jo with rock

JOSEPH
FILM 1
page 9 after clarinet concerto
The descriptive and annotated screenplay of FILM 1, originally written in 2013
By Mirandola Gonzaga
Copyright 2018 abadi SAME
The descriptive and annotated screenplay of FILM 1, originally written in 2013
By Mirandola Gonzaga
Copyright 2018 AR Cena MORE
The descriptive and annotated screenplay of FILM 1, originally written in 2013
By Mirandola Gonzaga
Copyright 2018 finale copying text MORE
The descriptive and annotated screenplay of FILM 1, originally written in 2013
By Mirandola Gonzaga
Copyright 2018
Franklin gothic medium cond MORE
The descriptive and annotated screenplay of FILM 1, originally written in 2013
By Mirandola Gonzaga
Copyright 2018 hp simplified SAME
The descriptive and annotated screenplay of FILM 1, originally written in
2013
By Mirandola Gonzaga
Copyright 2018 Lucida bright SAME
The descriptive and annotated screenplay of FILM 1, originally written in 2013
By Mirandola Gonzaga
Copyright 2018 modern no 20 BOLDER BUT FUSSIER
The descriptive and annotated screenplay of FILM 1, originally written in
2013
By Mirandola Gonzaga
Copyright 2018 ms reference sans serif SAME
The descriptive and annotated screenplay of FILM 1, originally written in 2013
By Mirandola Gonzaga
Copyright 2018 narkisim SAME
The descriptive and annotated screenplay of FILM 1, originally written in 2013
By Mirandola Gonzaga
Copyright 2018 nyala SAME
The descriptive and annotated screenplay of FILM 1, originally written in 2013
By Mirandola Gonzaga
Copyright 2018 plantagenet Cherokee SAME

The descriptive and annotated screenplay of FILM 1, originally written in 2013
By Mirandola Gonzaga
Copyright 2018 rockwell SAME but many types
The descriptive and annotated screenplay of FILM 1, originally written in 2013
By Mirandola Gonzaga
Copyright 2018 segoe ui semibold MORE
The descriptive and annotated screenplay of FILM 1, originally written in 2013
By Mirandola Gonzaga
Copyright 2018 selawik semibold MORE
The descriptive and annotated screenplay of FILM 1, originally written in 2013
By Mirandola Gonzaga
Copyright 2018 source sans pro semibold MORE
The descriptive and annotated screenplay of FILM 1, originally written in 2013
By Mirandola Gonzaga
Copyright 2018 tahoma BIGGER FONT
The descriptive and annotated screenplay of FILM 1, originally written in 2013
By Mirandola Gonzaga
Copyright 2018 trebuchet ms SAME
The descriptive and annotated screenplay of FILM 1, originally written in 2013
By Mirandola Gonzaga
Copyright 2018 verdana pro cond SAME
The descriptive and annotated screenplay of FILM 1, originally
written in 2013
By Mirandola Gonzaga
Copyright 2018 courier mm script…

