Wednesday, January 27, 2010

[ITALY] Writing Task: Character Piece 1.0

This was an assignment on a character piece based on a work of art. I honestly can't remember what piece of art it was.

That aside, I used it as I use most writing exercise: as a reflexive piece of autobiographical musings. This was apparently not what my teacher had in mind, and I would later have to rewrite it.

Florence in the American Imagination/Professor Lisa Cesarini
5/28/06
“Assignment #1: Character Sketch on Art Piece” by Tara Rose Stromberg

Is it possible for a man to think too much? The question itself, of course, would (and has) only arose at a time when I am doing just that. Or rather, when I think I am doing such.

And there’s the deplorable word again.

I suppose it seems a bit silly for the “writer” (as I am so self-entitled, for better or worse) to be asking such an odd question, as it is quite normal for most writers to be thinking something at least some part of the time; in fact, it seems to be that the way in which one’s mind processes the world is a personal quality that sets men apart in their livelihoods. I doubt very much that a financial advisor would find it productive to sit and muse over the myriad of emotions that a single rose petal brings to light, or to ponder the curious lives of the critters that scamper through the floorboards and walls of his city office. A man of such trade would be more apt to the subject of numbers and figures, and other such logical tasks. At least, such has been the case with all financial men I have known.

Perhaps I am not giving enough credit to those men who find themselves with the misfortune to be stuck within a career they are dispassionate towards. I’m sure there are a great many poets building bridges and counting digits, all the while secretly wishing to become the next Shakespeare. And maybe I am one of them. For who is to say how a writer should think? All I can say for sure, is that when I’m not doing anything else particularly productive, I am either writing or contemplating in that deep, philosophical (and sometimes bewildering) way that I do. And since one can’t be talking, or running errands, or paying bills, or washing, or sleeping, or writing all day long, I believe that most of my day-to-day time is spent thinking.

Ah! But even during my sleep I am thinking. Though it be somewhat unconscious thoughts, they still occur, and sometimes if I’m lucky, I remember them as well. My mind cannot rest even when at rest. It’s as if my brain has brought out all those thoughts that were considered insignificant or unworthy of pondering during my conscious state. Probably all of those rather important emotions and ideas that would seem so very pertinent as a child, but now, in the midst of adulthood, are so easily forgotten.

Now I am finding that these are most frequent when I am traveling, since I have found myself wondering back and forth across the Tuscan countryside for what seems like my entire life. In actuality, it’s only been a number of weeks. But oh what effect a small amount of time can have on a man’s mind! Being in a foreign land, away from the familiarities and comforts of home, it’s as if your thoughts could only turn to matters of the unknown and the often forgotten. You are out of your element, helpless and unequipped to deal with a society you are so unaccustomed to surviving in. Some of us haven’t even begun to live comfortably within our native cultures, let alone another. In my experiences, living the life of such a quiet and contemplative person leaves me alienated by others. I communicate better through written rather than spoken word. And so coming to a place where the spoken word is ultimately foreign, the desire to communicate is all but lost, in a hopeless breath.

It may be my own fault really. Even those times as a young boy when I wished so desperately to be accepted by my other schoolmates, my actions ultimately failed. But what actions did I take? Maybe I was just too afraid to act upon those thoughts, and instead was left to ponder them for the rest of my childhood, without ever knowing what may have been. And here I sit, nearly thirty years later, still wondering the same thing...

Yet, I seemed so content to be on my own most of the time. Though there was a part of me that still longed for companionship, it was my ability to imagine that became the source of all my enjoyment. I thought that by thinking so deeply about the things around me (the people, nature, the inner-workings of things; everything that others my age could easily ignore) I was more in touch with the world. The trees were my companions, the grass my support, the animals my teachers. Who needed human interaction when nature was speaking to you from the very depths of your soul? Better to sit and listen, and wonder, and write about all that you knew, and all that you would ever need.

