[Author’s warning: there’s no actual sex in this, and it’s experimental.]
2: Like a Red, Red Rose
Rhodri Morgan, Oil on Canvas, 100×150 cm
[property of the artist, NFS]
MEDIUM SHOT: Full frontal nude oil painting of an adolescent girl, skin gleaming, clearly painted and well detailed. Behind her is a dark figure, much more sketchy, merging into a dark background of trees. The dark figure has one hand on her breast and its other hand in her crotch. Her head is twisted round over her shoulder to kiss the figure.
Hold, then cross-fade to
LONG SHOT, from helicopter: A small plain castle stands at the top of a cliff on a wooded, rocky promontory. The castle is not ruinous but is equally not over-restored. The shot tracks past it and along the cliff edge of the peninsula. It is just possible to see ELAINE sunbathing nude on the cliff edge, but the camera passes over her without pause. It tracks down to the neck of the promontory where we see a cottage built against the inside of an ancient defensive wall, and beyond it a dirt road running along the top of a very narrow isthmus to the mainland. The camera tracks up the road until it catches a black open sports car [Lotus Elise] approaching the promontory. Zoom in on sports car.
CLOSE UP: In the car. RHODRI is driving, concentrating on the road ahead, his eyes narrowed. He is in his late twenties, good looking, confident to the point of arrogance. His hair is slightly long. He wears a leather jacket over an open-necked shirt. On his wrist is an expensive-looking watch.
LONG SHOT: Looking out through the gate arch in the defensive wall, we see the car approach across the isthmus. As the car comes through the arch the camera pans left, following it, and we see a small soft-top 4×4 [Suzuki Vitara] standing outside the cottage. Car slows and we see RHODRI look at the 4×4.
CLOSE UP: RHODRI’s face: puzzlement, speculation, interest, enlightenment.
LONG SHOT, as before: Car starts up again more slowly, and drives out of shot left.
—–
LONG SHOT, from helicopter: The cliff edge of the promontory, recognisably the same viewpoint as part of the initial tracking shot. Slow zoom in on ELAINE, sunbathing nude in a small grassy area surrounded by thorn bushes. She is late adolescent, attractive, good figure. Exact detail of appearance is not important. RHODRI emerges from a path through the thorn bushes.
MEDIUM SHOT: RHODRI’s viewpoint. ELAINE lies face down, nude, apparently asleep, on a rug on the grass. A t-shirt, briefs, sandals, and a bottle of sun-tan oil lie beside her. Zoom in and track sensually along her body from the head downwards.
LONG SHOT: RHODRI and ELAINE on the cliff edge. RHODRI bends, moves ELAINE’s clothes out of her reach, sits easily on her right (left from POV of camera), puts some suntan oil on his hands, starts to apply it to ELAINE’s shoulders and back.
CLOSE UP: ELAINE’s head. She jerks up, startled, and looks to her right (left of frame). Expression relaxes, goes to one of pleasure, then of embarrassment.
ELAINE: Oh! Hi Rhodri…
MEDIUM SHOT: RHODRI sits close to ELAINE, still spreading oil on her back. She props herself up on her elbows.
RHODRI: Hi Elaine. Good to see you.
ELAINE: Good to be here… I’ve missed it.
RHODRI: You didn’t come last year.
ELAINE: No. No, mother was dead against it, because of the way I’d behaved the year before… And I was embarrassed, too.
RHODRI: Why?
ELAINE: Well, I didn’t behave very well, did I?
CLOSE UP: RHODRI’s face. He is relaxed, warm, amused, indulgent.
RHODRI: The little Lolita tart act? It didn’t offend me. Quite the opposite. And I quite understood.
ELAINE: What?
CLOSE UP:
RHODRI’s hand massaging suntan oil into the small of ELAINE’s back
RHODRI: Well, you were trying out the power of your new body, seeing what it could do for you. And a little desperate to get rid of your virginity.
ELAINE: How do you like it? The body, I mean?
RHODRI: Very, very much indeed.
RHODRI’s hand makes a long sweeping stroke up to ELAINE’s shoulders and back towards her waist. The camera tracks it.
RHODRI: I imagine the virginity’s gone now?
ELAINE: No.
RHODRI’s hand stops moving
RHODRI: Oh!
RHODRI’s hand moves onto ELAINE’s buttocks and starts moving again
RHODRI: Well, I imagine we can fix that while you’re here.
CLOSE UP:
Elaine’s face. She looks down.
RHODRI: That’s why you came, isn’t it? By yourself I mean?
ELAINE: [pause] Mother and father couldn’t get away… like they won’t be here for a fortnight. And my term finished, and we were rowing at home. [she looks up towards RHODRI] And I thought how nice it would be here.
CLOSE UP: RHODRI’s hand strokes the lower slopes of ELAINE’s buttocks and the inside of her thighs. It is overtly sexual. Her legs part a little.
RHODRI: And the maidenhead?
CLOSE UP: ELAINE’s face; she looks down, flushing.
ELAINE: I’m saving it.
RHODRI: Proper little Victorian! What for?
ELAINE: Don’t do that, Rhodri…
CLOSE UP: RHODRI’s hand is now between ELAINE’s thighs and through the camera doesn’t show this the implication is that he is touching her labia or her clit. The hand is moving very gently.
RHODRI: What are you saving it for?
ELAINE: Rhodri! Please!
