Episode One - YELLOW AMENDS - 10/04/12
53.
DONALDSON - already sat in the carriage. DONALDSON (CONT’D) Turkish Delight.
He takes the girls’ hands, leads them to this wooden sweet box. Rose luxuriates in the softness of the seats. The almond sweetness and sugar on her lips. And sensing something -- ROSE There someone else in here, sir? DONALDSON - lighting a cigarette. And in the glow of the match, find sitting opposite him - CECIL CREIGHTON. DONALDSON No one you need worry about. EXT. CREIGHTON HOME - NIGHT 1/74 Our three heroes - their blackened faces, smoking cigarettes, sat on the opposing sidewalk to the smoking building. A frightened collection of CREIGHTON’S NEIGHBOURS in their nightwear looking on. After a moment -- JACKSON What now? REID - taking his time, removing from his pockets that strip of film. He holds it up to the light of the flames - sees the image of the caged bird flickering away -- REID See the way the images look identical, but by the end of the sequence the bird sits in a different position... JACKSON - a nod. And REID - standing now -- REID (CONT’D)
1/74
There’s a man - A Frenchman, Le Prince. An engineer. He has - experimented with photographic images that... (a bald statement of fact) ... move. JACKSON Like a lantern show? REID No. Real. It’s why the pictures appear of a kind - because every degree of muscular movement must be captured in one moment of precision. The end effect, therefore - a fluid movement.
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