Frame – by Tofiel Choudhury
(CUT)
EXT. CANARY WHARF, LONDON – DAY
We see HIS clean cut character as he begins his journey home from work. Here, he is seen impeccably well-dressed but with a completely emotionless expression.
(CUT)
INT. DINING ROOM – EVENING
He and his BROTHER-IN-LAW (BIL) are seated. He is sketching and is facing the table. His brother-in-law is facing him.
HIM:
There was a plan. We set out how to live our lives in the best way possible. She wanted that too.
BIL:
And now she doesn’t?
He stops sketching.
HIM:
What she wants now isn’t the same plan.
A short pause.
HIM:
Tomorrow’s our one year anniversary. One year since we made the agreement to be free to live our lives for ourselves and for each other. No one else.
BIL:
Yeah, one year since I watched you vow to do anything to make my sister happy.
He turns to face BIL. After a short but slow glance, he turns back to his sketch. He completes the final line of the room of the blueprint of a house and looks down intently at that specific room.
(ZOOM into the sketched room and DISSOLVE)
INT. BEDROOM – DAY
Zoom is continuous as we see a bird’s eye view of LILY. We see him with his back turned to her looking out of a window.
LILY:
I’m sorry I don’t feel the same way as you anymore. I’m sorry I changed my mind on this whole thing. I wish I could stop wanting this so much but I can’t.
A short pause in the place of his response.
LILY:
…I want to be a mother.
Montage of short clips which show an argument between the couple. She is seen crying as he screams at her.
(CUT)
INT. DINING ROOM – EVENING
He abruptly awakens from his daydream.
Him:
We drew this entire marriage out together. She agreed – no children. Nothing that could disarray our straightforward lives.
He looks around at the sketch paper in front of him in desperation.
Him:
That was the plan.
BIL looks at his friend with compassion. A feeling of sorrow is clearly seen on his face as he looks away.
BIL:
Look…you spend all of your time drawing out designs for these skyscrapers because you love creating. But you can’t make a blue-print for your life. Or hers.
(CUT)
[Only the audio of this segment of this speech is heard. BIL’s voice plays over external shots from protagonist’s journey home from work as he admires the buildings around him.]
BIL:
You love the power you hold. You love the control you have. But not everything in this life can be carefully measured. Not every mistake can be erased.
(CUT)
We’re back in the dining room.
BIL:
You say you’ve drawn out everything but what about meeting Lily? Was that something you designed? Was that one of your creations coming to life?
A short pause as we see him contemplate what his brother-in-law just said.
BIL:
You love her.
His brother-in-law takes away his pencil.
(CUT)
EXT. STRATFORD, LONDON – DAY
He is seated at a bench looking less impeccable than when we first saw him. His shirt is untucked, his top button is undone, and his tie is loose.
A child’s laugh is heard. He turns his head to see a father playing with his daughter in the distance. They are both laughing as the father lifts up his daughter and kisses her.
While walking away, He sees his reflection on the side of a building. He stops and looks at himself, noticing his untidy appearance. He begins to tuck his shirt.
(CUT)
[A montage of shots of Lily smiling and laughing]
(CUT)
He continues adjusting his shirt but this time more slower as he focuses on his reflection.
[Lily montage]
He begins to untuck his shirt. He loosens his tie, removes his jacket, and walks away from the building.
Frame 