RHODRI’s hand comes out from between ELAINE’s legs and rests lightly on her arse.
CLOSE UP: ELAINE’s face; she looks down, flushing.
ELAINE: I’m saving it for when I’m in love with someone. Like, I mean, properly in love.
CLOSE UP: RHODRI’s face; He is relaxed, warm, amused, affectionate.
RHODRI: Aren’t you still in love with me?
CLOSE UP: ELAINE’s face; she looks down, flushing. She doesn’t answer.
CLOSE UP: RHODRI’s face.
CLOSE UP: ELAINE’s face. She looks up towards him.
ELAINE: Do you love me?
CLOSE UP: RHODRI’s face. Slight disappointment, very slight distaste.
RHODRI: Elaine, how long have you known me?
CLOSE UP: ELAINE’s face; she looks down, flushing.
ELAINE: Since I was about eight? You’ve always seemed to like me… like, been fond of me.
RHODRI: I am fond of you. I think you’re great. I was really disappointed you didn’t come last summer. But do I really look to you like someone who can be bought with the offer of a shag?
ELAINE: I didn’t mean it like that! Rhodri, I didn’t!
—–
LONG SHOT: The neck of the promontory. In the foreground, RHODRI is fuelling a small but sturdy looking motor boat, which is beached. He wears jeans and an open-necked shirt. ELAINE’s 4×4 comes into shot left and stops above him. She looks down at him. She wears jeans and a sweater.
ELAINE: Hi, Rhodri!
MEDIUM SHOT: RHODRI at the boat. He looks up. He smiles.
RHODRI: Hi, Elaine!
LONG SHOT: RHODRI’s POV, looking up towards the road. ELAINE gets out of the 4×4 and scrambles down the rocks towards him.
ELAINE: I wanted to apologise.
RHODRI: What for?
ELAINE: Being a spoiled brat.
RHODRI: Don’t be silly. [pause, grins] I like you being a brat.
ELAINE: I’m sorry anyway. I didn’t mean it to be like that. You caught me by surprise.
RHODRI: No need, Elaine. I wasn’t behaving myself either.
CLOSE UP: ELAINE’s face. She looks down and blushes again, and then looks up and shakes her head.
ELAINE: Where’s Draeg?
RHODRI: Over in the marina. I was planning to go across tomorrow and fetch her back. Want to come?
ELAINE: Oh please! What time?
RHODRI: Seven o’clock sharp, down here at the beach?
ELAINE: Please!
RHODRI: OK. Good. Where were you going?
ELAINE: Into the village to see if they could feed me at the pub.
RHODRI: No food in the cottage?
ELAINE: I’m not very organised…
RHODRI: Come up to the castle, I’ve plenty.
ELAINE: You don’t mind?
RHODRI: Of course not. I’d love to feed you.
ELAINE: I’d love it, too.
—–
LONG SHOT: Through castle window, candle-lit interior. RHODRI is cooking. ELAINE is laying the table in the foreground. They appear to be talking amicably but there is no sound.
Cross fade to
LONG SHOT: Through castle window as before, but now they are sat at the table eating. RHODRI pours wine. Both look relaxed. There is no sound.
Cross fade to
LONG SHOT: Through castle window as before. The meal is over. They are talking. Slow zoom in through the window and fade up sound to
RHODRI: I’ve just about finished a portrait of Fi Fraser, which should stir them up a bit.
CLOSE UP: ELAINE, looking over rim of wine glass which she’s twisting in her hands. She looks relaxed and happy.
ELAINE: What, more than last year’s vagina?
MEDIUM SHOT: RHODRI leaning back in his chair, relaxed.
RHODRI: You read about that?
ELAINE: I went to see it.
RHODRI: What did you think?
CLOSE UP: ELAINE, looking over rim of wine glass which she’s twisting in her hands. She looks down and flushes bright red.
RHODRI: Seriously, what did you think?
ELAINE: [whispers] I wished it was me…
CLOSE UP: RHODRI’s face. He looks much more alert, interested.
RHODRI: Seriously?
CLOSE UP
ELAINE’s face
ELAINE: Totally. Like I was so turned on and so jealous of her. I mean it was a brilliant painting too. [pause] Did you…
CLOSE UP: RHODRI’s face.
RHODRI: Fuck her? Yes.
CLOSE UP
ELAINE’s face
ELAINE: Is it true you always fuck the people you paint?
LONG SHOT: The table. RHODRI is still leant back in his chair.
RHODRI: [laughs] Not the men!
ELAINE: Why do you? Does it help you paint them?
RHODRI: Not really. I pretend it does. I like fucking.
ELAINE: Just that? You don’t care about them at all?
RHODRI: Well, if I don’t like ’em, I don’t fuck ’em. Most of them are friends, to some degree. But I don’t need to love ’em.
CLOSE UP: ELAINE’s face
ELAINE: Rhodri, can you… like, can you ever imagine giving that up? Like, I mean, just being faithful to one person?
CLOSE UP: RHODRI’s face, slightly irritated.
RHODRI: You mean you.
CLOSE UP: ELAINE’s face.
ELAINE: It isn’t like that! I’m not making conditions! I’m just asking.
CLOSE UP: RHODRI’s face.
RHODRI: Yes, I can imagine it. If I fell in love I imagine I would.
