Ariadne's Thread

Interior: Train station. A woman is sitting down reading a paper. There are people walking about, going to their destinations. The woman does not look up from her paper. She reads, content, not watching anyone go by.

The camera holds on her for a few minuets. Her only motion is when she is turning the page, or brushing her hair back. Her eyes never look up.

The camera holds steady on her. It does not move. Cut shots of different camera angles. The camera does not move, only different vantage points are cut into each other. To get the idea that we are watching her, as if from a distance. She does not notice us watching, nor does she care.

A man walks up to her. He walks into the frame of the picture; the camera does not follow him in. Thus far, we have been in the microcosmic world of the woman. We know only her, and perhaps some of her surrounding. It may not even be clear where she is. The initial shots of the woman are close, but not too close. We see her face, but cannot make out any real detail. She is stoic. As the man walks into her world, so to speak, she still looks unaffected by his appearance.

Man: "I have been watching you."

Woman: "...Excuse me...what?"

Man: You heard me

W: No. I did not.

M: Do not act so unaffected by everything. I can see right through this.

W: I don't know what you are talking about.

M: I think you do.

W: Pause. Still looking down at her book. She flips her hair as she slowly gazes up. We see her eyes for the first time. There is no expression on her face. She is flaccid. Still unaffected.

"What is this? What is this?" She looks him right in the eye almost scoldingly.

M: Silent

W: Aren't you going to say anything?

M: Still silent, looking at her. Calmly.

W: You were very talkative a minuet ago.

M: That was then. This is now.

W: What game are you trying to play?

M: No game. I am being as honest as I know how.

W: And how is that?

M: The only way I know.

W: Rather ambiguous of you.

M: Granted. But that is beside the point. I wanted to tell you that I have been watching you.

W: Pause, as if trying to figure out his game. Her face does not look perplexed or introspective. Just the same.

How long have you been watching me?

M: Today?

W: What do you mean, 'today?' Startled, but again, not letting onto emotion.

M: Do you mean how long have I been watching you today?

W: Yes.

M: About an hour.

W: I didn't notice.

M: Yes, you did.

W: No. I did not.

M: I watch you every day.

W: I have not seen you.

M: Yes you have.

W: You don't know me.

M: Of course I do.

W: How is it that you know me?

There is not much inflection in her voice. She doesn't ask a hard question. Only softly all the while looking at the man, as if she is starring right through him.

M: I have watched you for a while. I watch you every day. You come here on your lunch hour. You read a book, sit in the same spot. Never looking up. Never looking away. Your eyes seem fixated on whatever novel you are reading. I am not even sure you know what you are reading, but it keeps you occupied nonetheless.

W: What is that? You don't know me. Looks down at her feet.

M: Watches her.

W: Looks up at him again. There is a difference in her. Subtle. But a change.

M: Let's go.

W: Where.

M: Out of here.

W: Pauses. Then moves to get up, placing her book in her bag. She brushes her hair back. She doesn't look at the man now. All we see is her. We don't see him. As she throws her bag around her arm, the screen goes black.

Disposable heroes of hypocrisy

Cut to: Motel room. Interior. Lights off. The sunlight is the only light in the room. The curtains are pulled. Cheap hotel curtains give the sense of place.

Camera does NOT start off perusing the interior. The first shot is the woman's face. We shoot her from the bottom. She is on top of the man. They are lying on the bed. Clothes on. She looks as distant as ever. He looks removed. The camera holds on her face as she looks down (at the man). Her arms are at her side. She is just lying there, slightly arched, with her head tilted so that she might see the man's face through the little light in the room. The camera holds on the woman's face; we only hear the man's voice.

W: I have seen you watching me.

M: I know.

W: Why do you watch me.

M: You are the only one I see.

W: Only one.

M: You act so removed. So distant. You have been called 'cold,' haven't you.

W: Yes.

M: Does that hurt you.

W: No.

M: Why do you hide.

W: Hide what.

M: Anything you can.

W: That is how I am.

M: No. That is the way you chose to be.

W: Maybe.

M: Yes.

We see the woman lay her head down on the man's chest. Fade to black.

Cut to: Over head shot. Woman's head is still on man's chest. He is not holding her. His arms are at her side, as her arms are at hers.

W: I don't know your name.

M: I don't know yours,

W: Maybe it is better this way.

M: For now.

W: Yes.

M: Silent.

W: What do you see.

M: You.

W: What else.

M: Your pain.

W: Tell me what you see.

M: I see a woman who hates her own imperfection. Despises her image in the mirror. A woman who cannot live with others, because she cannot live with herself. As you read your book, your quietly watch other people around you. It gives you power. Strength. You want to be in control of something.

W: What am I running from.

M: I am uncertain.

W: You don't see everything, then.

M: That is what intrigues me.

W: Intrigues.

M: Yes. I want to know 'why.'

W: I am not sure I do.

M: Yes, you do.

W: How can you be so certain.

M: Am I right about you?

W: Some. Not all.

M: Which parts.

W: You don't see everything.

M: No. But I see you.

