Script

Bubble

Flight


Brett Walpole

Windswept

TITLES:


The way the wind shows itself in the movement of trees, flowers, grass, plants, hair, clothes on a line, a newspaper blowing along a seaside town front, seagulls apparently floating as they face into an onshore breeze, bunting flapping, flags snapping and curling, clouds racing across the sky.


INT. CAR - DAY


It is daybreak on a cold March morning. A young man, MATT (31), is driving his car alone into the sunrise, the road is clear ahead. The car is small but completely packed with boxes and bags and there is a windsurfer board and rolled sail strapped to the roof. As he drives music plays from the radio but he switches it off. As soon as he does a voice over, TARA (27), begins, a female talking in a strong tone, just short of shouting.


TARA (V/O)

Just look at yourself Matt, I mean you look terrible. You've let yourself go and for what? You're not working, you've sold nothing for months and months. This place, look at it, you never clean, you never wash up. You don't even wash your clothes Matt, you've been wearing those leather jeans since forever. You don't love me Matt, and you have no respect for yourself either. I don't know what I'm supposed to do, I've put everything into this thing, trying to make it work but its like you don't want it to. I can't live like this, you can't live like this, something's got to give and its me. I'm out Matt, I can't say it any clearer than that, I don't want to go, but you see I have to. You need to make some decisions too, otherwise you're just going to rot, and you're better than that, you know that. Do something, or don't do something, I don't care any more.


FADE IN:


Matt switches the radio back on and drives with an intent "gaze to the road in front of him. After several hours he arrives at a coastal town, St. Ives in Cornwall.


EXT. CAR PARK - DAY


He parks the car, looks to the horizon briefly and feels the wind on his face as there is quite a gust blowing. He walks following a map and arrives at a front door, he rings the bell and soon a woman opens the door.


MATT

Hi, I'm Matt Cooper, I've come to pick up the keys to 32 Wilton Lane.


LANDLADY

Oh, hello. Yes Matt, how was your journey down?


MATT

Pretty uneventful really. It didn't rain though which was good.


LANDLADY

Lovely, just wait there, I'll get

the keys.


She walks back whilst Matt looks around him taking in the quaint nature of the place. Soon the landlady returns with keys.


LANDLADY (CONT’D)

Here you are. I know you wanted the place unfurnished but I've put a few things in there just to make you feel at home, just 'til you find your own things.


MATT

Thank you, you didn't need to really.


LANDLADY

It's my pleasure, so good to have an artist in the place, the light is fantastic here, you'll see.


MATT

Thank you, its Mrs. Dawson isn'tit..


LANDLADY

That's right, I hope you're reallyhappy here Matt.


MATT Thank you.


EXT. TOWN STREETS - DAY


Matt turns and leaves and walks to his apartment. He finds it by walking up two external flights of steps and using the key goes in.


INT. APARTMENT - DAY


It is a one bedroom studio with a large window at one end overlooking the harbour. Matt walks around, there is a small kitchen area and a small bathroom, the bedroom is small too but has a futon bed already made up in it. He walks to the window. There is the sound of seagulls and in the mid- distance waves crash onto the shore. Its perfect weather for windsurfing.


INT. EXT. APARTMENT/CAR PARK - DAY


In the next two hours Matt carries all his belongings from the car up to his new apartment.


EXT. TOWN STREETS - DAY


When finished he locks up and wearing a big warm coat walks along the front, taking it all in before stopping at a cafe.


EXT. CAFE - DAY


He sits down outside, looks at the menu and soon a waitress, JEMMA (25), appears to serve him.


JEMMA

Hello.


MATT

Hi.


JEMMA

What can I get you?


MATT

I'll have an Eggs Benedict and a large cappuccino, thank you.


JEMMA

Certainly, is that everything?


MATT

Ah there is something else actually, you might be able to help. I've just moved down here, and...


JEMMA

Oh, that's great, you'll love it here, the weather's pretty extreme sometimes but the light is amazing.


