participant observation
In the late 1990's I bought, what was then the pinnacle of technology, a home DVC digital camcorder. It had 3 CCD chips and a plethora of image manipulation modes. It cost over £3,000. (Ten years later I replaced it with a similar camera for about £150.)
I wanted to try it out properly. So I wrote a short film which I intended to shoot with it, using my friends as the 'actors'. The screenplay was written around the various recording modes, hence the many dream sequences. My friends all moved out of London before I could film it. I don't think it's the best thing I've ever written, but its not the worst.
Anyway, here it is...
I wanted to try it out properly. So I wrote a short film which I intended to shoot with it, using my friends as the 'actors'. The screenplay was written around the various recording modes, hence the many dream sequences. My friends all moved out of London before I could film it. I don't think it's the best thing I've ever written, but its not the worst.
Anyway, here it is...
You can download a Kindle format copy of the script below:
(Click here for instructions on how to import the file into your Kindle device or app.)
(Click here for instructions on how to import the file into your Kindle device or app.)
| participant.mobi |
Participant Observation appears as a short story in the anthology "Memes of Loss & Devotion", which will be released as an Amazon Kindle ebook in Spring / Summer 2013.
Fictional Short Film Screenplay
© Darren White 1999. All Rights Reserved
participant observation
by
darrenwhite
First World Rights
INT. BEDROOM, NIGHT, DIM
SLOW PAN over tabletop. Cigarette smoke drifts evocatively. Prominent items amongst the chaos include a butt-filled ashtray, a fingerprint-smeared tumbler, a bottle of Jack Daniel's and a pile of Polaroid photographs.
A hand reaches forward from the gloom and takes one of the photographs, pulling it back into the consuming darkness.
INT. BEDROOM, NIGHT, DIM
ULTRA CLOSE, MACRO SHOT on Polaroid. SLOW PULL BACK to REVEAL an image of an attractive young woman, staring melancholy from the frame. A finger lovingly caresses her outline.
V.O.
She haunts me at night, in my dreams. I can't escape her. Even out of my bed isn't out of my
life.
(a beat)
I've wished her out of my nightmares…
(a beat)
You know you should be careful what you wish for…
Smoke drifts over the Polaroid. We FOLLOW it back onto the table where it sits on top of a menagerie of images. The shot lingers on it.
FADE TO:
INT. BEDROOM, MORNING, STARK LIGHT
SHOT PANS along the tabletop from the night before. An alarm clock buzzes angrily in the background. We see a blurred, out of focus figure reach out and silence the alarm clock.
The PAN rests on the bottle of Jack Daniel's from the night before, still next to a now even fuller ashtray and the pile of Polaroids. Only now the bottle is empty.
EXT. TRAIN STATION, MORNING, BRIGHT
Figure from the night before stands bleary eyed on the platform, awaiting a train. The station is empty apart from him. He sighs deeply, contorting his face. The world torments him, clawing at the broken emptiness inside. He looks at his watch before sloping dejectedly away.
INT. PUB, SMOKEY, DIM
View across the crowded table at the man from before. He sits gloomily, staring into his abandoned drink. His friends are enjoying the evening, oblivious to his apparent and all too obvious torment. One of them is busy telling a joke to his attentive audience.
FRIEND #1
Right, so one in five people in the world are Chinese right? And there are five people in my
family. So one of them must be Chinese, right?
He takes a hasty slurp from his drink.
FRIEND #1
So I’m thinking that it’s not my parents, and its not me or my sister, so it has to be one of my
brothers. But which one?
He looks around at the others eagerly.
FRIEND #1
So, is it Colin or is it Mao Xao Chin?
The other burst into laughter.
Macro shot of an eye. Slow pull back…
V.O.
FRIEND #1
I think that it’s Colin…
…to reveal full upper body. The depressed figure looks up from his drink at them. He stares at their mirth before rising quickly.
SEAN STEWART
(quietly, apologetically)
I’m off.
Another friend, SCOTT, reaches quickly out and grasps him tenderly by the arm.
SCOTT
Hey, are you ok?
SEAN
Yeah, I’m fine. Really.
SCOTT
I’ll come with you.
SEAN
No, that’s ok. I want to be alone.
