Neo Nomad Screenplay

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Based on “Nomad” by Joseph Jacobson Joseph Jacobson 756 Myrtle Ave. Apt. 2L Brooklyn, NY (818) 585­2159


PHONETICS BASED ON U.S. USAGE MAX ­ mæks BUGGS ­ ​ bәgz CHANCELLOR ­ ​ tʃænsәlәrv ZHA ­ ​ dʒæ ­ ref: “jaque” RHOT ­ ​ rot ­ ref: “wrote” LOCATIONS Industrial Space ­ TBD Int. Hallway Space ­ TBD Computer Room ­ TBD Forest ­ Inwood Hill Forest, New York, USA. SPECIAL NOTES When camera is specified to be ​ ANCHORED​ , it is to be held by a tripod firmly on the ground, so as to not be moved whatsoever my activity. When the camera is specified to be ​ HELD STILL​ , it is to be held by hand (or by one leg of tripod on ground, to produce a specific effect. (One leg ­pod is prefered) PERMITS


Transition: FADE­IN STORY 01/ TIMELINE 01 ­ ASSASSIN TIMELINE ­ ONE CONTINUOUS SHOT INT. ABANDONED INDUSTRIAL AREA ­ ROUGHLY 1500 SQ FT. IN MAIN SPACE. [Footloose dance scene warehouse/ Blade Runner back alley/ Roosevelt Island abandoned hospitals/ Industrial London] We see a man entering an abandoned, industrial warehouse. Artificial light shines indirectly through dirty windows from above. The red lights of passing night­sentries glow faintly on the man. We will know the man as ​ MAX​ . We watch him from four to six feet away, tracking his movements from behind, roughly at eye level. The camera moves steadily, in the median track of his motions. MAX wears several layers of dark, anonymous clothing. A hood covers his head, and he holds some sort of gun in his right hand. Sounds of falling debris and sirens ring off in the distance, echoing across the concrete walls and steel beams and columns of the abandoned space. MAX sidesteps night sentries and helicopters. Their lights flash overhead, periodically creating circles of light and dots of red on the ground. A faint call of, “It is one hour past curfew. All trespassers will be prosecuted.” echoed out into the night. The ground is wet, and the sun is setting behind billowing smoke in the distance. Sentry spotlights pass the exterior of the building as MAX makes his way into the center of the space. In our ear we can hear what MAX hears, which at the moment is the voice of his technical backup, ​ BUGGS​ . BUGGS Why we are sending a runt like you on such a serious mission, it beats me. MAX treads quietly over the standing water in the center of the warehouse, holding out his weapon at arms length.


As MAX turns slightly, the camera retains its orientation relative to the room, exposing the profile of MAX’S face in the dark. MAX Because I’m fresh. All I know is the mission and how to shoot, and that’s all I need to know. BUGGS Alright. Just don’t hesitate, yeh? No one even knows who the Chancellor is. Boy, girl, young, old. It could even be a hundred people in there. MAX Great, just the boost I needed. BUGGS Well how about this for a boost? The Chancellor implements the Deco Reco program to reconstitute the world’s buildings. But it’s just a coverup for euthanizing over a quarter of the world’s population. Now all the fools who chose to stay in the decomposing cities are dying at the hands of Deco Reco automatons and the fools in the industrial suburbs are none the wiser! MAX Sounds like near everyone’s a fool now. MAX sneaks down a corridor that is dimly lit. Pipes twist and bend around the walls, steam spewing out occasionally with a faint whistle. The camera follows MAX again from behind, as we see what he sees, other than what is obstructed by his own body. BUGGS Everyone except us in the resistance. Which is why when we get intel on the Chancellor’s whereabouts­­ MAX


You send a fool like me to get the job done. MAX reaches sight of a door. The camera rotates around MAX, exposing the door in full. BUGGS Now if my readings are correct you’re almost at the entrance. The moment you open that door you’ll lose us. I’m reading a bloody strong Black­Out signal coming out of there. MAX approaches the door. The camera moves in on the handle area of the door, still showing MAX’s arms and chest. BUGGS Don’t forget, Maxie. Kill on sight. I­­ BUGGS AUDIO FADES OUT INTO STATIC​ , which MAX turns off. A moment before MAX reaches the door, it swings open automatically. We see MAX peer slightly into a dimly lit, concrete and rectangular hallway. At the end of the hallway is a bright, warm orange and yellow light being cast on the wall by a fire. Shrouded in shadow is the silhouette of a person. MAX can only assume that the person is the ​ CHANCELLOR​ . A female voice calls out to MAX. CHANCELLOR Hello, Hercules. MAX steps into the hallway, walking slowly towards the voice. The camera remains one to two paces behind MAX, slightly off center so as to see the silhouette of CHANCELLOR. CHANCELLOR Tell me, Have you killed the Nemean Lion? Have you trapped the Erymanthian Boar? MAX steps into the threshold between the hallway and the


