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[ONE] [NEWSPAPER MAN] [MEIN MAYHEM] [MARTYR MACHIVELLIAN ]
Flipside
an original screenplay
by Reproductions MMIII
Titles.
Ext. A's condominium. Night.
O/S: Moaning sounds of a couple grow increasingly in volume.
ESTAB. shot of the home. Despite the brevity of this sequence, the camera picks up, in PANNED SPLICES, various objects littered across the room, conveying a certain subtlety that penetrates the reliquaries of the protagonist's intricate past: Zen books, movie posters, photographs and other paraphernalia.
Int. Bedroom in A's house. Continuous.
CU a bed shaking, more sexual moans of a couple in the background. They climax; pull back to reveal A as he rolls over to his side of the bed. B rolls over to A's side and caresses him smilingly, evidently still clinging on to whatever orgasmic gratification that was left to glean.
A, in his mid twenties is what you can consider as the unadulterated archetype of the Byronic hero; ostensibly at least, with his good looks and the unuttered but steady intensity about him. A smile from his lips would have been most disarming, but he contrives not to proffer it to his wife. Even in this darkness, we see the prescient cicatrices orbiting his eyes generated by a life of repressed fears. He seems to have drifted in from a realm suspended in his own warped cognition; a place where it is always cold, a place where the inhabitants seldom speak. The head moves, the expression varies, but the eyes remain ever-fixed, unblinking, piercing empty space.
CU of A staring further at the ceiling. A whirling fan.
B senses A's indifference and stops smiling. A closes his eyes, and B's eyes dart furtively in a final examination of his countenance as she too, falls asleep, arms around him.
Int. Living Room/Dining Room in A's house. Day.
The bright sunshine spills into the living room, in splendid contrast with the preceding scene. We begin with several EX CU of breakfast being made: bacon strips being fried; orange juice poured into a cup etc.
As the camera does a slow PAN around the living room, picking up this time the general setup of the home, B is laying the table ready. B, of about the same age as A, possesses that extra spring in her step; a retention of her cherubic innocence from a decade past - possibly even nearing that of bucolic origins, albeit that of course is manifestly incongruent with her contemporaries. All in all, how her gentleness and subservience to A countervails and complements his character may well be indicative of the endurance of their relationship.
Here, she has an apron draped over her office clothes. While she tenders to the food lovingly, it's almost as if the bacon shared her morning zest.
EX CU of a door knob turning-
From the front: B is at the foreground, laying out the breakfast on the table.
A appears from behind her and OUT OF THE FRAME-
A enters the frame from the LEFT as the SCREEN is pushed into a perfect SPLIT:
LEFT SIDE
Camera opens on the back of A as he walks towards a mirror in the living room,
getting ready for work. He approaches the mirror and starts combing his hair.
RIGHT SIDE
B continues with her breakfast routine. She is soon done and proceeds towards
where A is.
B
Morning dear, I've made your favourite American Breakfast.
A
All right.
(beat)
I'd be there in a minute.
B peruses the contents of the day's newspaper headlines.
B
Hey… did you know? Singapore won its 30th gold medal yesterday.
A
Really? Okay.
As B joins A at the mirror, the LEFT frame gradually pushes the RIGHT frame
off the screen as FULLSCREEN resumes.
B comes up behind A and adjusts his tie.
B
You look good today.
A makes some perfunctory, indiscernible mumble.
B
Let's have dinner tonight? I'm getting off work early today.
Some degree of happiness registers across A's face. He turns and looks at B, almost tentatively.
A
Sure, where do you want to go?
B
(beat)
You know I always let you decide on these things.
A's inner sanctum
A flies into a rage as a RED OVERLAY envelopes the screen, EX CU A, as he smashes something onto the floor:
A
Don't you have any opinions at all? I mean for once, have a bloody backbone!
B looks on stunned. Before she knows it, she is pummeled to the ground by A…
We snap back to the reality-
CU A recomposes himself.
B
(O/S)
You know I always let you decide on these things.
A
(raises his eyebrows resignedly)
So what time do you want me to pick you up?
B
The same time as-
A's cell phone rings.
A nods his head and waves her away as he answers the call.
B
(cont'd, meekly now)
-you finish work, I guess.
