Week 12 Microfiction - Iron

Two Sentence:

A fatal slip has been made. Texas Red did not clear leather before he met his match.

Dribble:

The Arizona ranger was a drifter; he'd come to take an outlaw back dead or alive. His bounty was that of Texas Red, whose pistol held one and nineteen notches. The presence of the ranger was relayed to Texas Red & the two were to meet at twenty past eleven. Never has the swiftness of the ranger been matched, speed unknown to any man, unseen by any eye before that day. Texas Red's pistol remained in its holster as the ranger made his mark. Oh did Texas Red ever make a fatal slip, as the ranger's aim was deadly with the big iron on his hip.


Author's Note:
One of my all-time favorite artists is Marty Robbins. He's just the absolute essential early country artist for anyone hoping to explore that genre. I believe he should hold the top spot that is currently occupied by one Mr. Hank Williams (even though Hank is a legend as well). I set out to do two quick little entries summarizing/reworking the song 'Big Iron', which is likely Marty's most popular song. This was a fun project, as it meant I got to listen to Big Iron with a very specific purpose.


Photo Credit & Source Material
Gunfighter Ballads and Trail Songs | Marty Robbins

Week 11 Story: School & Conflict

SINGLE ACT: FISH AGAINST THE NET

Many fish learn to cooperate out of necessity; whether moving in a pack to avoid predation or acting as a school to learn from one another. There are lessons to be learned from team work and the lapse thereof.

Open on a school of Mahi moving along in the gulf - we hear bickering

FISH ONE
Come on man hold your line, you keep bumping me
FISH TWO
You’re the one who can’t swim straight, don’t lecture me
FISH ONE
I disagree, I’ve been keeping my eyes on the horizon the whole time. Therefore, I can’t be drifting.
FISH TWO
Sure pal
WISE FISH
Careful, gentlemen, learn to work through your issues otherwise you’ll be the death of us all.

The two disregard and let their resentment simmer
The fish continue along, aloof.
After some time we rejoin the school
A net enters view and engulfs the school

WISE FISH
Quickly now everyone, if we all push down the net will release, but we have to work together.
FISH ONE
I refuse, this guy keeps bumping me
FISH TWO
It’s you bumping me
WISE FISH
Friends, there are more important things to consider at the moment, we can discuss your conflict later rather than sooner
FISH ONE & FISH TWO
Fine

The two join the pack and swim against the force of the net - we hear a crack and the let lets loose
The fish swim free

WISE FISH
See friends, when we work together despite our differences we can overcome great obstacles

More time passes, the fish work together to break from the net many times - but resentments aren’t done away so easily

We see Fishes One and Two in turmoil once again

FISH ONE
I’ve had enough of this. You need to learn to swim straight, with the school, with your neighbors. You’re going to cause the death of us all as you break down our cohesion.
FISH TWO
Dude it’s you who can’t swim straight, you’re at fault.
WISE FISH
Friends, it doesn’t matter...

The wise fish is cut off by a whooshing sound
Suddenly, the fish are again in the throws of battle as the net begins to capture them

WISE FISH
Now, we must again set aside differences as we have time and time again for survival
FISH ONE
No! You continuously say “we’ll get to your issue later” and dismiss my feelings! 
FISH TWO
It’s my feelings he’s dismissing and you shouldn’t be concerned with your own as you’re the one creating the problem!
FISH ONE
No I am not, you cannot control yourself
WISE FISH
Fish, we must focus on the greater good

But it was too late, the net indeed covered the school and completed its cinch before the group could organize.
The fish are entangled and brought to the surface where they’re dumped aboard the ship - all on each other - all bumping each other.

It is not a matter of who carries the blame, for every individual does. In refusal of fault, each fish succumbed to stubbornness which doomed the group. However, was the wise fish not also wrong for diminishing the importance of conflict resolution? Certainly he is also to blame.

