FADE IN:
INT. CHANDRESH'S TOWNHOUSE — NIGHT
Chandresh's townhouse sits in an affluent area of London not far from the theater district and Hyde Park. It is a sprawling four-story home with large, open rooms. Scattered throughout are lavish adornments mixed with various knickknacks collected over years of international travel. It's usually cozy and warm with plenty of color. But tonight, it sits dark and feels cold.
ENTRY HALL
It's HALLOWEEN, 1901. According to the TICKING grandfather clock in the hall, it's nearly midnight. The townhouse is silent. It appears completely empty except for CHANDRESH himself. He stumbles from room-to-room, holding a half-empty BOTTLE of brandy in his hand. He seems dazed as he engages in a one-sided conversation. He appears to receive answers, but we don't hear them.
CHANDRESH
There are too many strange things, too many unexplained oddities.
(pause)
DINING ROOM
CHANDRESH (CONT.)
But you know who's behind them, don't you?
(pause)
HALLWAY
CHANDRESH (CONT.)
(agitated)
Don't be evasive with me. You must tell me who's done this to us.
(pause)
PARLOR
CHANDRESH (CONT.)
What do you mean, "What's been done?" This!
Chandresh appears angry and afraid as he looks into a large MIRROR mounted on the wall.
CHANDRESH (CONT.)
(runs a hand through his hair as he turns his head, scrutinizing)
I was growing gray before this endeavor began. And now? Nothing. No wrinkles. Not even so much as a cold in thirteen years!
(points to his own head)
And this! Ever since the circus began, I've been losing things, long stretches of nothing. And what is there is a jumble of confusing memories. I can't even trust my own mind anymore!
Chandresh hurls the brandy bottle at the mirror, SHATTERING it. He breaths heavily as he closes his eyes and grips his head with both hands.
CHANDRESH
Please. I need to know what's going on.
MARCO appears in the doorway of the parlor, taking in the broken mirror and Chandresh.
MARCO
(uncertain)
Sir?
Chandresh jumps, whips around.
MARCO (CONT.)
Is something wrong?
CHANDRESH
(eyes flicking toward the corner of the room)
No, no. Everything's just fine.
(evasive)
Have you finished this quarter's budget?
MARCO
Not as of yet. I was in the midst of it when I heard a crash.
CHANDRESH
(irritable with a dismissive wave)
Then continue.
MARCO
Yes, sir.
Marco takes one last look around the room before leaving. After a moment, Chandresh walks to the door and peeks into the hall. He makes sure Marco is gone before retreating inside. He sinks into a couch, weary as he stares into the fireplace.
HECTOR materializes in the low light.
HECTOR
(feigned concern)
This is clearly upsetting to you. Under these circumstances, I can't imagine any other response.
(feigned sadness)
Truth be told, the same man responsible for your troubles caused my current predicament.
Hector gestures to his insubstantial body.
CHANDRESH
He's the one who did that to you? The great Prospero the Enchanter, reduced to a shadow.
Hector pauses. He finally shows some real emotion. A dark expression appears on his face.
HECTOR
If I reveal to you the man who did this, will you help me? We cannot allow him to hurt another person.
CHANDRESH
(sits up straighter, nodding)
I will. I'll do everything in my power.
Hector pauses. A flicker of malice crosses his face.
HECTOR
Alexander is the one to blame.
CHANDRESH
(incredulous)
That mild-mannered man? Impossible. He's-
HECTOR
Been part of the circus since its inception. Think. You know nothing of the man. Where did he come from? What does he do? Has he ever spoken of anything besides the circus?
CHANDRESH
(grasping)
Well, he's...
(pause, expression darkening)
I don't know...
HECTOR
He's given no clues as to who he is; he leaves no footprint.
Chandresh seems to recall something.
HECTOR (CONT.)
You've noticed it too. The man has no shadow.
CHANDRESH
(almost to himself)
I thought I only imagined...
HECTOR
(firmer)
He has no shadow. A man without a shadow can't be trusted.
CHANDRESH
(quiet, but resolute)
A man without a shadow can't be trusted.
HECTOR
And I know exactly where you'll find him tonight.