EXTERNAL VIEW OF COVENT GARDEN. EARLY SEPTEMBER 1811. MORNING
MUSIC. MOZART, PIANO CONCERTO NO. 21, 2ND MOVEMENT, UP TO BAR 23.
JOSEPH, 49, handsome, is drawing his bedroom curtain, still in his
night attire. We don’t see the rest of the room. His gaze drives
music and camera.
Camera flies over, and will float as per music, to the right of the
Piazza (from Henrietta Street), then, around bar 6, view lingers
slightly longer on the Theatre Royal (Opera House), but keeps
moving. Around bar 8, view reaches JOSEPH Sweeney's barber shop, a
well-presented shop, occupying the ground floor of the building next
to St Paul's church, and at the junction with King Street. JOSEPH is
well-groomed, well-dressed, and is mute
INDOOR VIEW OF JOSEPH'S SHOP. SAME TIME
JOSEPH is opening the shop. Turns to camera, as to invite audience
in. When in, scribbles a note, then presents it to the camera. The
note reads:
‘Let’s travel a little back in time. A few weeks ago, early
September 1811’
As the view on the note fades, and camera enters the shop, we see
JOSEPH shaving MR STANLEY, middle-aged. JOSEPH wears different
clothes than now
Music covers MR STANLEY’s talking. JOSEPH doesn't really pay
attention to MR STANLEY, and does his job professionally and
skilfully. JOSEPH finishes the shave, a slight smile, both for a job
well done, and the fact that MR STANLEY will leave soon. Gives MR
STANLEY a mirror, who acknowledges a job well done. MR STANLEY pays
JOSEPH. He nods gratefully and opens the door to usher MR STANLEY
out. JOSEPH looks into the camera
JOSEPH (Voice Over -will be abbreviated as V.O.) They do pay
well…
Looks out at the Piazza, and, in particular, at the Opera House,
with both a sense of calm joy to be there, and slight melancholy. A
sense of 'so near yet so far’. Transition from Bar 23 to Bar 73
JOSEPH (V.O.) Outside, the world sounds. With words. And
turmoil. Inside, thoughts are calm and safe. (emphasis)I can be
not naked. If I don't sound, they may not hurt me. As silence
is for respect, and calm dignity. Not arguments and
retaliations. And I'm not averse to the sympathy I get because
of my state, either. If people know you, accept you, and even
like you for it… What do I care if Mr Stanley's man is dodgy,
or Mrs Threepence has a lover, or if Mrs Thickstone's cat is
going blind? I DO NOT gossip! I am not Figaro! (his gaze falls

on the Opera House, on the show's bill for Le Nozze di Figaro which
also features LUCREZIA Primavoci's name) Yet, if I WERE Figaro, I
would marry Susanna… But then, I'm not suited, am I? My
children would be mute too. It's not advisable, for a child,
not to speak. If you stop to speak, then it becomes too late
to start
FLASHBACK OF JOSEPH AS A CHILD. MUSIC. MOZART, FANTASIA IN D
MINOR, K465.
Bars 55-62, repeated twice, as per score (plus bars 63-70 if
needed). LITTLE JOSEPH, 9, is making bubbles and chasing
butterflies, in a sunny garden with flowers. A nice, genteel boy,
happy.
Back to JOSEPH, in his present moment, in 1811, with his eyes
forcefully shut, as if to try very hard to preserve the memory of
that happy moment.
Bars 20-27, view goes back to his childhood. LITTLE JOSEPH, outside
a window of his pretty cottage. A man, whom he can only see from
behind, and can't recognize, as he's wearing a big black cloak, is
repeatedly stabbing his mother, ROSE, late 20s, whose clothes are
partly ripped, and who's trying to put up a fight. LITTLE JOSEPH,
seeing the event, freezes, then, scared, runs away, and runs, and
runs, until he gets to London
Bars 12-19 (forte on bar 16, possibly played not quite so strongly).
We see LITTLE JOSEPH slightly more grown (YOUNG JOSEPH), being an
apprentice at a barber's shop. We see MASTER SWEENEY (name is on the
shop sign) giving him verbal instructions, in a kind and supportive
manner. YOUNG JOSEPH acknowledges him, but doesn't speak
View goes back to JOSEPH in his current moment in 1811, who opens
his eyes, shuddering, and produces a voiceless gasp
LATER IN THE AFTERNOON.
JOSEPH is closing down. Finds a book on the table, left by MR
MORGAN, a customer
JOSEPH(V.O.) Mr Morgan, this is Mr Morgan's. 'The Adventures
of a Time-traveller', by Edward Stonemaker'. Time-travelling,
eh? Would life be better, at another time of history? As it
is, now, my shop does well, the Theatre (the Opera House)…
Music, 'Deh vieni non tardar', Le Nozze di Figaro, bar 19, as JOSEPH
continues. As he hears LUCREZIA's voice, he gradually struggles to
concentrate on his own thoughts
LUCREZIA (heard singing, from bar 21)