Then how is it that I am still in need of more? I can sit under a tree in a Florentine valley, listening to the wind as it cascades down the field of tall grass, befriend a curious snake as it wanders up my arm and through my sleeve, absorb the colors of the different shadows as they crawl over the mountains, and can think even further about how these smells, sights and sounds feel inside of me, where I am suddenly at peace with everything around me but myself. And as soon as I leave this place, and return to my villa on the hill, and dine with the many interesting visitors that have decided to stay, I will still do the same. Observe and ponder, always alert to the emotions and feelings and ideas of the moment: that the chambermaid’s hair resembles the curl of baobab branches, that the real estate man and his wife both laugh as if they are trying to forget something from long ago, that the soup tastes oddly of ripe basil and the first day of school in the fall of my college years, and where has the young lady’s dress a tear in the fold of her apron, for perhaps it was caught on the wooden fence by the bridge where she met her Italian lover, a bread boy, who was late for a delivery because they couldn’t meet in public, and met secretly where he could give her letter he wrote on a napkin as he was sweating next to a large, hot brick oven, while the baker was arguing with a customer over the wrong amount of change, and why is it that people are so moved to argue about a penny lost during a transaction, but pay no mind to the countless pennies that lay on the street and ripe for the taking?...is it a matter of principle or cleanliness, or do people just like to argue?...maybe the customer was angry about something before...

This string of thoughts could continue long after dinner, and even into the night, or into my dreams of being a small boy and climbing that baobab tree and finding a penny, or a stack of pennies, and using it to buy bread...and all this time I would be lost in my own thoughts, unable to concentrate on what the pretty young lady was inquiring about my day, and what story the real estate man was trying to explain to me, or even realizing how the chambermaid winked when she brought me my soup. I am thinking so very hard that my present mind begins to slow down and I am oblivious to the surface of things. I can’t talk as a normal person would, for I am hardly interested in what the young lady wants to know, because I am too busy trying to figure out where she and her would-be lover could elope and how many discarded pennies were hidden on the slopes of Italy, and if it would be enough for them to live on until they found a home.

My mind is always interested in the story and life of the people and places that could be, instead of the things that are. And while I am thinking up these fantastic fantasies, though it is giving me more material than a writer could possibly ask for, I worry that it is also tearing me away from the world I’m in now. What if it is passing by, just like my childhood has long since passed, just like the dreams that appear and disappear, what if this life will seem like a passing dream as well? Will Italy only be a distant memory in the future? Even if a writer does preserve the moment, how can he absorb the moment within the moment. Am I missing something or simply taking in everything?

Already too much thinking and not enough doing. Why it would be so useful to simply use the toilet right this second, just for the sake of actually undertaking something.

[ITALY] News of Film Woes

From: James Morrison
Sent: Mon 5/29/06 5:07 AM
To: Tara Stromberg
Subject: miss you, miss you‏

Tara,

I just read your message. So clever that ending. I am out of it. I am sorry I haven't written you this weekend. I promise it's only because I have been busy fighting off death, which I swear has been trying to get me since the start
of this.

There's a lot to tell you that I can't really explain here, I'm sure it's the same way with you in Italy. For one, I basically had my movie sabotaged. I was working with this one girl who came on as the third and final producer. We went to scout locations on Friday, the further inland we went, the better it got. Great vast deserts. We found a great old ghost town where it's fucking weird & beautiful & we were all set on it. Then, Ian and I stayed to watch the sun set (it was pretty romantic yes, but don't be jealous because we had to figure out where the light was gonna be)



Scene from the film, in the desert.

I sent the other producers back to Ventura and told them I'd meet with them late when Ian and I got back. So, we drive the three hours back through the desert & I have sand in my hair & all over me & look pretty crazy because the wind blows like a bastard out there.

anyways, I get back for this meeting. Keep in mind that the producers were all happy when we were at the location. When I came into this meeting they had this 'you're in trouble' look. This girl (who is an idiot) goes off about how we have to have insurance for every fucking place we walk & how we need to wait & raise money & do it later again sometime...

I sat real quietly for a while and listened to everyone bitch about how hard it was gonna be. Then, I broke into this really long monologue. I don't know how really. I was so fucking tired, but I think it was pretty good. I just told them that I wasn't leaving till I finished it & I was making it now. So, that was all dramatic for a little & I got this one guy Jason who is producing with another guy. Jason is great, abut there is seriously so much work to do on this it's insane. I'm doing the brunt of it because nobody else can ever seem to do enough. I know that sounds mean like I'm being an asshole & I'll admit I kind of am being an asshole. This part is no fun. (I am so tired of rambling about this. There's no way to explain what's going on with it, because I don't even know. I'll try to keep it simple hereout)