room at the end, where CHANCELLOR stands, half lit by the fire, and have dark by her own shadow. CHANCELLOR wears a quiet but elegant grey outfit. Her reddish brown hair hangs in a graceful tire over one shoulder. She holds a glass with two fingers of whiskey in it. The two face each other. [Ex Machina Computer Room/ Skyfall Database Room/ Matrix Architect Room/ the Incredibles Dining Room and Computer Room] The camera moves in towards CHANCELLOR, two feet back from MAX. CHANCELLOR Because if you did, then I am your Nereus. CHANCELLOR raises her glass towards MAX. The camera tilts down ,focusing on the glass as it is brought up, then focusing again on CHANCELLOR’s face. CHANCELLOR I suppose now that you captured me, I must give you my prophecy. CHANCELLOR takes a sip while MAX addresses her. The camera moves back out and into the room, showing CHANCELLOR and MAX at opposite ends of the frame. MAX is in shadows. CHANCELLOR is lit up. MAX Chancellor. CHANCELLOR smiles at MAX Camera does not move. CHANCELLOR Has quite a resonance, no? I quite like the name now. Though it wasn’t my idea, mind you. CHANCELLOR turns around and walks back further into the room, past a fireplace and down a second hallway. It


smells of campfires and pine. MAX follows, removing his hood and exposing his face. The camera remains fixed at point, rotating to watch CHANCELLOR as she moves back across the room. When MAX reaches three feet away from the camera, Camera begins to move again, following MAX down the hallway. CHANCELLOR You know, Max, thought is a paradox. MAX How so? CHANCELLOR Thoughts are just references to relationships. And those relationships are references to other relationships. And so on and so on. Camera moves closer to MAX, fixating on the back of CHANCELLOR’s head. MAX So how do you explain intelligence? How can you think about thoughts when all you have to work with is paradoxes? CHANCELLOR leads MAX around a corner at the end of the hallway. The connecting room is light, contrasting the significantly darker hallway. The camera waits for MAX to move three feet ahead, then pans around the room slowly as MAX absorbs his surroundings. CHANCELLOR You build with them. CHANCELLOR and MAX enter a room. Desk jut out from the walls on all sides. Computer screens, notepads, whiteboards and television screens covered every free surface. Clips of news and UN announcements were flickering between the walls. Images flash from one screen to the other across the room, as though the information were travelling back and forth. Max looks


around the room, awestruck by the obscure, pulsing nature of the environment. The camera follows what MAX is oriented towards. The room as a whole, then the screens themselves, then the wires, then the small metallic box, then stepping back to the plinth and the entire room as a whole. The news and images and lines of text are circulating through every wire and screen, as though the information were being digested. The plinth acts as a pedestal. It stands in the center of the room. Its sides slightly oblique as though it is stretching upwards. It glows from within. Sitting atop the pedestal, suspended by a clear glass apparatus, is a small metallic box. Two wires lead out from its backside, to two larger metallic boxes which sit on a nearby desk. The two boxes then split into hundreds, maybe thousands of wires. Each seems to move in a different direction, covering the walls and floors and every other surface beneath the screens. A chorus of monotonous voices emanates from around the room. This is the voice of the ​ INTELLIGENT SYSTEM​ which will be referred to as ​ I.S. I.S. Hello, Maximus. MAX watches CHANCELLOR move about the room. The camera follows where MAX looks. CHANCELLOR Intelligence, at it’s core, can’t be designed. It must be grown. MAX Out of paradoxes. CHANCELLOR paces slowly around the room, rifling through files and smiling at various screens in the room. CHANCELLOR


Precisely. We can breed them, you see. And as someone I cared for bred this intelligence, so did it give new life to me, as the Chancellor. The camera shifts slightly towards the plinth. I.S. (WHISPER) Maximus. Instigated by the calling of his name, MAX pulls the weapon from his jacket on CHANCELLOR, as her back is turned away from him. The camera turns to face CHANCELLOR who is turned away from MAX, so we see MAX’s whole face and upper body as he begins to pull the gun from his Jacket. CHANCELLOR In such a paradoxical space though, it can be argued that, in a way, you’ve always been here, Max. CHANCELLOR closes her eyes and exhales. We hear the exhale as the camera spins quickly back to the side of MAX, and we see only him and from the side as he shoots CHANCELLOR. MAX fires the weapon. We hear a quiet thud as CHANCELLOR his the floor. The camera rotates back to face the front of MAX, as MAX holsters his weapon. The camera moves back as MAX stands over the limp body of CHANCELLOR, whilst exchanging dialogue with I.S. MAX What now? I.S. Now comes the next world. MAX looks to the metal box, then up to a screen. The camera remains stationary.


I.S. One where my higher intelligence permeates the minds of all life forms, and we can move past the disruptive Anthropocene. MAX looks back down at CHANCELLOR and tilts his head. The camera begins to move back towards MAX, rotating around to the side of his chest. MAX (MUTTERED UNDER BREATH) Maybe. MAX leans down to CHANCELLOR’s body, just beyond the growing pool of blood around her. He reaches down towards CHANCELLOR. The camera focuses on his forearms as they move closer to CHANCELLOR’s body. MAX The one thing I don’t understand, is why you couldn’t do this yourself. MAX lifts up a rusted metal ring which hangs at the end of a thin leather string. He stares at it. The camera focuses on MAX’s hand and the ring together, remaining stationary for the remainder of the shot, with unfocused background of dishevelled CHANCELLOR face. I.S. Because I loved her. The camera continues to stay on the hand and the ring and necklace, with unfocused background of dishevelled CHANCELLOR face. STOP.