C enters the frame from the LEFT as the SCREEN is pushed into a perfect SPLIT:
C
Hello.
A
(visibly pleased, into phone)
Hey… what's up man.
C
Hey you remember that place that sells solid Prata? Al-Ameen was it? Is it still
there?
A
(chuckles to himself)
Yeah, of course.
A glances across at B. B leaves the room.
C
Excellent. I'm going there for breakfast. Why don't you join me?
A peers out of the room and sees the breakfast laid out by B on the table. He ponders for a while, but-
A
Okay. Why not?
C
Okay I'd see you in 20? Oh by the way, I'm on the SLE now, I have to exit at
6B?
A
Yup. That's it. You'll see a Caltex Gas Station on your left just before you
exit.
C
Okay okay. In 20 yeah? Bye.
A
Bye.
They hang up. FULL SCREEN resumes. A puts the phone into his pocket and heads for the door out of his room. He glances at his watch without halting.
A
We gotta go! I'm running late!
As he walks past the dining table, he randomly grabs a strip of bacon and takes a bite. As he approaches the main door, B emerges hurriedly from their room, still trying to put her earrings on.
B
Honey, wait up…
B sees the breakfast still on the table and is about to say something but she looks up just in time to see A out of the main door.
Scene ends with a LINGERING shot of B, looking in the direction of the door.
Ext. Al-Ameen Eatery. Continuous.
EX CU of a Prata being flipped.
A is at the restaurant already, mulling over the wide spread of dishes presented on the menu. He eyes the Briyani.
CU of the begrudged stall owner a.k.a. the ROTI PRATA WAITER looking on impatiently.
C arrives and taps A on the shoulder from behind- C, in short, is the paradigmatic progeny of the higher echelons of society. If humans arrived in packages, he would have been the top freight, having been accorded good fortune from young and never had to break a sweat for anything he desired. But he has not allowed himself to be relegated to the spoilt-brat-status; rather, he enjoys travelling, is adventurous and has just returned from an overseas education. His mannerisms exude confidence, and he is also the boss of A at work.
C eyes the Murtabak.
C
God won't you look at that. Uncle, chicken Murtabak.
(nudges A)
Hey, chicken Murtabak for you too?
A
Urm… yeah.
C indicates to the prata waiter to add another plate. They make their way to a table. C sits to the left of A. C gestures to another waiter and makes an order for 2 coffees. A evidently does not drink coffee but somehow he retreats into reticence.
C
(shakes his head disbelievingly)
Shit, I miss all this good food.
We see, in the background, the Roti Prata uncle giving the Prata an affirmative toss.
A
Oh yah, you just came back from the States isn't it? How was it there?
C
I had a great time back there. Everything about the place was incredible; simply
put, no one tries to stop you from being different and from being who you really
are. Quite unlike here- which makes me wonder why I ever came back. Then again,
back there, it was either potatoes or burgers for meals, and if a special occasion
warranted it, we would have cereal. I mean, by and large the Americans are a
creative bunch but when it came to food, a lot was left wanting. And they never
quite deviate from orange juice for our drinks either.
Several other PATRONS take their seats in the neighbouring tables. They ramble and gripe about the latest and most fashionable universal incapacitations.
The drinks arrive. A offers to pay but C beats him to it. A takes a sip of the stuff but the taste, unsurprisingly, repulses him.
A
(helpfully)
Isn't your family here?
C
Ah, please. Spare me that family crap. My folks are always into that. Well,
I can tell you that you missed out on a hell lot of good stuff.
A
I don't know. My parents were the sort who'd hit the roof if I brought home
an Angmoh girlfriend. They were just dead against me going overseas.
C
(O/S)
What an insulated chap you are.
A
I suppose it's still quite okay. At least I'm married now, and have a decent
job. Like they say, 'A man travels the world over in search of what he needs
and returns home to find it.'
A can't quite believe he pulled that off. C looks at him with almost a new found respect for A's philosophising ways.
C
Well said, Luke, Yoda would have been proud.
(chuckles)
I can see where you're coming from.
(beat)
But there's more to life than that.
A's ears latches on to that.
C
(a sparkle in his eyes)
Starting with some good food. But I tell you what though, we'll chill out this
weekend. *I'll* show you a good time.