Qui mormora il ruscel, qui scherza l'aura,
cor ristaura
Qui ridono i fioretti e l'erba e' fresca,
adesca. Vieni, ben mio…
che col dolce sussurro il
ai piaceri d'amor qui tutto
JOSEPH (V.O.) …likes my wigs. It's so rewarding, to see them on. I don't really
need to travel to another time. I'm perfectly happy here. I have all I need here.
Maybe ONE thing…
JOSEPH fades from view. We now SEE LUCREZIA, 40, playing the rest of the scene on stage
LUCREZIA (sings)
…Fra queste piante ascose
Vieni, vieni/ Ti vo' la fronte incoronar / di rose
(makes a gesture as to feel her imaginary Figaro's face)
Ti vo' la fronte incoronar,
(takes her roses hairpiece from her head and 'places' it on 'Figaro') incoronar… (feels 'his'
face, now 'crowned' with roses) …di rose
(as the closing bars play, she goes towards 'his' face, to feel, with her own face, 'his' face, and
the roses, then puts the hairpiece back on her own head)
LUCREZIA fades, back in view of JOSEPH
JOSEPH(V.O) What my hands make, touches her hair. Nobody else has that.
When she sings of love, my wig helps her feel it. My voice exists within hers. In
that while, I have a sound too. When I make her a wig, I make it to the exact
measure of her head, in which all thoughts, feelings, and memories are. What my
hands make, touch all that. My hands, touch all that. ARE with that, for a while.
Nobody but me has that. I must be contented with it. I am. She wouldn't want a
soundless man, she who's made of music. Mr Stonemaker, I'm staying where I am.
When is Mr Morgan due next? (checks the diary) Next month! Oh yes, he's gone to
Wales
Closes the shop and takes the book with him
INDOOR VIEW OF JOSEPH'S THINKING ROOM (SHED). EARLY EVENING.
The SHED is JOSEPH's space to think. A quiet space where nobody else goes, a kind of
'studio', away from his shop, and his living quarters, but not far from them, possibly turning
left from the Henrietta Street side of the Piazza (there is a gated development off Bedford St,
around there).
The room has a variety of books and papers, on scientific discoveries such as steam
technology, travellers' tales, philosophy, history, literature. Some 'experimental' equipment
on a table, and notes. There is a comfortable chair, and a couple of simpler ones, and lamps,
one of which doesn't look dissimilar from an electric lamp. JOSEPH is reading MR
MORGAN's book

JOSEPH (V.O.) (reading from the book) 'Mr Hippolytus Dimples
found himself at the bottom of a well. At first, he thought he
might be trapped into his own travelling spiral…' Ah, yes, the
travelling spiral! (continues reading) '…but then, he realized
that it WAS a well. Worried about the possibility of water
unearthing itself at any moment, he thought he'd escape. After
all, as he had found himself THERE, in THAT PLACE, at THAT
MOMENT, he could, surely, change the moment of his landing -or
plunging- to a slightly EARLIER moment. Thence, he flicked his
spiral twice in the rightward direction, and shook it robustly
for five seconds exactly; then, pointing his feet downwards,
in the same fashion as a graceful dancer does, gave himself an
upwards push. And gloriously exited the well.' The man in the
travelling spiral, and his ballerina feet… There should be
pictures… No pictures?! (flicking the book) But time-travelling…
no, and not only because there are no such travelling spirals!
No, Time beats, in one direction, at its own pre-fixed rhythm.
It's the structure that underlies all other structures,
because Life can only exist through the flow of Duration. If
Time didn't beat its rhythm, the heart wouldn't know which is
the pace that allows life. If time could be broken down, all,
would, surely, be destroyed. Even inanimate matter, changes
and re-invents itself, through time. Good old Mr Dimples,
here, achieves to unlock the structure of time, without
causing any damage to it, and therefore to where the very
POSSIBILITY of life is planted. If THAT could be achieved,
then it would be wonderful (opens the book again, and continues
reading) 'Were it not for the fact that Mr Dimples' exit was
helped by a sudden upward stream of water -not least
encouraged by Mr Dimples' energetic shaking of the spiral-, he
could have well considered it a success.'
As he's finishing reading, some sunlight falls on a mirror, making it flicker. There is another
mirror very close by, and the light bounces from one to the other. As the flickering becomes
quick and continuous, the mirrors shake. To stop this, JOSEPH gets up and, without thinking,
puts the mirrors into a big, rectangular box-shaped airtight 'jar', with a clip top. As he touches
the jar's sides, he finds himself, sitting at the table, writing on a piece of paper, the jar in front
of him
JOSEPH (V.O., confused) I don't remember coming to the table… What
is the jar doing here? …with mirrors in it?!
Touches the jar, to put it back, and finds himself in the chair, reading
'Were it not for the fact that Mr Dimples' exit…'
Feels something's strange, but can't tell what. Reads:
'Were it not for the fact…'