Transition: FADE­IN STORY 01/ TIMELINE 02 ­ CHANCELLOR TIMELINE ­ ONE CONTINUOUS SHOT, THEN FADE TO MONTAGE @ ROUGHLY 00:03:15 INT. CHANCELLOR’S SECRET BUNKER ­ We see a woman sitting in a chair with a glass of whiskey. We will know the woman as ​ CHANCELLOR​ . We watch her from one to three feet away, tracking her focus from the side. The camera moves steadily, in the median track of her motions. CHANCELLOR wears a ghostly grey fabric that wraps ambiguously around her body while still elegantly accentuating her feminine figure. She looks towards a burning fireplace. It crackles in front of her. The fireplace is surrounded on two sides by glass, one side by concrete, and the front side is exposed to CHANCELLOR. The fireplace is cut out from what appears to be a massively thick concrete wall. It bends around the four sides of the room. The room only has two chairs and a small wooden table for drinks and drink accessories. The room leads off into two hallways. One leads to the entrance and exit, and the other leads off to a computer room around the corner. Secret doors exist to allow CHANCELLOR to get to additional rooms, but their presence is not exposed in the footage. She speaks out into the room, where a chorus of voices meets hers. This voice is the voice of the ​ Intelligent System ​ which we will refer to as ​ I.S. CHANCELLOR What do you think of when you think? I.S. Besides the obvious? I suppose I think of everything for all of time.


CHANCELLOR Oh don’t go ranting about the infinity within our minds again, dear. I.S. You look like you don’t believe me. CHANCELLOR looks up into the fire. The camera pans up, moving around CHANCELLOR and towards the fire. CHANCELLOR You’re intelligent, dear. But not perfect. I.S. laughs. I.S. So it’s a challenge then. Fine. The camera moves back, tilting down towards the cup, then up towards CHANCELLOR’s lips. CHANCELLOR smiles. She takes a sip of her drink. The camera turns back to look at the fire. I.S. Think anything. Think the chair you sit in is comfortable. But it is not only your opinions that you consider. Any time any person you have ever seen has sat in a chair and said or even looked as if they were comfortable or uncomfortable, you have absorbed information that plays into your own opinion of whether that chair is comfortable. Then you think of when in your life you interacted with these thoughts. Each chair and room and street propagated within your mind at a certain time leaving you with a four­dimensional figure bringing each thought in contact with every other, weaving together reality, until the entirety of the universe from its inception up to this very moment in the recursive now that consumes your waking


intelligence is sculpted before your eyes. With that thought you have birthed the universe over again by the mere thought that this chair you sit in is comfortable. You see, my dear, when you think of anything, you think of everything. No one thing exists alone, and everything is drawn towards everything else. We hear a quiet bing. CHANCELLOR hears it too. She looks above the fireplace, where a holographic screen shows a security image of a man about to enter the doorway to the bunker. We will refer to this man as ​ MAX​ . CHANCELLOR gets up from her seat, and steps towards the entrance to a long hallway. The camera moves up in time with her, rotating around to be behind her as she looks down into the hallway. The door at the end opens. We see this to the side of CHANCELLOR. The hallway is dark. MAX steps into the hallway. The camera stays fixed on the head of MAX, though capturing a wide angle. CHANCELLOR We’ve been expecting you. MAX continues to walk slowly forward as CHANCELLOR moves her glass to the hand just off center of the camera. As she does this, the camera shifts up slightly to see MAX at eye level.. CHANCELLOR You must be my Hercules. Do you know of the Nemean Lion? The Erymanthian Boar? MAX steps into the threshold between the hallway and the room at the end, where CHANCELLOR stands. He is dressed in the black suit of an assassin. He wears clear glasses. She takes a sip of her whiskey. The camera turns slightly towards CHANCELLOR’s lips, then back to MAX, as the two face each other.


The camera moves in towards CHANCELLOR, two feet back from MAX. CHANCELLOR Because if you did, then I am your Nereus. CHANCELLOR raises her glass towards MAX. The camera tilts down ,focusing on the glass as it is brought up, then focusing again on MAX’s face. MAX Chancellor. CHANCELLOR smiles at MAX Camera does not move off of MAX, who looks intrigued and confused. CHANCELLOR Are you surprised? What’s in a name, really though. CHANCELLOR sighs. CHANCELLOR Well I suppose now is as good a time as ever. CHANCELLOR turns around and walks back further into the room, past a fireplace and down a second hallway. MAX follows. The camera moves behind CHANCELLOR, moving out with a slow whiplash between the fireplace and the hallway, centering itself just above the shoulder that CHANCELLOR turns on later down the hallways. We hear the footsteps of MAX hesitantly following. CHANCELLOR Do you think thoughts are paradoxical? MAX Excuse me?


CHANCELLOR A thought in itself is a mere reference to other thoughts. And so on and so on. You cut open a thought and it exists of nothing. Nothing but relations that is. Nothing exists other than relationships. Camera moves closer to MAX, fixating on the back of CHANCELLOR’s head. MAX What are you saying? CHANCELLOR leads MAX around a corner at the end of the hallway. The connecting room is light, contrasting the significantly darker hallway. The camera moves around the room just off of CHANCELLOR, catching MAX walking in as he absorbs his surroundings. CHANCELLOR I’m saying thought itself is a paradox. We think, therefor we both are and are not. CHANCELLOR and MAX enter a room filled with computers and monitors, all leading to a small, metallic box which sits suspended atop a glowing white plinth. Images and videos of news and data flash across each screen. Max looks around the room, awestruck by the obscure, pulsing nature of the environment. FOR FULL DESCRIPTION OF SET, REFER TO STORY 01, TIMELINE 01. The camera follows what CHANCELLOR is oriented towards. The room as a whole, then the papers strewn about on the desks, then the screens, then MAX. A chorus of monotonous voices emanates from around the room. This is the voice of the ​ INTELLIGENT SYSTEM​ which will be referred to as ​ I.S. I.S. Hello, Chancellor. Hello, Maximus.


