GYPSY DRAW © 2002 amber rose
Black.
Fade up:
Gypsy
Draw
Fade out.
1.
INT. nursery – EVENING (dreamscape)
Darkness is broken by the flare of a match, flaming
tip put to a candlewick. A baby cries in the background, but it stops at the shake
of a rattle, which in turn fades into the sound of cards being shuffled.
Callused hands, of dark complexion, reach into a
crib.
Velvet flaps in the gloom, sending a Tarot card
flying at the pop of a camera flash bulb expiring. The card is ‘The Last
Judgement’.
PERDITA
V/O.
Isidore…
Isidore.
Cut to:
2.
INT. BEDROOM – MORNING
ISIDORE’S eye blinks open, bloodshot, a dark
crescent beneath.
He sits up in bed, clutching his head. Mussed
shoulder length curls fall through his fingers. He is distressed.
An alarm clock on the bedside table clicks over to
7am and classical music plays. ISIDORE slaps the clock off and the room is
quiet again. All is still as ISIDORE stares at nothing.
The white walls are covered with photographs,
generally black and white. Assorted books and CDs line wooden shelves. A
sideboard cradles three cameras, each of a different era, from early to recent.
ISIDORE snaps back to reality, unfolds, and wanders
to the bathroom.
Cut to:
3.
INT. KITCHEN – MORNING
ISIDORE, dressed now in a nondescript suit, sips
from a coffee cup. His cigarette is resting on the edge of an overflowing
ashtray. The phone rings but he does not rise to answer, letting the machine
take it instead.
ISIRORE
V/O.
Isidore
Faust, leave a message.
GRETA
V/O.
Isidore
it’s Mum. Just calling to remind you that Jackson’s birthday is next week and
we’d really like for you to make it to dinner.
As the message records ISIDORE moves to the fridge,
cigarette between his lips. A tacky 80s family photo, stands out amongst other
artier images. ISIDORE’S MOTHER, FATHER, BROTHER and SISTER, all fair and
freckled are smiling for the camera. A young ISIDORE, with dark curls and olive
complexion, is angled somewhat away from the others and looks out of place.
Having perused the contents of the refrigerator, ISIDORE thinks better of it
and moves back to the kitchen table.
GRETA
v/o. (cont’d)
Just,
um, let us know, okay? No pressure love.
He stubs out his cigarette and reclaims the coffee
mug.
GRETA
v/o. (cont’d)
Oh,
Mrs. Peters mentioned that she saw you the other day. She thought you didn’t
look well. You flew past her without even realising, she said.
Draining the dregs of his cup and rinsing it in the
sink, ISIDORE gathers his things. Pulling back his hair, he snaps in a band to hold
it up.
GRETA
v/o. (cont’d)
Everything
okay, love? If you need anything, someone to talk to, you know we’re always
here… If… Well, you know. Right, you must be busy… Speak to you soon then? Love
you.
Having tossed his wallet and keys into a briefcase,
ISIDORE finally slips a camera about his neck.
A dial tone resounds in the kitchen, followed by a
high-pitched beep. ISIDORE is already heading out the door.
Cut to:
4. INT. OFFICE – DAY
ISIDORE looks bored. ERIC is posed in a high-backed
leather office chair in such a way that he oozes authority and carefully
scrutinises ISIDORE; he seems dubious.
eric
You’re
younger than I expected.
Ignoring the remark, ISIDORE continues to stare,
waiting for his client to get to the point.
eric
One
of my partners put me on to you. I begin to wonder how valuable that
recommendation was.
isidore
Mr
Cordell, the sooner you give me details, the sooner I can resolve your case.
ERIC pulls a photo from a drawer and hands it to
ISIDORE. In the picture is a pretty woman in her late forties, decked in
finery, with ERIC beside her. She looks like a doll.
Eric
My
wife, Zoe, enjoys my money, not my company. Hence I’m somewhat… sceptical
as to where she spends her spare time.
ERIC
draws in a mouthful of pungent smoke.
Cut to:
5. INT. GYPSY DRAW – DAY
A sequence of three cards: ‘King of Cups’; ‘Five of
Pentacles’; ‘Eight of Swords’.
Cut to:
6. INT. OFFICE - DAY
On his feet, ISIDORE’S unfocused gaze is fixed on
the photographs hanging on the walls. He has paused in thought, reacting to the
flickering sequence that he is unsure he just witnessed. He shifts his weight
from one foot to the other.
ISIDORE
And
what if she is having an affair?
A
smug little smirk twists ERIC’S lips.
ERIC
If something doesn’t work I have it replaced.
ERIC’S
smile fades. He unconsciously clenches a fist.
Eric
(cont’d)
If she’s disgraced me, Cinderella can go back to
cleaning floors.
Considering this, ISIDORE stares at his client.
IDSIDORE gathers his possessions and replaces them
in his briefcase. Again he slings the camera about his neck.
ERIC
I
expect to see progress within a week.
ISIDORE leaves the office.
Cut to:
7.
EXT. STREET – DAY
Photographing as he smokes, ISIDORE walks toward
home.