CUT TO:
INT. MARCO'S OFFICE — NIGHT
Marco's office is orderly to the point of neurotic. Every book and paper is filed away properly; nothing sits out unless it is being used. There are no personal touches in the room. It feels far different from the rest of the house.
Marco seems distracted as he works on a ledger. Chandresh interrupts him as he stumbles into the room, putting on a coat.
CHANDRESH
Go home for the evening. I'm leaving for the circus.
MARCO
(gestures to ledger)
I'm not quite-
CHANDRESH
Leave it for tomorrow. Go home.
Chandresh leaves the office.
MARCO
(quiet, concerned)
Yes, sir.
CUT TO:
INT. HALLWAY — NIGHT
As Marco pulls on his coat, he stops outside the parlor and peers in. He sees the shattered glass on the floor and frowns.
CHANDRESH (O.S.)
(calling from the entry hall, sharp)
Marco.
Marco briefly looks down the hall in the direction of Chandresh's voice. He returns his attention to the parlor. The pieces of the mirror rise from the floor to reassemble themselves in the frame. Marco shuts the door.
CUT TO:
EXT. TOWNHOUSE STREET — NIGHT
Marco and Chandresh descend the front steps to the street, Marco watching Chandresh carefully from behind.
MARCO
Shall I walk with you to the circus?
CHANDRESH
(distracted, looking into the night)
I need no company.
Chandresh walks unsteadily down the street, leaving Marco behind.
MARCO
(calling after Chandresh)
Goodnight, sir.
Chandresh takes no notice and continues walking.
As Marco looks around the empty street, his appearance changes. A beard sprouts from his cheeks and chin. His eyes darken from green to brown, and his nose broadens. His coat changes from light brown to black. He quietly follows Chandresh toward the circus.
CUT TO:
EXT. TICKET BOOTH — NIGHT
The Night Circus has been erected in the middle of Hyde Park. From outside its iron gates, the collection of black-and-white-striped tents sits quiet in the fog that rolls across the grass.
The magnificent clock that FRIEDRICK was commissioned to create CHIMES, its complicated movements heralding the very late hour. It's Halloween night. A basket of black and white MASKS sits not far from the ticket booth. Some circus patrons CHATTER as they grab a few for the occasion.
CUT TO:
EXT. COURTYARD — NIGHT
The bonfire CRACKLES steadily in the center of the black-and-white courtyard. A couple dozen circus patrons mill about, sampling vendors, talking, or sitting on benches. Some wear the black or white masks. A generally constant level of CHATTER and sounds.
CUT TO:
EXT. WIDE PATHWAY — NIGHT
A small crowd is gathered around POPPET and WIDGET. They are putting on a performance with a group of KITTENS. Some kittens balance on balls, others walk on their hind legs. Poppet and Widget smile broadly as the group around them LAUGHS and APPLAUDS.
ABRUPT CUT TO:
EXT. EMPTY PATHWAY — NIGHT
Jarring SILENCE after the activity just witnessed. ALEXANDER walks the empty path, his face disinterested. The tents on either side feel claustrophobic compared to the more-open spaces of the previous settings. Chandresh follows some distance behind, his voice the first sound in this space. Alexander appears not to notice him. Chandresh is mumbling nonsense, his face covered in a white mask, his eyes wild.
CHANDRESH
No shadow. He casts no shadow.
Alexander stops at the entrance to a tent. Chandresh ducks into an alcove between two tents. He peers around the canvas. Alexander is reading a sign posted outside the tent he stopped at.
Hector appears over Chandresh's shoulder as he watches Alexander.
HECTOR
He knows what's been done to you and everyone in this circus. He knows everything.
Chandresh nods fervently.
CHANDRESH
Yes. The man has no shadow.
HECTOR
And a man with no shadow can't be trusted.
Marco stands hidden further up the path.He watches as Alexander continues his walk after reading the sign. Chandresh follows soon after. Marco tails Chandresh, his face hidden beneath his bowler hat.
Alexander and Chandresh disappear around a bend in the path. Marco comes level with the tent Alexander stopped at. It's ISOBEL'S tent. Marco is deciding.
MARCO
(Sighs, resigned)
Marco's beard appears to shrink into his face, his cheeks smooth again. His nose reverts to its usual shape. His eyes are green again. He takes one last look at where Alexander and Chandresh disappeared. He steps into the tent.
