Blood, No More"
by TAS
A sequel to “There Will Be Blood” from the point view H.W and his wife Mary.
A Prologue(Click here to view "There Will Be Blood"- a trailer by Paramount )
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TITLE: BLOOD, NO MORE
Main Characters: H.W. Plainview (Daniel's Son)
: Mary Sunday Plainview ( H.W.'s Wife)
Minor Characters: Daniel Plainview (H.W's Father)
Minor Characters: Horse Rider
Voice Over : Fletcher (Daniel’s Right hand Man)
:George (H.W. Signing Partner)
:Flash Back : Daniel (H.W. Father)
: Abel Sunday (Mary’s Father)
[Opening Scene}
EXT. MEXICAN DRILLING RIG and BASECAMP, 1926- DAWN
The sun is rising over this Mexican landscape. A small derrick adorns the hill. Near it are tents and a small makeshift house. No one has yet woken. A horse arrives at the makeshift house.
CUT TO:
INT. H.W. AND MARY’S MEXICAN HOUSE FRONT DOOR – DAWN
The rider knocks on the door. There is no response he slips the telegram under the door.
CUT TO:
INT. H.W. AND MARY’S BEDROOM DOOR-DAWN
Inside H.W. is stirred by the knock at the door and he slowly awakens Mary continues to sleep soundly beside him. He gets up and walks to the front door. He picks up the Telegram off the dusty floor. It reads: “Telegram: To H.W. And Mary Plainview.” As H.W. begins to read it the voice of his father’s right hand man, Fletcher Hamilton, is heard.
FLETCHER (V.O.)
Mary appears at the curtained doorway. She doesn’t need to ask him, she knows H.W. Your father has been arrested and charged with the murder of your wife Mary’s brother Eli. I know you and Mary have only just arrived in Mexico, but please, your father needs you, return to Little Boston. Yours, Fletcher.
something is wrong. H.W. reaches for a chair. She knows he wants to be alone.
CUT TO:
EXT.** ROAD LEADING TO MEXICAN DRILLING RIG - DUSK
H.W. is away walking from his house down the long dusty, narrowing road deep in thought. Mary is in the house, she opens the front door as if to follow her husband but then realises that he needs to be alone. In his mind H.W. runs through the last conversation he had with his father.
(GEORGE(V.O.)-George is H.W.’s sign language translator and voice. The young man H.W. has been deaf since he was about 10 years old. )
H.W./GEORGE (V.O.)
This is very hard for me to say, but I will tell you first that I love you very much. I have learnt to love what I do because of you. I am leaving here. I’m going to Mexico. I miss working outside. I miss the fields.
DANIEL (V.O.)
This makes you my competitor.
H.W./GEORGE (V.O.)
No, no it’s not like that.
DANIEL (V.O.)
It IS like that, boy.
DANIEL (V.O.)
You’re killing us with what you’re doing.
DANIEL (V.O.)
You’re not my son. It’s the truth - you’ve never been. You’re an orphan... someone else’s... and I took you for no other reason than I needed a sweet face to buy land. You’re lower than a bastard.”
FADE TO BLACK
INT. H.W. AND MARY’S MEXICAN HOUSE FRONT DOOR - DAY
Mary is home alone doing various chores, the drilling rig beyond the house going full throttle. A messenger arrives at her door, he has a telegram. It reads: Telegram to Mrs. H.W. Plainview. opens it and as she begins to read it the voice of her father, Abel Sunday, is heard.
ABEL (V.O.)
My beloved Mary, You will have heard by now the dreadful news about your brother Eli. Your mother and I understand the anguish you must be feeling. How torn you must be feeling. Being married to the son of a murderous backslider. If you leave him and come home to us, there will always be a bed for you our beloved youngest daughter. May Christ be with you. Your father, Abel Sunday.
CUT TO:
EXT. BY THE OIL RIG IN LITTLE BOSTON - LATE AFTERNOON
FLASHBACK
LITTLE BOSTON, 1908
This is flashback to the “spudding in” ceremony at Daniel Plainview’s Little Boston well some twelve years earlier. All the town have gathered. An 11year old H.W. walks proudly near his father. Mary stands beside them. Daniel steps up to make a speech.
DANIEL
It’s such a pleasurable evening to be here and begin this. One man doesn’t prospect from the ground - it takes a community of people. And this is the best way - we stay together, we pray together. Now before we spud in, “Mary’s Well Number One,” named for the lovely Ms. Mary Sunday who is with us today -
Mary smiles.
DANIEL
I’d like to say”
“God Bless Us All.”