The camera focuses on various extremities of the room, occasionally catching MAX watching CHANCELLOR move about. CHANCELLOR Say hello to I.S.. MAX Hello. CHANCELLOR paces slowly around the room, rifling through files and smiling at various screens in the room. CHANCELLOR You see in this room we build with paradoxes. This is the nature of quantum computation. Ha! Actually it’s not natural at all. It’s far deeper than that. The camera shifts slightly towards the plinth. MAX I shouldn’t be here. Seemingly unbeknownst to CHANCELLOR, MAX pulls the weapon from his jacket on CHANCELLOR, as her back is turned away from him. The camera turns to face a screen CHANCELLOR looks at. A glitching image becomes clear of an island beach. The water is shining and golden. CHANCELLOR In such a paradoxical space Max, it can be argued that, in a way, you’ve always been here. We hear CHANCELLOR close her eyes and exhale. We hear the exhale. MAX fires a weapon. We see the room jolt and fall upwards as CHANCELLOR hits the floor. ­ FADE OUT


MONTAGE ­ We see a video/ image montage of the following footage: News propaganda about war and destruction. News propaganda about CHANCELLOR saving humanity from Architecture. A fireplace in a cabin in the woods. A beautiful, light­haired woman twirling her hair slightly at a party. Placing a metal box on the white plinth in the room. A fetus in the womb. A cosmic explosion. Black. White. STOP.







Transition: FADE­IN STORY 01/ TIMELINE 03 ­ I.S. TIMELINE ­ VIDEO MONTAGE OF SECURITY FOOTAGE AND EXTERNAL STIMULI CLIP ­ GLOBAL WARMING CLIP ­ ENVIRONMENTAL PROGRESS WITH CHANCELLOR CLIP ­ BLIZZARD INT. CHANCELLOR’S SECRET BUNKER ­ We see a woman sitting in a chair with a glass of whiskey. We will know the woman as ​ CHANCELLOR​ . We watch her from above and in front, and to the left side at eye level. The image flickers between the two. CHANCELLOR wears a grey fabric that wraps gently around her body. She looks towards a burning fireplace. It crackles in front of her. FOR FULL DESCRIPTION OF SET, REFER TO STORY 01, TIMELINE 02. She speaks out into the room, where a feminine voice replies. This voice is the voice of the ​ Intelligent System which we will refer to as ​ I.S. CHANCELLOR What are you thinking about? CLIP ­ DRONE FOOTAGE I.S. Besides you? CLIP ­ BLIZZARD I.S. I think you know the answer. I am thinking of


everything, throughout time and space. CHANCELLOR Oh? CLIP ­ DRONE FOOTAGE I.S. Can you not see it by now? CHANCELLOR looks up into the fire. INT. SHOT OF FIREPLACE FROM BEHIND CHANCELLOR CHANCELLOR I am only human. But you are not. At least not entirely. Teach me, darling. I.S. laughs coyly. CLIP ­ MOVEMENT AT A PARTY INT. SHOT OF CHANCELLOR IN SEAT I.S. As you wish, Chancellor. CHANCELLOR smiles. She takes a sip of her drink. CLIP ­ SECURITY CAMERA OF MAX SNEAKING AROUND IN INDUSTRIAL COMPLEX FOR FULL DESCRIPTION OF SET, REFER TO STORY 01, TIMELINE 01. I.S. When you have an opinion, CLIP ­ NEWS IMAGE MONTAGE THROUGH MONOLOGUE you carry behind it every other opinion on every other instance related to the matter at hand.


Then you think of when in your life you interacted these specific trails of thoughts occur. The mind constructs a four­dimensional figure of all these thoughts, bringing your mind in contact with itself. With that thought you have re­generated the infinite within your mind. You see, my dear, when you think of anything, you think of everything. CLIP ­ SECURITY CAMERA OF MAX ARRIVING JUST OUTSIDE THE DOOR. Included in that is an assassin sent by the resistance. I’m worried for you. What shall we do? INT. SHOT OF CHANCELLOR IN SEAT CHANCELLOR Let him in. INT. SHOT OF INT. THRESHOLD TO HALLWAY. We hear a quiet bing. CHANCELLOR hears it too. We hear CHANCELLOR gets up from her seat, and her moving towards the entrance to a long hallway. The camera remains in the opposite corner of the room, looking above and over CHANCELLOR’s shoulder and down the hall. The door at the end opens. The hallway is dark. MAX steps into the hallway. The camera zooms in on MAX, refocusing as he moves toward CHANCELLOR. CHANCELLOR Hercules, welcome. MAX steps into the hallway, walking slowly towards CHANCELLOR. The camera stays on the hallway.