CUT TO:
INT. ISOBEL'S TENT — NIGHT
VESTIBULE
Marco stands in a small anteroom, a couple of chairs sitting to one side. A black-and-white beaded curtain stands opposite him. His jaw tenses, resolute. He parts the beads, walking into the next room.
MAIN ROOM
Isobel's tent is fairly small and sparse. It contains one table covered in a black-and-white tablecloth and only two chairs, one occupied by Isobel, the other sitting opposite her. A crystal ball sits to the side of the table.
Isobel is alone. She looks up from the TAROT CARDS in front of her. Upon recognizing Marco, she removes the black veil she wears. They look at each other, no words passing between them, they're faces expressionless. Isobel ends the standoff.
ISOBEL
(dismissively as she gathers up her cards)
I wasn't expecting you tonight.
Isobel looks back at Marco. He's still looking at her the same way. She shuffles her cards absently.
ISOBEL (CONT.)
(with a sad smile)
That was a lie. I've been expecting this visit for years.
Marco says nothing, but he looks down, nodding once. Isobel holds the deck of cards out to him.
ISOBEL
You never let me read you. Pick a card.
Marco reaches for the deck and pulls a card off the top. He looks at it, a small smile appearing.
ISOBEL
(softly, sad)
Show me.
Marco turns the card toward her. It's La Papessa, the High Priestess, the card previously associated with CELIA.
CUT TO:
INT. CELIA'S TENT — NIGHT
Celia's tent is larger but still small enough to be called "intimate." Her performance area sits in the middle of two concentric circles of chairs.
Celia completes her act with a flourish of her top hat and vanishes in front of her audience. The circus patrons stand and slowly trickle out. They've clearly seen a good show.
Only one man remains in the tent. Friedrick waits patiently by the exit. After a moment, Celia appears out of thin air and walks toward him, her elegant black-and-white GOWN swaying.
CELIA
Did you enjoy the show?
Friedrick reaches for her hand, kisses it.
FRIEDRICK
Astonishing as always.
CELIA
You're too kind, Friedrick.
FRIEDRICK
(gestures to the exit)
Would you care to indulge me with a brisk All Hallows Day walk?
CELIA
Is it past midnight already? Time just seems to slip past me without notice.
FRIEDRICK
(runs his hand through his gray hair)
The rest of us can only wish to evade the marching of time so easily.
A very brief pause as Celia's mouth twitches. She quickly recovers, smiling warmly.
CELIA
Turning your back on the march won't bring it to a halt.
(another brief pause)
Well, I would love to join you. Would you give me a few moments to change? I'll meet you outside.
FRIEDRICK
Certainly.
Celia smiles and walks to a hidden fold in the tent wall, disappearing behind it to BACKSTAGE. Backstage is a labyrinth of twisting pathways and tents hidden from the view of patrons. This is the area in which the circus performers live and rest. Unlike the black and white of the Circus itself, this area is full of color.
CUT TO:
INT. ISOBEL'S TENT — NIGHT
VESTIBULE
Isobel watches Marco leave her tent. After moment, she walks outside.
EXT. EMPTY PATHWAY — NIGHT
Isobel looks down the path. Marco is already gone. No one is in sight. It's quiet. Isobel pulls her sign for the evening and returns inside, closing the tent opening.
INT. ISOBEL'S TENT — NIGHT
MAIN ROOM
Isobel sits down at her small table. She lifts the black-and-white tablecloth and reaches underneath the table to retrieve a black BOX. The lid is tied with one black ribbon and one white ribbon. Isobel lays the box on the table.
A moment passes as she looks at the box in front of her. She looks up at the beaded curtain. No one is there, and no sounds come from the vestibule. Isobel looks back at the box and slowly pulls the ribbons loose. She removes the lid.
Isobel reaches inside and pulls out a BOWLER HAT that once belonged to Marco. Tied to the top of the hat with more black and white ribbons are a HANDKERCHIEF with Celia's initials and a TAROT CARD depicting an angel with the word "Temperance." Isobel lays this bundle on the table and pushes the box aside.
