Hierophany (Epiphany II)

Hierophany (Epiphany II)
INT. HOSPITAL ROOM – DAY
In the middle of the room a thin ray of light illuminates a tiny spot on white, the room is otherwise in complete darkness.
PETER
(o.c.)
What did you remember? Who do you remember?
Slowly the dot grows and the light brightens. We see the light creep over the white until we see hills and valleys appear. The continues until we see a woman lay in a hospital bed, the white sheet over her crumpled.
PETER
(o.c.)
Come here.
Either side of the FRAME the light begins to illuminate the silhouettes of two men. They are PETER (on the left) and JOE (on the right).
JOE
(o.c.)
Why?
From either side of the FRAME the two men walk towards each other and hug.
PETER
(o.c.)
Because its time…
Over the audio the sound of the medical machines slowly fades in.
INT. HOSPITAL ROOM – DAY
Over the men a light begins to shine, bringing them out of silhouette. JOE pulls away fearfully and looks around.
CLOSE UP: JOE’s face as he sees the woman in the bed. His eyes are wide and he looks alarmed by the sight.
JOE passes PETER and moves to the head of the bed. He looks down at the woman lay in it.

CLOSE UP: JOE’s hand as it rests on the sheet, the FRAME PANS up to his face as he watches her for a moment.
WIDE ANGLE: Over PETER’s shoulder as he stands at the very foot of the bed. JOE is on FRAME LEFT, the woman in the centre and PETER on FRAME RIGHT. JOE looks up from the woman and over to PETER.
CLOSE UP: PETER as he smiles a restrained smile that seems one of pride as well as love.

PETER
Patricia.
CLOSE UP: The woman would seem at rest if it weren’t for the slight look of consternation, as if she was frozen amid a troubling dream. In the hollow of her throat is a crucifix hung from a fine chain.
JOE
(To himself)
Mother? Mom?
Unable to answer for a moment PETER just nods, we see he is slightly overcome with emotion.
PETER
She’s not going to answer.
JOE looks over to PETER, frowning.
JOE
But…
PETER
We don’t all go to the same place; she… Turn over her hand.
JOE gentle reaches over and turns over her wrist. On the inside of it we see a thick wound running from wrist to elbow, it is bloodless but deep.
JOE glances at PETER, on his face is a look of confusion before his gaze returns to his mother.
PETER
We make our own purgatory.
The FRAME moves from her wrist to the cross hung at her throat.
JOE backs away from the bed a few steps, looking at the comatose woman.
JOE
I don’t understand. What are we doing here?
PETER grasps the foot board at the bottom of the bed and drops his head in exasperation.
PETER
She won’t listen to me, perhaps she will you…
JOE
What do you expect me to do?!
PETER
Just talk to her…
CLOSE UP: Joe’s face as he watches the comatose woman, he blinks and we QUICK CUT TO:
EXT. GRASSLAND – DAY
A child’s hands covered in mud as they are wiped down a clean shirt.
INT. HOSPITAL ROOM – DAY
JOE frowns.
JOE
I don’t know what to say…
PETER
(o.c.)
Yes you do…
JOE opens his mouth a couple of times as if to speak but nothing happens. He glances over to PETER like a child looking for encouragement and then back to the woman.
JOE
I don’t…
PETER
(o.c.)
Yes you do…
JOE pauses for a moment; thinking.
JOE
..There was a time…
EXT. GRASSLAND – DAY
A child’s hands covered in mud as they are wiped down a clean shirt.
JOE
(v.o.)
..when I was little. I think it was one summer… a really brilliant summer. I was watching a woman…
PATRICIA sits on the grass in a long skirt and sleeveless top. she has something in her hand.
CLOSE UP: her fingers work dexterously on the fabric, a sewing needle dipping through it.
PATRICIA looks into the camera and smiles.
INT. HOSPITAL ROOM – DAY
JOE smiles in return.
JOE
I always thought it was a dream, but now I think it was you…
EXT. GRASSLAND – DAY