CLOSE UP: ELAINE’s face
ELAINE: OK, so when we [pause] so if we… do it, it’s just for fun and nothing serious but it isn’t like completely impossible that it could turn into something serious afterwards… I mean not as a bargain, but it might?
LONG SHOT: The table. RHODRI stands up.
RHODRI: That’s right. [pause] Come on, brat, bedtime. I’ll clear up in the morning.
ELAINE stands up slowly. RHODRI takes her by the hand and leads her to the door. The camera tracks them.
LONG SHOT: Castle Interior. A bedroom, old, somewhat untidy. Moonlight through window. Huge double bed. Big painting of two people having sex hangs above it. RHODRI enters, leading ELAINE. He pulls her into a clinch, kissing her and pushing her towards the bed.
ELAINE: Rhodri! No! I’m not ready!
RHODRI: Brat -!
ELAINE: I need to think! I’m not ready!
ELAINE runs out. RHODRI sits down on the bed. After a moment he shrugs and walks out.
LONG SHOT: Cottage interior, bedroom, night, fairly dark. Moonlight through window. ELAINE comes in and throws herself on the bed. Muffled sobbing. She gets up and tears her clothes off, throwing them on the floor. She gets back on the bed, flips on a little reading light. She’s holding a wallet and pulls a battered photograph out of it. She looks at the photograph. Her hand moves into her groin, which is in shadow.
LONG SHOT:
Through castle kitchen window, as before. No sound. RHODRI clears the table. He looks thoughtful and disappointed.
CLOSE UP: ELAINE’s hand in her crotch. It is too dark to see any detail, but she is clearly masturbating.
LONG SHOT:
Through castle kitchen window, as before. RHODRI continues to clear the table.
CLOSE UP: ELAINE’s face, partly illuminated by the reading light. She is close to orgasm.
LONG SHOT:
Through castle kitchen window, as before. RHODRI continues to clear the table. Suddenly, he hurls a wineglass at the wall.
CLOSE UP: ELAINE’s face. She orgasms and relaxes. Camera pulls back to medium shot as her hand falls to her side and the photograph drifts to the floor, landing in a patch of moonlight.
CLOSE UP: The photograph on the floor. It is of RHODRI, sailing a yacht. ELAINE, very much younger, is sitting close beside him, pressed up against him.
CLOSE UP: Elaine’s face on the pillow. She is sleeping peacefully. It is quite dark.
CLOSE UP: A clock face. The hands go round rapidly and light starts to increase.
CLOSE UP: Elaine’s face on the pillow. She is sleeping peacefully. It is much lighter. She stirs, wakes blearily, looks left out of shot.
CLOSE UP: The clock face. It shows half past seven. (four weddings reference)
ELAINE: Fuck!
LONG SHOT: The cottage bedroom as before but now much lighter. ELAINE leaps out of bed, grabs the clothes she’d been wearing yesterday, hauls them on, sprints for the door, stops, comes back, picks up the photograph and tucks it carefully away in her wallet, sprints for the door again.
LONG SHOT: Looking out through the gateway down into the bay where RHODRI had been fuelling the motor boat. There’s no boat there now. ELAINE, wearing sweater and jeans as before, runs into shot from behind the camera, slows down, stands looking down into the bay, looks out to sea.
Zoom in on her standing there, hold and cross-fade to
LONG SHOT: Looking out through the gateway exactly as before but the sun is now high and ELAINE is in the same pose but wearing a bikini.
Hold and cross-fade to
LONG SHOT: Looking out through the gateway exactly as before but the sun is now setting and ELAINE is in the same pose wearing jeans and a warm jacket.
—–
LONG SHOT: Village street. ELAINE’s 4×4 is parked at the kerb, the top removed. Rhodri walks into shot wearing jeans, shirt and leather jacket as before. He looks at the 4×4. He walks on, left, and the camera tracks him to the doorway of a shop. ELAINE comes out. She wears trainers, a short skirt, and a short crop-top vest.
CLOSE UP: ELAINE’s face. Surprised and then pleased.
ELAINE: Rhodri! I’m so sorry I missed you yesterday. I overslept…
CLOSE UP: RHODRI’s face. Extremely relieved – more relieved than is cool, but trying to hide it.
RHODRI: [lightly] Oh good! I thought I was in disgrace.
ELAINE: No. [she blushes again] Not in disgrace at all. I did want to come, I just overslept. Honestly!
CLOSE UP: RHODRI’s face. The ghost of a grin.
RHODRI: [innocently] I wanted you to come, too.
CLOSE UP: ELAINE’s face, laughing.
ELAINE: Bastard! I didn’t mean like that. But… [she pauses, then shakes her head] No, nothing.
LONG SHOT: Village street as before. She walks towards the 4×4; he follows. She puts a bag of groceries into the back.
MEDIUM SHOT: Back of 4×4, ELAINE and RHODRI on the street beyond.
ELAINE: What do you think of my truck?
RHODRI: New toy?
ELAINE: Well, new to me. And it isn’t that old. It goes all right and it isn’t falling to bits.
RHODRI: Present from your parents?
ELAINE: Oh no. They don’t approve at all. They’re sure I’ll kill myself and anyway it isn’t the sort of car they’d want their daughter to drive. No, I got it with some of Grandma’s money…
RHODRI: Yes, I was sorry to hear about your gran.
ELAINE: [looks down] Yes. [pause, looks up at him] But what do you think of it?