For a moment, Isobel considers the bundle in silence. Finally, she lifts a trembling hand, her fingers brushing over the card.
INTERCUT between Wide Pathway, Isobel's Tent, and Backstage.
The audience continues to watch Poppet and Widget's performance. Their applause and laughter sound MUTED, as if underwater. All sounds in the Wide Pathway and Backstage are MUFFLED throughout the intercut.
ISOBEL (V.O.)
(as the kittens perform tricks)
Balance and Temperance.
Friedrick watches the twins' performance. He notices Alexander walking nearby and detaches himself from the audience. Friedrick pulls him aside with a smile.
Isobel fingers the ribbons holding the bundle together.
Hector and Chandresh watch Alexander's back from a distance.
ISOBEL (V.O.)
(as Hector whispers in Chandresh's ear)
Knots and Intent.
Chandresh's eyes are crazed behind his mask.
Isobel gently brushes dust from the hat and handkerchief with a sad expression on her face.
Marco, disguised once more with his facial alterations, walks briskly down the path as he tries to catch up to Chandresh.
ISOBEL (V.O.)
(voice catches)
(as Celia walks through the backstage area)
Magicians and lovers.
Celia removes her top hat as she smiles to the other performers she passes.
SILENCE in Isobel's tent. She looks hurt as she contemplates the bundle.
ISOBEL
(soft)
To think I could help. What a foolish notion.
After a moment, her face darkens from sadness to anger. She violently tears the ribbons from the bundle.
One of the kittens walking across Widget's shoulders on its hind legs loses its balance and falls to the ground. It MEWS indignantly as it falls on its side. All sounds can now be heard with full force. In general, noise ERUPTS.
Isobel rips the tarot card in half.
Chandresh takes out a KNIFE and throws it at Alexander's back.
Isobel separates the handkerchief from the hat and throws them from the table.
Marco stumbles. He looks like he's been punched in the gut.
Celia stops short, her face fearful. She whips her head in the direction she came from. Celia hears Poppet SCREAM and runs back to her tent.
Marco straightens and runs toward Poppet's scream. Upon rounding a bend in the pathway, Marco sees a scene of chaos. Friedrick lies on the ground, a knife in his chest. He struggles to breathe as blood trickles down his cheeks. Poppet stands over him, distressed. Widget and a few other performers from nearby tents are attempting to usher the small audience down the path and out of sight of the incident. Alexander is gone.
Shocked, Marco looks down another path and sees Chandresh's retreating back. With one last look at the chaos, he turns to follow Chandresh. As Celia exits her tent, she sees Marco hurry off. He doesn't see her. She looks confused until she sees Friedrick on the ground. She rushes toward him.
Celia stands over Friedrick, stunned. Blood gurgles from his mouth, his eyes plea for help.
CELIA
(turning to Poppet)
Who did this?
POPPET
(distraught, rushing)
I don't know! We were in the middle of a performance, and he just collapsed. There were so many people, I don't know what happened.
(Widget returns)
You can help him, can't you?
A flicker of doubt crosses Celia's face, but she moves into action. She kneels by Friedrick's side as she examines his wound.
CELIA
(quietly, like she's trying to convince herself)
I can fix this.
Celia gently removes the knife from Friedrick's chest.
FRIEDRICK
(grunts)
New blood flows forth. Celia splays her hands over the wound. She closes her eyes, concentrating. All sounds fade away except for the THUMPING of Friedrick's heart. It's frantic.
FRIEDRICK
(gasps violently)
Celia opens her eyes. Friedrick thrashes. Celia lays her body across his chest, trying to keep him from moving.
Poppet and Widget bend down to help. Poppet holds Friedrick's legs, Widget presses down on his shoulders.
Celia straightens herself as Friedrick is brought under control. She pushes hair out of her eyes, a brushstroke of blood on her cheek. The front of her white-and-black dress is covered in violent red patches. She again lays her hands on Friedrick's wound and closes her eyes.
Sound is not drowned out this time. Celia's face shows struggle as she concentrates on mending the damage done to Friedrick. Eventually, his thrashing dies down.
FRIEDRICK
(sighs)
Celia opens her eyes, unsure. She removes her bloody hands from Friedrick's chest. The skin beneath his blood-soaked white shirt appears healed and whole.