The Roti Prata waiter snaps C out of his picturesque smile as he deposits the plates of food on the table. He's got show-me-the-money written all over his deadpan face.
MONTAGE
EX CU of a cue stick- then, the rack breaks upon impact.
Music phased in, we run through a sequence of shots, with C taking A out for
a good time. Cut between scenes of clubbing, tennis games, booze fest etc. It's
good vibes, save for the fact that A is increasingly attracted to C.
FLASHBACK
In BLACK AND WHITE: A hand grabs a bottle and swings it through the air. We hear the sound of it breaking O/S.
Ext. Carpark. Night.
A and B just had dinner together.
We see from a distance the both of them walking towards a carpark. There's a busker peddling his art on the pavement, but camera favours two of its denizens making out passionately atop the bonnet of their car. B sees this couple from a distance, and she from that she feels an impetus to get intimate with A too. With A's hand firmly in his pocket, B tries to link her arm with his. She succeeds for a while, until-
C enters the frame from the LEFT as the SCREEN is pushed into a perfect SPLIT; all characters are now captured from the FRONT:
LEFT SIDE
C is at a café with his posse of aficionados. He dials on his phone,
and as he raises his phone to his ear, a certain D tries to flirt with him.
He politely shrugs her off.
RIGHT SIDE
A digs into his pocket to answer his phone as B's attempts to get intimate is
foiled once more.
C
Hey dude. I'm at Cuppage now. You want to come over and join my friends and
I for some rounds?
A
I would love to… but I can't. Not tonight.
B turns behind and looks at the couple once more.
A
I've got something on.
C's female companions gather around him and try to get fresh with him but he
motions to them to wait out. Cut to a CU of the couple making out.
C
No worries. But we're still for EPL at my house tomorrow night?
A
Yup. Definitely.
A stops in his tracks and starts searching for his keys in his pocket. B carries on to her passenger side of the car.
C
All right, see ya tomorrow then.
Conversation ends. C goes back to his girls, and D welcomes him back in her embrace. A finds his keys and walks towards his side of the car. CU of B waiting at the door, looking at A.
AS B joins A in the car, the RIGHT frame gradually pushes the LEFT frame off the screen and FULLSCREEN resumes. A is about to open the door-
A
Aren't you getting in?
(A POV)
B
(goes for the jugular)
Are you happy with our marriage?
An awkward silence. At the back of his head A knows B almost came armed for this. He is however, more perturbed by other things.
(B POV)
A
Look, can we not talk about this right now? I just had a long day.
A dismisses that with a hand gesture and gets into the car. B almost expected that; she looks away for a while and braces herself once more. She gets into the car just as A is about to start it. The car radio is switched on.
B
Why do you keep pushing me away? Don't you want to try and make our marriage
work?
(beat)
I feel like I'm the only one trying and I've given up so much for you…
B begins to sob while A impatiently taps away at his steering wheel. He does not need this now.
B
(piles it on)
… and looking at how incredibly insensitive and selfish you have been…
At those words A implode and slam the horn; B is too shocked to continue.
A
Yeah fine! Me, me! It's all my fault okay? And you? Whoa you're this perfect
wife, this all-giving, all-sacrificing woman of the year! I'm sure that's what
I wanted all along!
B
Then what exactly do you want? If this marriage is not making you happy, why
can't we just work it out… or why can't you just talk to me about it…
if it's me I will change, we can go back to what it was like in the beginning…
B gestures frantically but she cannot find all the words she needs to say.
A
(smiles coldly)
That's precisely it. I don't want to go back to what it was like before. I just
cannot live in a life that has had everything served on a platter. I was blind
before- but now; now, I cannot be bothered to condescend and frolic in this
choreographed farce with you any longer.
B
(beat; on the verge of a breakdown)
Maybe you should think about what you really want, then.
B gets out of the car, slams the door and walks off. A peers at the rear-view mirror momentarily. A feels a slight tinge of regret.
FADE OUT with the music playing in the backdrop.
FLASHBACK
In BLACK AND WHITE: TOPDOWN view of a smiling B throwing herself on the bed, as her hair spreads gracefully across the pillow.
Ext. Café. Continuous.