RHODRI: It’s good. It looks fun. It looks you – I think it suits you. You should take those bull bars off though.
ELAINE: Don’t you like them?
RHODRI: If you hit someone, you’ll hurt them a lot worse with those.
ELAINE: I’m a good driver!
RHODRI: I know. We all are. But…
ELAINE: Oh.
MEDIUM SHOT: ELAINE’s head and shoulders, under 4×4. She struggles with a spanner. It slips.
ELAINE: Ow! Fuck! [she sucks her knuckles]
LONG SHOT: Outside of cottage. Bright sunlight, warm. Camera pans round to 4×4 standing outside, facing camera. Zooms in on ELAINE, lying with her head under it. Her knees are up and her legs parted; her skirt has fallen around her waist. Camera zooms slowly in on the crotch of her clean white cotton knickers – brief but plain; not sophisticated, slightly childish, contrasting with the raunchy pose.
MEDIUM SHOT: ELAINE’s head and shoulders, under 4×4. She struggles with a spanner. It slips.
ELAINE: Ow! Fucking hell! [she sucks her knuckles]
RHODRI: Do you want any help with that?
ELAINE looks up, startled, and bangs her head on the chassis
ELAINE: Ouch! Shit!
LONG SHOT: 4×4 outside cottage as before. ELAINE wriggles out from under it, and stands up, holding her forehead. RHODRI is watching.
RHODRI: [laughing] Oh, you poor thing. Shall I kiss it better?
ELAINE: [laughing too but obviously still hurting] No! [pause] Would you help me?
RHODRI: [slightly melodramatic sigh] Give me the spanners.
MEDIUM SHOT: Under the 4×4. RHODRI undoes a bolt and passes it out of shot. He undoes another.
LONG SHOT: 4×4 outside cottage as before. RHODRI’s legs stick out from under it. ELAINE squats beside him. She takes a bolt from him and lays it down.
RHODRI: OK, can you take the weight now?
ELAINE stands astride RHODRI and takes the weight of the bull bars
ELAINE: OK, got it.
MEDIUM SHOT: Under the 4×4. RHODRI pulls out the last two bolts, and cleans his hands on a handkerchief. He wriggles out of shot.
MEDIUM SHOT: From in the 4×4 looking forward. ELAINE bends to lower the bull bars. RHODRI stands up behind her, turns her round and starts to kiss her tentatively. She starts to respond.
CLOSE UP: ELAINE and RHODRI kiss increasingly passionately.
CLOSE UP: RHODRI unzips ELAINE’s skirt and pushes it off her hips.
CLOSE UP: ELAINE’s hand tangles in RHODRI’s hair.
CLOSE UP: RHODRI’s hands push ELAINE’s knickers down, and stroke her arse.
CLOSE UP: ELAINE’s hand burrows in under RHODRI’s shirt
LONG SHOT: RHODRI and ELAINE kiss. RHODRI shrugs out of his jacket and puts it on the bonnet of the 4×4 behind her. He breaks the kiss.
RHODRI: Arms up!
ELAINE trustingly raises her arms and allows him to pull her top off over her head. She is not wearing a bra. She steps out of her knickers. He lifts her, sits her on his jacket on the bonnet of the truck.
CLOSE UP: RHODRI nibbles and sucks ELAINE’s breasts.
MEDIUM SHOT: From the side, RHODRI with his head down on ELAINE’s breasts, nibbling and sucking. Her hands play in his hair, her legs are around his waist, her head is back.
CLOSE UP: RHODRI and ELAINE kiss passionately.
MEDIUM SHOT: From the side. ELAINE sits on the bonnet of the 4×4. RHODRI stands between her legs. Her arms are round his neck. Both are panting. He kneels.
CLOSE UP: RHODRI’s head between ELAINE’s legs. We can’t actually see that he’s eating her out but it’s implied.
CLOSE UP: Elaine’s head. She orgasms noisily (harry met sally).
MEDIUM SHOT: As before. RHODRI stands up and they kiss.
CLOSE UP: RHODRI unbuttons and unzips his jeans.
CLOSE UP: ELAINE’s face. She is struggling to focus.
ELAINE: No! Rhodri, no.
RHODRI: Brat? Hey, what’s wrong?
ELAINE: I’m scared… [licks lips] Rhodri…
RHODRI: What is it, Brat?
ELAINE: Rhodri, I don’t… [looks down] Do you…
RHODRI: Elaine! don’t ask. Don’t do that again.
MEDIUM SHOT: As before. ELAINE starts to cry and RHODRI pulls her head into his shoulder and strokes it, as if comforting a child. She is still naked except for her trainers and he is still standing between her legs. She quietens.
CLOSE UP: ELAINE’s head on RHODRI’s shoulder. He strokes her under the chin, lifting her head, and starts tentatively to kiss her again.
MEDIUM SHOT: As before. They kiss. Suddenly ELAINE breaks the kiss.
ELAINE: No! No! I can’t!
Zoom back to
LONG SHOT: From the same view point ELAINE pushes RHODRI away and runs out of shot, stumbling over the bull bars. The camera tracks her left. She runs through the front door of the cottage and slams it. We hear the lock click, and a bolt being shot. Camera pans right back to RHODRI. He looks at the door for a moment, then stoops and picks up her clothing, folding it and putting it neatly on the bonnet of the 4×4.