MATT

Yeah... that's kind of one of the reasons I'm here, everyone always goes on about the light, I wanted to see if its true.


JEMMA

Its true, you'll see, anyways what was it you needed help with?


MATT

Well, I'm an artist, a painter actually and I...


JEMMA

Oh that's so cool, there's loads of artists here, turn a corner and you're bound to bump into one, you won't feel out of place. Sorry, rambling on, carry on.


MATT

Its just, well I made up these flyers and I was wondering where I might be able to put one or two.


Matt hands one to Jemma who reads it out quietly.


JEMMA

Matt Cooper, Painter. Required : life model to pose for sketches and paintings. Thirty pounds paid per hour. Please call this number to talk if you are interested.


MATT

Do you think that's ok?


JEMMA

Sure its fine, I can pin it up on our notice board, I'm sure someone will be intrigued. I'll be back with your order.


MATT Thank you.


Jemma goes inside and hesitates about putting the flyer on the notice board. Instead she puts it in her pocket and walks through the cafe. Matt waits, looking at the town people walking by and the lifeboat men washing their boat. Soon Jemma returns with the food and coffee. Matt eats, drinks, then gets the bill, pays and leaves.


INT. APARTMENT - DAY


He goes back to his apartment, unpacks all his belongings and as night falls makes up some canvasses, placing one on a large easel.

The morning arrives, Matt opens the curtains to the large windows and with a coffee begins to paint. His brush strokes are wild and aggressive and quickly a violent, black and red interpretation of his view takes shape. He kicks it over and goes for a walk along the beach.


EXT. BEECH - DAY


As he walks his phone rings, it is a woman.


JEMMA

Hi, is that Matt?


MATT

Yes this is me.


JEMMA

Hi I'm ringing about the life model work.


Matt's mood picks up immediately.


MATT

Hi, yes, excellent. Er... when are you free?


JEMMA

I get off work at five if that's of any use to you, today if you like.


MATT

That would be great, the light is good then for an hour or so. Er.. do you have any questions, about the money or anything?


JEMMA

No, the money's great but I was wondering would you be expecting me to pose, like naked?


MATT

Oh that. Well I do prefer to paint nudes but its up to you really, whatever you feel comfortable with. I'm just happy I've found someone to paint, its been a while for me. I have a degree in fine art if you were wondering, I'm not just some you know like vagabond or anything. I'm rambling, what's your name?


JEMMA

I'm Jemma. That all sounds fine. Whereabouts are you?


MATT

32 Wilton lane, do you know it?


JEMMA

Oh yes, that's easy, I'll see you just after five then.


MATT

Great, I mean cool, that's great, see you then.


Matt hangs up and looks to the sky.


MATT (CONT’D)

Yes!!


INT. MATT'S APARTMENT - EVENING


At five Matt is waiting with a new larger canvass on the easel, eventually Jemma rings the bell, wearing some flowing and elegant clothes and Matt opens the door.


MATT

Oh, wow, its you!


JEMMA

Yep, its me, thought I'd give you a surprise.


MATT

Nice one. Jemma. That's great, would you like a cup of tea?


JEMMA

Lovely, where do you want me to sit, or stand, I don't mind.


MATT

Oh, over by the window, I've a put a chair there. How do you take tea?


JEMMA

White, one sugar.


Matt makes the tea whilst Jemma sits down, looking at the view she sees the painting Matt made last night.


JEMMA (CONT’D)

Did you paint that?


MATT

Oh, yeah, its not good, a style left over from something past.


JEMMA

Oh, I don't know, its got passion at least.


MATT

Well you might be right about that but I think passion may be the only thing that it does have. I want to get into a new way, starting today.


JEMMA

Oh, so I'm like a Guinea Pig or something?


MATT

Well, er.. I guess so, kind of.


JEMMA

Don't worry, its your picture, I've never done this before so I'm sort of curious as to how it will turn out.