B and D, her best pal, are having a conversation over coffee. D is, by no stretch of the imagination, the antithesis of B. She is the consummate queen of bitchiness, ever at the vanguard of any manner of campaign that runs the feminist gamut, but the confidante of B no less.
B
I really don't know what… I'm trying my best, but, nothing seems to work.
D
I can't believe you're acting this way. 'My husband this, my husband that'.
You got to take a step back and think about what you want out of this.
B
All I want is for us to be happy together again. I've always thought of marriage
as something that lasts, not something you forsake. Like, when I'm 75, I want
to be holding his hand and still have that rush of excitement when I look into
his eyes. That's what love is about; that's what marriage is about…?
D
Marriage is a two-way commitment after all. If he's not going to play his part,
it's never going to work.
(sighs)
Maybe you should just take a break and stay with me for a while.
B
I really don't know what I'm going to do. Anyway thanks for the coffee okay.
I'll think about it.
D
No problem dear. You take care of yourself.
B and D hug in a distinctive way. Screen FADES.
Int. C's house. Night.
After watching an EPL game on TV, A and C are in good spirits. They've been drinking, and C is high.
C
And once again Manchester United has put Liverpool in its place. 3-0, and if
only Forlan knew how to shoot.
A
(laughs)
Yeah, and Giggs was running circles round the Pool defence…
C
Oh yeah, some defence that was!
They break out in laughter.
C
Thanks for coming over man. In the States it was all NFL, NHL, any friggin'
L but EPL. Now I've got live games and a drinking buddy. Here's to you, me and
ESPN. Cheers!
At that we hear the classic ESPN jingle. A returns the cheers, and their mugs clink.
C
You know, I can just see it happening, we're gonna be the best of buddies…
EX CU A.
A
Buddies?
EX CU C.
C
(almost drunkenly)
Why are you looking at me like that for? Why, you wanna be more than my bud
huh…
C laughs deliriously to himself but A is stunned by C's words. The familiar RED OVERLAY envelopes the screen once more. A then lunges at C and tries to… kiss him. C is quick to push him off and wipes his mouth.
(A POV)
C
What the hell was that?!
A
(cannot understand it)
I thought you said…
C stands up to confront A. In the process, he knocks a beer bottle off the table.
(A POV)
C
You thought what you sick shit!
(dawns upon him)
So all this while we were hanging out, what were you thinking… you wanted
to get into my pants? Holy shit and to think I treated you as….
To his knowledge at least, A resents and cannot understand C's inexplicable behaviour. A is angry but tries to restrain himself.
A
No, wait, it's not like this…
(A POV)
C
That's enough, all right. Get your faggot ass out of my house. Now.
At that he shoves A onto the ground. A falls flat on his back. O/S, C continues
to mutter to himself in disbelief.
In the foreground we see a blurred object. A is in the background and as he
peers to look at the object, we realise that it is a beer bottle. A pair of
feet appears next to A-
SPLICE
The familiar swing of the bottle through the air.
Int. Bedroom in A's house. Night.
A wakes up drenched in his perspiration. His breath is heavy, his mind clouded with fear. He takes a while to compose himself and soon realises he's in his own room. He looks to his right and sees C sleeping next to him. He isn't quite sure what has transpired since the football game. Nevertheless he's relieved to see C by his side. He hugs C. C slowly wakes up and sees A's arms wrapped around him.
C
What's wrong dear?
A
I'm so glad you're here. For a while there I thought I lost you.
C
(slowly breaks into a smile)
You know I'll always be here for you…
A kisses C's hand.
A
(sigh of relief)
Everything's going to be perfect from now on.
Fade out with them locked in blissful embrace.
FLASHBACK
In BLACK AND WHITE: EX CU of A kissing B's hand; we also catch a glimpse of a ring on her finger.
Int. Living/Dining Room in A's house. Day.
CU the main door. Noises outside. Jiggling of keys and the knob turns; A and C return from a good day out. They're armed with an assortment of plastic bags. Camera now captures the action from a top corner of the room. A plops himself on the sofa and tries to drag C along with him. However, C is bent on bringing the bags into the kitchen.
A
Hey let's get the show started, where are you going?
C
Honey, I'd fix us a drink. What would you like?
A
(pleasantly surprised)
Beer will do.