2: Like a Red, Red Rose
Rhodri Morgan, Oil on Canvas, 100×150 cm
[property of the artist, NFS]
MEDIUM SHOT: Full frontal nude oil painting of an adolescent girl, skin gleaming, clearly painted and well detailed. Behind her is a dark figure, much more sketchy, merging into a dark background of trees. The dark figure has one hand on her breast and its other hand in her crotch. Her head is twisted round over her shoulder to kiss the figure.
Hold, then cross-fade to
LONG SHOT, from helicopter: A small plain castle stands at the top of a cliff on a wooded, rocky promontory. The castle is not ruinous but is equally not over-restored. The shot tracks past it and along the cliff edge of the peninsula. It is just possible to see ELAINE sunbathing nude on the cliff edge, but the camera passes over her without pause. It tracks down to the neck of the promontory where we see a cottage built against the inside of an ancient defensive wall, and beyond it a dirt road running along the top of a very narrow isthmus to the mainland. The camera tracks up the road until it catches a black open sports car [Lotus Elise] approaching the promontory. Zoom in on sports car.
CLOSE UP: In the car. RHODRI is driving, concentrating on the road ahead, his eyes narrowed. He is in his late twenties, good looking, confident to the point of arrogance. His hair is slightly long. He wears a leather jacket over an open-necked shirt. On his wrist is an expensive-looking watch.
LONG SHOT: Looking out through the gate arch in the defensive wall, we see the car approach across the isthmus. As the car comes through the arch the camera pans left, following it, and we see a small soft-top 4×4 [Suzuki Vitara] standing outside the cottage. Car slows and we see RHODRI look at the 4×4.
CLOSE UP: RHODRI’s face: puzzlement, speculation, interest, enlightenment.
LONG SHOT, as before: Car starts up again more slowly, and drives out of shot left.
—–
LONG SHOT, from helicopter: The cliff edge of the promontory, recognisably the same viewpoint as part of the initial tracking shot. Slow zoom in on ELAINE, sunbathing nude in a small grassy area surrounded by thorn bushes. She is late adolescent, attractive, good figure. Exact detail of appearance is not important. RHODRI emerges from a path through the thorn bushes.
MEDIUM SHOT: RHODRI’s viewpoint. ELAINE lies face down, nude, apparently asleep, on a rug on the grass. A t-shirt, briefs, sandals, and a bottle of sun-tan oil lie beside her. Zoom in and track sensually along her body from the head downwards.
LONG SHOT: RHODRI and ELAINE on the cliff edge. RHODRI bends, moves ELAINE’s clothes out of her reach, sits easily on her right (left from POV of camera), puts some suntan oil on his hands, starts to apply it to ELAINE’s shoulders and back.
CLOSE UP: ELAINE’s head. She jerks up, startled, and looks to her right (left of frame). Expression relaxes, goes to one of pleasure, then of embarrassment.
ELAINE: Oh! Hi Rhodri…
MEDIUM SHOT: RHODRI sits close to ELAINE, still spreading oil on her back. She props herself up on her elbows.
RHODRI: Hi Elaine. Good to see you.
ELAINE: Good to be here… I’ve missed it.
RHODRI: You didn’t come last year.
ELAINE: No. No, mother was dead against it, because of the way I’d behaved the year before… And I was embarrassed, too.
RHODRI: Why?
ELAINE: Well, I didn’t behave very well, did I?
CLOSE UP: RHODRI’s face. He is relaxed, warm, amused, indulgent.
RHODRI: The little Lolita tart act? It didn’t offend me. Quite the opposite. And I quite understood.
ELAINE: What?
CLOSE UP:
RHODRI’s hand massaging suntan oil into the small of ELAINE’s back
RHODRI: Well, you were trying out the power of your new body, seeing what it could do for you. And a little desperate to get rid of your virginity.
ELAINE: How do you like it? The body, I mean?
RHODRI: Very, very much indeed.
RHODRI’s hand makes a long sweeping stroke up to ELAINE’s shoulders and back towards her waist. The camera tracks it.
RHODRI: I imagine the virginity’s gone now?
ELAINE: No.
RHODRI’s hand stops moving
RHODRI: Oh!
RHODRI’s hand moves onto ELAINE’s buttocks and starts moving again
RHODRI: Well, I imagine we can fix that while you’re here.
CLOSE UP:
Elaine’s face. She looks down.
RHODRI: That’s why you came, isn’t it? By yourself I mean?
ELAINE: [pause] Mother and father couldn’t get away… like they won’t be here for a fortnight. And my term finished, and we were rowing at home. [she looks up towards RHODRI] And I thought how nice it would be here.
CLOSE UP: RHODRI’s hand strokes the lower slopes of ELAINE’s buttocks and the inside of her thighs. It is overtly sexual. Her legs part a little.
RHODRI: And the maidenhead?
CLOSE UP: ELAINE’s face; she looks down, flushing.
ELAINE: I’m saving it.
RHODRI: Proper little Victorian! What for?
ELAINE: Don’t do that, Rhodri…
CLOSE UP: RHODRI’s hand is now between ELAINE’s thighs and through the camera doesn’t show this the implication is that he is touching her labia or her clit. The hand is moving very gently.
RHODRI: What are you saving it for?
ELAINE: Rhodri! Please!
RHODRI’s hand comes out from between ELAINE’s legs and rests lightly on her arse.
CLOSE UP: ELAINE’s face; she looks down, flushing.
ELAINE: I’m saving it for when I’m in love with someone. Like, I mean, properly in love.
CLOSE UP: RHODRI’s face; He is relaxed, warm, amused, affectionate.
RHODRI: Aren’t you still in love with me?
CLOSE UP: ELAINE’s face; she looks down, flushing. She doesn’t answer.
CLOSE UP: RHODRI’s face.
CLOSE UP: ELAINE’s face. She looks up towards him.
ELAINE: Do you love me?
CLOSE UP: RHODRI’s face. Slight disappointment, very slight distaste.
RHODRI: Elaine, how long have you known me?
CLOSE UP: ELAINE’s face; she looks down, flushing.
ELAINE: Since I was about eight? You’ve always seemed to like me… like, been fond of me.
RHODRI: I am fond of you. I think you’re great. I was really disappointed you didn’t come last summer. But do I really look to you like someone who can be bought with the offer of a shag?
ELAINE: I didn’t mean it like that! Rhodri, I didn’t!
—–
LONG SHOT: The neck of the promontory. In the foreground, RHODRI is fuelling a small but sturdy looking motor boat, which is beached. He wears jeans and an open-necked shirt. ELAINE’s 4×4 comes into shot left and stops above him. She looks down at him. She wears jeans and a sweater.
ELAINE: Hi, Rhodri!
MEDIUM SHOT: RHODRI at the boat. He looks up. He smiles.
RHODRI: Hi, Elaine!
LONG SHOT: RHODRI’s POV, looking up towards the road. ELAINE gets out of the 4×4 and scrambles down the rocks towards him.
ELAINE: I wanted to apologise.
RHODRI: What for?
ELAINE: Being a spoiled brat.
RHODRI: Don’t be silly. [pause, grins] I like you being a brat.
ELAINE: I’m sorry anyway. I didn’t mean it to be like that. You caught me by surprise.
RHODRI: No need, Elaine. I wasn’t behaving myself either.
CLOSE UP: ELAINE’s face. She looks down and blushes again, and then looks up and shakes her head.
ELAINE: Where’s Draeg?
RHODRI: Over in the marina. I was planning to go across tomorrow and fetch her back. Want to come?
ELAINE: Oh please! What time?
RHODRI: Seven o’clock sharp, down here at the beach?
ELAINE: Please!
RHODRI: OK. Good. Where were you going?
ELAINE: Into the village to see if they could feed me at the pub.
RHODRI: No food in the cottage?
ELAINE: I’m not very organised…
RHODRI: Come up to the castle, I’ve plenty.
ELAINE: You don’t mind?
RHODRI: Of course not. I’d love to feed you.
ELAINE: I’d love it, too.
—–
LONG SHOT: Through castle window, candle-lit interior. RHODRI is cooking. ELAINE is laying the table in the foreground. They appear to be talking amicably but there is no sound.
Cross fade to
LONG SHOT: Through castle window as before, but now they are sat at the table eating. RHODRI pours wine. Both look relaxed. There is no sound.
Cross fade to
LONG SHOT: Through castle window as before. The meal is over. They are talking. Slow zoom in through the window and fade up sound to
RHODRI: I’ve just about finished a portrait of Fi Fraser, which should stir them up a bit.
CLOSE UP: ELAINE, looking over rim of wine glass which she’s twisting in her hands. She looks relaxed and happy.
ELAINE: What, more than last year’s vagina?
MEDIUM SHOT: RHODRI leaning back in his chair, relaxed.
RHODRI: You read about that?
ELAINE: I went to see it.
RHODRI: What did you think?
CLOSE UP: ELAINE, looking over rim of wine glass which she’s twisting in her hands. She looks down and flushes bright red.
RHODRI: Seriously, what did you think?
ELAINE: [whispers] I wished it was me…
CLOSE UP: RHODRI’s face. He looks much more alert, interested.
RHODRI: Seriously?
CLOSE UP
ELAINE’s face
ELAINE: Totally. Like I was so turned on and so jealous of her. I mean it was a brilliant painting too. [pause] Did you…
CLOSE UP: RHODRI’s face.
RHODRI: Fuck her? Yes.
CLOSE UP
ELAINE’s face
ELAINE: Is it true you always fuck the people you paint?
LONG SHOT: The table. RHODRI is still leant back in his chair.
RHODRI: [laughs] Not the men!
ELAINE: Why do you? Does it help you paint them?
RHODRI: Not really. I pretend it does. I like fucking.
ELAINE: Just that? You don’t care about them at all?
RHODRI: Well, if I don’t like ’em, I don’t fuck ’em. Most of them are friends, to some degree. But I don’t need to love ’em.
CLOSE UP: ELAINE’s face
ELAINE: Rhodri, can you… like, can you ever imagine giving that up? Like, I mean, just being faithful to one person?
CLOSE UP: RHODRI’s face, slightly irritated.
RHODRI: You mean you.
CLOSE UP: ELAINE’s face.
ELAINE: It isn’t like that! I’m not making conditions! I’m just asking.
CLOSE UP: RHODRI’s face.
RHODRI: Yes, I can imagine it. If I fell in love I imagine I would.