Poppet and Widget are stunned. They take their hands off Friedrick as well.
CELIA
(tentative)
Friedrick?
Celia pauses. She brings her hand to Friedrick's cheek. She shakes him a bit.
CELIA (CONT.)
(more frantic)
Friedrick.
Widget checks for a pulse at Friedrick's neck. He shakes his head, somber.
Celia is stunned. She looks back at Friedrick as she brings herself shakily to her feet.
POPPET
Celia?
Celia walks off in the same direction Marco left. She's shaken, but she sheds no tears. The blood on her hands and cheek disappears, seemingly absorbed into her skin.
CUT TO:
EXT. COURTYARD — NIGHT
Alexander walks briskly toward the exit. Usually impassive, he now has a small crease between his eyes. The events of the night concern him, but this slight display of emotion is all he allows himself.
He stops abruptly by the central bonfire. He's made up his mind. He turns around and walks toward the gap between two black-and-white-striped tents. Hector stands in their shadow. Despite his insubstantial form, his malicious smile is clear.
The crease between Alexander's eyes is gone. His face betrays no emotion. Upon entering the shadows, a wave of his hand SILENCES all sounds of the circus. Dead quiet.
Hector's vague outline spreads its arms wide. He's jubilant.
HECTOR
Come, now! You can't tell me this isn't fun!
Alexander isn't humored. His face remains as impassive as ever. Despite Hector's emotional responses, Alexander has a flat affect and speaks in a matter-of-fact tone throughout this exchange. He rarely adds inflection to his voice.
ALEXANDER
This game has become too chaotic. The circus does not allow for control.
Hector sighs, rolls his eyes.
ALEXANDER (CONT.)
You shrug, but there are far too many factors to account for.
HECTOR
It was your idea that the circus move constantly. How do you expect control if it's halfway around the world?
ALEXANDER
You suggested the unpredictable venue. I put forth its movement to keep our players separate. Did you learn nothing from the last time we wagered?
HECTOR
This isn't like last time.
In an uncharacteristic break from his emotionless demeanor, Alexander shows just a hint of pity.
ALEXANDER
You are a fool.
Alexander spots Marco in the courtyard, Chandresh not far ahead of him. Both are walking quickly toward the exit. Marco's face is agitated, preoccupied. He doesn't notice the two men in the shadows.
ALEXANDER
(his eyes following Marco)
Our competitors are besotted with each other, the same as the previous two.
Hector waves his hand, dismissive.
HECTOR
You feel too much pity for them. You always have.
Alexander looks away from Marco as he exits the courtyard. He returns his gaze to Hector.
ALEXANDER
Your daughter may very well be yet another one of your students to end the game herself.
(pause)
Do you want that?
Hector seethes.
HECTOR
She will NOT.
ALEXANDER
You do not know-
HECTOR
(Emphatic)
She will win.
He states this with finality. End of discussion.
Alexander pauses.
ALEXANDER
She will hate you for it.
Hector does not reply. He scowls.
ALEXANDER (CONT.)
(Calm)
A very dear friend of hers was killed tonight-
HECTOR
(accusingly)
You didn't have to step aside.
ALEXANDER
(continuing as if he hadn't been interrupted)
I do not know what you were trying to accomplish by prodding Chandresh, but your actions will only weaken your daughter's position in the game. If she hasn't begun to fracture already, this will surely start the process.
HECTOR
No. This game hasn't ended yet.
Hector abruptly steps into the shifting light cast by the bonfire. His vague outline disappears.
After a momentary pause, Alexander gives a lazy gesture. CHATTER and the CRACKLE of the fire return. He is about to step into the light when Celia enters the courtyard. He slides further into the shadows, watching her.
Celia walks briskly across the nearly-empty courtyard. She is distraught. Blood is visible on the white-and-black dress beneath her coat. A few circus patrons notice, their faces alarmed. Celia flicks her hand distractedly in their direction. Their shocked faces become disinterested as they turn to other activities.
Celia continues toward the black curtain covering the exit. She whips it aside, leaving the courtyard.
Alexander follows.