W: Do you want me to take my clothes off.

M: Yes.

Fade to black.

Cut to: A woman's figure taking off her clothes. We can only see her silhouette. She takes off her clothes without thinking. Without feeling. There is no special dance, only a routine.

We see the woman get back on the man, naked. She lies on him, as she did before, with her head on his chest, arms at her side.

Camera starts off on the woman, follows her getting on the man. We move around her. Seeing her face turned to one side. The camera holds on her, for a moment. We watch her. She is gothic in her beauty. We hold for a few seconds. Then fade to black.

Move to closer shot of her laying on his chest. The camera is horizontal on the bed. Very close to her face. Closer than we have been before. Her lips are held together. Her eyes just stare at the wall.

W: I have seen you watching me.

M: Silent

W: I see you every day. Watching me.

I wonder why. Why is this man watching me. What is he trying to see. What does he want to see. What can he see.

M: Silent

W: Why do you watch me.

M: I just do.

W: Do you know I am looking back

M: Yes.

W: Then we play a game.

M: There are always games in the beginning.

W: Always.

M: Yes.

W: Why.

M: That is how we are.

W: Why is this so.

M: I cannot answer that.

W: You must.

M: Why.

W: I need to know.

M: Are we playing games now.

W: Yes.

M: Why.

W: I want to answer me. Answer for me, the things I cannot understand

M: Interrupting, What is it that you don't understand.

W: Everything. When I look around. There are these people, walking, talking, going places, and I don't know any of them. Like you. I see you trying not to be seen, even though, I know you want me to notice. Why should I? Why should I notice you? Or them? Or anyone.

M: If you don't. You will stay locked up. Inside yourself. Forever.

W: Maybe that is best.

M: Then why are you here.

W: Because you are.

M: You are not making any sense.

W: No, I am not.

Cut to man's face. Over head.

M: You want to be enigmatic. A puzzle. You want to be figured out.

W: You are right.

M: Why not just say what you mean.

W: What fun would that be.

M: Why must you play a game, now, that we are here.

W: Why must you.

M: What game am I playing.

W: The same game you always play. Sit and watch. Then, in an instant, you come up to me. Telling me you have been watching me. You like to watch. You want to talk to me, but you don't. How long did it take you to come up to me. Ask me. Tell me. Speak to me.

M: Too long.

W: You see. You are the one playing a game. You want me to be naked here. You want to watch me. My body. The way I move. How I look. Why.

M: Now, I am not so certain.

W: You see.

M: What do I see.

W: Nothing. You claim to see everything. You claim to see me. But you see nothing. Not even yourself.

M: What are you trying to prove.

W: I just want you to admit it.

M: Admit what.

W: That you cannot see anything. That you are as blind as every one else. You too want to be in control. You want to control me.

M: Yes, I do.

Fade to black.

Cut to woman's face.

M: Then why are you here. Why are you here.

W: Because you are.

M: Then, we start this conversation over again?

W: No. We are finished. Now get undressed.

Woman moves to get up. Man holds her down. Woman is startled at first (again, no real expression), then relieved.

W: Let me go.

M: No.

W: Yes. Let me go.

M: I won't.

W: Struggling to get up. Her arms are placed on the bed. She is trying to push herself up. The man is holding her down.

Let me go.

She is showing signs of anger, emotion, for the first time.

Let me go, or I will scream.

M: No you won't.

W: Yes, I will. Let me go.

M: Not threatening, very sincere. Never. I will never let you go.

Woman looks up at the man. Camera cuts to man's face. She looks at him, as if in thanking him.

W: No matter what.

M: No matter what.

W: Promise.

M: I do.

Fade to black.

Cut to man getting undressed. The camera is positioned across the room. We see the woman looking at him. Content. She isn't smiling, but her eyes are. We almost cannot see this in the darkness of the room.

Man gets back into bed. The two are lying next to each other. All we see is the tops of their heads. The couple doesn't move, for a second or two, then the woman gets up, and gets on top of the man.

There are no more words. The room is silent. We can here outside noise, but that is all.

The woman is on top of the man. All we see is her from behind. Her back is arched in the air. The man's hands on the woman's side. There are moving together, sexually.

Fade to black.

The couple lie side by side, the woman on her stomach with her arms crossed as to make a pillow for her head. The man is on his back, hands behind his head looking up at the ceiling.

M: What is your name.

W: Would it matter.

M: Yes, it would. I want to know your name.

W: Getting up. And putting on her clothes. There is a pause while she slowly puts on her clothes. Just slow enough so she doesn't seem like she is rushing out of there.

W: Just be here tomorrow.

M: Where.

W: Meet me as you met me before, only, introduce yourself this time.

M: At the train station.

W: Gives him a look that says 'yes.'

Woman leaves the room.

Man lays in bed. He hardly moved to see the woman leave. It just stares at the ceiling. He has a look on his face as if he is counting something, calculating what happened. His lips do not move, but it is like we can hear him speak.

