining workers review their recording footage in the background. He turns to face James and expectantly relays a set of instructions. The end of this part of 1 should correspond to the jump of Luke’s hand on James’s shoulder in the next [1][
more Details to be established on location]
[2] Break from POV. Medium shot of James in his early 20s. The edges of his upper body are slightly eroded amidst the murky darkness of a distant memory. Dream-like light illuminates James’ “chocolate chip” patterned fatigues. In extreme slow motion, James looks up at the camera and starts to slightly fall back. At first there is only James within the blackness, then, gradually, the edges of Spade poker cards creep into the frame from the camera’s peripherals. The cards move out from the camera and towards James’ face in extreme slow motion. The whole scene occurs in roughly 15 seconds with james moving approximately 6 inches.
JAMES V.O. [1]&[2]
In that moment, if I try to picture it, I imagine myself as if through glass - a mirror. This may be how it happened: a sudden flash of light and heat. Brightness through the window then glass shards. Force of an explosion behind edged cards. This is how it happened, but this is not how.
[2] Cut to quick, close-up, and slow motion animation of James’s eye during the process of debri entering his eye and causing corneal abrasion. Shot may be repeated with different debri entering his eye to emphasize imperfect memory and unreliable narrator.
JAMES V.O. [1]&[2]
In that moment, if I try to picture it, I imagine myself as if through a lens: lens and cornea. An eye is not glass, fragile, but not glass. It is fragile like tissue. It tears.
[2] Cut to medium shot of Jesse. The structure, lighting, background and atmosphere mirror the earlier medium shot of James. Jesse wears her fatigues and M17 mask.
JAMES V.O. [1]&[2]
But something else is always ripping in: a memory tears, clouded by debris and full of water.
[2] A montage of quick shots that take place off-duty, elusive memories of Jesse in civilian clothing. She wears the same white dress as in Scene 3 and Scene 4. A few shots also contain Jesse and Luke as a couple.
JAMES V.O [1]&[2]
In my mind, she is younger and softer. Maybe these moments are remembered; maybe they never were.
[2] Cut to medium shot of Jesse. This shot is exactly the same as the medium shot of her in the fatigues and mask, except she is wearing the white dress instead of the fatigues.
JAMES V.O [1]&[2]
Either way, they become something. Something I won’t hold. Something I can’t.
[2] Same medium shot of Jesse in white dress and mask. An arm enters the frame from the left and hesitates while moving towards her mask. The arm quickly removes a portion of her mask, briefly flashing a portion of Jesse’s face as a bone soldier.
JAMES V.O [1]&[2]
Something I deserve.
[2] In Bone Soldier Land, POV of James struggling forward through debris and smoke. Light filters into a clearing that emerges in front of BJames. Suddenly, progress forward is halted and James’s perspective lowers, as if sitting.
JAMES V.O [1]&[2]
Guilt is comfortable: a warm flickering heat.
But, always he makes me exit . He . . .
[2} Just as BJames’s perspective lowers towards the fire, the Bone Soldier representing Luke arrives. BJLuke appears in the clearing and uses his right arm and shoulder to push debris away. BLuke distinctly, and deliberately, motions towards himself, towards the exit. BLuke begins to move toward BJames. BJames rises and moves forward clunkily. His perspective is jumpy and drops frames as he follows BLuke “toward the light”.
Against the light, BLuke faces BJames and extends his arm toward BJames as if to rest it on his shoulder.
JAMES V.O [1]&[2]
. . . always brings me out. Even now. Though, there are things I’ve done, to him. Keeping silent is a type of lie. It expands until there is an unintended distance: an empty desert of self-made loss. Suddenly, you realize your time left. You know that quietly, the opportunity leaves. Guilt settles, like the weight of a hand, on your shoulder: the weight of a hand that wakes you and says “it’s time”.
Need some way to get the reader back to the external world so they can see the parralel between bone soldier Luke and Luke. Not sure how you want to do this or time it with the dialogue. ???
[1] When James next opens his eyes, Luke stands in front of him exactly parallel to how BLuke leaves James in the internal world. Luke’s right hand is outstretched to fall heavily on James’s left shoulder. Luke gently, but pointedly, stares at James before taking a breath and retreating to lean against a rail. Although Luke’s stance on the rail is casual and relaxed, his expression is sharp and concerned. He briefly looks away from James and into the distance before his eyes flick to the scroll now visible in his left hand before looking back at James. In his anxiety, Luke defaults to his habit of gesturing with the right half of his body; During his first line, he absently waves the scroll in his right hand
LUKE
So . . . guess this means you’ve takin’ a look at it?
JAMES
James: yeah . . . kind of figured you’d want to meet like this, in person. Besides it's good to see you.