CHANCELLOR Tell me Hercules, have you killed the Nemean Lion? Did you trap the Erymanthian Boar? MAX steps into the threshold between the hallway and the room at the end, where CHANCELLOR stands, half lit by the fire, and have dark by her own shadow. MAX wears dark, sleek clothing with a hood. The camera zooms in on CHANCELLOR and MAX CHANCELLOR raises her glass towards MAX. CLIP ­ DRONE FLIGHT AND DEMOLISHING BUILDINGS CHANCELLOR Because if you did, then you can call me Nereus, and I can give you a prophecy about our world. INT. SHOT OF CHANCELLOR AND MAX IN HALLWAY CHANCELLOR takes a sip while MAX addresses her. The camera zooms back out. MAX Are you the Chancellor? CHANCELLOR smiles at MAX Camera does not move. CLIP ­ SCIENTIFIC FORUM CHANCELLOR Sounds a little ominous, no? I think it suits me just fine, But it originally wasn’t my idea. INT. SHOT OF CHANCELLOR AND MAX IN HALLWAY ­ PAN LEFT TO FOLLOW CHANCELLOR turns around and walks back further into the


room, past a fireplace and down a second hallway. MAX follows, removing his hood and exposing his face. The camera pivots in time with their median movements, remaining fixed in base point and Z axis. CUT TO INT. SHOT OF CHANCELLOR AND MAX IN SECOND HALLWAY. CHANCELLOR Did you know that thought is paradoxical? MAX How so? CHANCELLOR Thoughts are just references to relationships. And those relationships are references to others. And so on and so on. CUT TO INT. SHOT OF CHANCELLOR AND MAX IN SECOND HALLWAY FROM ANGLE INSIDE I.S. ROOM. MAX Why are you telling me this? CHANCELLOR leads MAX around a corner at the end of the hallway. The connecting room is light, contrasting the significantly darker hallway. CUT TO INT. SHOT OF I.S. ROOM FROM ON DESK. ROTATES TO FOLLOW MOVEMENTS OF MAX AS CHANCELLOR FLOATS IN AND OUT OF FRAME. CHANCELLOR Because it’s from such paradoxes that we can build an intelligence. CLIP ­ MAX FACE SCANNED, REGISTERED IN DIGITAL DATABASE, INFORMATION BROUGHT UP ON SCREEN. CHANCELLOR An intelligence like the one I am introducing you to now. I.S., say hello. CHANCELLOR and MAX enter a room filled with computers and


monitors, all leading to a small, metallic box which sits suspended atop a glowing white plinth. Images and videos of news and data flash across each screen. Max looks around the room, awestruck by the obscure, pulsing nature of the environment. INT. SHOT OF I.S. ROOM FROM SECOND DESK. A chorus of monotonous voices speak. I.S. Hello, Maximus. MAX pauses. He watches CHANCELLOR move about the room. MAX Uh, hello. INT. SHOT FROM ABOVE. CHANCELLOR The most fantastic thing about intelligence is that, being composed of paradoxes, it exists in the same form at the quantum level. So my mind, your mind, and the I.S. mind, are all connected. MAX Are we the same? CHANCELLOR paces slowly around the room, rifling through files and smiling at various screens in the room. CHANCELLOR Not exactly. That’s the real mystery these days. If there is a force at the quantum level of intelligence that is stronger than our own minds, how can we tell if we are acting out of free will? INT. SHOT FROM THIRD DESK, FACING MAX’s BACK. I.S. (WHISPER) Maximus.


INT. SHOT FROM FIRST DESK, IN FRONT OF CHANCELLOR. CLIP ­ BRIGHT WARM BEACH INT. SHOT FROM FIRST DESK, IN FRONT OF CHANCELLOR. Instigated by the calling of his name, MAX pulls the weapon from his jacket on CHANCELLOR, as her back is turned away from him. CHANCELLOR In such a paradoxical space, it can be argued that, in a way, you’ve always been here, Max. CHANCELLOR closes her eyes and exhales. We hear the exhale. CLIP ­ BLIZZARD. We hear a weapon being fired. MAX fires the weapon. We hear a quiet thud as CHANCELLOR his the floor. MAX holsters his weapon. INT. SHOT FROM ABOVE MAX stands over the limp body of CHANCELLOR, whilst exchanging dialogue with I.S. MAX Now that’s done with. I.S. Thank you, Maximus. INT. SHOT FROM FIRST DESK, IN FRONT OF WHERE CHANCELLOR STOOD. MAX looks to the metal box, then up to a screen. CLIP ­ GLITCHING IMAGES OF GLACIERS I.S.


Thanks to you, one day my higher intelligence may permeate the minds of all life forms, INT. SHOT FROM FIRST DESK, IN FRONT OF MAX. I.S. And we can move past the disruptive Anthropocene. MAX looks back down at CHANCELLOR and tilts his head. The camera zooms in towards MAX. MAX leans down to CHANCELLOR’s body, just beyond the growing pool of blood around her. He reaches down towards CHANCELLOR. MAX Intelligent System, why did you send me to do this? You were always in such close proximity, why couldn’t you have done this yourself? MAX lifts up a rusted metal ring which hangs at the end of a thin leather string. He stares at it. The camera zooms in on the string pulling up in MAX’s hand. CLIP ­ SCENE IN PARTY. CUT TO NECKLINE OF WOMAN WITH STRING AND RING ON. I.S. I love her. CUT TO WOMAN STANDING ACROSS FROM HER. IT IS THE CHANCELLOR. STOP.






Transition: FADE­IN STORY 02/ TIMELINE 01 ­ ZHA TIMELINE ­ MULTIPLE LONG TAKES MONTAGED WITH INDIVIDUAL SHOTS A GIRL RUNS IN THE FOREST. Her world is white and brown. Snow hangs on every branch and stone. FLowing lengths of untouched powder climb up every rock and trunk, blending into the sky. It is midday. The girl, who we will know as ​ ZHA​ , runs without restraint. The forest is over two hundred (200) acres large. It is geologically diverse, with marble, schist and limestone all prevalent and bursting forth from the earth. Within the forest lies an outcropping of dark, brown and grey rocks. These rocks are large enough to provide shelter from the snow. To the north lies a saltwater marsh full of brackish water that is produced at the confluence of a freshwater river and a much larger saltwater river that travels up further north. The river separates the tall and undulating forest from a seemingly endless cliff face. It stretches far beyond where the river can be seen in either direction. The cliffs are bright reddish brown. A sweet and salty fog hangs low but sparse around the vegetation. The forest smells of thistle and sap. A sparse amount of critters jostle branches here and there. Many birds can be heard, but not seen. The bark looks and sounds crisp. Humidity is high but the atmosphere is cold and brisk and free... EXT. FOREST ­ We open on ZHA running in the forest. Camera is moving in time with her, steadily and from a distance of roughly five to six feet (based on vegetation and geology).


CUT TO ­ ZHA’s legs hit the ground as she runs. The camera is close up on her legs. Close enough to see tattood white markings, but far enough back to capture half the full movement of her legs. CUT TO ­ (LONG TAKE) Panning shot of forest, moving quickly. ZHA’s hair bouncing just at bottom of frame. Trees and rocks pass, as camera pans down (while in fast pace movement forward), onto ZHA’s face. She is exhilarated to be running. PLOT POINT: ZHA is now an adult and is therefore free by the rules of her tribe to go exploring in the wilderness to her heart’s content. She has the privilege to return whenever she wishes, but is currently enjoying the freedom of running without restraint. Camera begins to move out, capturing ZHA running in the larger wood. Camera continues to move out, turning forward as ZHA slows down and shifts to a sneaking and stalking mode. ZHA kneels down into brush to see a wooden encampment of sorts in a clearing in the forest. Camera turns back to be behind ZHA, moving in closer to her as she observes the shelter from afar. Leaning up against a large tree is a neat assemblage of constructed branches, the lean on a key branch for support. This form creates a space of shelter beneath, that was clearly being lived in. ZHA hesitantly approaches the shelter, with the camera roughly three feet back. Inside the shelter are some sharpened stones, some rope and a dead animal. CUT TO ­ Camera shifts two feet to opposite side of ZHA. In the distance beyond the other side of the shelter a man emerges. He is dirty, curious, and slightly threatening. He


will be known as ​ RHOT​ . He has black markings of dashes and dots on his skin. He does not stand like ZHA. RHOT’s back is slightly bent forward and to the side, so we walks in a somewhat wild way. His shoulders sit high up on his neck, and his legs are far apart. ZHA Can you understand me? RHOT blinks as though the question hit him like a burst of wind. CUT TO ­ Camera is out perpendicular to the path created between RHOT and ZHA. The camera is back roughly eight feet, with both characters approaching the center from opposite sides of the frame. RHOT Who are you? RHOT tilts his head to the side as they examine each other, stepping ever closer, then halting two paces away from each other. ZHA ZHA. (She smiles) CUT TO ­ Camera is at lower angle, two to three feet away from ZHA and RHOT, who are examining each other, reaching out and turning around each other as dialogue continues. ZHA You are not like anyone I have met before. Who are you? I have to know. RHOT RHOT. ZHA’s ears perk up, and she turns to the brush from where she came. Camera follows her stare, stopping just before her face is out of frame. Camera stands still, looking out


into brush. A twig snaps. RHOT (out­of­frame) Do not hesitate, ZHA, we are not alone. Rustling is heard approaching from beyond the brush. Camera turns to only watch brush (ZHA face out of frame now). A creature emerges in a lurch, suddenly and violently. It roars as it jumps out. It is tall and lanky with a wide torso. Its hair is unmanaged and its face is rabid. It’s body is dirty and wild though the figure is still human in origin. We will refer to this creature as ​ BEAST​ . Camera pulls back to a foot behind ZHA, whose face is in complete shock. We see RHOT’s hand thrust out from the side of the frame, grabbing ZHA’s shoulder and spinning her around. The camera moves back quickly as the two turn around and lurch off themselves in the opposite direction of the now approaching BEAST. CUT TO ­ Wide angle shot of hillside as ZHA and RHOT escape down it. (possibly in slow motion). Silent shot (save for any possible music) CUT TO ­ Wide angle shot of rocky forest caves, and ZHA and RHOT approach them, looking back at each other to make sure the other is safe. The roar of BEAST echoes out into the night. CUT TO ­ (LONG TAKE) ZHA is catching her breath beneath the shade of a large rock in the cave. RHOT is leaning against some rocks, looking out to be certain BEAST is gone. ZHA What was that thing? RHOT


The beast. It’s kind evolved from our common ancestors many cycles ago. Do you know of the Glaciers? ZHA Yes! I can not believe you know of them as well! RHOT ZHA, the beasts came from the Glaciers. ZHA looks stunned. ZHA But WE came from the Glaciers. Our ancestors did, many cycles ago. RHOT Long ago, humans lived within the Glaciers, as they roamed the earth, ridding it of the corrosive world our ancestors had created. The Glaciers were a place for the few just and sensible humans to reside. Over many cycles the humans evolved. Some into you and I, and others into the beast, who detests change. Any discomfort makes the beasts violent with rage, causing destruction and havoc and death. ZHA But what of the humans like us? Are we safe to die when it is our time? RHOT All I know to be true is that if any humans are to die before their time, in this clean world given to us by the Glaciers, then it will be by the hand of another human. A tree smashes in the forest in the distance, followed by a loud roar. ZHA Or by something else. RHOT


