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conspiRAcy theory

Mostly obsessed with Richard Armitage with some RAndom posts from a tiny bit naughty smart-arsed slattern, whovian and RAvenclaw.
Jan 16 '14
86. EXT.ODETTE’S HOUSE. NIGHT.

A carraige draws up. SWANN gets out, goes to door, knocks.
Silence.
ODETTE in negligee. She stares at him.

SWANN: It’s late I know. I’m sorry.
ODETTE: But you weren’t coming tonight. What happened to your banquet?
SWANN: I left early. To see you.
ODETTE: But I’m asleep. I have a terrible headache. I was asleep.
SWANN: Let me come in I’ll … soothe you.
ODETTE:  You say you’re not coming, I don’t feel ell, I go to bed, anf then you arrive, in the middle of the night.
SWANN: It’s only eleven o’clock.
ODETTE: It’s the middle of the night for me. (Softer.) Please. Not now. Tomorrow. Tomorrow night. I’ll be better. It will be sweet. Think of that.
87. EXT. SWANN’S HOUSE. PARIS. NIGHT.

The carriage draws up. COACHMAN opens the carriage door. SWANN does not move.

SWANN: Go back. To rue Laperouse.
88. EXT. RUE LAPEROUSE. NIGHT.

The lamps in the street are now out. The street is quite dark but for one light in one house, shining through the slats of the shutters.
SWANN walks quietly to this window and listens outside it.
Murmurs of a man’s voice.
He stands, pained, uncertain.
He suddenly knocks on the shutters.
Silence.
He knocks again.
A man’s voice: “Who’s that?”
As the window and shutters are opened SWANN speaks.

SWANN: Just happened to be passing. Wanted to know if you were feeling better.

The shutters open.
An OLD GENTLEMAN holding a lamp stares at him. In the background of a quite unfamiliar room stands ANOTHER OLD GENTLEMAN.

SWANN: I’m terribly sorry. I’m afraid I have the wrong house.
GENTLEMEN: God night sir.

He closes the shutters.
SWANN, in the dark, looks toward’s ODETTE’S hous, which is dark and silent.

86. EXT.ODETTE’S HOUSE. NIGHT.

A carraige draws up. SWANN gets out, goes to door, knocks.

Silence.

ODETTE in negligee. She stares at him.

SWANN: It’s late I know. I’m sorry.

ODETTE: But you weren’t coming tonight. What happened to your banquet?

SWANN: I left early. To see you.

ODETTE: But I’m asleep. I have a terrible headache. I was asleep.

SWANN: Let me come in I’ll … soothe you.

ODETTE:  You say you’re not coming, I don’t feel ell, I go to bed, anf then you arrive, in the middle of the night.

SWANN: It’s only eleven o’clock.

ODETTE: It’s the middle of the night for me. (Softer.) Please. Not now. Tomorrow. Tomorrow night. I’ll be better. It will be sweet. Think of that.

87. EXT. SWANN’S HOUSE. PARIS. NIGHT.

The carriage draws up. COACHMAN opens the carriage door. SWANN does not move.

SWANN: Go back. To rue Laperouse.

88. EXT. RUE LAPEROUSE. NIGHT.

The lamps in the street are now out. The street is quite dark but for one light in one house, shining through the slats of the shutters.

SWANN walks quietly to this window and listens outside it.

Murmurs of a man’s voice.

He stands, pained, uncertain.

He suddenly knocks on the shutters.

Silence.

He knocks again.

A man’s voice: “Who’s that?”

As the window and shutters are opened SWANN speaks.

SWANN: Just happened to be passing. Wanted to know if you were feeling better.

The shutters open.

An OLD GENTLEMAN holding a lamp stares at him. In the background of a quite unfamiliar room stands ANOTHER OLD GENTLEMAN.

SWANN: I’m terribly sorry. I’m afraid I have the wrong house.

GENTLEMEN: God night sir.

He closes the shutters.

SWANN, in the dark, looks toward’s ODETTE’S hous, which is dark and silent.

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