CLOSE UP: ELAINE’s face
ELAINE: OK, so when we [pause] so if we… do it, it’s just for fun and nothing serious but it isn’t like completely impossible that it could turn into something serious afterwards… I mean not as a bargain, but it might?
LONG SHOT: The table. RHODRI stands up.
RHODRI: That’s right. [pause] Come on, brat, bedtime. I’ll clear up in the morning.
ELAINE stands up slowly. RHODRI takes her by the hand and leads her to the door. The camera tracks them.
LONG SHOT: Castle Interior. A bedroom, old, somewhat untidy. Moonlight through window. Huge double bed. Big painting of two people having sex hangs above it. RHODRI enters, leading ELAINE. He pulls her into a clinch, kissing her and pushing her towards the bed.
ELAINE: Rhodri! No! I’m not ready!
RHODRI: Brat -!
ELAINE: I need to think! I’m not ready!
ELAINE runs out. RHODRI sits down on the bed. After a moment he shrugs and walks out.
LONG SHOT: Cottage interior, bedroom, night, fairly dark. Moonlight through window. ELAINE comes in and throws herself on the bed. Muffled sobbing. She gets up and tears her clothes off, throwing them on the floor. She gets back on the bed, flips on a little reading light. She’s holding a wallet and pulls a battered photograph out of it. She looks at the photograph. Her hand moves into her groin, which is in shadow.
LONG SHOT:
Through castle kitchen window, as before. No sound. RHODRI clears the table. He looks thoughtful and disappointed.
CLOSE UP: ELAINE’s hand in her crotch. It is too dark to see any detail, but she is clearly masturbating.
LONG SHOT:
Through castle kitchen window, as before. RHODRI continues to clear the table.
CLOSE UP: ELAINE’s face, partly illuminated by the reading light. She is close to orgasm.
LONG SHOT:
Through castle kitchen window, as before. RHODRI continues to clear the table. Suddenly, he hurls a wineglass at the wall.
CLOSE UP: ELAINE’s face. She orgasms and relaxes. Camera pulls back to medium shot as her hand falls to her side and the photograph drifts to the floor, landing in a patch of moonlight.
CLOSE UP: The photograph on the floor. It is of RHODRI, sailing a yacht. ELAINE, very much younger, is sitting close beside him, pressed up against him.
CLOSE UP: Elaine’s face on the pillow. She is sleeping peacefully. It is quite dark.
CLOSE UP: A clock face. The hands go round rapidly and light starts to increase.
CLOSE UP: Elaine’s face on the pillow. She is sleeping peacefully. It is much lighter. She stirs, wakes blearily, looks left out of shot.
CLOSE UP: The clock face. It shows half past seven. (four weddings reference)
ELAINE: Fuck!
LONG SHOT: The cottage bedroom as before but now much lighter. ELAINE leaps out of bed, grabs the clothes she’d been wearing yesterday, hauls them on, sprints for the door, stops, comes back, picks up the photograph and tucks it carefully away in her wallet, sprints for the door again.
LONG SHOT: Looking out through the gateway down into the bay where RHODRI had been fuelling the motor boat. There’s no boat there now. ELAINE, wearing sweater and jeans as before, runs into shot from behind the camera, slows down, stands looking down into the bay, looks out to sea.
Zoom in on her standing there, hold and cross-fade to
LONG SHOT: Looking out through the gateway exactly as before but the sun is now high and ELAINE is in the same pose but wearing a bikini.
Hold and cross-fade to
LONG SHOT: Looking out through the gateway exactly as before but the sun is now setting and ELAINE is in the same pose wearing jeans and a warm jacket.
—–
LONG SHOT: Village street. ELAINE’s 4×4 is parked at the kerb, the top removed. Rhodri walks into shot wearing jeans, shirt and leather jacket as before. He looks at the 4×4. He walks on, left, and the camera tracks him to the doorway of a shop. ELAINE comes out. She wears trainers, a short skirt, and a short crop-top vest.
CLOSE UP: ELAINE’s face. Surprised and then pleased.
ELAINE: Rhodri! I’m so sorry I missed you yesterday. I overslept…
CLOSE UP: RHODRI’s face. Extremely relieved – more relieved than is cool, but trying to hide it.
RHODRI: [lightly] Oh good! I thought I was in disgrace.
ELAINE: No. [she blushes again] Not in disgrace at all. I did want to come, I just overslept. Honestly!
CLOSE UP: RHODRI’s face. The ghost of a grin.
RHODRI: [innocently] I wanted you to come, too.
CLOSE UP: ELAINE’s face, laughing.
ELAINE: Bastard! I didn’t mean like that. But… [she pauses, then shakes her head] No, nothing.
LONG SHOT: Village street as before. She walks towards the 4×4; he follows. She puts a bag of groceries into the back.
MEDIUM SHOT: Back of 4×4, ELAINE and RHODRI on the street beyond.
ELAINE: What do you think of my truck?
RHODRI: New toy?
ELAINE: Well, new to me. And it isn’t that old. It goes all right and it isn’t falling to bits.
RHODRI: Present from your parents?
ELAINE: Oh no. They don’t approve at all. They’re sure I’ll kill myself and anyway it isn’t the sort of car they’d want their daughter to drive. No, I got it with some of Grandma’s money…
RHODRI: Yes, I was sorry to hear about your gran.
ELAINE: [looks down] Yes. [pause, looks up at him] But what do you think of it?