Matt give Jemma the cup of tea and immediately sits by his easel, they can both see each other.


JEMMA (CONT’D)

Is this ok, I just kind of plonked myself down.


MATT

No that's good, I'll get you to move around a bit every now and then but for now don't change a thing.


Matt starts to sketch and paint for a long time. He works quickly with graceful lines. Eventually Jemma removes some clothes until at one point she is a beautiful figure silhouetted against the light coming in from outside. We see her back and her legs, her long brown hair falling over one shoulder. Matt's paintings are eventually done. Its clear they have been talking and laughing throughout but by the end the atmosphere is moody and serious, the sun and set.


JEMMA

Its really dark in here now.


MATT

You're right, I can hardly see the end of the damn brush. I'll put some lights on, you better get some clothes on, I think we're done. My god, that's two hours.


JEMMA

Wow, went quite quick huh.


MATT

I'll pay you for both hours of course.


JEMMA

Thank you, that's kind, I actually need the money, the cafe owner is pretty tight, minimum wage and all that. So how did I do.


MATT

You did great.


JEMMA

Can I see?


MATT

Oh, well definitely. I'm afraid I'm only just getting into it really. Can you come again?


Jemma looks at the paintings and is quite amazed in her silence.


MATT (CONT’D)

You don't like them?


JEMMA

No on the contrary, they're, they're, you've made me look, like an actress or a model or I don't know.


MATT

Well you are a model. A good one too, you've got a good frame, a good posture, you've got a good body Jemma, you must know that.


JEMMA

I'm alright, its just funny seeing this, someone's image of me. I could cry.


MATT

Well don't cry just promise me you'll come by again.


JEMMA Sure, I will.


Jemma is fully clothed now, as she says goodbye she looks back to Matt.


MATT

I'll drop by the cafe tomorrow.


JEMMA I'll be there, bye.


MATT

Bye.



EXT. STREETS - NIGHT


Jemma walks home during the early evening.


EXT. BEACH - DAY


As morning comes Matt takes his windsurfer down to the shore and heads straight out towards the horizon. We are with him as he hits a few waves making some small jumps, he turns he battles the wind which gets stronger as he gets farther from the shore. He is in his element at speed with a strength and extreme oneness. Eventually he turns and heads back to shore, catching a last wave as he sails through the surf and onto the beach.



EXT. CAFE - DAY


Walking in a relaxed an easy manner along the front he sees a friendship bracelet made of shells in a shop display, he buys it and carries on to the cafe, where he takes the same seat as before outside. Soon Jemma appears in her work clothes.


JEMMA


Hey there, how are you doing?


MATT


Fairly fine actually, I've just been on the water, it's beautiful.


JEMMA

Swimming at this time of year are you loopy, it must be freezing.


MATT

Windsurfing, a neglected pleasure. I have a wet suit, you soon warm up with the energy you put into it.


JEMMA

I'd like to see that sometime.


MATT

Well it's best doing it rather than as a spectator sport.


JEMMA

You won't catch me out there!


MATT

Hey I found this just now.


Matt takes out the bracelet and hands it to Jemma who hesitates.


MATT (CONT’D)

Its for friendship, and to say thank you, thank you for trusting me with your modelling.


Jemma takes the bracelet.


JEMMA

Thank you, it's beautiful. You see these things for sale and they're so wonderful but you always think they're for tourists so I never buy. But it's lovely I'll wear it right now.


Jemma puts the bracelet on and admires it.


JEMMA (CONT’D)

Thank you. So what can I get you today?


Jemma goes into her waitress mode and we leave them both. Later Matt is in his apartment, unpacking a few more things. He sees the first chaotic red and black painting he made, stops what he is doing, picks it up and taking a knife removes the canvass from its frame. He takes it outside and puts it in the refuse bin, the final sound of it shutting.


CUT TO BLACK


FADE IN


MUSIC plays as the credits roll over images of sails of all kinds and colours fluttering and snapping in the wind.


THE END