Luke tosses James the Scroll. James casually catches it and slides it from it’s protective case. Unable to find a flat surface, James crouches before Luke to position it on the ground. As James’ hand smooths the scroll flat, a diagram of a bridge emerges. Rolled within the diagram are smooth white petals from the funeral flowers in Scene 3. They go unacknowledged and scatter between the two men as James’ unfurling the diagram frees them to the wind.
JAMES
Well, it’s certainly delicate. I mean, when it’s over water like this, you’re looking at lots of environment regulations, permits, and all that red tape crap.
LUKE
Yeah, we’ve got that taken care of, not too late for us to do the rest, you know? Just tell me what you got in mind.
James releases a focusing breath to gear up a shift in the conversation. His exposition is punctuated by him pointing to relevant structures in with the diagram.
JAMES
Easy,two sections really, substructure and super. Overall . . . you’re looking at a controlled explosion with an easy 55 pounds of RDX explosives and 270 shaped charges. First, the lifted span, or the leaf, collapses in on itself, implodes, neatly into piles that fall into the water according to regulations.
LUKE
That easy huh? Sounds pretty delicate. . .you know I. . .
JAMES
need someone who’s trained. I’ll place the charges myself. You’ll be impressed at how easily the structure melts, BAM, like butter.
LUKE
What I’m tryin’ to say is: butter could get messy. Look, you're the best. Hand’s down. Nothin’s gonna change that. but, well, we aren’t gettin’ any younger. Don’t you think one of your team can handle the dirty stuff?
In the beat of heated silence, sand trickles from the top of Luke’s shirt to settle on the map.
James looks up sharply from the map
JAMES
What, you gonna crap out on me too? You know I’m good for it.
Luke briefly closes his eyes to collect himself while he pretends to focus on folding the diagram. It is clear that he is not paying any attention by the way he refolds it.
LUKE
Listen . . . I mean, look, are you sure you’re up for this?
JAMES
Do you think I’m not up for it? Hey, you gave me this job. You didn’t seem to care about my condition then. Nothing’s changed. Still not gonna let you down.
Luke, finished with the diagram, stands as if to leave.
JAMES
Nothing’s changed.
Luke extends his hand out to James to draw him up
LUKE
I know.
There is a beat of weighty silence as sand pours from Luke’s left sleeve.
Luke (CONT’D)
(resigned)
I know, that’s why . . . look, I think you know what I’m tryin’ to say, so I’ll just tell it to you straight. I was hopin’ to avoid this. But, with this injury sneaking up on you again, it’s, it’s a liability. Not just for your safety, but . . . also, for us. As in, legally.
JAMES
Are you?
Both men begin to leave the site and head towards the wash’s pathway.
LUKE
I’ve been wanting to tell you this in person, but after this project, it’s best you retire.
JAMES
What, how’s it best?
James turns from Luke towards a rail overlooking the wash. He brings his palm down hard and clutches at the bar. The sound reverberates as James remains still.
LUKE
I know it’s not your fault.
JAMES
Do you? ‘Cause you seem to know best.
LUKE
Yeah, I do. You wanna be professional? My advice: get over it. whatever it is, get over it. It’s not just about now, but its been like this, like always.
James turns to face Luke. His voice is calculated.
JAMES
Yeah, you know, it has. Small freakin’ wonder “I’m not over it”. I mean I’m on borrowed time here. But since you're the professional, maybe you can tell what’s my fault and what’s not.
You wanna go there . . .
LUKE
Look you’re upset. but I’m not going to convince you . . .
JAMES
It’s Jesse.
A pause after the build-up. The sound of sand pouring. Luke immediately closes up and his voice becomes tinged with distance. He quickly recovers, falling back on his parental role.
LUKE
That was a long time ago. Don’t try to change the subject.
JAMES
(subdued)
You know there is no other subject. There never was.
LUKE
(resigned, tired)
Why did I ask you here? I’ve been watching you. But, it’s too much. See, you’re jobs have been needing greater firepower. Someone’s gotta be calculating odds. But lately, I don’t think it’s been you. You’ve got the look of a man trying to find an exit and I’m getting damn tired of leading you out.
James steps back harshly and abruptly. There is a beat of silence as Luke’s facial expression flickers to a look of shock and guilt. The silence lingers a beat longer.
LUKE (CONT’D)
Look, I . . . that was a bit harsh. It’s just, yeah, I’m worried and, yeah, it’s stressing me out.
JAMES
It’s fine, I probably deserved that. No, I know I did.
James’ voice bristles with cold and attention as he turns from Luke and begins to walk alone, ahead up the path.
JAMES
Now you know. That’s the last thing. It’s done. Back then you got my back. Well, I’ve got yours now. Like, I said, I’ll see this out to the end.
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