C moves out of the FRAME and re-enters the frame from the RIGHT as the SCREEN is pushed into a perfect SPLIT:
LEFT SIDE
As A sieves through one of the plastic bags and fishes out a couple of DVDs.
CU on titles RIGHT SIDE
C heads for the kitchen with the bags.
A
So which is for us first? Kill bill or Pulp fiction?
C
(tired)
Anything's fine…
As A sets up the player, a receipt drops out from the case. EX CU: It is a receipt for earrings. A looks bemused. C is still preparing the snacks and drinks.
At this point C returns, and the LEFT frame gradually pushes the RIGHT frame off the screen as FULLSCREEN resumes. A quickly shoves the receipt into one of his pockets as C takes his seat on the sofa.
A
All right, let's begin.
A wraps his arms around C.
The camera then CLOSES IN on the TV: the show's started and it's a scene from 'Pulp Fiction'. As we close in, the screen is eventually ENGULFED by a bright set of lights and they FADE OUT we do a TIMECUT to-
Int. Bedroom in A's house. Continuous.
We hear O/S the noise of a shower. C is engrossed in a phone conversation as he walks towards the room.
C
Thanks so much for yesterday, it really meant a lot to me. Why don't you come
over tomorrow, I've got so many things to tell you.
(hushed whisper)
Okay, I gotta go. He's done showering.
C stops short of entering the room. O/S we hear the noise of a door clicking. In the foreground we see C ending the phone call and looking relieved. A emerges from the background and caresses C's face lovingly.
A
Who was that on the line, honey?
C turns around and embraces A.
C
Never mind that.
A and C recline against the bedroom wall and C turns the lights off.
Int. Corridor outside/Living Room of A's house. Day.
A is walking back home after buying breakfast. As he is approaching the house, he sees C hugging D. D leaves and A hastily makes his way to the house. He quickly follows C as the latter enters the house.
A
(confused and angry)
Who was that outside? Who were you hugging?
C
(puzzled)
That was just a friend of mine…
C, done clearing the coffee table, walks past A carrying a tray of glasses.
A
What friend?!
C pretends not to hear that. A flies into a rage and spins C around, flinging the tray to the ground in the process.
A
You look at me when I'm talking to you!
C
What was that for?
A
Don't change the topic! You know damn right what I'm talking about!
C, confused and hurt by A's psychotic outburst walks away from him and into the bedroom. A follows him in and sees a bra lying on his bed. He picks it up and hurls it to the ground.
A
(disbelievingly)
And whose… bra is that?!
C
It's mine?
A
Is that meant to be a joke?
C
What's wrong with you? You're not making any sense!
A
Sense? I see you, hugging a woman in bright daylight and then I find her bra
lying on the bed. What the hell do you expect me to make of that? And who are
you buying those earrings for?!
C
What? You actually think I'm having an affair with her? Just to let you know,
I'm not a homosexual all right?!
EX CU of A about to fly into a rage.
C
(shakes his head)
Where do you get these sick thoughts from?!
On hearing those words…
Flashback. Int. C's house. Night.
The screen is devoured in MONOCHROME.
A falls to the ground and sees the beer bottle. C's muffled homophobic insults can be heard O/S.
The bottle is swung through the air.
A blinks.
Back to the present, the BLACK AND WHITE veil lifted. The sounds are phased out, save for the muffled ranting of C. From A's POV, we see C going on: 'You've become this madman… I wonder why I ever married you.'
A holds his head and begs C to stop but C goes on relentlessly. As his mind swirls he sees a photo frame on the table. He grabs it and swings it at C with a violent scream. He catches him on the head and the latter passes out. As he stands over C's body…
Flashback. Int. C's house. Continuous.
The familiar MONOCHROME. The camera pans around an unfamiliar bathroom and we see C's dead body lying in a bathtub with a deep gash on his head and remnants of a broken glass bottle on his body.
A blinks.
Back to the present, A looks thoroughly confused. He sinks his head into his hands, and his breath is heavy.
The camera PANS around and over him to the mirror.
The reflection in the mirror, is the body of that belonging to B.
BLACK FRAME. Quote appears:
"What shadows we are and what shadows we pursue."
- Edmund Burke
Quote FADES OUT.
- END -