Script of a short, animated cartoon film "A Little Morning Music".
All Rights reserved
Script writer: Yuri Slobodenyuk aka Yury Lobo
West Palm Beach
02-29-2008
Scene 1
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Master shot:
Immense ocean. Early, serene morning. Dead calm. The sun is rising on the horizon.
Scene 2
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Master long shot is gradually changing to close-up.
A humongous cruise liner is emerging out of the horizon, slowly approaching an audience. Camera shoots as if it is flying all around the beautiful ship and returns to the initial point to show that the ship is absolutely empty. There are no people anywhere on its multiple decks. Everybody is still sound asleep.
For some time camera is following the cruise ship, which steers slowly but steadily on its course. One could hear only the slight noise of how the sharp stem is cleaving the water and the sounds of the lazy morning rollcall of the seagulls.
Scene 3
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Master long shot is gradually changing to close-up.
Camera is approaching slowly the central sun deck that is located at the very top deck of the ship. The striped wooden deck chairs are resting against the wall near a heart-shaped swimming-pool. Suddenly the elevator’s door open, and we see a middle-aged man standing in the doorway. The man wears a short bathrobe and flip-flops. He squints mellowly at the bright sun and waives to the white-winged seagulls. With a casual hand gesture he folds out a deck chair and makes himself cozy on it, putting his hands under his head and closing his eyes delightfully. The man is a vague resemblance of the Russian President Vladimir Putin. So, he is shorter than an average man’s height, and a bit bold. Having lain down motionless under the sweet sun for some time, the man, without opening his eyes, gropes his hand into his bathrobe’s pocket and takes out an audio player. He inserts the earphones in his ears, pushes the “PLAY” button and, once again, stays still with a happy smile on his lips.
Scene 4
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Close-up is gradually changing to master shot.
Camera is moving slowly away from the film character, and it shows him to us for some time from the seagull’s eye view. The audience sees the bird’s eye view of the cruise liner gliding on the smooth water surface. There are still no other people seen on the ship. Everybody is asleep. Once again one could hear only the slight noise of how the sharp stem is cleaving the water, and the sounds of the morning rollcall of the seagulls, which are more boisterous than before.
Scene 5
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Master long shot is gradually changing to close-up.
Again, camera is moving in slowly on the film character.
The audience is surprised to discover some shadow on his face. It is obvious for an outside observer that, despite the fact that the film character is still relaxing on the deck chair with his eyes closed, our man is somewhat concerned.
He does not feel as comfortable bathing in the sun as before. Little by little, he begins fidgeting in snaky windings on the deck chair. Finally, he gets off, puts his player in the bathrobe pocket, without turning it off or taking the earphones out of his ears; and he is trying to fold up the deck chair. The latter gets in its initial flat position, but it does not wish to fold in two as the film character wants it. His face can hardly hide an irritation. He makes the second attempt to fold the deck chair in two. He fails again. The man strains every nerve to fold up the deck chair, but it does not yield to him. He tries again and again. No result. Our man is getting outraged progressively. In a fume, he grabs the deck chair with both of his hands, and with all his might he hits the deck with it. Still there is no effect. And then, the film character, having lost his temper completely, in a bout of a rampant fury, begins shattering all around using the deck chair as a hammer. The other deck chairs are turning into chips scattering in the air. The glass portholes are flying away smashed into smithereens. The man is fully absorbed by the energy of the total destruction. He is thrilled by the ecstasy of his battle, as a crusader, who alone fights an army of infidels. No one would recognize him now. He is an absolutely different person. The situation is escalating. Having destroyed all around what he was able to destroy, the film character moves on and focuses his efforts on the deck as it is. Operating with the deck chair like a woodcutter with an axe, he literally cuts into the deck and chopping it methodically, one strike after another, so that every next chop is harder than the one before.
Scene 6
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Master long shot is gradually changing to close-up.
Camera is pulling back slowly, away from the film character. It is showing us for some time his destructive work from the seagull’s eye view. At last, the first crack runs on the deck. The film character gives out a triumphant call, as if he were a Comanche tribe chief, and then he trebles his efforts.
The demolition orgy reaches it apogee… The cruise ship breaks in two as Titanic once did. First, her bow sinks. Then, after staying afloat for a while, with her stern up as if it was about to zoom into the sky, her second part goes down in the deep almost vertically.
Fadeout
Scene 7
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Master long shot is gradually changing to close-up.
Immense ocean. Serene morning. Dead calm. The sun is almost at the zenith.
There is some dot observed from the bird’s eye view in the middle of the ocean.
Camera is moving in slowly.
The audience sees the exhausted film character; his hands convulsively tightened on the deck chair that keeps him afloat. Having summoned up all the remaining strength, the man struggles out on the top of the deck chair as on a life raft and stretches helplessly on it facing up. For a while he is lying on it absolutely still, being afraid to move, and looking in the sky. His eyes are non-expressive. The earphones are still stuck out in his ears. The ever-indifferent seagulls are hovering silently above him up in the sky.
Finally, the man gropes his hand very slowly into his bathrobe’s pocket and takes out an audio player. He puts it on his chest and pushes the “Repeat” button. Camera moves in on the player’s display so closely that the audience can read the flashing name of the re-ordered music piece: Richard Wagner, Flight of the Valkyries. Once again camera is pulling back slowly, away from the film character. He is apathetical; his empty eye sockets are looking in the sky.
At the same time as one could hear the first sounds of music, there is an audible click; the deck chair folds in two and literary sinks as a stone together with the film character.
Fadeout
Scene 8
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Immense ocean. Serene morning. Dead calm. The sun is at the zenith.
Wagners music is becoming louder and louder and the ocean turns within seconds into the perfect storm with gigantic black waves and seagulls wildly crying and flying like Valkyries.
The End
***
Liliputins. What, the heck, is this ?
http://stihi.ru/2021/11/24/7101