Stops again. Something is bothering him. Somehow he can't enjoy the book. Then the
flickering happens again, and repeats the same actions as above: puts the mirrors in the jar,
then, when touching the jar, finds himself sitting at the table writing, exactly as before. This
time, he feels a distinct sense of unease, so he drops his quill quickly, alarmed. Sees the jar
…the jar doing here?… with mirrors in it?! Yes, they were flickering… And why
am I writing…? I was reading the time-traveller's book (smiles) Have to stop
reading fables at night
Gets up, to put that jar aside, but when he touches it, and sunlight comes in from a slightly
different angle without him noticing that- the flickering happens again, and he's transported
to another -new- moment, in the future, when he's putting his coat on, to go home, the jar
near him, on his side. Casts a glance over it, and stops his current actions
Really, it CAN'T be! Go home!
Continues to button up his coat, then stops, to look at the jar
Yet… And I WILL have to touch it again, at some point… Now. By reducing the
event into relevant parts, I can find the science of it. So. Based on previous
experience. When I touched the jar, it APPEARS I found myself at a different
moment. I never experienced THAT any other times I had touched the jar before.
Therefore, I can deduce, it's not the jar. The mirrors are INSIDE the jar, I haven't
touched them. Then, it can't be them either. But, WHAT else?
Takes the coat off, he's got to investigate. Looks at the jar, walks around it, trying to work out
the key to the event
The lid…? The lid closes the jar, containing air… (looks at another object on his
experimental table, a kind of pressure cooker, on the model of Papin's steam digester) A bit
like the steam digester… Air stays compressed inside. Air compression?! Nothing
has ever happened, when I touched the steam digester. (touches the steam digester,
and nothing happens) No. Then, it's not compressed air. What else? WHERE it is
positioned? A table, where I was writing… a side table here… No, no, it's not the
table! Am I Mr Dimples?! (hastily makes for re-putting his coat on)
Sunlight falls on the mirrors again, and, again, instinctively, as above, he moves the jar, and,
there he is, back in his chair, coat off, reading
'However, the exertion of such impulse caused Mr Dimples to find himself stuck
amongst the branches of a large oak, the distance between him and his undoing
only being the solidity of his spiral, which demonstrated to be fully apt for the
purpose of supporting Mr Dimples' healthy figure, in its dangling. A rather
unfortunate moment in Time, having had a choice' Enough! I will write to Mr
Morgan
Then a thought, that there is something more in that moment. Looks around, and sees the
jar with the mirrors inside. Ah, he remembers, yes, the jar was provoking strange events…
Gets up, to go to write to MR MORGAN, but can't help looking at the jar. Feels compelled to

