[Quick Summary: A 10 y.o. boy tries to convince a newly engaged woman that he is her dead ex-husband reborn, and wants to marry her again.]
Does this story have a big ick factor? Was it creepy as hell? Yes.
However, it was very well written, in large part because the question of reincarnation - which these characters don't believe in - is played for real.
For example, a turning point (below) hooked me because it delves into a universal fear about creepy kids. What would you do with a kid like this who is unrelenting?
NOTE: The main character is Anna, and Laura is her sister.
INT. MORGANS' APARTMENT - HALL - SAME
The doorbell rings. BETTY emerges from the kitchen, walks the length of the hall, and opens the front door to MR. & MRS. DRUMMOND and their TWO DAUGHTERS. They are armed with FLOWERS and PRESENTS. DAVID is with them. THE GIRLS bolt into the dining room as BETTY takes MR. and Mrs. Drummond's coats. She ushers them into the dining room, then returns to the kitchen. The camera remains in the hall. Suddenly, the hall light is extinguished and, for a beat, we wait in darkness.
Suddenly, Anna appears behind Betty and they both emerge from the kitchen. ANNA carries the CANDLELIT CAKE. Betty walks ahead of her.
DINING ROOM - EVENING
Betty turns the lights off in the dining room. Anna enters with the cake. Everyone claps and sings 'Happy Birthday'. Eleanor blows the candles out. Claps and congratulations and kisses. 'Hip Hip' shouts JOSEPH. 'Hooray', they reply.
Betty turns the lights back on. And there, in the corner, ANNA sees DAVID. 'Hip Hip' shouts JOSEPH. And DAVID looks back, as baffled as she is shocked. 'Hooray', they reply.
INT. ELEVATOR - MOVING - EVENING
Anna and David travel down, side by side. He's too frightened to look at her and she's too angry to look at him. She takes a $10 bill from her purse and folds it in her hand.
They continue their descent in silence....
[I deleted several scenes here where she has the front desk put him in a taxi.]
INT. MORGANS' APARTMENT BUILDING - CORRIDOR - EVENING
The elevator doors open at Anna's floor, and she exits the elevator. LAURA is waiting there, and she and ANNA walk back to the apartment together.
LAURA: That was him.
ANNA: Yes.
LAURA: Betty thought he was with the Drummonds, the Drummonds thought he was with us.
ANNA: You didn't tell anyone, did you?
LAURA: No.
They arrive at the apartment door. Laura rings the bell.
LAURA (CONT'D): What are you going to do?
ANNA: Nothing. It's over. It's a moot issue. (a pause) Finished.
WHAT I'VE LEARNED: I think this turning point was very effective for me because it plays into a universal theme of fear and feeling helpless.
Also, it's not just a crescendo into a tense moment, but a moment where a decision has to be made (turning point).
Birth (2004)(draft dated 9/1/02)
by Jean-Claude Carriere & Jonathan Glazer
Additional dialogue by Milo Addica
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