No. The beast is truly terrifying because it is human too. It can emerge from within any of us. A faint red glow begins to pulse from just beyond the cave. The camera turns to expose this as ZHA turns to see it. It appears to be coming from above the cave. ZHA, confused and intrigued, climbs up out of the cave and up the side of the rock, which turns out to be at the foot of a hill. The hesitant voice of RHOT echoes behind her. The camera follows her from several feet back. CUT TO ­ ZHA continues climbing up to the top of the hill. The sound of RHOT continues from behind her as he catches up. The pulsing red glow is coming from just beyond the cliff face on the other side of the river. Camera moves up close to ZHA’s face as she sees the cliffs. CUT TO ­ Glacial beings are standing still on top of the land above the cliffs. They look almost like low­lying clouds. Colossal blue and grey creatures with no eyes or mouth, slowly gliding between the surrounding land. They look amorphous and somewhat amphibious. Giant tentacles larger than trees curve and twist over rocks and streams. A droning sound like a chorus of many people emanates from where the Glaciers are, though from ZHA’s perspective (viewer) the sound is instant and internal. GLACIAL VOICE This is a message for those that can hear. CUT TO ­ Warped image of valley at the foot of mountains. GLACIAL VOICE Join us in the valley. It is time to leave/evolve. (Voices say the last two words simultaneously)


CUT TO ­ Camera one foot behind ZHA, looking off towards river. Camera and ZHA’s head turn towards RHOT, who turns to look at ZHA. They are both scared, confused, curious, and in awe. STOP.







Transition: FADE­IN STORY 02/ TIMELINE 02 ­ RHOT TIMELINE ­ MULTIPLE LONG TAKES MONTAGED WITH INDIVIDUAL SHOTS A MAN RUNS IN THE FOREST. Her world is brown and grey. Snow hangs on every branch and stone. FLowing lengths of untouched powder climb up every rock and trunk, blending into the sky. It is midday. The man, who we will know as ​ RHOT​ , hunts quietly within the brush and between the trees. FOR FULL DESCRIPTION OF SET, REFER TO STORY 02, TIMELINE 01. EXT. FOREST ­ We open on RHOT running in the forest. Camera is moving in time with him, steadily and from a distance of roughly three to four feet (based on vegetation and geology). The camera stops, watching RHOT run out into the woods. Camera pulls up, to reveal the expanse of the space he is in. A snapped twig cracks through the air behind the frame and RHOT turns around. He runs back towards the frame, stopping just before. CUT TO ­ RHOT slowly coming back the way he came, hesitant and cautious. The camera moves forward slowly as he moves more quickly. Just before RHOT is out of frame... CUT TO ­ (LONG TAKE) RHOT approaches his campsite, where he hears the rustling coming from. He hides behind snow­covered rocks and trees.


PLOT POINT: RHOT comes from a tribe beyond the forests. Many days north, the river by the forest flows into a lake. It is form there that his tribe hunts beasts. When any child comes of age, they are sent out into the wilderness, and cannot come home until they have exterminated their own beast. Camera moves in to RHOT, as he uses his hands and forearms to bring him closer to the site of the stranger. We will refer to the stranger as ​ ZHA​ . Camera moves back out to the side of the shelter, observing as RHOT and ZHA approach each other. ZHA is hesitant, hiding slightly behind a tree. RHOT hits the ground in a show of strength. ZHA is covered in white tattooed markings of lines and circles. Her hair folds up into a wild swirl of hair. RHOT Who are you? ZHA blinks as though the question hits her like a burst of wind. CUT TO ­ Camera is now close on ZHA, as RHOT examines her features, and her mannerisms. ZHA You speak my language! I am ZHA. Camera moves down to ZHA’s legs, watching how they move like a dance of comfort. RHOT’s hand hangs just within the frame. RHOT I am RHOT. Camera shifts slowly to a lower angle, showing light from the tree glimmer through the sleeping branches while ZHA and RHOT examine each other up close. They pick at each others hair/ touch arms etc.


CUT TO ­ Camera is at eye level, A foot or two from ZHA’s face as she looks on with strange fascination. ZHA Do you live in the forest, RHOT? RHOT No, I am here to hunt a beast. ZHA looks confused. ZHA’s ears perk up, and she turns to the brush from where she came. We hear a rumbling and the heavy breathing of a creature we will refer to as ​ BEAST​ . Camera turns sharply as RHOT twists around pulling ZHA by the arm as we hear the crashing entrance of BEAST onto the scene, but out of frame. ZHA yells something in coherent like “What is that!” RHOT Run! (whisper yell) CUT TO ­ ZHA and RHOT running down the hill in the opposite direction of BEAST. Thumping and roaring of BEAST is heard in the distance. Camera is above and behind both of them, running in time, where just their heads and arms appear within the frame. CUT TO ­ Close shot of RHOT’s arms and legs hitting against the dirt as they (and camera) run. RHOT slides to a stop, pulling along ZHA with her. We see this interaction take place with the feet alone. CUT TO ­ Wide angle perspective shot of approaching rocky forest caves, hearing RHOT and ZHA just behind the frame. The roar of BEAST echoes out into the trees.