CUT TO:
EXT. TICKET BOOTH — NIGHT
Alexander exits the iron gate separating the circus from the world. He walks toward Friedrick's clock. Alexander watches it impassively. By simply giving the clock his attention, he pays his respects to its creator.
CUT TO:
INT. MARCO'S APARTMENT — NIGHT — LATER
MAIN ROOM
On first glance, the apartment appears messy and chaotic. Stacks of books, papers, and various objects such as candles and inkbottles are scattered everywhere. But the stacks are neat, and the space is orderly.
It's quiet. Heavy curtains are drawn across the tall windows. A fire CRACKLES in the grate. One of FRIEDRICK'S CLOCKS sits above the mantel, TICKING away time. The sounds of a SCRATCHING pen are heard.
Marco sits hunched at an oversized desk. Unlike the ordered mess of the room, the desk is actual chaos. Books and papers are scattered across it, haphazard. A large, heavy BOOK sits within easy reach. Marco occasionally interrupts his furious writing to shuffle through papers and pages.
The door of the apartment SLAMS open. Marco jumps, spilling INK across the desk. Celia stands in the doorway looking a little disheveled. Marco stands, showing concern and noting the dried BLOOD on her dress. The door behind Celia closes of its own accord.
CELIA
(calm, but SHIFTING OBJECTS in the room betray her emotional state)
Why were you at the circus tonight?
MARCO
I don't-
CELIA
You ran after Friedrick was stabbed. You must have seen the one who took his life.
An INK BOTTLE on Marco's desk SHATTERS. He flinches but keeps his eyes on her.
MARCO
(hesitant)
It was Chandresh.
Celia's composure slips, disbelief on her face.
MARCO (CONT.)
I got there too late. I couldn't stop him.
Celia's face flickers with pain.
MARCO (CONT.)
(quiet, looking at the blood on Celia's dress)
What did you do?
Uncharacteristically, Celia is at a loss. She looks down at her dress.
CELIA
(touches the blood stains on her dress, falters)
I tried to— I tried—
Marco comes to meet her as Celia looks up at him, her eyes wet.
CELIA (CONT.)
(shrugs helplessly)
I couldn't save him—
(voice catches)
Celia takes a moment to compose herself.
CELIA
He was my best friend. I've healed myself numerous times before. I thought I knew him enough to do the same. But I—I-
Celia cries, releasing the pain she's been holding in. As Marco pulls her toward him, objects around the room are thrown violently from shelves and tables. Marco embraces her, his hands leaving streaks of ink on Celia's coat.
The tumult around the room eventually dies down as Celia's cries subside. Marco still holds her.
CELIA
(quiet)
I cannot understand why Chandresh would kill Friedrick.
MARCO
(sighs)
Chandresh had no intention of hurting him. I believe Alexander was his actual target. Chandresh was following him, and I was following Chandresh.
Celia draws back, curious despite everything.
CELIA
Why was he trailing Alexander?
MARCO
He's been erratic, paranoid recently. Tonight, he was more preoccupied than usual. When he suddenly dismissed me for the evening and announced a visit to the circus, I followed him, worried about what he might do.
(looks down)
I never once thought he could actually be a danger to others. I followed him after the incident to be sure nothing else would come of his late-night wandering. But he just went home to his bed.
(pause, unsure)
I wiped Chandresh's memory of tonight. He'll never know what he did to Friedrick. It will do no good for anyone to know what he accidentally did... especially him.
Celia nods, looking down.
CELIA
(almost to herself)
It's for the best. Both were in the wrong place at the wrong time.
Celia pushes away from Marco and takes in the room for the first time. She walks over to his desk, noticing the shattered and spilled ink bottles. She looks at Marco apologetically as the bottles reform, the ink pooling within. The dislodged objects around the room find their proper places. The room is its usual organized chaos once again.
Celia turns her attention to the books and papers on the desk. She's evaluating his method for the first time. Marco walks toward her, hands behind his back. He looks nervous, self-conscious.
CELIA
(engrossed)
We do have drastically different methods, don't we?
Marco looks relieved.
MARCO
I suppose that's the point our teachers are trying to make.
Celia's brow furrows as she notices the intricate trees inscribed in every book.
CELIA
What purpose does this imagery serve?