You're going to laugh but I am sick again. I think I'm better, maybe,but I deffinately had a fever when I went to casting. Right now it's2AM and I am sitting in a folding chair in a really nice house. Ian is asleep on a bing bag. In front of me is a couch & both Danny & Jason (the producers) are asleep. Down the hall Kelly (Ians girlfriend) is acting in a blocking assighnment for some guy. I am waiting for them to finish so we can wake Ian up and go back. Tonight we had a meeting about our schedule. I was mad because I basically made the schedule & it sucked & I wanted them to make it. We have to get up early tomorrow & put up flyers for crew positions at the school. It's really weird being here. It's sort of like coming back to highschool even though I was only here for almost a year.

I am worried about your foot...Yeah, I know about the money problems. I feel really bad because I can't pay for anything.

This computer is dying & I want to get this e-mail off to you tonight. So I hope you are well & you'll hear from me soon. I'll write again tomorrow. Or today seeing how it is ooooo sooo late.

luvin all over yo foot!
james


[ITALY][Pratolino] Exploring the Tuscan Countryside w/Ruralia


Florence in the American Imagination/Professor Lisa Cesarani
6/7/06
“Assignment #2: Location” by Tara Rose Stromberg

A few miles north of Florence, nestled amongst a cradle of Apennine hills, there lies 74 acres of a land perfectly at peace with both forces of man and nature. For centuries it has remained a haven of green, harboring the carved efficacies of ancient gods, and the humble cultivators of its vast meadows and livestock. Traveling uphill along the Via Bolognese, one can track the sloping of these giant hills, the sun above casting long shadows across the patches of trees that cover their surface, and gradually ease into the quiet calm that surrounds Pratolino.

It is a garden harmonized between the natural beauty of the Tuscan countryside and a simplified, yet strikingly breathtaking, Renaissance vision. To enter its wooded enclosure and immediately capture the hills and meadows in their seemingly endless layers before your eyes is an experience that is indescribable and yet infinitely describable all at once. It’s as if the gods themselves had crafted the winding curves of the valleys with their own hands, and then created a rich surrounding of foliage to shield it from the ever-changing outside world. And indeed it seems to have never changed at all, since the 16th century, when Francesco I, son of Cosimo III, ordered Pratolino to be designed as a garden and a grandiose villa to be constructed. The great Bernardo Buontalenti himself took on the task, and thus the lush Eden was born, and a part of the Tuscan country was preserved for years to come.

And yet, despite its royal beginnings, it still maintains its natural grace. It seems to welcome any traveler - come beggar or king, traveler or native, man or beast - and entice with the same seductive scent of pine and nectar, and the flowing current of tall grass in the breeze. Far away from the industrial noise of the city and the neurosis of everyday life, time itself seems to stop. Instead of the chatter of tourists there is the chirping of crickets, the rustling of leaves, the buzzing of insect wings. The clean air inflates the lungs in such a way that the body seems to float along the pebbled paths, as if sprouting feathered wings. The eyes adjust to the slow pace of Mother Nature’s pastoral scene and focus on the unseen: the hollow of a tree, a lizard basking in the afternoon sun, a single flower in a bed of clovers. In an instant, it seems they are all you need to know.

Venturing further into the meadow, one can uncover what appears to be the ruins of a lost mythological place. Each corner hides another treasure of its departed dwellers. Buontalenti’s octagon chapel is all but cloaked in branches and leaves, its dome peeking ever so slightly above the dense canopy. Dry fountains, decorated by ivy-covered creatures and maidens have been built into the slopes, and now lay mysteriously cracked and empty.

A giant of stone juts out from the trees at the other end of a lily pond, his hair and whiskers heavy and thick, crouching over large calf spewing water from his mouth. Such a sight is enough to stop one in their tracks, to gape in awe at Giambologna’s gigantic masterpiece, a guardian Colossus that seems to stare out into the meadow with an expression of stern devotion.

And this small patch of heaven is open to all that wish to find it, and many who are fortunate enough to stay. The Villa Demidoff, restored as a poggeria in the late 1800’s, houses an inn for visitors to dine and sleep, whilst they enjoy the pleasures of its tranquil grounds. Each building located in Pratolino is within its own wooded fortress: an army of tall, lush trees that enclose the small stone paths and maze of tiny gardens that decorate the attractive grounds.