Author's Note:

This is pulled heavily from the "Quarrelsome Quails" Jataka Tale and the scene in Finding Nemo where the fish swim against the net. The original Jataka Tale has the bulk of the birds, including the king, abandon the two who are in conflict, leading to the death of the two and the survival of the bunch. This irks me a bit as you'd think the king would feel some obligation to intervene on an issue within his kingdom. Instead he simply leaves, it's a very Laissez-Faire rule. In my telling I decided to have the king be reduced to a wiser fish, with the name as a nod to the actual lack of wisdom posed by the character. The wise fish who seems to be something of a ruler states that their issue will be addressed later to assuage them in the moment, but he doesn't follow up in earnest. I believe this makes him equally responsible for the crisis and thus deserving of the same fate as the two truly struggling. 

Photo Credit:

School of Mahi | Tony Ludovico

Source:

Quarrelsome Quails | Inayat 

Week 9 Story: Allegiances

SINGLE ACT: KUNTI & KARNA
INT.
In times of strife mankind defines itself; individual’s truest selves emerge to be welcomed or scorned. This is no different than the turmoil Karna felt on the eve of his battle with Arjuna. As Karna steeled himself mentally and physically, preparing for such warring, his mother, Kunti, sought him out in hopes of changing his perspective.
INTERIOR TENT - DIMLY LIT - KRISHNA ENTERS
KRISHNA
Karna, if you accompany me back to the Pandava camp and we speak to the brothers together they’ll surely not find you wanting. They simply don’t understand your role in all of this; if you explain they’ll yield to you.
KARNA
I cannot simply abandon those who rely upon my words out of some thin hope for reconciliation with those who neither want nor seek reconciliation. Leaving Duryodhana now would end our counsel and our friendship.
KRISHNA
Not at all, these are wise men - even if tempers are high and the Pandavas are full of vitriol they’ll be made to understand. Karna..
KARNA
Enough, what you speak of is desertion, it’s folly, it’s weak. There is no sense in my abandoning my role here for the potential of a lesser post in a weaker, unformed empire.
KRISHNA
They’ll make you king if they learn of your lineage.
KARNA
Even if they yield to me, even if they cede the throne to me, history will remember me as a lesser Arjuna. I’ll go down in the annals of time as a pretender. The records of me will not show this; I will meet Arjuna on the field and our clash will display some level of providence. Our struggle will establish dominance, it will be decided who is stronger, neither will yield. Now, Krishna, our time together must come to an end. If we’re lucky we’ll meet again soon - our forms may be earthly or celestial, but regardless we shall meet again soon.
KRISHNA
Truly, Karna, you’re stronger than what is known and stronger than what will be remembered.
The two embrace, their respect for each other is obvious, but they cannot remain together as this struggle does indeed drive a wedge between even friends


Author's Note:
I set out to write this specific exchange because I think this episode of the Mahabharata is amazing. The dialogue between Krishna and Karna is easily one of the more powerful moments in this epic, as we see both men so entirely vulnerable. They're explaining in as many words their need to be recognized, but this need for recognition and love drives a wedge. We see Krishna appeal to Karna in an attempt to prevent the battle between him and Arjuna, as it would be such a senseless loss of greatness if even one of them were to fall, but because of that respective greatness Karna feels he must go to war, if for nothing else than to prove himself. The fear of being in Arjun's shadow beats his risk of death and so he goes to war. I expanded this conversation some from the original telling and hopefully it communicates effectively how important this exchange is to the unfolding of the epic.

Bibliography:
Mahabharata
Photo Source:
Krishna & Karna

Week 5 Story: Shurpanakha

ACT I: INTRODUCTIONS
SHURPANAKHA
These events take place all during one detention period in a high school not unlike what we’ve known
OPEN ON A FIELD - SHOT IN 2.76:1 (WHOLE FILM)
As the camera tracks back we’re made aware of the fact that we’re observing this field from inside a room - camera holds on the glass
CUT TO:
REVERSE SHOT - ENTIRE CLASSROOM NOW VISIBLE
Hold on shot for uncomfortable amount of time
Door open, student enters and takes seat
(She’s superfluously dorky)
New girl glances around room, eyes resting momentarily on a boy, she then takes her seat near caddy-corner the boy of interest