The arched doorway of a church catches his eye; the
stained glass window beside it deserving of a closer shot.
Foliage of a nearby tree, displaying contrasting
shadow and highlight, is his next target.
The breeze picks up a little, dry leaves and
buoyant trash dancing about his feet.
PERdita
v/o.
Isidore…
ISIDORE checks his surrounds; he is alone in the
alley.
As he rounds a corner, he catches a glimpse of dark
velvet flicking around the edge of a building. The echoes of heeled footsteps
ricochet off the walls.
ISIDORE’S pace slows. Drawing deeply from his
cigarette he looks troubled.
Cut to:
8.
INT. KITCHEN – EVENING
A cigarette butt is crushed into the still
overflowing ashtray. ISIDORE’S hand falls limply to the side.
The photograph of ZOE and ERIC is propped against a
mug. Across the table notes are scattered about ISIDORE’S resting head. His
shuttered lids begin to flicker.
Cut to:
9. EXT. PORCH –
DAY (DREAMSCAPE)
A young ISIDORE
sits alone on concrete steps where he draws on the ground with a thick piece of
chalk. His clothes hang from his skinny frame.
A large red ball bounces past, narrowly missing his
head. ISIDORE appears not to notice.
JACKson
o/s.
Isidore.
Hey, Isidore! Throw us the ball!
Slowly looking up, ISIDORE looks from the ball to
his brother, seemingly bewildered. Pushing the ball away lamely with one bare
foot he returns to his picture. Other children groan in the background.
JACKSON
O/S.
Isido~ore…
Idiot.
ISIDORE
is oblivious to his brother’s disdain.
Cut to:
10.
INT. GYPSY DRAW - EVENING
Three
Tarot cards are thrown down in quick succession: ‘Five of Swords’; ‘Ten of
swords’; ‘Five of Cups’.
Cut to:
11.
INT. KITCHEN – EVENING
ISIDORE’S eyes slowly open, obscured by the curtain
of curls.
Sitting up he rakes his hands through his hair.
Fade out.
12.
EXT. STREET – AFTERNOON
ISIDORE is tired, seated on a park bench. He
appears to have been waiting for some time.
The camera shutter clicks, revealing and capturing
ZOE mid-stride across the street. She clutches her purse across her chest,
looking every bit the trophy wife. ISIDORE has seen her type before. Standing
mechanically he begins to follow her.
ISIDORE snaps another photo: ZOE glances over her
shoulder as she greets her LOVER.
Another: her head is bowed, content as she receives
a tender kiss to the forehead.
A blurred face suddenly appears in the viewfinder.
PERdita
v/o.
Isidore!
Starting at the insistent voice
and distorted features, ISIDORE misses his next shot. He turns a full 360° and examines those about him. No one is paying him any mind.
Disconcerted, ISIDORE looks back to ZOE and her companion. He almost loses them
as they stroll around a corner.
ISIDORE
snaps another shot; this time ZOE and her LOVER are caught in a particularly
heated kiss.
PERdita
v/o.
Isidore!
Isidore! Isidore!
ISIDORE claps his hands over his ears.
Glancing back momentarily he
glimpses a cloaked figure standing dead still amongst a flurry of pedestrians.
Upon a full double take the figure is gone. Walking backwards, unsettled, he
examines the scattering people.
Fade out.
13. INT. DARKROOM – EVENING
Beneath an exposed red light an
agitated ISIDORE is developing photographs. Prints are already drying on a
line, ranging from ZOE alone, with ERIC or female friends, to her with her
LOVER. Those with her LOVER depict them in progressively more incriminating
situations.
Juxtaposed with the surveillance
photos are the shots of the church and foliage that he had taken earlier. Also
in the mix are a few new shots: a scabby street cat; children playing; a young
man feeding pigeons.
ISIDORE flicks the light switch.
As he exits the room, a shaft of light comes through the open door. It lights
upon two photos of ZOE. The first shows her despondent, eyes searching a murky
cup of coffee, the second has her smiling as she walks with her LOVER.
The door closes, the room goes
black.
Cut to:
14. INT. KITCHEN - EVENING
ISIDORE rests at the table, head
on his forearms, eyes starkly open. Half a dozen books are spread over the
table, including a psychology textbook and one concerning the meaning of the
Tarot. Clearly restless, his foot taps beneath the table.
The sky is beginning to lighten.
Fade out.
15. EXT. STREET – MORNING
Dressed
in the same clothes from yesterday, ISIDORE is half-heartedly looking for ZOE.
A cigarette hangs from his lips and his cheeks are unshaven. In lieu of
photographing ZOE, ISIDORE is taking artsy shots.
He fires off multiple shots of
pigeons in flight.
As he snaps his own shadow cast
against a wall, his mobile phone rings.
ISIDORE
Isidore
Faust.
ERIC’S voice filters faintly from
the phone.
ERIC
v/o.
Eric
Cordell, what have you got?
Wedging the phone between ear and
shoulder, ISIDORE struggles to keep shooting: across the street a little boy is
tossing a ball.
