No tags yet.
“49 Years After”
A script for a feature film written by Thalia Alexiou, Petra Terzi and Michael Kokkinaris
WGAWEST Registration Number: 1826650
“49 Υears After” ©2016 – Papyrus Trinity Star LLC.
Tel.: +1-718-795-6601
Log line:The parallel world of the “lost souls” who live among us.
Summary:Sofia is a specially gifted person with the ability to look into "The Parallel World of the lost souls" and she will be able to guide little Annie to understand that she also has the same gift, that it was given to them, so that they could offer deliverance to the lost souls that live among us.
Treatment
This is the film adaptation of the life of a clairvoyant woman, who as a child, will defend with passion the charisma to "see" what others could not grasp with their own senses.
4. EXT.GREEK ISLAND. A SMALL CHURCH BY A CEMETERY. MORNING.FLASHBACK.
Sofia at early age (5 years old)and her sister (2 years older) walk outside of a church.
SOFIA (V.O.)
Every day my sister and I walked in
front of a church near my grandmother's house.
I saw a young girl with beautiful black long hair. She was wearing a white dress and holding a book...
SOFIA
(to her sister)
Did you see that girl in the white
dress holding that book?
SISTER
(angry answers Sofia)
No, nobody is there.
You are trying to scare me!
I will tell mama you are trying to
scare me.
She starts running to get home first and tell mama.
5. INT. GREEK ISLAND. SOFIA'S HOUSE. FLASHBACK.
SISTER
(angry, to her mother)
Sofia insists she is seeing a girl
by the church cemetery with a book
and wearing a white dress.
She lies mama.
No-one was there.
She tries to scare me!
SOFIA'S MOTHER
(to little Sofia)
Stop scaring your sister!
SOFIA
(to her mother)
Mama,I don't want to scare her.
I see that girl every day,
holding that book and
wearing the same white dress.
SOFIA'S MOTHER
(to Sofia)
Nobody is there.
Your sister doesn't see her.
Nobody is there!
Sofia's mother signals to her eldest daughter to leave the room and very frustrated shouts to Sofia.
SOFIA'S MOTHER (CONT'D)
You never saw that girl with the
book! You lie!
This is your fantasy!
Υou will be punished badly, next
time you try to scare your sister
and ...remember you never saw that young
woman with the book!
Do you understand?
10. INT. SOFIA'S HOUSE IN THE GREEK ISLAND.NIGHT. FLASHBACK.
SOFIA (V.O.)
(with tears in her eyes)
I knew I saw that girl with the
white dress, holding a book
it was true in my heart, it was truth in my eyes,
but I have a confusing question ?
Why can't my sister see that
beautiful girl!
I am scared, do I have to be
secretive the rest of my life?
The film narration itself, with the witty fictional elements which contains, is a gradual initiation into the consciousness of the existence of a transcendental world in which human senses can’t recognize.
19. INT. GREEK ISLAND. SOFIA'S GRANDMOTHER HOUSE. NIGHT.
FLASHBACK.
Sofia is 5 years old. She is alone with her grandmother
sitting on the porch (veranda) at the second floor.
Sofia reaches out to hold her grandmother's hand and whispers in her grandmother's ear.
SOFIA
I hear somebody singing in the
middle of the night.
I wake up listening to somebody
singing.
SOFIA (V.O.)
My grandmother told me a story
that a young Turk boy was in love
with a Greek girl.
Her parents didn’t want him to
marry her.
He committed suicide and he didn’t
go to Allah.
SOFIA
Yiayia, why don’t we tell him to go to God?
GRANDMOTHER
OK. Close your eyes and let’s tell
him to go to God.
SOFIA
I don’t want to close my eyes!
SOFIA (V.O.)
My grandmother closed her eyes.
I saw the bright light like a big
ball mushroom to be around us.
I pulled her dress to open her
eyes.
She opened her eyes and told me.
GRANDMOTHER
Sssst..
SOFIA (V.O.)