Camera holds on his body for a second. Then begins to pan around the room. We see the cheap motel curtains alluded to earlier, but not seen. The camera pans around looking at the pictures on the walls, the cheapness of them is noted by the camera. The paintings are basically all the same: landscapes, trees, etc.

As the camera moves from center point, which is the bed, it returns to the man who is now getting dressed. All we see is his back. His pants are still not totally on; he has to buckle them up (which we can see from the belt strands on either side of him. He is bent over putting on his shoes. He brushes his hair back. Still, we cannot see his face. He gets up, puts on his shirt, tie, etc. No face. Just motion of body is recorded.

The camera holds on the bed, the imprints of the couples bodies on the bed, as the man gets up. We hear him stretch, bones creek, camera still holding on the bed. We hear the man leave the room. Just before he exits, we hear him take a deep breath, as if taking one more look over a crime scene, then closes the door.

Fade to black.

Interior of train station again.

Woman sitting where she sat before, reading. Head down, as before, not noticing any one. She is not looking at the clock or the people around her. She seems engrossed in her book. We see people this time, clearer anyway, that there are other people in the train station. In the first shot, we only saw the man and the woman.

This is a full shot of the woman sitting, then, whereas, before, the shot was much more intimate. We see a boy playing with his truck not far from the woman. The boy's mother is sitting not far from his, reading a paper, periodically looking at the clock. On the other side of the woman, there is a couple arguing as quietly as they can. There is a lot of peripheral action. Our woman is still not looking involved in any of it.

We watch this scene for a minute or two. The camera changes position throughout, using our woman as a center point. She is the sun in this universe, and the camera angles reflect this.

After a while, we see our man enter the picture. This time, we see him actually enter the frame, walking at a moderate pace. He, too, does not seem to be concerned with time (as do the people around them).

M: Hello. My name is Jason.

Pauses.

Takes a deep breathe, brushes his hand through his hair. The camera is focused on the woman, whose head is still buried in her book. We only see the man from the waist down. We see the man's hand move up (as in to run his hand through his hair). Thus, this action is only implied.

I have been watching you...for some time. I see you come here. Alone. Each day with a different book. Accept today. The book you have today is the same as yesterday. Pauses, sounds uncomfortable because he knows he has just entered into a conversation that has no end. After the silence, he changes the subject entirely.

If you don't feel that I am being to formal, may I ask your name?

W: Silent. Still into her book. Not looking up, and not responding.

M: This is strange, isn't it? Strange you are still reading that same book as yesterday (returning now to the conversation he started earlier seeing that she will not tell him her name).

In the several months I have been watching you, you have never had the same book two days in a row.

W: Looking up, if annoyed.

You have been watching me?

M: Yes.

W: Why.

M: Because, I find you intriguing (although the conversation is somewhat repetitive-the man sounds much more sincere now). Pauses. I find you very attractive.

W: Why?

As if taunting him to give everything away. Anticipating he won't; dreaming he might (all in her gaze).

M: Who knows such answers. I don't. I couldn't tell you what happened yesterday between.. (changing direction), let alone why I find you attractive. Things just seem to move, in some kind of chaotic order. I could tell you what I find physically attractive about you (sitting down) but that wouldn't do, would it? I just am attracted to you.

Long Pause.

I just like how you act like a ghost among the living.

Their eyes are locked.

Her eyes quiver.

W: Simone.

M: Hello Simone.

W: Hello Jason.

Fade to black.

Cut to the hotel room.

Couple is lying naked, side by side, in each others' arms. He is stroking his hand through her hair. She isn't smiling, but she is noticeably content. Her eyes are half open, half closed.

Simone: Do you have any dreams, Jason?

Jason: Of course. Who doesn't?

Simone: I am sure there are people who have everything they dream of. I think it is these people who do not have any dreams.

J: Surely there is something they cannot have.

S: Money can buy you just about anything. Even love.

J: I am not sure about love.

S: It is true. There are men, even women, who buy love, with money, power, conviction. I don't want to be one of those people. I have told people I have loved them, when I really didn't. Maybe I didn't know that I didn't actually love these men, but I still said something I shouldn't have.

J: We all say things we don't mean.

S: Why. Why.

J: Shaking his head, is his only response. He cannot think of another.

Simone pushes herself up onto Jason. Her long hair cascades down her shoulders. There is just enough light in the room to see her face.

S: I want to know Jason. I want to know everything. I want to know why we are here, now, in this room, having sex with each other. I want to know why people love and why they hate. I just cannot stand not to know.

J: Just looking at her.

S: Do you ever feel helpless, like you don't know anything. I guess that is what Oedipus felt during his plight. So blind, so unaware. Until the end. When he blinded himself with his mother's broach, all became so clear to him. I want to blind myself so I can see all that I cannot see.

Moving back down next to Jason.

I just want to see you.

J: And I want to see you.

S: You do. Unlike anyone else has...you see me.

Turning to him.

What do you do?

J: Taken aback at the sudden shift in tone.

I..I, um, am a teacher.

S: A teacher? What kind.

J: Aren't we getting too personal?

S: Isn't that the point.

The camera moves up, over the couple. Move around the room, and out the door.