Oh Hell

Right. Back to blogging. I’ve decided to post pretty much everything I finish, including coursework, beginning with a screen play what I wrote for the sensibly named screen writing module.
It is also the reason I am going to hell.
I am going to hell because I have written something that clearly fits into the sub-genre of, er, Japan, known as Loli-goth. You can Google it; I haven’t so I don’t know what you will find, but if you don’t want to I can tell you that the goth bit stands for gothic, as in the teenagers, and Loli bit stands for Lolita. Yes, the Nabokov one.
As far as I can tell the Loli-goth thing seems to be centred around the creation or collection of pictures, photographic or illustrated, of young girls in gothic apparel. It’s not too complex
Actually I suspect that most of the time the main proponents of this, er, thing are just fans of dressing up, and don’t really think about the moral implications of suggesting the sexual infatuation with young girls. I suspect many of them haven’t even heard of Nabokov. Of course there will be the people who take things too far, because there always are.
BUT: this phenomenon is still a little odd. Why? Because it’s something we in the UK take extremely seriously, taken very flippantly. There is a cultural gap which we do not expect and therefore we are made uncomfortable by it.
SO: what are we to do? Should I not have written a gothic fairytale that, like many fairy tales, uses a dark and fantastical vision of reality to examine themes of abuse and power and control? Don’t be silly. It’s Loli-goth because the things that make it so also the things that make the story work practically and thematically.
I only hope you enjoy it.

I will just say that becuase I am transfering in from Final Draft the formating might go askew, but I will do my best to replicate it propperly

Also I don't know how the fucking hell to do a cut. It used to be called a cut anyway. Back in the days of livejournal...

The Tower

SCENE 1 EXT - DAY.
An old mansion style house with the all the windows fitted with bars. The walls surrounding the house are ivy covered and the columns for the open gate are topped with gargoyles.
A sign outside reads, “Growing Pains Orphanage: quality urchins.”

A red Bentley Speed Six (a 1920 saloon car) drives through the main gate and parks in front of the main doors.

SCENE 2 INT - A LARGE & DUSTY HALL.

The GOVERNOR is a tall, dark, skeletal man with a pencil mustache and brill creamed hair.

The COUPLE are a young, rich, beautiful MAN and WOMAN in expensive 1920’s clothes.

The ORPHANS are Shabbily dressed children between the ages of 5 and 10.

ARIENETTE is an orphan girl with black hair. She wears a rich blue dress that might once have been pretty, but is now tattered and filthy. She wears no shoes. She holds a stuffed RAVEN on a base. A plaque on the base reads, “Corvus corax: The Raven.”

The GOVERNOR opens the door at the end of the hall, entering with the COUPLE in tow. He takes a brass tube whistle out of a pocket, and blows it.

In unison, all the doors that line the left side of the hall open and two ORPHANS step out of each door (except ARIENETTE, who comes out on her own.) The ORPHANS form an orderly line.
The GOVERNOR smiles beatifically at the Couple as they walk down the line.

They stop to inspect an ORPHAN, whom the GOVERNOR brushes down with heavy, clumsy hands. As they are inspecting him, the ORPHAN sticks an absent minded finger deep up his nose, which the GOVERNOR immediately slaps down, and smiles uncomfortably at the COUPLE, who move on.

They walk along the line until they get to ARIENETTE, who is hiding behind the RAVEN. The WOMAN, curious, tries to gently push down the RAVEN to see ARIENETTE’S face. Before she can, the GOVERNOR steps into the space between them, and tries to move them on.

The MAN steps up to the GOVERNOR , plumping out his chest.

The GOVERNOR backs down, & lets the COUPLE look at ARIENETTE.
The GOVERNOR looks around in a panic. He sees a particularly small and cute ORPHAN with a dripping nose which he is wiping on his sleeve. He has a stuffed bear, which he holds at his side.
The GOVERNOR grabs the ORPHAN by the ear and twists.

ORPHAN
WAAAAAAAHHHHHHHHHHHHHHHHHHHHHH!

The COUPLE run over to the ORPHAN, not having seen the cause of his distress. The WOMAN starts to mother him, the MAN ruffles his hair. Whilst they are distracted the GOVERNOR grabs ARIENETTE by the back of her neck, and puts his other hand over her mouth, pushing her back into the room from which she came, which the GOVERNOR then closes and locks.

The GOVERNOR goes over to the COUPLE and the ORPHAN as if nothing was wrong.

SCENE 3 INT - GOVERNOR’S OFFICE.

The COUPLE are walking out the door, with the ORPHAN in tow. The GOVERNOR is waving and smiling. After the door is closed, he pulls a face, mocking their happy expressions.
He begins to sign some of the papers on his desk. After a few signatures, he glances at the photo frame on his desk.

He continues to sign. He looks at the photo again, and then picks it up.
CLOSE UP OF PHOTO.

The photo is of the GOVERNOR looking younger and healthier. He is standing next to a HANDSOME MAN who has a hand on the GOVERNOR’S shoulder. They both wear British World War 1 officers’ uniforms. The GOVERNOR is a Second Lieutenant, and the HANDSOME MAN is a Captain. They are surrounded by hunting trophies. They are standing in front of a desk. On the desk, between them, is the RAVEN.

The GOVERNOR Puts the photo frame face down and continues signing.

He pauses, looks at a dusty box on top of a tall cabinet in the corner of the room. He gets up and retrieves a photo album and returns to his desk. He looks at a few photos, smiling very slightly. Then his expression changes and he looks hurt. He gets up and walks to another cabinet that contains a green bottle, which he uncorks and begins to drink from.

Whilst he does this we see the photos in the album. They are all of ARIENETTE looking variously younger. In one of them she is a baby, and is being held by the HANDSOME MAN.

SCENE 4 INT - ARIENETTE’S BEDROOM.

The room contains two beds, one of which is empty. ARIENETTE sits on the other. It is otherwise bare and the only light is from a small, high, bared window through which the setting sun streams.

ARIENETTE is sitting in the middle of her bed, she holds the RAVEN close to her body and looks scared.

A loud bang from somewhere in the orphanage makes her wince, and hold the RAVEN tighter, screwing her eyes closed.

GOVERNOR
(in the distance)
GRAAHHHhhh!

ARIENETTE continues hold the RAVEN tighter and tighter. She bites her lip and shakes all over.

A single drop of blood falls from her lip, which lands on the RAVEN.

The door slams open and the GOVERNOR is standing there, drunk, with the green bottle held loosely at his side. Over the bang of the door we hear flapping. The GOVERNOR looks over to ARIENETTE’S bed, and sees her lying on her back, dead
He drops the bottle, it shatters.

He rushes over to ARIENETTE’S body, on her chest is the base of the RAVEN.

RAVEN
CAW!

The Governor looks up at the high window, on which the RAVEN is standing, alive.

RAVEN (CONT’D)
CAW!

The raven flies out of the window.
The GOVERNOR stand terribly still, looking at the window. After an uncomfortably long time he collapses like a tower block being demolished, or as if all of his bones have been removed.

FADE TO BLACK.
The title, “The Tower,” appears in white Trajan font.