RHODRI: It’s good. It looks fun. It looks you – I think it suits you. You should take those bull bars off though.
ELAINE: Don’t you like them?
RHODRI: If you hit someone, you’ll hurt them a lot worse with those.
ELAINE: I’m a good driver!
RHODRI: I know. We all are. But…
ELAINE: Oh.
MEDIUM SHOT: ELAINE’s head and shoulders, under 4×4. She struggles with a spanner. It slips.
ELAINE: Ow! Fuck! [she sucks her knuckles]
LONG SHOT: Outside of cottage. Bright sunlight, warm. Camera pans round to 4×4 standing outside, facing camera. Zooms in on ELAINE, lying with her head under it. Her knees are up and her legs parted; her skirt has fallen around her waist. Camera zooms slowly in on the crotch of her clean white cotton knickers – brief but plain; not sophisticated, slightly childish, contrasting with the raunchy pose.
MEDIUM SHOT: ELAINE’s head and shoulders, under 4×4. She struggles with a spanner. It slips.
ELAINE: Ow! Fucking hell! [she sucks her knuckles]
RHODRI: Do you want any help with that?
ELAINE looks up, startled, and bangs her head on the chassis
ELAINE: Ouch! Shit!
LONG SHOT: 4×4 outside cottage as before. ELAINE wriggles out from under it, and stands up, holding her forehead. RHODRI is watching.
RHODRI: [laughing] Oh, you poor thing. Shall I kiss it better?
ELAINE: [laughing too but obviously still hurting] No! [pause] Would you help me?
RHODRI: [slightly melodramatic sigh] Give me the spanners.
MEDIUM SHOT: Under the 4×4. RHODRI undoes a bolt and passes it out of shot. He undoes another.
LONG SHOT: 4×4 outside cottage as before. RHODRI’s legs stick out from under it. ELAINE squats beside him. She takes a bolt from him and lays it down.
RHODRI: OK, can you take the weight now?
ELAINE stands astride RHODRI and takes the weight of the bull bars
ELAINE: OK, got it.
MEDIUM SHOT: Under the 4×4. RHODRI pulls out the last two bolts, and cleans his hands on a handkerchief. He wriggles out of shot.
MEDIUM SHOT: From in the 4×4 looking forward. ELAINE bends to lower the bull bars. RHODRI stands up behind her, turns her round and starts to kiss her tentatively. She starts to respond.
CLOSE UP: ELAINE and RHODRI kiss increasingly passionately.
CLOSE UP: RHODRI unzips ELAINE’s skirt and pushes it off her hips.
CLOSE UP: ELAINE’s hand tangles in RHODRI’s hair.
CLOSE UP: RHODRI’s hands push ELAINE’s knickers down, and stroke her arse.
CLOSE UP: ELAINE’s hand burrows in under RHODRI’s shirt
LONG SHOT: RHODRI and ELAINE kiss. RHODRI shrugs out of his jacket and puts it on the bonnet of the 4×4 behind her. He breaks the kiss.
RHODRI: Arms up!
ELAINE trustingly raises her arms and allows him to pull her top off over her head. She is not wearing a bra. She steps out of her knickers. He lifts her, sits her on his jacket on the bonnet of the truck.
CLOSE UP: RHODRI nibbles and sucks ELAINE’s breasts.
MEDIUM SHOT: From the side, RHODRI with his head down on ELAINE’s breasts, nibbling and sucking. Her hands play in his hair, her legs are around his waist, her head is back.
CLOSE UP: RHODRI and ELAINE kiss passionately.
MEDIUM SHOT: From the side. ELAINE sits on the bonnet of the 4×4. RHODRI stands between her legs. Her arms are round his neck. Both are panting. He kneels.
CLOSE UP: RHODRI’s head between ELAINE’s legs. We can’t actually see that he’s eating her out but it’s implied.
CLOSE UP: Elaine’s head. She orgasms noisily (harry met sally).
MEDIUM SHOT: As before. RHODRI stands up and they kiss.
CLOSE UP: RHODRI unbuttons and unzips his jeans.
CLOSE UP: ELAINE’s face. She is struggling to focus.
ELAINE: No! Rhodri, no.
RHODRI: Brat? Hey, what’s wrong?
ELAINE: I’m scared… [licks lips] Rhodri…
RHODRI: What is it, Brat?
ELAINE: Rhodri, I don’t… [looks down] Do you…
RHODRI: Elaine! don’t ask. Don’t do that again.
MEDIUM SHOT: As before. ELAINE starts to cry and RHODRI pulls her head into his shoulder and strokes it, as if comforting a child. She is still naked except for her trainers and he is still standing between her legs. She quietens.
CLOSE UP: ELAINE’s head on RHODRI’s shoulder. He strokes her under the chin, lifting her head, and starts tentatively to kiss her again.
MEDIUM SHOT: As before. They kiss. Suddenly ELAINE breaks the kiss.
ELAINE: No! No! I can’t!
Zoom back to
LONG SHOT: From the same view point ELAINE pushes RHODRI away and runs out of shot, stumbling over the bull bars. The camera tracks her left. She runs through the front door of the cottage and slams it. We hear the lock click, and a bolt being shot. Camera pans right back to RHODRI. He looks at the door for a moment, then stoops and picks up her clothing, folding it and putting it neatly on the bonnet of the 4×4.