However, these always remain modest in their appearance, for the people themselves are of modest upbringing. Mostly farmers and cultivators, they are servants to the land and its rich treasures. They respect the countryside’s original shape and quality, and in turn reap the benefits of its fertile soil, plentiful produce and healthy animals. In this way, man and nature are joined together in an equal partnership, and the beauty of its organic atmosphere is echoed in the kind and composed demeanor of its inhabitants. Even its visitors, who only stay for a moment’s time to take in the quiet whisper of nature unfolding before them, are affected forever by its overwhelming ability to bring the human spirit to a better understanding of its natural harmony with the eternal symphony of the earth.


An Agricultural Festival in Ruralia, 
off the via Bolognese above Florence.


I love me some Italian cows.

Adorable.


Doubley adorable.

The countryside. (And my new haircut.)

[ITALY] Fool, Boboli Ain't Just a Pizza!

From: James Stromberg
Sent: Friday, May 26, 2006 1:11 pm
To: Tara Stromberg
Subject: Re: you silly goose...

tara,

it's me dad...
remember me.
you got a refund check in the mail from N.Y.U.
by the time you get this e-mail i will have put in your account.
i can't do much money wise. but i can maybe spare one hundred.
sorry it can't be more.....
I LOVE YOU & miss you alot. hope to here from you soon.
have to run to the bank with Lili.
LOVE DAD......

***

To: James Stromberg
Date: ?
From: Tara Stromberg
Subject: Of COURSE i remember my dad ^.^;;

Thank you for putting money in my account. anything will do. i had to eat at mcdonalds today. MCDONALDS!!! in ITALY!!! but it sure was a classy one...how much did i get back from nyu? i can use that for my rutgers bill....since my last email, i haven't done much. went to an old palace/museum and really pretty gardens with my friend Pam. I've been trying hard to find good (and cheap) souvenirs, but its been hard.



i did get my hair cut though. now i look even more like mom. its pretty short. when its dry its above my shoulders. ill have to send pictures. which reminds me, i sent u guys a link to my pictures site with some new ones up. ill be updating it later too. let me know if u get them.


anywho, its already 8:30 pm here, and i have homework to do, and I'm supposed to go to this agricultural festival tomorrow to see dogs and cows. itll be spiffy.

i miss and love you all.

talk to you soon.
tara

***

From: Christine Stromberg
Sent: Monday, May 29, 2006 11:40 am
To: Tara Stromberg
Subject: Re: of COURSE i remember my dad ^.^;;

Tara,

Heaven forbid you look like me(mom). Dad thinks i'm pretty cute, so it can't be all bad. We went to Uncle Tommy and Aunt Terry's party, everyone you sent pictures to said they were beautiful. Aunt Cheryl said; "I didn't get any pictures" So she asked that I give you her email address.

I went to grandmas yesterday she is looking great, while I was there uncle Jerry called, he asked about you and also loved your pictures.

The check you received from NYU was for $500.00, plus dad put on $100.00 plus the $160.00 you gave me at the airport was all deposited into your account.

We love you and miss and hope you have a great time. Don't worry about souvenirs, we only want you to have a great experience, don't waste your money.

i have to run I'll write more later.

Love always

Mom

***

From: Tara Stromberg
Sent: 04:08 PM 5/27/2006
To: Lisa Cesarini
Subject: HELP!!!!

Dear Lisa,

I went to the Palazzo Pitti with Pam and Katy today and saw some great paintings to use for my character sketches on Norman Douglas. I wrote down as much info as I could, but I cannot find them ANYWHERE on the web! And they arent well-known enough to be on any of the souvenirs at the store, so I'm going absolutely crazy!!!

Do you have any advice? I tried looking on the art site you have listed on blackboard as well, but i still had no luck. I dont know what to do! Here they are if you are by any chance familiar with them:


"Nel Bosco con Pecore"/Giovanni Battista
Niccolò Cannicci ("Niccolaf" is what I wrote)
"Nel Bosco"
Elisabeth Chaplin
Fratello Jean Jacques Soldato

I would appreciate any advice you might have....I want to write about one of them soon! For now, I will be looking at some other stuff; tomorrow is the festival, so maybe ill get some more inspiration..

Frazzled,

Tara

[ITALY] UMBRA: A Purposely Bad Screenplay

During my stay in Italy, I took a screenwriting course with professor Christopher Kelly. Our first assignment was to write a purposely bad screenplay. If you happen to know me and my perfectionistic tendencies very well, I'm sure you can understand how this task caused me great anguish. This is besides the fact that I hated horror movies; I suppose that's why I thought it would be easy to write a horrible script based off one: formulaic plot, bad acting, unbelievable motivations, racial and social stereotypes....

Nevertheless, here it is below, in all it's bad glory. I have to admit I sort of liked the idea; I envisioned it as a stop-motion creep-fest ala Brothers Quay. Coincidentally, during my continuing film studies in Prague, I was introduced to the works of the great stop-motion master, Jan Svankmeyer; and much, much later, an oddly similar horror film featuring the homeless, "Street Trash."

If a story about multicolored, man-eating goop can be a success, then perhaps deadly spider-like umbrellas aren't such a bad idea after all.....

UMBRA
“A Purposely Bad Screenplay”
by Tara Rose Stromberg

EXT. NEW YORK SIDEWALK - NIGHT

Rain falls steadily. Puddles are everywhere, some reflecting light from the streetlamps, others dark and seemingly bottomless. PAN over mangled UMBRELLAS strewn about the ground; one is stuck in a garbage can, and another drowned in a pool of rainwater. Camera stops to follow water drips to a store awning above. A car skids by on wet tires with a splash.
Church bells ring in the distance, signaling midnight, as a young couple comes around corner and run sloppily towards camera. They are hidden behind a large, black UMBRELLA, which is blowing furiously in the wind. They are drunk and giddy. They laugh as the camera follows their feet down to ground level. Only their feet are visible.

GUY
C’mon baby...come here....

GIRL
(trying to squirm away)
No! I’ll get wet!

GUY
Oooh, even better!
They giggle, and the guy’s legs wrap around the girl’s high heeled feet, against the wall. Their UMBRELLA drops into frame.

GIRL
Hey! That umbrella’s from Coach!

She bends down slightly to pick it up, her HAND entering the frame slightly. The guy stops her.
GUY
Don’t worry about it. It’s a goner
anyway. Let’s go over to my place
for a hot shower, hmm?

They laugh again and walk off-screen to the left. The shot lingers on the fallen UMBRELLA momentarily, and then PANS to the left to follow the COUPLE as they walk across the street, the UMBRELLA now in the foreground. As the rain batters it, one of the metal wires suddenly TWITCHES.


EXT. STREET - EYELEVEL CU BEHIND COUPLE - (CONTINUOUS)
The camera follows couple from behind as they run, stumble, flirt, and giggle. A SHADOW seems to be unfolding behind them, but they pay no mind. Then, the GIRL stops abruptly.

GIRL
Hey did it stop raining?
(puts her hand out)

Both turn around slowly, the shadow engulfing them. Their faces twist in disbelief, then into horror as the shadow closes in. There are screams and a horrible shrieking and snipping sound. The screen goes BLACK. All is silent but the rain and screaming echo...

EXT. CHINATOWN - CANAN ST. - STOOP - (CONTINUOUS)
A homeless MAN sleeps on a stoop, a tarp wrapped tightly around him. He is surrounded by bits of garbage and large puddles of water. It is raining lightly, and the sun is coming up. The echo of the SCREAM wakes the man, who anxiously peaks out from under his tarp with a look of bewilderment.
He looks around him, then slowly gets up, taking shelter underneath the stoop awning. He listens. All he hears is the rain. He pulls the tarp close to him and huddles closer to the doorway, shivering in fear.

EXT. STOOP - CU OF HOMELESS MAN - LATER
The homeless man is leaning against the doorway of his stoop, asleep, still clutching the tarp. Sounds of SIRENS come closer. His eyes open instantly.

EXT. LONG SHOT OF STOOP - (CONTINUOUS)
Slowly, the man stands up. Cop cars whiz by on the street in front of him. They disappear to the left of the frame, and he looks behind him, then follows.

EXT. FARTHER DOWN STREET - (CONTINUOUS)
The man is walking carefully behind a small crowd of other New Yorkers, ripe from their early commute. They are all trying to peer over eachother to see what’s going on. Camera follows the man as he manuevers his way to the side of the crowd and bends down to look between a business man’s legs.

EXT. VIEW FROM GROUND, THROUGH CROWD’S LEGS - (CONTINUOUS)
A man’s body lays motionless on the street, his legs and arms warped into all impossible directions, his flesh wrapped around a heap of broken bones. A girl lay next to him, only discernable by the high-heeled foot lying next to her head. There are policemen surrounding the crime scene.

COP (OFF-SCREEN)
Hey, you....

EXT. STREET - CROWD - (CONTINUOUS)
The cop is standing directly next to the homeless man’s bent back. The camera follows the MAN up to meet the cop’s face.

COP
C’mon, there’s nothin’ to see ‘ere.
Go scram.

The man backs away willingly, but turns his head once more towards the scene in curiosity. He makes his way over to a group of OFFICERS who are talking.

OFFICER 1
I tell ya, in my ten years as an
officer, I ain’t never seen anything
like this...

OFFICER 2
Why would a killer just leave the
bodies right in the middle of the
street?

OFFICER 3
Well, he seems to be a smart one,
anyways,since there’s absolutely no
evidence period.

OFFICER 3
Yeah, the victims still got their
wallets, jewelry, everything. Only
the umbrella was a little roughened up.

OFFICER 1
Well, with this weather, it doesn’t
surprise me. Isn’t it going on
ten straight days now of this rain?

They all agree, laughing for a bit, looking around at the wet streets. The man stands shyly for a moment, than attempts to speak. The officers notice him, and stand up straight, looking formidable.

HOMELESS MAN
(clearing his throat)
Um, ‘scuse me sir-

OFFICER 1
Hey, now listen, don’t go peddlin’
around here-

HOMELESS MAN
I’m, uh, I’m not lookin’ for no
trouble...

OFFICER 2
Oh yeah, well you’re gonna GET
trouble if you don’t beat it. I
could take you in right now.

HOMELESS MAN
(looks down shyly)
Well, alright, but I thought I
heard something last night, is all.

OFFICER 1
I suggest you head down to the local
shelter, mister, and get yourself some
coffee.
(turns to his buddies, ignoring
the man completely)
The ol’crazy is hearing things now...

The officers laugh together and continue their conversation. The homeless man puts his hand in his tattered pockets and walks away with a sad frown. The rain continues to pour down on him, and he makes his way to a garbage can to reach for a NEWSPAPER. When he picks it up, he realizes it is already soaked. Then he spies something else inside.

EXT. GARBAGE CAN - (CONTINUOUS)
A broken, flower-print UMBRELLA is lying on top of the garbage. It is in bad shape, with wires bent every which way.

EXT. SIDEWALK - (CONTINUOUS)
The man picks up the umbrella and opens it up as far as it can go. He walks away with it shielding his wet head from the rain.

EXT. CANAL STREET - CHINESE RESTAURANT - NIGHT
The homeless man is sitting outside of the restaurant with a dirty coffee cup in front him. The tarp is around his body, and he holds the battered umbrella to cover his head from the ongoing rain. He stares at the ground. Feet are walking past him every once and awhile, sloshing into the puddles. A man comes outside the restaurant and brings down the cage. He is locking it when the homeless man stands up. He holds out his cup. The Chinese man turns around.

CHINESE MAN
(with accent)
What you want? No give charity here.
You go now. Or I call cops.

The homeless man looks down solemnly into his cup as he turns away. He walks a couple of steps and hides behind the alley. The Chinese man continues to lock up, and then leaves, taking out an umbrella before going out in the rain.
The man looks around to make sure the coast is clear, then comes out of his hiding spot. He walks to the trash pile at the front of the store and starts to go through it. There are heaps of Chinese food garbage, newspapers, and more broken umbrellas, but no food. Frustrated, the man stands and THROWS down his umbrella, stomping his foot.He sighs, then starts to walk away.

EXT. SIDEWALK – STRAIGHT ON - (CONTINUOUS)
The homeless man is walking towards the camera solemnly, hands in his pockets. Strange NOISES are heard. He STOPS dead in his tracks. Camera TRACKS closer to man as his face twists in fear. He turns around to reveal the flowered UMBRELLA, mangled on the sidewalk, shaking ferociously.