Daniel looks to H.W.
Now go ahead son.
H.W. Runs up the stairs to the platform and pulls a lever to churn the wheels for the “spudding in”. The well has begun.
CUT TO:
EXT. The Party “Spudding In” celebrations thrown by Daniel - LATE AFTERNOON
FLASHBACK CONTINUED.
This is later that night. A small celebration and dinner has happened. The work community, eating and drinking with various Little Boston residents. Little H.W. is running around with Mary. Daniel has had a little too much to drink.
Mary comes over and Daniel speaks to her, right in front of her father Abel.
DANIEL
I like your new dress Mary.
YOUNG MARY
Thank you.
DANIEL
You’re welcome. I knew you would like it. Are you happy that I came here?
YOUNG MARY
Yes.
DANIEL
Daddy doesn’t hit you anymore does he? Does he now? He better not, right? I’ll take care of you.
He leans in and holds her shoulder kindly.
DANIEL
No more hitting right? No more hitting. No go. Go play some more with H.W.
She runs off. Daniel holds a look on Abel, who looks away. Daniel gets up, walks off....
CUT TO:
EXT.H.W. AND MARY’S MEXICAN HOUSE LIVING/KITCHEN AREA - DAY
Return to the present day. Mary, still holding the telegram from her father, screws it up and throws it into the stove-top fire. She watches it burn.
CUT TO:INT.MEXICAN WATERING HOLE - NIGHT TIME
H.W Is sprawled across the table top in a seedy-looking, smoky bar. The table is littered with empty bottles. Mary enters, sees him across the far side of the room. She walks past a loud, intoxicated group of men. they all become quiet and respectful. She gently wakes H.W. and slowly leads him out towards the door of the Bar.
FADE to BLACK
EXT. TRAIN STATION - DAWN
Establishing shot of the train station, showing that the train is bound for the USA.
CUT TO:
INT. CARRIAGE OF A TRAIN - DAY
Sounds of a moving train, a clickety-clack of wheels it begins to make speed. H.W. sits by the window looking out at the landscape. Mary, very pregnant her eyes closed, rests peacefully against him. A conductor walks through the carriage.
CONDUCTOR
Next stop everybody is Little Boston.
Little Boston, the next stop.
Mary opens her eyes, sits up. H.W. Looks at her and smiles.
H.W.
We’re nearly there. No point prolonging
the agony.
MARY
He will want to see you H.W.
H.W.
He’ll want to see us. Us three.
The chugging sound of the train is heard as the closing credits are scrolled.
BLOOD, NO MORE.
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Reference:
The dialogues(V.O.) where highlighted are extracts are from Paul Anderson’s original script - pages 118 –121. These are crucial to understanding of H.W. individual conflicts.
Scenes 6 and 7-Mary’s conflict (resolution to any conflict she may have in her relationship with her father-in-law Daniel is played out in this ‘flashbacks’
INT. CARRIAGE OF A TRAIN - DAY
Sounds of a moving train, a clickety-clack of wheels it begins to make speed. H.W. sits by the window looking out at the landscape. Mary, her eyes closed, rests peacefully against him. A conductor walks through the carriage.
CONDUCTOR
Next stop everybody is Little Boston.
Little Boston, the next stop.
Mary opens her eyes, sits up. H.W. Looks at her and smiles.
BLOOD, NO MORE.
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Reference:
The dialogues(V.O.) where highlighted are extracts are from Paul Anderson’s original script - pages 118 –121. These are crucial to understanding of H.W. individual conflicts.
Scenes 6 and 7-Mary’s conflict (resolution to any conflict she may have in her relationship with her father-in-law Daniel is played out in this ‘flashbacks’
(Closing scene)CUT TO:
INT. CARRIAGE OF TRAIN- SUNRISE
Sounds of a moving train. H.W. and Mary his now pregnant wife leaning comfortably against the window of the moving train headed for Little Boston.. They look out to see the sign post “Territory of United States of America”. Mary looks up to H.W.
H.W.
Yes, we are heading in the right direction. There's no point to prolong the agony. It's worth the risk that Dad will want to see us- us three!
MARY
All will be forgiven.
CUT TO:
CREDITS
The chugging sound of the train heard as credits are scrolled.
BLOOD, NO MORE
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Reference:
The dialogues(V.O.) where highlighted are extracts are from Paul Anderson’s original script - pages 118 –121. These are crucial to understanding of H.W. individual conflicts.
Scenes 6 and 7-Mary’s conflict (resolution to any conflict she may have in her relationship with her father-in-law Daniel is played out in this ‘flashbacks’.