THE FOLLOWING PREVIEW HAS BEEN APPROVED FOR
[Music: “Hoppipolla” by Sigur Ros]
[CUT TO: Tracking shot of leafy suburb, colour saturated to look like the 80s.]
[The same suburb – we’re now closer in on one garden. Two young boys, around ten years old, are running around, chasing each other.]
When Nathan Ray was a boy, he had the best friend in the world…
[Close on the boys. One is pale skinned, blond and scrawny, stripped to the waist, the other darker, with Oriental features – his outfit more traditional or rustic, a small knife attached by thong to his waist. One catches the other, and they wrestle.]
[Close up on the boys faces, as they laugh and jostle.]
[CUT TO: The boys, a couple years older, walking through the darkened woods, sunlight shafting through the trees.]
It isn’t fair. How come you don’t get to go to school? I’ll miss you.
I’ll still be here.
[Long shot of the woods, the sky darkening.]
I’ll always be here.
[CUT TO: The boys again, playing in a park. Nathan has his back to us.]
But friends can be forgotten…
Aren’t you at my school?
[The boys respond to the voice, which is in our direction. Nathan turns.]
[Full length shot of Judy Liddell, the cutest girl in Nathan’s grade.]
[Back on the boys. As Nathan’s eyes widen, Pazu looks crestfallen. He begins to fade from view.]
[FADE TO BLACK]
And boys grow up.
[CUT TO: A few choice scenes of Nathan and Judy’s adult life. Rushing from breakfast to the car.]
[CUT TO: At work in an office.]
[CUT TO: Kissing under starlight.]
[Music: “Angel” by Massive Attack]
But Nathan is about to learn…
[CUT TO: City street at night. Heavy rain. Downpour. Adult Nathan and Judy walk hurriedly, bickering and trying to dodge puddles as they rush for their car.]
…That sometimes the people that we forget…
[Closer on Nathan struggling with keys to car. Shapes move quickly around him.]
[On Judy, eyes wide with fear. Someone grabs her from behind.]
[Nathan gets punched hard. A window smashes.]
[The camera tracks back and up as two thugs drag the couple into the middle of the empty, soaking street, away from their car.]
We don’t want any trouble.
THUG 1 (O.S.):
Tell the lady to shut up!
[Tight in on Judy and Thug 1, as she screams and flinches away from the gun that he’s holding in her face.]
[Way above the street, looking up at a bare corner of a rooftop. Rain is coming down in sheets, almost solid against the black sky.]
… Are still watching.
[Close on gun. The muzzle flashes in time with the first BANG.]
[Same shot of the rooftop.]
[The scene lights up with the gunshots. Reflected in the rain, as the light of the second shot hits, we can see the shape of the grown up Pazu, standing tall, watching the scene. There is a bow strapped to his back, and we can see the slight hand movement of him drawing his blade.]
[As the light of the second blast hits, we see the same set-up again, but this time Pazu is jumping from his position, down towards the camera, knife clearly drawn. And now he looks more solid, no longer a reflection.]
[Fast shot of Pazu dropping onto Thug 2, knee hitting the guy’s back.]
[Fast shot of Thug 1 drawing his gun on Pazu in the foreground.]
[Fast shot of Pazu, face pulled into snarl, body slamming Thug 1’s gun away, and coming down with the knife.]
[Nathan on his knees, back to us, trying to lift up the slumped shape of Judy, lying on the floor. Pazu stands over him, watching, impassive.]
[FADE TO WHITE]
[FADE TO: Judy’s funeral. Nathan cries at head of grave.]
[Shot of mourners moving away, Nathan remaining.]
[Nathan standing. Pazu is suddenly behind him.]
I came back.
You didn’t save her.
I couldn’t save her.
[Nathan, turning, suddenly attacking Pazu.]
[Shot of the two, rolling near the grave, Nathan fighting violently, Pazu trying to hold him off.]
[Shot of Nathan, pushed away, on his backside, suit torn. He is crying, clearing his mouth and nose on the back of his sleeve.]
I couldn’t save her.