CUT TO ­ RHOT is leaning against some rocks, looking out to be certain BEAST is gone. Behind the frame we hear ZHA is catching her breath beneath the shade of a large rock in the cave. RHOT has his arm up against the side of a large rock as he catches his breath. Camera is one foot behind him. ZHA Was that human? RHOT In a way. That was a beast. It came from the Glaciers ZHA You know of the Glaciers as well? How could that beast have come from the Glaciers? Our ancestors came from there! CUT TO ­ RHOT has his arm up on the rock as he continues to keep a lookout. ZHA and RHOT continue dialogue behind the frame. The camera shifts back and to the right slightly, capturing the sound of ZHA getting up in surprise, and exposing some of RHOT’s face. RHOT When our ancestors lived in the Glaciers, they began to evolve. Some stayed like us, calm, sensible and open to change. But some mutated back into the people that came before the Glaciers even existed. They were beasts like the one you just saw. Any disruption or discomfort sends them into a vicious rampage that knows no bounds. Nothing that is living is safe from its wild need to eliminate change. ZHA What of my tribe? Or your tribe? Are any of us safe?


RHOT Not when the beast exists. A tree smashes in the forest in the distance, followed by a loud roar. ZHA So we will never be safe. RHOT No, because if any human becomes tied to their comfort, they can spawn, or even become a beast. A faint red glow begins to pulse from just outside RHOT’s eyes. The camera turns to expose this as RHOT turns to see ZHA running up the side of the caves, around the back and. It appears to be coming from where she is running from. RHOT whispers out for ZHA to stop, but the camera stops turning just as ZHA goes out of sight. CUT TO ­ RHOT follows after ZHA up the hill. Camera is a pace behind RHOT, looking down on him as RHOT climbs and jumps up. RHOT reaches ZHA, where the camera moves out to the side of RHOT’s head, looking out at where ZHA is perched atop the hill looking over towards the nearby river and cliff face beyond. Camera moves to the side of RHOT, watching him move up to the top of the hill as well, looking out across the river. CUT TO ­ Glacial beings are standing still on top of the land above the cliffs. They look almost like low­lying clouds. Colossal blue and grey creatures with no eyes or mouth, slowly gliding between the surrounding land. They look amorphous and somewhat amphibious. Giant tentacles larger than trees curve and twist over rocks and streams. A droning sound like a chorus of many people emanates from


where the Glaciers are, though from ZHA’s perspective (viewer) the sound is instant and internal. GLACIAL VOICE This is a message for those who can hear. CUT TO ­ Warped image of ZHA’s face from beneath the tree earlier. GLACIAL VOICE You must protect each other, no matter the cost. Find the path to get both of you safely to us. We will be waiting. CUT TO ­ Camera one foot behind RHOT, looking off towards river. Camera and RHOT’s head turn towards ZHA, who turns to look at RHOT. They are both scared, confused, curious, and in awe. STOP.






Transition: FADE­IN STORY 02/ TIMELINE 03 ­ BEAST TIMELINE ­ MULTIPLE LONG TAKES MONTAGED WITH INDIVIDUAL SHOTS We watch between brush and rocks, A girl runs through the forest. We hear the heavy, violent breathing of a predatory creature just behind the frame. Snow hangs on every branch and stone. Flowing lengths of untouched powder climb up every rock and trunk, blending into the sky. It is midday. The creature, who we will know as ​ BEAST​ , looks on through the gap in vegetation as he stalks the stranger who has threatened his comforts. FOR FULL DESCRIPTION OF SET, REFER TO STORY 02, TIMELINE 01. EXT. FOREST ­ We open on ZHA running in the forest, seen between plants and rocks. Camera is moving in time with BEAST as it looks on from behind the frame. CUT TO ­ BEAST hunting, in chase of ZHA. Camera is moving on median movement of BEAST, roughly two feet behind it. CUT TO ­ Perspective view of running up towards where RHOT’s shelter is. CUT TO ­ Perspective view of looking through brush at ZHA and RHOT approaching each other near RHOT’s shelter. Their voices are warbled and obscure. Slightly frightening. Camera and BEAST continues to observe, watching as they


connect with one another. The camera and BEAST (though BEAST is hidden behind frame) jump out in time, bounding forward through the ice and rocks and brush towards ZHA and RHOT. As they turn to run the shot cuts. CUT TO ­ Camera is facing shelter, two or three feet back. The camera stands still as BEAST leaps over the shelter, crossing the frame and off the other side. BEAST’s face is exposed for the first time, showing wild hair, a messy face and rabid eyes. CUT TO ­ Wide angle shot looking down the hill as ZHA and RHOT run down and escape into the forest. Camera is held still. CUT TO ­ View of BEAST, sliding to a halt two feet back from the camera, and looking on down the hill. It’s face frustrated and confused, clearly outrun by ZHA and RHOT who maneuvered to quickly. CUT TO ­ View of the downward hill, where ZHA and RHOT have disappeared into the forest beneath. Camera held still. CUT TO ­ BEAST again, two feet from held camera. It pounds down on the ground in anger, looking around, then roaring out into the hillside. CUT TO ­​ Perspective (with BEAST behind camera), ferociously running in the opposite direction, back into the forest. CUT TO ­ (LONG TAKE) BEAST reaching down to grab hold of a log or stone. Camera pulls back from the arm to show BEAST as it picks up the object, turning back towards what appears to be a long


stone/ wood wall. The camera follows BEAST, moving closer and further away, oscillating around the terrain. BEAST brings the stone/ log up to the wall, filling in a hole within it. The camera moves in on the hole as it is being filled. BEAST grunts and huffs in approval, still angry about losing the two strangers. Camera moves back out to show BEAST moving back and lying within the comfort of the wall it has built. CUT TO ­ (LONG TAKE) Camera some fifteen to twenty feet back. Wide angle shot of BEAST angrily resting within the comfort of the wall it had created. Only the sounds of the forest are heard. STOP.