All of this occurs through the same shot, we now get a tracking zoom on the new girl, Panny, who appears mortified
PANNY
(quietly to herself)
Oh man, hope he didn’t see that
CAMERA RETURNS TO WIDE SHOT OF ENTIRE CLASSROOM
(Panny and Boy are positioned such that we can see them both clearly in this wide shot, opposite extremes)
TEACHER
(lacking enthusiasm)
This is what you all get for being deadbeats; we now get to sit around in this room together all day, because a sensible punishment for lack of attention in school is reinforcing the idea that school is boring. If we punish in the same space we educate there should be absolutely no subconscious cross-association, rather you’ll all simply learn to pay attention. Especially you Mr. Football, you’re not above the system.
MR. FOOTBALL
(To himself)
This is ridiculous, all I did was act on anticipated preferential treatment because I’m a sports star.
Panny stands up and moves closer to Mr. Football
PANNY
Hey, what’re you in for?
MR. FOOTBALL
I skipped a test. It’s so stupid, I wouldn’t have passed anyway why is everyone acting like it’s important that I take it?
PANNY
Maybe they just want to see what you can accomplish if you try? I’ve always seen you from the stands, if you can take a study with the same dedication you bring to sports, I’m sure you’ll pass.
MR. FOOTBALL
Wow, you sure are smart. I never thought about it that way - I’m so gifted athletically, it only follows that this skill would transfer to academics.
PANNY
You’re the most handsome man I’ve ever seen, do you want to date me?
MR. FOOTBALL
Of course not, I already have a girlfriend, but maybe he’d say yes
Mr. Football gestures to a similarly unfortunate boy a few rows down
PANNY
But wait, I’ll take off my glasses and you’ll see that I’m beautiful
Panny removes her glasses and takes her hair out of its whale spout
MR. FOOTBALL
That didn’t change anything; why would you expect that to change anything? You’re still the exact same person, you have the same face it’s just not covered by your spectacles. I just don’t see why you thought that taking off your glasses would cause some massive shift in appearance, that’s a silly thing to think.
END OF ACT I

Author's Note:
I was having a really hard time finding a rhythm this week and couldn't entirely nail down what it is I should write. I ultimately decided to write the meeting of Rama and Shurpanakha, this time as a critique on the movies of John Hughes. This is an extremely heavy handed telling in this genre; the dialogue is very much on the nose, but it still fills the function of retelling this encounter in broad strokes. Rama spurns the advances of Shurpanakha, suggesting his brother as a slight to her, despite her altered appearance. Oftentimes these 80's movies have a moment where the geeky gal changes her hairstyle and removes her glasses and everyone has some shocking revelation that she's been beautiful the whole time and they were wrong to write her off as a dork. It's a tricky situation, but I believe these movies oftentimes make this moment hit hard as a result of characters' complete lack of effort to like people for personality; these moments are always rooted in appearance and as such are pretty superficial and hurtful when you get down to it. This motivated me to write this little deal, but admittedly it's not fantastic.





Bibliography:
PDE Ramayana | Valmiki
Photo Source:
Rama Spurns the Demon | Warwick Goble

Week 3 Story: Lament

ACT I: LAMENT
JATAYU AND RAVANA
STILL SHOT OF THE AIR, AS WE PAN OUT
We see arrows launching through the air, and through the frame
WE SEE RAVANA’S CRAFT & JATAYU’S PERCH ON OPPOSITE EXTREMES
RAVANA
Damn ye bird, you shall not find success in your intervention, it is a pursuit in vain
JATAYU
Demon, the pursuit justifies action, the result is justification for drive
Jatayu burst through frame, toward Ravana, destroying his craft - we see Ravana and a woman (Sita) plummet
Upon the ground we see Ravana get the best of the bird, removing his wings - the demon and the woman exit, we linger on the dying bird
FADE TO BLACK.
ISOLATION OF RAMA
EXT. HUT
LONG SHOT EXT. HUT, CENTERED ON HUT, SHOT IN 1.19:1
Outside of hut, absolute silence
Rama leaves hut, enters shot
RAMA
How could this happen? Was it folly to pursue the golden deer? In hopes of winning further favor from my beloved Sita I’ve been met with desolation and sorrow.
(Rama appears fatigued physically, and now we see the deeper level of exhaustion)
RAMA (CONT'D)
Surely Sita has been stolen away, but by whom and to what ends?
Rama returns to the hut
CUT TO:
SHOT CENTERED IN HUT DOORWAY, LOOKING INTO HUT, CENTRALIZED
Rama searches the hut for any indication of who’s responsible
RAMA
(to himself, under breath)
How could I have let myself be lured away by the charm of the deer? Not even as a trophy or a reward for myself, but in a foolish attempt to please my wife.
Rama collapses to the floor, abandoned
Enter Lakshmana
LAKSHAMANA
(distraught upon seeing Rama’s condition)
Rama, awake, brother, don’t let the isolation and grief win out your heart dooming you from recovery and triumph.
RAMA
(defeated)
Oh dear Lakshmana, how can I muster to search when Sita, the source of my motivation, is lost?
LAKSHAMANA
Brother, it’s because she’s lost that you must muster - it is for her you must rally
RAMA
There’s no indication of fate, brother. How are we to know our path?
LAKSHAMANA
There’s no definite path, but we must begin somewhere
Brothers exit hut and begin journeying
FADE TO BLACK.
DISSOLVE TO:
OVERHEAD LONG SHOT OF JATAYU - RECALL THE FIRST SEQUENCE
The brothers enter the clearing and the frame, immediately noticing Jatayu, the brothers rush to him
JATAYU
Lord Rama, Ravana has taken hold of Sita - try as I did they’ve made their egress
RAMA
Mighty Bird, I see your efforts, and I know their toll. In telling me, you’ve saved this hour, but I ask one more question: To what ends did you see them flee?
JATAYU
They hastened towards a structure in the south, a fortress shrouded by the forest, I saw no detail...but now my time is at hand.
In giving this response Jatayu fades from all he’s known, held my Rama
FADE TO BLACK.
END OF ACT I

Author's Note:
In this week's entry, my goal was really to get into greater detail on a specific chapter of the PDE Edition of the Ramayana, specifically, the chapter titled "Rama and Jatayu". There's a lot in this chapter dealing with emotional vulnerability and defeat of the light side, which is something we haven't seen as often. Although this chapter shows that even the losses are slated as being part of the plan, a necessary evil, it's only the gods who are aware of this - our heroes remain defeated and feel the isolation of defeat. My attempt at a detailed screenplay here is motivated by trying to get into the emotions following the abduction of Sita through dialogue. This would come into play more with that specific noted aspect ratio - which would heighten (literally) the sense of isolation of minuteness in their place in the world.

Bibliography:
Public Domain Edition | Valmiki | Ramayana
Photo Credit:
Killing of Jatayu | Artist - Balasaheb Pant Pratinidhi