[Pazu reaches forward towards Nathan, on his knees, and pushes his friend’s chin up until their eyes meet.]
I’m a tracker.
I can find her.
[Extreme close-up on Pazu’s face.]
I can find her.
[Close up on Nathan’s face. His sadness falls away to a look of bewilderment.]
[Music: Requiem For A Dream OST- Clint Mansell/Kronos Quartet]
[CUT TO: Pazu running across rooftops.]
[CUT TO: Nathan turning his head as the camera spins around him.]
… The creators of “Stranger Abroad” …
[CUT TO: Pazu and Nathan on top of a speeding Subway train, as Pazu pushed Nathan’s head down, and himself phases through a light scaffold.]
[CUT TO: Pazu leaping through a closed window, and plummeting to the ground below, as glass and wood falls around him.]
… And “All The Monsters” …
[CUT TO: Nathan ducking as a horde of demons leaps toward him and the audience.]
[CUT TO: Pazu elbows a creature in the throat, as another’s mouth descends toward his head.]
… Will take you on a terrifying journey…
[CUT TO: Long shot of Pazu and Nathan reaching the edge of a wide crater, under the city.]
[A closer view, as the camera pans up, and we see a sea of fire and monsters below.]
… As two men find that in a world where life is cheap…
[CUT TO: Close up shot of Judy, her face glowing, as she falls away into darkness.]
[CUT TO: A dark, wet shoot-out between two rival groups of crooks.]
… Revenge is hard…
[CUT TO: Nathan shaking Thug 1 by his throat, yelling.]
You killed her, you son of a bitch!
[CUT TO: Nathan, walking toward the camera, looking beaten up, pulling a gun out of his belt.]
… But friendship is harder.
[CUT TO: Nathan and Pazu, struggling with a gun over the downed figure of a gangster.]
[CUT TO: Pazu and Nathan running for a quickly closing stone gateway, both looking frantically and angrily at each other.]
They will realise…
[CUT TO: Nathan, falling.]
[CUT TO: Pazu, jumping through a waterfall.]
[CUT TO: Pazu’s hand catching Nathan’s arm.]
… That only loyalty and sacrifice…
[CUT TO: Pazu, falling away from camera, as if struck.]
[CUT TO: Nathan, stepping into fire.]
[CUT TO: Pazu staggering toward us as a subterranean building collapses around him. Nathan runs from scene-right, and leaps to grab Pazu, taking him off his feet, as an explosion blooms behind them. Both are picked off the ground and thrown at us – rubble follows, and the screen goes black.]
[Music: “In The House – In A Heartbeat” by John Murphy – 28 Days Later OST.]
… Can make things right.
[CUT TO: Slow motion pulse of Pazu, bow raised, drawing arrow back.]
[CUT TO: Slow motion pulse of Pazu on a ledge, a brilliant white light beyond him, as he aims the bow. Judy is suspended out there in the light, and he seems to be aiming at her.]
[CUT TO: Slow motion pulse, closer in on Pazu on the ledge, but now something large, dark, and not quite humanoid, is looming in the space between his arrow and the girl.]
[CUT TO: Pazu, bow raised again, but now the sound has cut back in in the background, and there is a noise like the earth screaming.]
Pazu – NO!
[Pazu lets the arrow fly toward us – it moves in slow-motion.]
[CUT TO: A montage of shots, too fast to make out fully, but we see:]
[The side of a highrise that seems to fall away explosively.]
[The inside of a subway car, full of passengers who are oblivious to the nightmarish creatures flooding up through them, toward the camera.]
[A car chase.]
[Pazu leaping over a speeding bus, and grabbing the top as it goes past.]
[Nathan looking terrified.]
[Pazu poised for action, knife drawn, spinning on his waist, as the camera spins past a pack of thugs, advancing on him.]
[CUT TO: Black. The name of the film fades in.]
[CUT TO: Nathan and Pazu in an embrace. They are surrounded by light.]
You are my best friend.
You are mine.
You said you’d never leave me.
[Pazu starts to fade away.]
But this is the only way…
[The light bleeds across the pair, until the whole screen is white.]
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