SHOT SEQUENCE: 1
SCENE: SIONED’s apartment. The floor is covered in clothing, shoes, books, and various weapons scattered haphazardly among the mix. The bed is unmade, the curtains are barely open. There would be smell of enclosed dampness tinged with metal, or the slight hint of ozone.
SFX: The sound of water, someone getting out of a bath.
CUT TO: Bathroom doorway. SIONED stepping out of the bath. Physically she looks tired, a little sunken, her eyes are red and puffy. She pulls a towel from a shelf and starts to pat herself dry. She walks in to camera.
CUT TO: wide reverse shot.
SFX: curtains being pulled open
LIGHTING: sunlight pours in to the room.
SIONED walks in to shot, towel haphazardly wrapped around her torso.
CUT TO: CU SIONEDs face, she surveys the room. A sudden stop. Something has grabbed her attention. The muscles in her jaw clench and her eyes narrow. There is almost the impression of fire flickering across her irises.
CUT TO: Shot of Bedroom, SIONED’s POV. Near the door, an armour stand, arrayed on it meticulously the suit of armour that had previously held pride of place half covered in clothes, crumpled in the corner where it had been thrown the week earlier. There is a note hung from a pauldron buckle.
CUT TO: Wide tracking shot from doorway, SIONED striding across the room and snatching at the note, tearing it from the armour.
CUT TO: CU SIONED reading the note out loud.
SIONED “If he ever caught me treating armour like this, I’d be on cleaning duty for a m…… You son of a fucking…. MELISANDRE!!!!!”
CUT TO: Shot down a few hallways. Several faces glance up at the shout that echoes through them. SFX: Echoing yell of “MELISANDRE”
SHOT SEQUENCE 2
CUT TO: a sewing table, two maids working on an assortment of materials. They both physically jump as they hear the yell.
CUT TO: CU MELISANDRE’s face. She looks horrified
MELISANDRE “Oh lords. She’s out of the bath….she’s seen it”
CUT TO: a sewing table, MELISANDRE gathers her work in to a neat pile and makes to hurriedly leave. The other maid grabs her hand.
CUT TO: CU other maid’s face. She is very concerned
MAID “what are you going to do?”
CUT TO: mid shot of MELISANDRE
MELISANDRE “Apologise. A lot. And pray….”
CUT TO: mid shot MELISANDRE walking through a doorway towards camera
MELISANDRE Under her breath: “Also a lot”
SHOT SEQUENCE 3
SHOT: Hallway. A door slams open and several pieces of armour are thrown forcibly through it to collide with the opposite wall and slump in to a pile on the ground.
CUT TO: reverse shot. MELISANDRE slowly approaching from the other side of the hall just as the last two pieces are ejected from the room. She winces. She makes to approach the doorway. The door is slammed hard before she can get there.
CUT TO: Interior SIONED’s apartments. Wide shot. Clothes have been piled in one corner, weapons in an untidy pile on the floor. The armour rack lies sideways against the wall, a couple of sections look damaged. The bed has been stripped of bedclothes which lie in yet another pile on the floor. SIONED strides in to shot. Her hair is tied back in two damp tight braids. She is wearing a loose white shirt, and, surprisingly, a pair of culotte type pants. She’s also wearing soft slip on shoes. There is no sign of any other shoes in the apartment.
CUT TO: Wide shot, the door carefully opening, MELISANDRE walking in to the room.
MELISANDRE: Stuttering slightly: ”Your highness? I am so very very sorry, I…I didn’t know. It was just there when…..
SIONED (cuts in) Extremely angry: “As you can’t seem to follow basic instructions, like LOCK THE FUCKING DOOR, you can take that to the armoury (points towards the pile of armour in the hallway: cut scene to them) along with these (cut scene, SIONED kicking the weapons). You can launder those and those (indicating the clothes and the manchester), sort the bathroom out, and then you can take your gods-damned self out of this apartment and stay the hell out. Is that possible?”
MELISANDRE: Stuttering “Ppplease, I.. I didn’t know…..”
SIONED: Oh, and you can take this to your master, along with whatever the hells else you plan on reporting to him about me.
CUT TO: mid shot MELISANDRE. Caine’s note is thrust in to her face, which she takes with a trembling hand. There is now large Capitalised lettering scrawled on the back.
CUT TO: Wide shot, MELISANDRE POV. SIONED walks away from her, gathers a satchel from one of the chairs. She walks to a side table and picks up a Trump card
CUT TO: CU trump card being picked up by SIONED. The City Gates
CUT TO: Wide shot MELISANDRE POV. SIONED stares briefly at the Trump and vanishes.
CUT TO: CU MELISANDRE face. She is visibly shaking, and tears are welling. She looks down to the note in her hand.
CUT TO: ECU note in MELISANDRE’s hand. This side has a well-rounded script:
If he ever caught me treating armour like this, I’d be on cleaning duty for a month. Caine
MELISANDRE turns the note over. In a furious scrawl of capital letters is SIONED’s response.
STAY THE FUCK OUT OF MY ROOMS. WHAT THE HELLS IS WRONG WITH YOU?! HAVE SOME BLOODY RESPECT FOR MY PRIVACY. AND HAVE YOUR LITTLE MAID SPY BACK TOO, YOU JERK!
CUT TO: Wide shot. MELISANDRE plops down on the floor, one hand holding the note, the other over her mouth. She starts to cry loudly and unattractively.
Delivered by hand, by a very brave cabin boy:
First, the girl is not my creature. Her name is Melisandre, and she works for the chamberlain. She is clearly good enough at her job that she’s been given the singular honour of waiting on a princess of the blood, and like several of my less likeable relatives, you’ve chosen to treat her poorly. You ought to be ashamed of yourself. Whatever the provocation (and I admit, I did provoke you), there is no excuse for taking it out on the staff.
Second, I violated your privacy and I apologise. That my siblings do this kind of thing to each other as gentle (and sometimes not so gentle) pranks and one-upmanship is not reason or excuse for my doing it to you. I did not properly think the thing through. You seemed to wish to be left alone, so I employed a little magic and ill-considered humour at a distance. I can assure you that I did not physically enter your rooms, nor did I ‘spy’ on you. One of my people did see you return to the palace in that armour, and because of its colours, reported the thing to me. If Erica hasn’t remarked on it yet, she clearly either has more tact than me, or assumes I’ll pursue the matter and report to her later.
Third, my brother takes his privacy very seriously, and if he let you violate it, he no doubt had good reason. He also went to great pains to teach warfare and etiquette to his foolish younger siblings, and it was always clear that he regarded the latter as far more important than the former. And if the best of us can manage to be polite to every maid, beggar, and petty lording he meets, you can certainly make the effort.