Week 2 Story: Terminal

ACT I: CLEARANCE
SECURITY
OVERHEAD SHOT
We see many travelers lining the various pathways through airport security and its levels of convenience
CUT TO:
MEDIUM SHOT DOWN THE CONVEYOR BELT THROUGH WHICH POSSESSIONS PASS
We see a man take out his laptop, powered by a lithium battery - leaning into frame, a man stares at the battery confounded by its presence
CUT TO:
MEDIUM-LONG SHOT CENTERED BETWEEN TSA AGENT AND THE CONFUSED MAN
CLARK
(To nearby TSA Agent)
You aren’t going to let him get that through security, right?
AGENT #1
Sir, if anything appears out of order we’ll address it. Now, please get back behind that line.
CLARK
Ok I’ll wait, I just wouldn’t want something to happen because you weren’t doing your job
AGENT #1
(silence, Agent is clearly holding back some select words for Clark)
CLARK
It’s just that I heard lithium was volatile, you know, dangerous - like it shouldn’t be allowed on planes that you want to land..
AGENT #1
Sir, I’m beginning to feel threatened by you - I’m going to need you to follow my colleague here (beckons to nearby TSA Agent)
AGENT #2
Everything alright Rob?
AGENT #1
Not quite, Dale, I’m going to need you to take this gentl-
(interrupting)
CLARK
Clark Peters, thank you, and everything is fine you don’t need to take me anywhere
Agents 1 & 2 aren’t convinced by this
Agent #2 leads Clark away
By this time, the gentleman and his lithium-powered laptop are easily through security
FADE TO BLACK.
BOARDING
We see a long line trailing into the plane
Clark bustles up to the back of the line, late from his encounter with TSA
CLARK
(out of breath, exasperated)
Thank god, that was a close one, damn TSA detaining me instead of that lunatic with the lithium battery even after I alerted them to it, no good deed I guess.
DISSOLVE TO:
TRACK AS CLARK WALKS DOWN AISLE TO SEAT
DISSOLVE TO:
TRACK CLARK’S POV AS HE SEEMS TO BE THREATENED BY EVERYONE HE PASSES
Clark finds then occupies his seat, he’s alarmed to see his lithium adjacent rival not two rows up and caddy-corner
Clark drifts off to sleep
FADE TO BLACK.
Clark dreams of turbulence, which then causes the bin to open and the lithium battery powered laptop to tumble out - to the ill fate of all those aboard the flight - he’s scared - he jolts awake
FADE IN:
LONG FIXED SHOT DOWN THE AISLE
We see Clark burst into the frame in a panic
CLARK
(gripped with fright)
Everyone grab that man! (point to the known adversary) He’s going to get us all!
Frenzy ensues, as expected when a man screams of danger on a plane
Clark’s fellow passengers accost the man, tackling him and restraining him
CLARK
Where is your bag? Where’s the “battery”?
POOR SAP
It’s in the overhead! Why are you doing this? It’s just a laptop?
CLARK
This could’ve all been avoided if the TSA had listened to me in the first place! You, they, everyone left me no choice!
At this point the crowd is perplexed, but emotions are still high
CLARK
I won’t fail these people like the system has!
Clark tears open the overhead bin, unaware that objects may have shifted in flight - the man’s laptop with its worrisome battery crashes to the floor - there’s a moment of pensive silence, then
CLARK
Now.. Every one
The crowd turns, everyone hauls down the aisle towards the front, the back, anywhere other than adjacent the battery
At this point the captain has officially exited the cockpit and hell hath no fury
The captain storms towards the crowd
CAPTAIN BERGER
What is this? Why is everyone acting like this?
PASSENGER #1
We’re doomed!
PASSENGER #2
That guy brought a bomb on board!
PASSENGER #3
Yeah! And then the other guy armed it! He’s going to set it off
The captain storms down the aisle through the crowd until he’s met with Clark
CAPTAIN BERGER
What’s all this about you arming a bomb?
CLARK
I didn’t! I’m saving us from him!
At this point the unfortunate gentleman is tied to a chair
CAPTAIN BERGER
Looks like he’s the one who needs saving there, boss
CLARK
No, he put us all in danger!
CAPTAIN BERGER
With a “bomb”?
CLARK
Might as well be, he brought a lithium battery aboard your flight, sir! The TSA ignored me when I warned them, I had to handle it myself.
CAPTAIN BERGER
Sir, lithium is entirely safe, you’re thinking of *Hydrogen*
CLARK
I..you..how did I get those mixed up again? I’m such a fool.
CAPTAIN BERGER
You’re definitely not the sharpest, I’m going to have to report you when this flight lands.
CLARK
I think that would be best.
Everyone fizzles out, tempers reduce, everyone takes their seats once again - the flight continues on its way.
FADE OUT.
TRACK CLARK OUT OF THE PLANE, FLANKED BY THE CAPTAIN
CAPTAIN BERGER
Why did you start all this to begin with?
CLARK
I guess I let my fears get the best of me. I didn’t ever stop to think about whether or not I was spiraling, or panicking.
CAPTAIN BERGER
That’s dangerous, son; when you act without thinking you might cause a stampede
PANS OUT, HOLDS ON CLARK BEING TAKEN AWAY BY THE TSA
FADE TO BLACK.
FINISH

Author's Note:
This is very much a retelling of the story titled The Foolish, Timid Rabbit by Ellen C. Babbitt. I ran through that tale again recently, pulling the general summary, but more importantly the thematic pacing. I wanted to have the same message, but in a different format and in a more modern context. I thought that the closed environment of a flight would work well for the quick dissemination of information and the subsequent panic.

Bibliography:
The Foolish, Timid Rabbit|source|Ellen C. Babbitt
Photo Credit:
Lithium - Periodic Table|source|wiki-commons "me"