We stayed still holding hands and
didn’t talk until the light disappeared.
Since then I trusted my grandmother
that she can see like me and she is
not like my sister.
I was very happy for that.
Now I have somebody that believes me!
And we laughed.
SOFIA
(to her grandmother)
I love you so so much up to the sky
and beyond that!
So by the surprise and the embarrassment of a little girl who lives in an Aegean island, 49 years ago, realizes her charisma to be able to move herself in this transcendental world, to "see" the images and recognize unjustified people's souls who left the world of our senses.
The "49 Years After", always with the pictures of a narrative film, in New Jersey, with the specialty of the holistic doctor of the soul, a specialist in Energy Medicine, Sofia, a mature woman now, around her fifties, will undertake to introduce us in this transcendental world through two parallel amazing stories.
In these two stories, the 6 year old Annie is an intermediary, which has the same gift with Sofia and she cannot handle it compared to Sofia who 49 years ago, holding the hand of her grandmother helped the soul of the sad Turkish boy to "leave" the world which wounded and separated him from his young Greek beloved one and led him to suicide.
So, little Anne cannot help the little Irishman, Andrew Mac Dugal, who was killed as crushed on the carriage of a drunken coachman in New York in 1878 and asks Sofia to help him to "leave" the world that harmed him.
22. EXT. NEW YORK 1878.
FLASHBACK.
Sofia starts seeing New York's everyday life in the 18th
century. People move around without seeing her.
And as Sofia has the feeling that she will soon see Andrew, a boyabout eight, begins to move through the crowd.
Camera is focused on the newspaper NEW YORK TIMES December 18,1878.
FADE ON: "NEW YORK TIMES DECEMBER18,1878."
THE OLD MAN WHO SELLS FOOD AT THE CORNER OF SEVENTH AVENUE AND WEST 58TH STREET NEAR CENTRAL PARK MAKES A SIGNAL TO THE LITTLE BOY TO APPROACH HIM.
HE GIVES HIM A LARGE PAPER BAG WITH FOOD IN IT AND A PIECE OF PAPER WITH THE ADDRESS OF THE CUSTOMER, SHOUTING AT THE BOY.
OLD MAN
Andrew McDugal, remember!
I will not pay you if the customer complains
that you were late!
ANDREW
Don't worry about it, boss!
Consider it done!
The little boy reads the note and runs at the opposite to
Fifth Avenue, counting the roads he meets with a smile on his face.
23. EXT. 57TH STREET. MORNING.
FLASHBACK.
Little Andrew enters the 57th Street and is lucky enough not to be crashed by a carriage that was coming towards him, as he passes to the opposite sidewalk.
In the middle of the block, to the left he finds the building that was looking for!
ANDREW
Aha! Here we are!
At the entrance two-three street boys are waiting for someone to rob.
Little Andrew is hiding and waiting for them to pass by.
24. INT. IN THE BUILDING. MORNING.
FLASHBACK.
As the door of the building opens, Andrew lifts up from his hiding place with incredible speed, enters the house and starts climbing the stairs with a broad smile.
Without gasping he stops at the door that he is looking for and he knocks.
A grumpy black maid opens and grabs the paper bag, she
pushes Andrew and shouts.
MAID
You are late bloody Irish...!
The door closes, Andrew puts out his tongue mockingly and keeps smiling, he opens his shirt, he turns out the pockets of his trousers and with his hands up goes out of the building.
25. EXT. THE BUILDING OF THE CUSTOMER. NOON.
FLASHBACK.
The Gamins (street boys) just see him are moving towards him and they beat him slightly as they are sure he has nothing to steal.
26. EXT. SEVENTH AVENUE. NOON. - THE DANCE SCENE. FLASHBACK.
As Andrew goes uphill again to Seventh Avenue, he is hearing loud Irish music.
Andrew enters the 57th Street and is standing in front of the guy who plays the violin with Irish music, leaves a red caramel on the tray that a little girl holds accompanying the violinist, grabs the little hand and forces her to dance with him.