MARCO
To explain it properly would require intimate knowledge of the method Alexander taught me. Suffice it to say, it's a way of interconnecting the disciplines I draw from.
Marco indicates the large open book in the center of the desk.
MARCO (CONT.)
This one pertains to the circus. It binds every person and tent within it to keep it stable.
Celia runs her hand over the open pages. Her face grows serious.
CELIA
(not accusatory)
This is why no one in the circus is aging.
Marco drops his gaze.
MARCO
(quiet as he closes the book)
An unintended consequence.
(looks at Celia)
We were both still young when the circus began. I thought I understood fully what I was doing on opening night. I know better now.
Celia pauses.
CELIA
It may not have been the best way, but it has kept most everyone safe.
Marco nods, a small smile on his face. He wants a change of subject.
MARCO
Would you care to see how I physically keep in touch with the circus?
CELIA
(smiles)
I would.
Marco guides her to the door of another room. He watches for her reaction when he opens the door. He isn't disappointed.
SIDE ROOM
Miniature CIRCUS TENTS cover every available surface. No desk, chair, or bookshelf is empty. In the center of the room, a small black cauldron contains white flames, a smaller version of the one that stands in the circus courtyard. Tied to the base of the cauldron, SCARLET STRINGS fan out in all directions connecting to each tent. The tents in turn are all connected to each other with even more strings. The room is a web of red thread.
Celia steps over the threshold.
CELIA
(brings a hand to her chest)
Oh... It feels like actually stepping into the circus.
Celia closes her eyes and inhales deeply.
CELIA (CONT.)
It even smells the same.
Celia opens her eyes and looks toward Marco.
CELIA (CONT.)
May I?
Marco grants his consent with a gesture. Celia ducks under red strings and edges around tables and chairs, careful of what stands on them. Celia bends to examine one of the tents further.
This one is made of pages torn from a book. Others are constructed with newspaper and scraps of black and white fabric. This one contains a white paper garden. Celia gently inserts her hand and shivers, smiling knowingly.
CELIA
I know where I am now.
Celia stands straight, thoughtful.
CELIA (CONT.)
If I'm at the Ice Garden, then my tent is...
Celia moves purposefully in another direction, careful of the tents and strings. She arrives at another tent and looks inside. There is a miniature circle of chairs.
CELIA
(closes eyes, sighs contently)
It feels so intimately mine.
Celia stands and looks to Marco amid the crisscrossing strings.
CELIA
You've captured the circus wonderfully.
MARCO
I needed a way to experience it when it wasn't in London.
(shrugs)
This seemed like the next best thing.
Celia moves carefully through the room, examining the other tents before moving back toward Marco. He closes the door behind her.
MAIN ROOM
CELIA
Thank you for showing me that.
MARCO
My pleasure. Though I imagine your father would disapprove.
Celia's face grows serious. A chill seems to enter the room.
CELIA
I don't much care about his thoughts on the matter.
Celia walks to the fireplace, gazing into the flames.
MARCO
(sighs)
They must have their answer by now. I've no idea how they quantify our efforts, but-
CELIA
(emphatic)
Stop.
Marco and Celia stand in silence. She looks exhausted as she gazes into the fire.
CELIA (CONT.)
Please. I do not wish to discuss this damned competition any further.
Marco watches her silently, waiting. Celia's shoulders slump. She looks up at Friedrick's clock.
CELIA
I'm tired of exerting so much effort over something I can't control. I'm tired of trying to prevent things from breaking.
(resigned, quiet)
They'll break no matter what I do.
A moment of silence. Marco walks over to stand by her side. Celia looks at him in the flickering light.
CELIA
I'm not going to deny myself what I want for fear that I'm going to break something.
Celia gently grips Marco's bare forearm. Upon contact, the room comes alive again. Objects RATTLE and vibrate. The flames in the candles and fireplace GUTTER as if by a gust of wind. Celia pulls Marco closer as she cranes her neck to kiss him.
Tentative at first, the kiss becomes passionate. As Marco slips Celia's coat off her shoulders, the THUMPING of heavy books hitting the floor and the TINKLE of inkbottles intensifies. Celia smiles against Marco's lips, embarrassed for her lack of control in this moment.