EXT. CU OF HOMELESS MAN – FRONT - (CONTINUOUS)
TRACK in to face quickly. He hears more quick noises of metal scratching asphalt. His head TURNS to the right of frame in a snap. PAN quickly over to the other side of the street, where multiple UMBRELLAS, of different size, shape and condition are quickly moving towards him in a spider-like fashion, their metal legs crawling over the pavement. They are making unrecognizable NOISES.

EXT. OTHER SIDE OF STREET – GROUND LEVEL – (CONTINUOUS)
From behind the moving UMBRELLAS, the camera shows the homeless man running for his life not far ahead, stumbling in the pouring rain and slippery sidewalk. They continue to gain on him like a swarm of bugs.

EXT. SIDEWALK - FRONT OF MAN – (CONTINUOUS)
The camera is tracking out as the man RUNS, a look of horrid distress on his face. He TURNS a corner and disappears out of frame, and the shot remains static. Tons of umbrellas SWARM after him, some even CLIMB the buildings’ walls like spiders on their eight “legs.”

EXT. WASHINGTON BRIDGE – (CONTINUOUS)
Rain is falling over the bridge as the man RUNS out on the on-ramp, gasping for breath. He makes his way over the bridge. The UMBRELLAS begin to CRAWL up the bridge’s columns, and surround the man, who has all but given up.

EXT. BRIDGE – EDGE – MS OF MAN - (CONTINUOUS)
The man is almost on his knees, his BREATHING heavy. He looks at all the umbrellas around him in defeat. Then, a FLASHLIGHT beam suddenly appears. The umbrellas shake in surprise, and immediately stand at attention, ready to pounce.

EXT. BRIDGE – ENTRANCE – (CONTINUOUS)
A FIGURE approaches, masked in darkness, holding the flashlight.

OFFICER 1
Who’s there! Do you know what
time it is?

IT is the officer from earlier that day. His face enters the moonlight.

OFFICER 1
Hey, I know you-
His eyes go wide in horror, as he sees the umbrellas.
What the-

EXT. BRIDGE – EDGE – (CONTINUOUS)
The umbrellas immediately brace to attack, and the homeless man becomes restless. He looks at the officer with deep sympathy.

EXT. BRIDGE – EDGE – MS OF MAN – (CONTINUOUS)
He looks back at his beloved city, covered in a mist of rain, and knows what he must do. With newfound confidence, he OVERTAKES the nearby flowered UMBRELLA with force, and opens it up after much struggling. He then begins to pick off some of the ones nearest to him.

EXT. BRIDGE – EDGE – FACING OFFICER - (CONTINUOUS)
The umbrellas all TURN to the homeless man in panic and rage. They begin to SCUTTLE towards him in a frenzy, as the office WATCHES, dumbfounded.

EXT. BRIDGE – EDGE – FACING MAN - (CONTINUOUS)
The homeless man immediately gets up on the very ledge of the bridge, and taking a last loving look at the cityscape, and at the umbrellas to make sure they follow, he PLUNGES with the umbrella in his hand to the depths of the river. The UMBRELLAS all follow one by one, opening up to float down along with him, until every last umbrella has gone.
Then there is only the sound of the rain.

EXT. BRIDGE – LEDGE – (CONTINUOUS)
The officer RUNS to the ledge with his flashlight, unable to speak. He peers over the side in confusion.

EXT. HARBOR – WATER UNDER BRIDGE – (CONTINUOUS)
There is nothing but floating umbrellas to be seen, and one solitary flowered umbrella as well, to mark the spot where the poor homeless man drowned.

FADE TO BLACK.

EXT. CANAL STREET – GROUND LEVEL - NEXT DAY – (MONTAGE)
The weather is sunny and clear. People pass by as if nothing has happened. They talk and chat happily as their feet frolic on the sidewalks. There are no umbrellas to be seen.


EXT. CANAL STREET – STOOP – (CONTINUOUS)
We see the stoop where the homeless man used to be. There is nothing there but his old tarp and some garbage. A homeless woman comes by slowly, searching the ground. She sees the tarp and picks it up. As she walks on, a radio in the window nearby is heard.

RADIO ANNOUNCER
…And looks like we finally got
some good weather coming our
way. That’s right, no umbrellas
today folks. It’s gonna be a
beautiful day here in the city…

Camera slowly zooms into the pile of garbage, revealing the hook of an umbrella. MUSIC begins to play in a threatening tone, up until…

CUT TO BLACK.
Music abruptly ends.
CREDITS.