They are a cute "couple" perfectly dancing and the crowd gathered begins applauding the dancers.
27. EXT. DUBLIN PORT. MORNING.FLASHBACK.
The shot opens up as thousands of Irish crowd at Dublin Port.In ships, young and old men, children, remain silent as they go to the open Ocean.
In a distant perspective, Andrew and his mother appear.
28. EXT. NEW YORK PORT. MORNING.FLASHBACK.
The music accompanies the Irish who are disembarked in New York,and among them a woman is holding by the hand little Andrew.
Late at night, in the dim streets of New York, little Andrew,
tired of walking in the direction of East 59th Street enters to the basement of an apartment building.
The door opens, he is hugging his mother and in front of the dim light of a candle the little Andrew counts one ... two … nine pennies!
29. EXT. NEW YORK. STREETS WITH SNOW. MORNING.FLASHBACK.
Little Andrew, with the same enthusiasm, is moving between the scanty crowd circulating in the snowy city streets.
GOING DOWN TO THE SEVENTH AVENUE HE HEARD AGAIN THE IRISH MUSIC AND WITHOUT HESITATION HE RUNS TO GO TO DANCE WITH LIZ,AND
SHE SEEMS LIKE TO WAIT FOR HIM.
AS THE COUPLE DANCING, ANDREW WHISPERS.
ANDREW
Liz, you have to remember ...
When I grow up, I will marry you!
You have the word of an Irishman!”
Nevertheless little Andrew MacDugal will not finally keep his promise , as he will fall victim of a road accident , was swept away by the carriage of an intoxicated driver in the dark
streets of New York , who will bury his little body in Central Park.
His disappearance would lead to the death of his mother, in deep melancholy the small Irish girl, Liz, who in vain is seeking him, and little Andrew's soul will wander until it encounters in Central Park little Annie and ask her to help him to “leave".
However over all those years elapsed the soul of little Andrew is not absent ...
56.INT.NEW YORK.METROPOLITAN OPERA.EVENING.
FLASHBACK.
OUTSIDE THE METROPOLITAN OPERA OF NEW YORK THERE IS A BIG
POSTER WITH THE LARGEST EVENT OF THE YEAR 1896:
"THE SWAN LAKE, PYOTR TCHAIKOVSKY."
STARS THE PRINCIPAL BALLERINA LIZ MCQUEEN.
THE FOURTH ACT ENDS AND THE AUDIENCE WENT WILD.
After the show, the backstage of the theater is filled by the
enthusiastic crowd who want to see up close the goddesses of dance.
THE DRESSING ROOM OF LIZ IS FILLED WITH ROSES.
When the impresario enters in the dressing room, Liz embraces and kisses him passionately and whispers.
LIZ
I owe to you everything!
IMPRESARIO
You exaggerate!
Simply you are so much talented
and I loved it from the first moment
I saw you dancing in the middle
of the road!
LIZ
Did you love me or my talent?
IMPRESARIO
Let's divide them to choose, then!
I'm leaving love...
Do not be late!
This night will be long and it will be all yours!
LIZ GETS READY, WITH THE HELP OF HER MAID WEARS HER DRESS, WHEN HER GAZE FALLS ON THE TRAY SHE HOLDS FOR LUCK.
On the tray there is a white rosebud and a round red caramel.
Liz is kissing with emotion the rosebud and whispers.
LIZ
Bloody Andrew, where are you?
I missed you so much!
Then she takes the red caramel and puts it in a small purple leather pouch, along with the other caramels and she carefully hides it in the dressing room.
57. INT. LUXURIUS NURSING HOUSE FOR OLD AGED PEOPLE. AFTERNOON.
The young journalist, after interviewing the very old Ellen
McQueen, notes in her diary.
JOURNALIST
"Today on April 26, 1960, I had the chance to meet
the great dancer of the last century lady Liz
MacQueen..."
58. INT.FLASH BACK SCENES OF LIZ DANCING.
During the duration of the interview there are flash back
images from the life of Liz dancing as a little girl in the
streets of New York, but also in the larger musical theaters in Europe.
59. INT. LUXURIUS NURSING HOUSE FOR OLD AGED PEOPLE.AFTERNOON.
The interview ends, the young journalist leaves and as the
darkness begins to fall, Liz whispers.
LIZ
It's time to leave as well...
My beloved ones are waiting for me...
Liz closed her eyes, but the bright light from the corner of the room forces to keep her eyelids half-opened, murmuring.
Liz
I feel that you are here Bloody
Andrew...
Always you, Bloody Irishman.
I felt you were here...
But you never kept your promise!
Liz closed her eyes again, her breathing is lost slowly until no sounds are heard in the room.
When the nurse turns on the light, she finds Liz with a smile on her face and not breathing, she was dead.
And what makes her a big impression is a red round caramel next to the deceased's cushion.
Annie can’t also handle the grief of her father's first wife, Mary An who died in her childbirth, and she can’t "leave" unless her husband forgives her.
7. INT. TYPICAL FLAT IN NEW YORK. LIVING ROOM. NIGHT.
Annie (at a younger age, around four) is playing with her
dolls, when Joe Wilson (around forty-five with a severe
face), Annie's father enters and is welcomed coldly by Claire Wilson, Annie's mother.
Annie makes a signal to her father, approaches him and tells him a secret.
Joe, full of curiosity, obeys and Annie is whispering to his ear.
ANNIE
(confidentially)
The tall beautiful lady
who is following you,
told me that
she loves me very much...
JOE
(frustrated)
Annie, please ...
There is no such a lady who follows
me ...
Stop listening to the fairy tales,
which your mother teaches you to tell...
Please stop... my sweetheart!
Joe stands up abruptly and makes a signal to Claire to follow him to the bedroom.
8. INT. WILSON'S BEDROOM. NIGHT.
JOE
It is the last time ...
I hear this nonsense!
You are poisoning this young
child's soul with the tales you
told her about the death of my
first wife.
You put the little one to play a
strange role...in order to hate me...
CLAIRE WILSON
I don't play any dangerous role.
Think a bit!
I have not said anything to her!
Did you ever hear Annie, describing
the nice lady who follows you ...?
Did you ever wonder who spoke to
her about the characteristics of
that woman?
When I met you, she had
already died, right?
I never saw even a picture of her!
What kind of guilt are you
carrying, Joe?
Tell me, then I can understand your
anger...
JOE
I don't want to talk about it any
longer.
I am frustrated with this issue.
And as I can not handle it,
because it makes me crazy,
I will leave for a while...
I have to think.
And I believe that the little one
plays the role that you directed,
and that is going to end our
marriage very soon.
9. INT. WILSON's LIVING ROOM.NIGHT.
In the living room, little Annie continues to play with her dolls accompanied by a beautiful blond woman, around thirty, who caresses with affection her hair.
A soon as Joe leaves, Claire enters the living room and sits next to her daughter.
CLAIRE WILSON
(Claire hugs Annie and whispers)
Are you sure, my little,
that this beautiful blond lady
with the sweet face,
keeps you company in the evenings?
ANNIE
Naturally...
And just now she was here ...
I even smell her perfume!
Do you?
11. INT. WILSON'S LIVING ROOM. NIGHT.
ANNIE
(to her mother)
You do believe me!
Don't you mama?
The narrative value of the script continues mainly with imaginative "solutions" according to the ancient Hellenic concept of the theatrical solution where both of the two stories highlight the unique gift of Sofia and also the redemptive value for the human being tested.
However the real reason for thοse stories is to spread out to the world that some of us who are serving the human soul have to be appreciated and respected and perhaps, with an open heart, we will be able someday to understand human souls and what happen after physical death and maybe we will be able to live longer with happiness and be supernatural beings instead of just human beings.