Yes: Screenplay and Notes (Shooting Script) - Hardcover

Potter, Sally; Berger, John; Porter, Sally; Mishra, Pankaj

Hardcover

ISBN 10: 1557046670 ISBN 13: 9781557046673

Verlag: Newmarket Press, 2005

Inhaltsangabe

Contents include:

• Foreword and Screenplay by Sally Potter
• Introductions by John Berger and Pankaj Mishra
• Q&A with Sally Potter and Joan Allen
• 16-page color photograph section with 28 photographs

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Contents include:

• Foreword and Screenplay by Sally Potter
• Introductions by John Berger and Pankaj Mishra
• Q&A with Sally Potter and Joan Allen
• 16-page color photograph section with 28 photographs

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Yes

Screenplay and NotesBy Sally Potter

Newmarket Press

Copyright © 2005 Sally Potter
All right reserved.
ISBN: 9781557046673

Chapter One

The Screenplay

YES is set in the present in London, Belfast, Beirut and Havana.

The Characters

SHE: An American scientist of Northern-Irish descent (born and raised in Belfast), married to Anthony and living with him in London.

HE: A Middle-Eastern man, originally from Beirut where he worked as a doctor, now living in exile in London, and earning a living as a cook.

ANTHONY: A disillusioned English politician, once an idealist, married to SHE.

GRACE: The teenage goddaughter of Anthony and SHE.

KATE: Grace's mother, an old friend of SHE.

CLEANER: Works for Anthony and SHE.

VIRGIL: An Afro-Caribbean kitchen-worker.

BILLY: A Scottish kitchen-worker.

WHIZZER: An English washer-up.

AUNT: An Irish communist and atheist, now living in a nursing home in Belfast.

Note: The screenplay which follows has been edited and amended (following its evolution through the shoot and the rigours of the cutting room) to match its final form on the screen.

Front Titles

Microscopic images of the smallest visible particles of matter dance and float across the screen. They are as abstract and indecipherable as drawings, but undeniably alive.

The particles become dots and lines, electronic lines ... that become ... cells. These are quivering cells that float, randomly and catch the light ... not cells, now, but grains-tiny grains of dust-drifting and sparkling in a beam of sunlight.

The dust is being shaken vigorously out of a sheet.

House / Bedroom - Day

The cleaner, the woman whose hands had shaken out the sheet, turns and speaks confidingly to the camera as she continues to make the bed in an immaculate white bedroom.

Cleaner: They say my cleaning is the best (to camera) They've ever known. But cleanliness of course Is an illusion. Those of us who clean As a profession know the deeper source Of dirt is always there. You can't get rid Of it. You cannot hide or put a lid On it, as long as human life is there. It's us. The skin we shed, and then the hair....

We hear footsteps-angry footsteps-as someone comes up the stairs.

The cleaner picks up a hair from the bed and gingerly examines it as a woman (SHE) rushes angrily through the bedroom, and slams the door. The cleaner comes closer to the camera and whispers.

Cleaner: I think of what I do as therapy (to camera) For homes. You know I often see the pain Imprinted on a bed. You spot a stain That should not be in there; of course you know

At once what's going on. But then you go Into another room, the one he keeps His papers in, or so he says ... he sleeps In there from time to time as well....

House / Study - Day

A door opens, briefly, onto a small, bare room. The room has a desk, with some files neatly stacked on it, and a single bed. Anthony is sitting, despairingly, on the edge of the bed, his head in his hands. Some music is playing, very loud; a guitar solo, the blues.

The cleaner, carrying a huge bundle of sheets, closes the door quietly and looks knowingly into the camera.

House / Staircase - Day

The cleaner dumps the sheets into a laundry basket and starts to climb the stairs, then hesitates and turns back to the camera.

Cleaner: What was I saying'? Yes. It all relates. (to camera) The evidence on things like dirty plates And socks and underwear and other things shouldn't mention....

House / Lavatory - Day

She appears in the lavatory, bends over and stares into the pan.

Cleaner: ... that he sometimes flings Into the toilet and thinks I won't see- Ah-because he flushes, but unfortunately He doesn't check it's gone. It's down to me To try again- sometimes I fish it out....

She lowers her hand into the pan, gingerly removes a used condom and throws it into a pedal-bin.

Cleaner: It's quicker in the end; it floats. I doubt They'll ever realise I know it all. They think that those of us who clean are small Somehow, in body and in mind; we fall Out of their line of sight; invisible, We work our magic. Indivisible One from the other; we're a mass, no soul, No rights to speak of, just a basic role To play in keeping their lives looking good. Cosmetic artists. That is what we should Be called. Or ... dirt consultants.

Limousine - Night

SHE and her husband, Anthony, are sitting as far apart as possible in the back seat of a large, shiny limousine, each staring out of the window. The atmosphere between them is taut with tension. We hear her chaotic overlapping thoughts.

SHE: Nobody warned me, nobody said That losing love is like being dead ... Or deaf and dumb and blind and strangled.... How could you? In our house?

She turns to her husband, angrily.

SHE: How could you? In our house?

Anthony: Oh, don't.

SHE: Don't what?

Anthony: Don't make a scene. Don't make it worse.

SHE: I'm not.

She turns and stares out of the window once more.

SHE: Where? Our bed? The sofa? Or perhaps a chair?

Embassy / Staircase & Entrance Hall (CCTV) - Night

A CCTV camera records SHE and Anthony as they mount a staircase in a large ornate building surrounded by other guests in evening dress. Anthony hands his coat automatically to a uniformed woman in the entrance hall without acknowledging her presence.

Embassy / Banquet Hall - Night

SHE is now standing conspicuously alone in a huge banquet hall isolated from the other guests. She glances into a crowded ante-room where Anthony is standing with his hand resting on the back of a young woman, just a little too long for comfort.

A tall, dark man, HE, dressed in a tuxedo, walks out from the stark neon-lit kitchens into the candle-lit banquet hall. HE is heading for the long table laid for dinner, but then pauses, his attention caught by this elegant woman standing alone. HE stares at her for a moment and then approaches her cautiously.

HE: Forgive my question, but are you alright?

SHE: I'm fine, thank you.

HE: Are you sure?

SHE: Yes, quite.

HE:...

Details zur Ausgabe

• Verlag: Newmarket Press
• Erscheinungsdatum: 2005
• Sprache: Englisch
• ISBN 10: 1557046670
• ISBN 13: 9781557046673
• Einband: Gebundene Ausgabe
• Anzahl der Seiten: 108
• Kontakt zum Hersteller: Nicht verfügbar
• Verantwortliche Person: Yeepin GmbH; 492000000000; sunshine12232@outlook.com; ; Alleestr.11; Kaiserslautern; Rheinland-Pfalz; 67655; Deutschland