PATRICIA smiles into the camera and then continues sewing.
PATRICIA
Who else would it have been?
JOE
(o.c.)
I don’t know…
PATRICIA
Oh, little Joe… What are we going to do with you?
She looks off camera and we PAN to JOE who is sat on the grass next to her.
PATRICIA
Your head always in the clouds…
(With an air of sadness)
Your father always said there was too much of me in you…
INT. HOSPITAL ROOM – DAY
JOE’s smile falters, he looks over to PETER.
JOE
You always said there was too much of her in me..?
PETER
Why would anything be wrong with that..?
JOE
You don’t believe that do you? It means something…
EXT. GRASSLAND – DAY
PATRICIA smiles at JOE, continuing her sewing.
PATRICIA
(Smiling)
That’s silly, most things mean something; to someone; somewhere…
JOE
But that means something… special.
PATRICIA
Oh, this is what I mean with you. Just accept things Joe, all digging brings up is dirt…
She reaches out and strokes his cheek with the palm of her hand. JOE takes her hand in his and looks down at her wrist, unblemished without the ugly scar.
INT. HOSPITAL ROOM – DAY
The camera TRACKS DOWN PATRICIA’S arm, the wound is deep but bloodless.
PETER
What did she say?
JOE
You can’t hear her?
PETER
She doesn’t speak to me.
JOE
And why would that be?
The moment stretches out, silence accompanied by the beeping of unseen machines.
PETER
(Quietly)
Tell her I’m sorry.
PATRICIA
(o.c.)
I know…
EXT. GRASSLAND – DAY
PATRICIA smiles sadly, placing her sewing aside.
PATRICIA
I know he is. I always hear him…
(With an air of sadness)
I’ve never been short of the voices that keep me company…
PATRICIA looks at JOE a long moment.
PATRICIA
At some point he just stopped hearing me…
INT. HOSPITAL ROOM – DAY
PETER stares at his feet; his hands gripped white on the foot of the bed.
JOE
(o.c.)
She knows you are. She always hears you… She’s never been short of voices that keep her company… At some point you just stopped hearing her…
The moment stretches out, silence accompanied by the beeping of unseen machines.
EXT. GRASSLAND – DAY
The AUDIO from the previous scene overlaps with this one.
MONTAGE: PATRICIA waits, she has moments of happiness, smiling and talking; then moments of confusion where distraction seem all around her.
JOE
(o.c.)
Voices?
INT. HOSPITAL ROOM – DAY
PETER stares at his feet, his hands gripped white on the foot of the bed. We cannot see his face, it is deep in shadow.
PETER
They started just after you were born… and they just got worse… One night she sat upright in bed and started to scream… And I couldn’t stop her… And then the baby, you, began to cry and it wasn’t long before I was crying too.
PETER looks up and we see that he’s started to cry silently.
PETER
I didn’t know what to do, so I shut it out.
JOE
You still are aren’t you?
PETER shakes his head, its half a nod and half a shake; he doesn’t know.
PETER
When you were a baby you’d point and do baby things, but Patricia thought she saw something else.
JOE
What?
PETER
Angels… She thought you were speaking to Angels… And one day she decided she wanted to meet them…
PETER’s eye move to the deep wounds; and then he looks away.
JOE
(With restrained anger)
She never stopped talking to you, you just stopped listening.
Without answering PETER nods and drops his gaze.
EXT. GRASSLAND – DAY
JOE sits on the grass beside PATRICIA. He looks up to a spot some way in front of them, as if to the face of a standing man we cannot see.
JOE
Earlier you said that people make their own purgatory… But you never said whether this was hers; or yours?
When PETER responds JOE reacts as if he can hear him but PATRICIA does not.
INT. HOSPITAL ROOM – DAY
PETER’s line of dialogue overlaps into the scene before and after it.
PETER
I don’t know… I… I’m sorry…
EXT. GRASSLAND – DAY
PATRICIA looks up, responding to the words “I’m sorry”.
The CAMERA TRACKS across the grass from PATRICIA’S discarded sewing and through blades of grass as tall as trees.
JOE
(o.c.)
What are you sorry for?
PETER
(o.c.)
For not listening. For not being there for her. For not understanding. For not trying to find her help… For… Everything…
The CAMERA finds PETER’s feet and PANS up to his face.
PETER
For letting her think the Angels needed her more than I did.
INT. HOSPITAL ROOM – DAY
PETER stands in silence, if he cries its silent tears he sheds.
In the FOREGROUND something moves, deeply out of focus. PETER looks up his eyes growing wide.
WIDE ANGLE: PATRICIA sits up in the bed, her arms out stretched towards him.
EXT. GRASSLAND – DAY
WIDE ANGLE: Under the bright sun and over the green grass PATRICIA and PETER embrace, a short distance away JOE looks up and then averts his eyes boyishly as PETER pecks PATRICIA on the lips playfully.
CLOSE UP: PATRICIA’S hand entwined with PETER’s. PETER squeezes and we PAN as he raises the back of her hand to his lips and kisses it. The hands drop and PETER and PATRICIA walk out of frame.
The blue sky is clear an unbroken now, the clouds are sparse and idyllic.
ROLL CREDITS:

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