ISIDORE
About
your wife…
Static, interference, emanates from
the phone. ISIDORE lets the camera hang about his neck, moving to find better
reception.
Isidore
I’ve
followed her all week…
A
loud crack of static bursts from the phone before another voice appears on the
line.
perdita
v/o.
Hush,
Isidore!
Startled,
ISIDORE begins to fidget.
isidore
So
far she’s not done anything… inappropriate. I’ll get back to you as soon as I
have something concrete.
Hanging
up on a displeased ERIC, ISIDORE looks at the mobiles screen: it is filled with
the word ‘hush’, repeated over and over.
Head thrown back, ISIDORE rests
against the wall. He stuffs the phone in his pocket.
PERdita
V/o.
Isidore?
He closes his eyes in desperation.
PERdita
V/o.
Isidore?
The voice is closer and ISIDORE
begins to run through the back alleys. Heeled footsteps seem to follow him,
accompanied by the flap of heavy velvet.
ISIDORE dashes into the first
doorway he comes across.
Cut to:
16. INT. PERDITA’S STORE – DAY
Esoteric and occult items clutter
the tiny store. Busy inspecting the room, ISIDORE doesn’t notice the appearance
of a figure behind him.
PERdita
Isidore.
ISIDORE spins to face the source of that all too
familiar voice.
Cut to:
17. INT. GYPSY DRAW - DAY
Tarot cards fall: ‘Justice’; ‘The Tower’; ‘Death’.
Cut to:
18. INT. PERDITA’S STORE – DAY
Dressed in a simple white shift, PERDITA gestures
to a small table. She appears neither old nor young.
Perdita
Sit.
Complying, ISIDORE moves to take a seat at a small
table in the corner. PERDITA, moving about ISIDORE’S chair, lights a candle and
a stick of incense, before joining him at the table.
She suddenly holds a silk bag, from which she
withdraws a well-worn deck of Tarot cards, and gazes at ISIDORE curiously.
perdita
Who
are you Isidore?
isidore
Do
I know you?
PERDITA smiles and begins to shuffle the deck of
cards, humming quietly to herself as she does so. She breaks her musical
reverie to split the deck in three.
perdita
You
are lost. Why are you following this woman? Do you think you will find yourself
by watching her? Perhaps you already have.
Merging the piles, PERDITA deals three cards face
down. She turns the first card over. It is the ‘Six of Cups’.
perdita
This
is your past, your abandonment, your lonely childhood. Just because they are
not your blood, it does not mean they do not care for you. Family is a state of
mind, not a birthright.
Calming, ISIDORE watches as PERDITA reveals the
second card: ‘Nine of Swords’. Her breathing is shallow. She taps the card with
a pearly fingernail.
perdita
(cont’d)
See
this? The present. You are unstable, unsure of yourself or where you belong.
Always you see two sides… you are two sides. Do not let it puzzle you.
Everything in nature has balance, Isidore. Hot to cold, darkness for light,
night and day. Understand?
Her hand hovers over the third card, but she does
not turn it over. Instead she gestures to ISIDORE’S camera.
PERDITA
(Cont’d)
What
do your pictures reveal? Do they speak of your subjects, or do they speak about
you? Do not hide behind that lens. Why do you work for these people you
despise, when you exhibit such talent and enjoyment as an artist? Your future
is not predestined. You choose the path.
Without turning the future card over she hands it
to him.
perdita
(cont’d)
I
am done with you. Go make your decision. The world can be a very bleak place
when we are unhappy and alone, but it need not be. Ask Zoe. Has she not created
balance? Find happiness, Isidore.
ISIDORE
takes the card and, without looking at it, slips it into his pocket. He
hesitates in his motions to leave but PERDITA waves him away.
Cut to:
19. INT. KITCHEN – EVENING
Cigarette in one hand, Tarot card
in the other, ISIDORE’S gaze flicks from the card to the surveillance
photographs of ZOE scattered over his kitchen table.
He stares intently at two
particular photos, the same two lighted upon in the dark room.
ISIDORE
Sorrow
and joy.
ISIDORE
tosses the Tarot card into medley of photos.
Finally revealed, the card is
blank.
Cut to:
20. INT. OFFICE – MORNING
Clean-shaven ISIDORE enters ERIC’S
office, throwing an A4 envelope onto the mahogany desk.
ERIC
Have
you reached a conclusion, finally?
A
gentle smile graces ISIDORE’S mouth.
ISIDORE
Yes.
ERIC
And
the verdict?
ISIDORE
I
don’t think the contents of that envelope are going to find you happy.
ISIDORE
steps backwards and exits.
Fade out.
21.
INT. DARKROOM – EVENING
ISIDORE clips newly developed images to the line.
The photographs are artistic, not surveillance shots.
At the end of the line the two photographs of ZOE,
sorrow and joy, still hang. A scattered pile of photos, all containing ZOE and
her LOVER, rest beneath these. The only images of ZOE missing are the ones that
did not damn her.
Standing over a tray, ISIDORE gently agitates a
piece of photo paper in developer.
The paper is blank, but a faint, hazy, image is
beginning to show through.
Fade out.
Credits.
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