touch it. Nothing happens. He's surprised, and rather disappointed; he expected
SOMETHING to happen
The jar, the table… yes… I had my coat on, then I stopped, so, logically, I came
back…?! To read? No! Coat, then… Touched the jar. The jar MOVED me. Oh no,
am I Mr Dimples? I've already said that! But that was when I had the coat on,
which is later than now. So… HAVE I TRAVELLED in TIME? And I was already
reasoning on how. Not the jar, not the mirrors, not the lid… Yes. Compressed air.
But not alone. No, because the steam digester doesn't make me move.
Compressed air PLUS…? Light! Light, flickering between the mirrors! The mirrors
shook! The mirrors shaking, with compressed air, caused an energy so powerful
to MOVE ME in TIME…?! Light AND compressed air! TWO energies! Yes… One
energy alone could not possibly do it, but two…! TWO energies, one expansive,
one compressed, cause a conflict so great that even Time has to subside. Then,
Time can be tamed, if different powers come together at their most focussed?!
So… If I found how to control the focus…? Tomorrow. 1
Puts the coat on and goes out
INDOOR VIEW OF JOSEPH'S SHOP. THE FOLLOWING MORNING
He's still thinking about last night's events. A customer, REVerend FINCHLEY, is sitting in
the barber's chair. JOSEPH shaving him. The volume of REV FINCHLEY’s speaking is
dimmed, apart from the lines in bold, which grab JOSEPH’s attention, gradually so
REV FINCHLEY (volume dimmed) Those children, Mr Sweeney, thin,
melancholic and covered in smallpox blisters… Ah, Mr Sweeney, (volume up)
sometimes I wonder if, in the whirl of Time, we have landed on a rather
unfortunate fragment… (JOSEPH lost in his own thoughts, not listening) (volume
dimmed) Because it seems so unjust, all this suffering… Children… I find myself
sometimes questioning my deepest beliefs, Mr Sweeney, when I see such
suffering and sorrow. And I ask myself: (volume up) IN THE CYCLE OF TIME
(JOSEPH's attention grabbed),(volume dimmed) there must be a point in which
suffering must not exist anymore. What I mean is: take rickets, London used to be
plagued by rickets, (volume up) and then a cure was found, AFTER TIME.
(volume dimmed) Hence, my reasoning is this: it may be that, in,
say, 200 YEARS FROM NOW, a cure might be found, for those
little children… and indeed any other ill! (volume up) Even you,
Mr Sweeney, they could cure you! In 200 years from now, they
could make YOU SPEAK! (volume dimmed) What do you think, Mr
Sweeney, isn't mine a logical argument? (JOSEPH somewhat nods)
1
The ‘science’ behind the time-travelling possibility… comes from the idea of a strong energy being
trapped inside a vacuum. In 1679, Papin invented the ‘steam digester’, which was a sort of pressure cooker,
and which therefore traps energy. In Joseph’s time, the sun would be an obvious and available source of
energy. The mirrors’ flickering- therefore ‘pumping’ each other with energy-, and them being trapped
inside a closed container -the jar-, would have produced a similar kind of trapped energy inside a vacuum. I
used the jar as a container, so that the sun could get to the mirrors…