CELIA
It won't be long before all your possessions are broken and strewn across this room.
Marco looks at her intently. Celia grows serious under his gaze.
MARCO
You needn't carry the weight of your control alone.
(beat)
Let me help you.
The sounds in the room die down, various objects ceasing their vibrations and movement. Surprised, Celia looks around before looking back at Marco. She seems lighter, as if a weight has been lifted from her. Marco leans into her.
MARCO (CONT.)
Nothing will break.
He bends and slowly kisses Celia's neck. She shudders but the objects around the room do not.
MARCO (CONT.)
(whispering)
Let go.
Celia sighs with deep pleasure, holding tight to Marco's shoulders.
FADE OUT:
FADE IN:
INT. MARCO'S APARTMENT — MORNING
The logs in the grate are glowing coals. Marco and Celia lie in front of the fireplace. Marco sleeps while Celia watches him, deep in thought. Her eyes move toward Marco's desk where his book on the circus sits. She looks back at him when he stirs.
Celia rests her hand on his chest. His steady HEARTBEAT is audible. As she keeps her hand in place, the sound of his heart slows. His body relaxes.
Celia stands, gathering up her dress. Dried, brown blood mars the white fabric. Celia closes her eyes with sadness and runs her hand over the stain. The blood dissolves, disappearing. She slips into the gown and pulls on her coat.
Celia moves toward the desk, her face resolute. She picks up the large book and walks to the door, about to leave. She looks back at Marco, her face unreadable. Opening the door, she exits his apartment.
HALLWAY
After Celia closes the door, audible CLICKS are heard as Marco's apartment locks itself. A contemptuous voice comes from behind her.
HECTOR (O.S.)
You whore.
Celia closes her eyes, takes a breath, and turns around.
CELIA
What I do away from the circus is no concern of yours.
HECTOR
It is when you're acting the sexual plaything of your competitor.
CELIA
(with an unflinching gaze)
You may have chosen to shun the physical world and its pleasures, but I have not.
Celia doesn't address her feelings for Marco; Hector wouldn't understand or care.
Hector notices the book under Celia's arm.
HECTOR
What the hell is that? You know it's against the rules to tamper with his work.
CELIA
I don't intend to interfere. But I need a better system for managing the circus.
HECTOR
(blanches)
A "better system"? Those are Alexander's systems! You're violating the objectiveness-
CELIA
(sharp)
Then disqualify me.
A moment of tense silence. Hector seethes.
HECTOR
You cannot just quit.
CELIA
You can't prevent me from conceding-
HECTOR
It doesn't work that way. You've always assumed Alexander and I determine the outcome of the competition, but we have no say in the matter. It's the game that decides.
Celia mulls over his words, her face growing darker as she finally understands the implication of what he's hinted at over the years.
CELIA
This isn't about skill at all. You intend Marco and I to continue until one of us is crushed under the weight of our efforts.
HECTOR
(patronizing)
That's not exactly the point, but yes: you're finally starting to get it after 28 years.
CELIA
(utter disgust and contempt)
I was five when you bound me to this. You wagered my life in a game that's likely to kill me. And you knew the whole time.
Celia looks at Hector in the same way someone would look at the vilest thing they've ever seen.
CELIA (CONT.)
What father would do that to his daughter?
HECTOR
Oh, please. Don't be so dramatic. What's at stake is more important than the life of any one person.
CELIA
(scathingly)
That's easy to say when you don't have a life to lose.
Hector pauses.
HECTOR
(quiet, angry)
Regardless of what you may think of me, you know now what you stand to lose.
(pause)
I expect you to take this more seriously from here on out.
CELIA
You should mind the advice you offer when you do not know what I'm willing to lose.
HECTOR
(disbelief mixed with disgust as he gestures to Marco's door)
You'd choose that nobody Alexander plucked out of a gutter?! I'm not going to lose this game just because you have some foolish notions about that boy's feelings for you!
A cold silence. Celia levels Hector with a gaze that bores through him more than it already does.
CELIA
As you said, you have no say in the matter of who wins.
Celia walks passed Hector to leave.
CELIA
(without looking back at him)
DON'T follow me back to the circus.
Hector scowls and melts into the semi darkness.
FADE OUT: