Saturday, 16 February 2019

Outline for fantasy-drama screenplay THE MAN IN THE PAINTING



 THE MAN IN THE PAINTING

                                                                          by

                                                             Andrew Hawcroft

                                                                      Outline


When thirty-four year-old Harriet Painter, and her eight year-old son George, settle in a quiet English country cottage, she hopes they are at the beginning of a fresh chapter in their lives, finally able to put the pain of recent years behind them.

A lawyer working for the esteemed legal company of Carter and Black, she has at last seen the courts impose a restraining order on her former husband, Scott, after years of increasing incidents of physical and mental abuse.

Succumbing to a long-held desire, she has finally bought the old stone cottage she discovered on her way to work a year ago.  It is a warm, friendly place of great character, deep in the English countryside, and a fine home to enjoy new beginnings.

One day, while cleaning her new pantry, Harriet falls through the rotten floorboards to find herself in an ancient cellar, long hidden from human eyes.   The dark and dust-caked room contains only one item, a leather-shrouded, five-foot painting depicting a medieval knight in armour, standing before a dark forest.  There is no title and no artist’s signature.

Harriet is strangely taken by the painting and decides to bring it into the house, placing it above the fireplace in her living room.  It almost immediately begins to have a positive effect on the lives of her and her son. 

But when Scott, reaching the end of his own psychological tether, discovers where she lives, despite the restraining order, he embarks on a series of intimidation tactics.

Added to this, her company have demanded that she represent a member of the notorious Janey family, importers known for their criminal and violent business dealings, in a case of illegal importing.  A case nobody would take on unless they were given no choice.

One night, unable to sleep, fragile from the fears of her life, Harriet enters the living room where the painting is kept.  

She turns to see with horror that the landscape of the painting is empty, and that a huge armoured figure sits before the dying fire…




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