REV FINCHLEY gets up, the shave finished, looks at himself for a
brief moment in the mirror, well satisfied, then grabs JOSEPH's hand
with both his hands and speaks to him for a while before letting his
hands go (volume dimmed)
Hands payment for the shave and goes. JOSEPH hastily closes the
shop, and runs to the shed
INDOOR VIEW OF THE SHED. SAME TIME
JOSEPH quickly takes his coat off and paces around, agitated
JOSEPH(V.O. in the camera) Good old Reverend Finchley. If Time
is rhythmic, then it must be mathematical. A unit.
The jar still where it was last night. No light, no flickering.
JOSEPH looks at it, with a smile of sympathy, and challenge. Makes
notes
How do I measure that energy? (looks around his room) Mr Watt's
measurer! 2 (gets it) Too big, for the jar…
Writes 'TIME DIRECTIONS'. Last night, he grabbed the jar THIS side
first, and THAT side then. THIS side goes forward; THAT side goes
backwards. Takes a deep breath, and puts the lantern very close, to
make the mirrors inside the jar flicker. Mirrors flicker, shake
inside the jar. Suddenly remembers to look at what time it is now,
on a clock, then grabs the jar from THAT side. He has moved in time,
backwards
(with the jar still in his hands, then puts it down) Find a
lantern, to act as sunlight… YES! I had THIS thought before!
YES! (hastily, stops) Meter, meter! What does it say?
Looks inside the jar and writes down the value from the meter. Then
touches the jar from the other sides and goes back to present
I WILL travel. I WILL speak, I WANT to speak! To be a
SOUNDING man… I WILL SPEAK. Yes. It's time. To speak. To…
Time's directions. So, is this also a question of LOCATION?
Can one move in time AND place? Mr Dimples could have avoided
a well!
Music, the continuing section of the one used earlier, as he's
continuing with the same endeavour. Sits down and starts making
calculations. Then he builds a device, derived from the steam
digester, which looks like a pressure cooker, has enough room to
2 James Watt invented many things. Apart from having developed the steam
engine -and here we have a reference to the steam digester-, he invented
many instruments too. Surely, there must have been a measurer, to determine
energy, pressure, etc…

contain a lantern -which he can adjust the brightness of-, two
facing mirrors and a meter.
Grabs it from different sides, and experiments going small time
distances backwards and forward, and makes notes throughout.
As he's having difficulties in controlling how the light hits the
mirrors -all being inside the device- he decides to connect the
lantern with a handle, which sticks outside the cooker, which, when
turned one direction or another, controls both the light's intensity
and angle, and therefore the going backwards or forward in time. The
handle also has a marked scale, which indicates distance in time.
Music ends.
Now. A longer backward journey. WHEN should I go to? Oh, yes.
One year, 3 days, 7 hours, 42 minutes, 35 seconds.
Straps himself to the device, and turns the handle.
EXTERNAL VIEW OF OUTSIDE JOSEPH'S SHOP. SEPTEMBER 1810. DAY.
Music: Mozart Clarinet Concerto K622, 2nd Movement, Adagio.
On a sunny day, JOSEPH is standing outside his shop, enjoying the
sun's warmth, his eyes closed.
Bar 5, JOSEPH opens his eyes, sees a carriage coming. The carriage
stops
Bar 8, LUCREZIA opens the carriage door. Bar 9, LUCREZIA comes out,
smiling, her eyes closed to enjoy the sun too
Bar 13, she opens her eyes and the first thing she sees is
JOSEPH, whose eyes have been on her. Their gazes remain locked, but
neither can express the delight they feel
Bar 17, KEMBLE, 53, the Opera House manager, who is coming to greet
her, talks to her, to welcome her in the theatre
Bar 18, LUCREZIA moves her gaze slightly away from JOSEPH, but
doesn't look at KEMBLE, or anything else, her attention wanting to
be taken by JOSEPH. Bar 20, accompanied by KEMBLE, she goes in (on
bar 22).
JOSEPH's breath is suspended on bar 22. He still remains outside his
shop, while finishing the breath that was left suspended -on bar 23,
then cut to bar 93-.
Bars 93-94-95, he reluctantly goes inside his shop, not wanting the
moment to finish. Eventually, bar 98, he turns the handle to come
back to present time
INDOOR VIEW OF JOSEPH'S SHED. 1811. SAME TIME AS BEFORE HE
TRAVELLED
JOSEPH

(V.O.)
Excellent. Now I can go to
20-11. Does it even exist? Of course it does. I must try.
Because next sunny day I want to have a sound.
Tomorrow. (looks at the device) 'Till next time…
EXTERNAL VIEW OF COVENT GARDEN. 1811. THE MORNING AFTER