SCOTT lets go. SEAN mumbles his good-byes and leaves. The others stop talking and look quizzically towards SCOTT. He SHRUGS back.
INT. BEDROOM, NIGHT, DARK
Quiet and dark. SEAN is sleeping in his bed. He suddenly SPRINGS up, startled and gasping for air, destroying the sacred silence of the night. He looks around, momentarily confused and disorientated, before dropping back onto the bed. He runs his hands through his hair.
INT. LOUNGE, DAY
A forgotten cigarette burns in SEAN’s hand, the ash almost dripping from the end. He stares ahead, looking through the blue smoke. Suddenly the telephone rings, startling him. He stubs out the cigarette before picking up the telephone.
SEAN
Hello?
(a beat)
Yeah, I’m fine. No, really, I just had to be alone, you know?
(a beat)
Yeah, it’s just that -
Suddenly a strange piercing NOISE breaks through the conversation. It sounds like people talking in a strange language combined with modem sounds. SEAN cringes in pain. The sound doesn’t appear to be coming from the phone.
Just as it started, the sound disappears. SEAN looks around, confused. He puts the phone to his ear.
SEAN
Yeah, I'm still here. Did you hear that?
(a beat)
What? You must have heard it?
(a beat)
Surely it wasn’t just me.
SEAN slowly lowers the telephone back to it’s cradle. He looks shocked and confused.
INT. BEDROOM, NIGHT, DIM
SEAN sits talking to SCOTT, the camera slowly moving around the space between them. Music plays softly in the background.
SEAN
It not like I can blame it all on working too hard, I haven't made it in for days.
SCOTT
What are you telling them?
SEAN gives a non-committed shrug. He looks away
SEAN
They understand…
SCOTT
Maybe you should see someone about it all.
(a beat)
No, really.
SEAN
Maybe.
SEAN looks embarrassed.
SEAN
There's something else…
There's a pause as SEAN struggles to find the words. He rubs his face.
SEAN
I haven't been sleeping well and I think that its starting to affect me.
SCOTT
Affect you? How?
SEAN
I'm hearing stuff that isn't there.
SCOTT
Like what? Why aren't you sleeping?
SEAN laughs.
SEAN
Memories. Just memories that need a kick.
SCOTT nods without really understanding.
SCOTT
Go to a doctor. Get yourself checked out. I would.
SEAN
Maybe.
SCOTT nervously checks his watch.
SCOTT
I'm gonna go. I've got an early start in the morning.
SEAN nods. They rise and walk to and through the door.
INT. HALLWAY, NIGHT, BRIGHT
SEAN and SCOTT walk to the front door. SEAN opens it to let him out.
SCOTT
You know it's only time - the healer.
SEAN nods, seemingly comforted by the words. SCOTT steps out after saying a soundless good-bye. SEAN walks back to his room.
INT. BEDROOM, NIGHT, DIM
SEAN walks over to the source of the music and starts to turn it up. Suddenly the strange piercing NOISE from before screams out, drowning the music and his CRIES. Again, it sounds like people talking in a strange language combined with modem sounds. SEAN cringes in pain, covering up his ears.
Moments later the sound abruptly stops, leaving him alone with the music. He looks around, deeply shaken.
INT. BEDROOM, NIGHT, DARK, ESTABLISHING SHOT
SEAN lies asleep in his bed.
FADE TO:
INT LIVING ROOM, DIM - DREAM SEQUENCE #1
SEAN is in a crowded room. It looks like an informal party. SEAN's clothes are brighter and less somber than we are used to seeing him in. SCOTT is stood next to him, they are both holding drinks. SCOTT gestures towards the woman from the Polaroid in the first scene.
SCOTT
I think you're in there mate. She's been looking at you all night.
SEAN
Naah, not me.
(a beat)
Has she?
The woman look slyly over, and upon seeing SEAN looking at her, smiles shyly back.
SCOTT
See what I mean.
SEAN nods.
SEAN
Here goes nothing.
SEAN takes a drink before walking hesitantly towards the woman. She spots him approaching and smiles again.
SEAN
You look like you're in need of a really good…
(a beat)
…conversation?
The woman smiles and laughs a little.
WOMAN
Oh, you think so do you?
FADE TO:
INT. BEDROOM, NIGHT, DARK, SECOND ESTABLISHING SHOT
We SEE SEAN still asleep in his bed. He twitches almost imperceptibly.
EXT. PARK, DAY, LIGHT - DREAM SEQUENCE #2
SEAN is looking around anxiously. He seems alarmed and out of breath. He turns and runs. We SEE his feet running through grass. He's running wildly; as if for his life. He runs and runs.
INT. BEDROOM, NIGHT, DARK
Quiet and dark. SEAN is sleeping in his bed. He suddenly SPRINGS up, startled and gasping for air, destroying the sacred silence of the night. He looks around, momentarily confused and disorientated, before dropping back onto the bed. He runs his hands through his hair.
EXT. PARK, DAY, LIGHT
SEAN and SCOTT are walking slowly through a park.
SEAN
Oh, I don’t know. Sometimes I think that I just need someone to scream pull yourself
together at me.
SCOTT
(shouts)
Pull yourself together, man!
SEAN smiles at the joke.
SEAN
No, sorry, it doesn’t seem to have worked.
SCOTT
It was worth a try though.
They take a few steps in silence.
SEAN
It’s just so unlike me to just loose control like this. I’m normally so together. I can’t
believe that something like this could just make me loose it so.
SCOTT
Give it time. It’ll all sort itself out in the end.
SEAN has stopped walking and is staring into the distance.
EXT. PARK, DAY, LIGHT
Shot of a striking looking man standing in the distance. He seems to be watching them.
EXT. PARK, DAY, LIGHT
SCOTT is still talking to SEAN who does not seem to be listening.
SCOTT
These things always seem to sort themselves out. Like I said the other night, it's
only a matter of time.
(a beat)
SEAN, are you listening to me?
SEAN
Hmm?
(a beat)
Where do I know that guy from?
SCOTT looks over at the direction SEAN is looking.
EXT. PARK, DAY, LIGHT - SCOTT’s POV.
Shot from before, except that the striking looking man isn’t there anymore.
EXT. PARK, DAY, LIGHT
SCOTT is looking around.
SCOTT
What guy? Who are you talking about?
SEAN
(confused)
There was someone over there. Or at least, erm, at least I thought there was. He
looked so familiar.
SCOTT
Who was he?
SEAN
I don’t know. He just looked really familiar somehow.
SCOTT
Well, where'd he go?
SEAN
I don't know. He was right there. Over there.
SCOTT
I don't see anyone.
SEAN begins to walk on, out of the shot.
SEAN
Man, I really am loosing it.
INT. BEDROOM, NIGHT, DARK, ESTABLISHING SHOT
SEAN lies asleep in his bed.
FADE TO:
INT LIVING ROOM, DIM - DREAM SEQUENCE #3
SEAN is in a crowded room. It looks like an informal party. SEAN's clothes are brighter and less somber than we are used to seeing him in. SCOTT is stood next to him, they are both holding drinks. SCOTT gestures towards the woman from the Polaroid in the first scene.
SCOTT
I think you're in there mate. She's been looking at you all night.
SEAN
Naah, not me.
(a beat)
Has she?
The woman look slyly over, and upon seeing SEAN looking at her, smiles shyly back.
SCOTT
See what I mean.
SEAN nods.
SEAN
Here goes nothing.
SEAN takes a drink before walking hesitantly towards the woman. She spots him approaching and smiles again. Suddenly the STRANGER from the park steps between them. He puts a hand on SEAN’s chest and stops him.
STRANGER
We need to talk. Your time is near.
SEAN
Hey I know you! You're the guy from the park!
STRANGER
We must talk.
SEAN
What do you want? What are you doing here?
SEAN pushes past the STRANGER, looking for the woman from the Polaroid. But he can't see her. He spins back to look for the STRANGER, but he's also gone.
FADE TO:
INT. BEDROOM, NIGHT, DARK, ESTABLISHING SHOT
We SEE SEAN still asleep in his bed. He moves in his sleep.
EXT. PARK, DAY, LIGHT - DREAM SEQUENCE # 4
SEAN is looking around anxiously. He seems alarmed and out of breath. He turns and runs. We SEE his feet running through grass. He's running wildly; as if for his life.
He stumbles and falls, turning back quickly. The man from the park is standing over him.
STRANGER
Your time is near.
INT. BEDROOM, NIGHT, DARK
Quiet and dark. Blue light seeps through blinds and grills the wall. SEAN is sleeping in his bed. He suddenly SPRINGS up, startled and gasping for air, destroying the sacred silence of the night.
His face pierces a shaft of light, illuminating his pain. He looks around, momentarily confused and disorientated, before dropping back onto the bed. He runs his hands through his hair.
He pauses before pulling back the covers and swinging his legs out of bed.
INT. BATHROOM, NIGHT, DARK
SEAN hangs his head in the basin and splashes cold water over himself, gasping with the chill of it. He sighs before slowly lifting his head and looking at himself in the mirror.
He sees a reflection of the STRANGER standing silently in the doorway behind him. He spins around.
INT. BATHROOM, NIGHT, DARK - SEAN's POV, HANDHELD SHOT.
The doorway is empty. He runs to the open door frame and peers quickly both ways. The corridor outside is empty.
INT. CORRIDOR, NIGHT, DARK
SEAN falls exhausted against the wall and slides uncontrollably down it. Shot lingers on him looking bemused.
EXT. TRAIN STATION, MORNING, BRIGHT
SEAN stands bleary eyed on the platform, awaiting a train. The station is empty apart from him. He sighs deeply. We SEE past him at a train approaching from down the track. He watches the train approach. Something catches the corner of his eye and makes him turn.
We SEE the STRANGER standing on the opposite platform from over SEAN’s shoulder before the train sweeps by and hides him.
SEAN waits for the train to empty and go. The opposite platform is now empty.
EXT. TRAIN STATION STAIRCASE, MORNING, BRIGHT
SEAN runs up the stairs.
EXT. TRAIN STATION, OTHER PLATFORM, MORNING, BRIGHT
SEAN runs onto the now empty platform. He looks around forlornly. The STRANGER has gone. He stamps the floor in frustration and turns quickly to leave.
EXT. TRAIN STATION ENTRANCE, MORNING, BRIGHT
SEAN runs hurriedly out.
EXT. STREET OUTSIDE TRAIN STATION, MORNING, BRIGHT - SEAN’s POV
SEAN looks both ways down the street, but it is empty. He pauses, catching his breath.
Suddenly he spots the STRANGER standing on a street corner. He BECKONS once to SEAN before disappearing around it. SEAN runs after him.
EXT. STREET, MORNING, BRIGHT
SEAN spots the stranger at the end of the street. He walks quickly after him.
EXT. PARK, DAY, LIGHT
SEAN is looking around anxiously. He seems alarmed and out of breath. He turns and runs. We SEE his feet running through grass. He's running wildly; as if for his life. He stumbles and falls, turning back quickly. The man from the park is standing over him.
SEAN
Who are you? What do you want?
STRANGER
Your time is near.
SEAN
What do you mean my time is near?
STRANGER
We must talk.
The STRANGER looks slowly around.
STRANGER
But not here.
The STRANGER reaches down and slowly pulls SEAN up.
INT. BEDROOM, DAY, LIGHT
SEAN is pacing. The STRANGER stands impassively, silently watching him.
SEAN
Ok, so we’re here now. I want answers. Who are you? And what’s been going on in my
life?
STRANGER
I think you ought to sit down. What I have to tell you may come as a shock.
SEAN glares at the STRANGER, considering his suggestion. He is barely controlling his anger. He finally sits down.
SEAN
Oh, this is madness.
STRANGER
Have you ever felt different to everyone else? Like you don’t really belong?
SEAN
Of course I have. Everyone feels that. It’s called paranoia.
STRANGER
Not in your case. You have a very good reason for it.
(a beat)
You see you’re not human.
SEAN explodes, leaping to his feet.
SEAN
Not human?! Get out! Just get out of my house! This is ridiculous! Not human?
STRANGER
Please listen to what I have to say.
SEAN sits reluctantly back down.
STRANGER
You are really a highly respected, prize-winning Xeno-Sociologist from a civilization
far more advanced than this one. You’re leading a team doing a long-term study of
human society.
SEAN
Bullshit! I can remember my whole life.
STRANGER
Of course you can. You were born a human. That is the whole point. We constructed
this human body housing for you.
(a beat)
You are conducting a long-term, participant observational study of this species. It was
imperative that you blend in. That they didn’t suspect that you’re not one of them. Also,
if you didn’t know your true nature then it couldn’t affect your observations.
SEAN
What observations? I’ve just been living my life.
STRANGER
Precisely.
SEAN
Precisely? What sort of bullshit is this?
STRANGER
After we’ve recovered you from this body we will extract your memories and study
them.
SEAN
My memories? What, all of them?
STRANGER
Yes, if we are to truly understand humans. The discoveries we have made so far
are already truly amazing.
SEAN
Already?
STRANGER
We have had no difficulties recovering the rest of your team. Only you. They are
very eager to share their results with you.
SEAN
My team?
(a beat)
How many?
STRANGER
Three hundred thousand social scientists.
SEAN
There’s been three hundred thousand of you here for decades?
STRANGER
We had to study every culture. Beside it’s not me, it’s us.
SEAN
What trouble did you have recovering me?
STRANGER
For some reason you didn’t respond to the recall signal. It should have triggered
your latent memories and prepared you for the return.
SEAN
What recall signal? Show me.
The STRANGER reaches into a pocket and pulls out a small, silver remote control. He presses a button and the strange NOISE that SEAN has been experiencing starts. SEAN clutches his ears in pain. The STRANGER presses another button and the SOUND ends.
SEAN
That was you? That was you all along? I’m not going crazy?
STRANGER
It wasn’t supposed to be painful.
SEAN rises and starts to pace.
SEAN
So it is true?
STRANGER
Perfectly true.
SEAN looks obviously confused. He paces, suddenly grabbing his Polaroid camera and takes a picture of the STRANGER. The STRANGER doesn’t flinch.
We SEE a close-up of the blank, developing Polaroid.
STRANGER
Why did you do that?
SEAN
I don’t know. Evidence. Grounding. Something…
STRANGER
This is obviously very distressing for you. We must begin the recovery procedure
immediate.
SEAN sits back down, still clutching the Polaroid.
SEAN
Just give me a moment here.
STRANGER
This all very exciting for everyone. We have waited a long time for the data
retrieval and collation.
SEAN
Where are we from? What are we called? What do we look like?
STRANGER
You will remember all this in time.
SEAN looks even more confused. He laughs.
SEAN
I guess all this explains the hospital mix-up. The baby swap thing was me being
placed.
STRANGER
What do you mean?
SEAN
You know, the fact that my parents took me home instead of their real son.
STRANGER
You’re not the real SEAN STEWART?
SEAN
No. Don’t you know? He died before the mistake was discovered. My real parents
lost me in a court case to the STEWARTS.
(a beat)
But you know all this right?
STRANGER
We were protecting you. All your life we protected you.
CLOSE SHOT ON SEAN. He is almost hysterical in his happiness.
SEAN
This is amazing. This explains so much about my life.
(a beat)
Good god! Everything I thought was important is suddenly trivial.
(a beat)
This is so exciting! I can’t wait!
(a beat)
I can leave this miserable existence behind. When do we start?
WIDER SHOT. SEAN turns around. The STRANGER is gone. The room is empty.
SEAN
I said when…
SEAN shoots to his feet and looks around for the STRANGER. The room is empty apart from him.
SEAN
Where are you?
(a beat)
Come back!
(a beat)
I said come back!
SEAN pauses, suddenly calmer, doubting whether the whole thing happened at all. He looks drained and confused. He takes a look at the Polaroid. He gulps, visible deflated by what he sees. He places the Polaroid carefully on the pile of other Polaroids from the first scene.
CLOSE SHOT ON THE PICTURES. The new Polaroid shows an empty room. The STRANGER isn’t there at all. The blank, empty picture sits next to the picture of the woman from the beginning.
The shot lingers on the two Polaroids, allowing the metaphoric meaning to slowly sink in.
SLOW FADE TO BLACK
ends.
