Tag Archives: film

Adjust Your Sets, Olivia James

Chinese filmmakers recently made their first ever foray into the International movie-making scene. The Great Wall is an action and fantasy movie directed by Zhang Yimou, an acclaimed Chinese director. The cast features young Chinese stars Wang Junkai, Lu Han, Jing Tian and Andy Lau as the supporting cast. The lead of the film –a film funded, produced and directed by Chinese individuals, starring a Chinese supporting cast, filmed and set exclusively in China–is Matt Damon. Matt Damon as in Oceans Eleven Matt Damon. Matt Damon as in about a hundred of those Bourne action movies Matt Doman. Matt Damon as in very, very white, so white that he probably eats casserole at least once a week Matt Damon. Damon responded at New York’s Comic-Con, ‘it was a f—king bummer…When I think of whitewashing I think of Chuck Connors when he played Geronimo. And look there are more nuanced versions of it and I do try to be sensitive of that.’[i]

Matt Damon’s role as white savior is nothing new in film. For decades movies have not only featured overwhelmingly white actors, they have also cast white actors to play people of colour. From Mickey Rooney’s vaguely Asian Mr. Yunioshi in Breakfast at Tiffanys to Jake Gyllenhal’s portrayal of Middle Eastern royalty in Prince of Persia, whitewashing runs rampant.The 2016 Hollywood Diversity Report believes that this casting has become the norm. In the report, it is detailed that between 2011 and 2014 protagonists were white in more than 80% of films.[ii] During this time, casts were always predominantly white with most films featuring a cast with only 10% or less people of colour.[iii] Gender was also imbalanced with roughly 74% of films featuring men as leads during this time.[iv] What has caused this massive underrepresentation of women and minorities in film? If you ask Hollywood you’ll be met with a huge range of answers and a whole lot of awkward stammering.

Actress Viola Davis, star of the wildly successful television series How to Get Away with Murder and a physical manifestation of the #blackexcellence twitter trend,believes that the issue extends beyond recognition through awards. ‘The problem is not with the Oscars, the problem is with the Hollywood movie-making system…How many black films are being produced every year? …The Oscars are not really the issue. It’s a symptom of a much greater disease.’[v] Michael Caine, a self-described bourgeois nightmare, has made comments suggesting that diversity shouldn’t be forced. ‘You can’t just say, “Oh I’m gonna vote for him, he’s not very good, but he’s black”… you’ve got to give a good performance.’He has also said that non-white actors need to be ‘patient’.[vi] What Caine’s comments are indicative of, is how a dangerous disregard for the historical treatment of minorities continues to disadvantage POC actors and actresses today. With already overwhelmingly white casts, it’s understandable that minority actors are frustrated when the few roles reserved for them are instead handed to white people.

So why are people of colour endangered in film? Why do moviemakers continue to believe that white led and predominantly male casts are a guarantee of cinematic success? Ridley Scott’s Exodus: Gods and Kings was completely overwhelmed with criticism as the film, set throughout the Middle East and Africa, featured a wholly white lead cast slathered in fake tan like an Aussie teen on schoolies. Scott defended his choice by saying, ‘I can’t mount a film of this budget, where I have to rely on tax rebates in Spain, and say that my lead actor is Mohammad so-and-so from such-and-such. I’m just not going to get it financed.’[vii] Despite showing an immense amount of cultural insensitivity Scott’s opinion supports how the problem has been institutionalized. Still, Scott maybe should have considered caring even a miniscule amount about the historical accuracy of his movie, which had a $140 million dollar budget didn’t even make half of that domestically. It only ended up bringing in $65 million.[viii]

Is there a direct correlation between whitewashing and a movies financial failure? Pan, a live-action prequel to the famous Peter Pan drew criticism after they cast Rooney Mara, a white actress, as Tiger Lily, a Native American character. Whilst Mara defended her choice to play the role, ‘I feel like there really hasn’t been a proper interpretation of the character’[ix], critics and audiences canned the film. Even Hugh Grant, Australia’s greatest export, couldn’t save the movie, with it only earning back $35 million domestically of its $150 million budget.[x] Whilst is did make a final international total of $128 million, this doesn’t make up for the total budget or the extra marketing budget, which has not been disclosed.

A departure from the action genres was Aloha. The choice to cast Emma Stone, who played Allison Ng, a character who was a quarter Chinese and a quarter Hawaiian who instead looked like a British person two months into winter, was heavily criticised. The film only made back $26 million globally of its $37 million budget.[xi] The 2014 film The Lone Ranger starred Jonny Depp, notable white man and dog smuggler, as the Native American Tonto. A poor casting choice? Definitely. Worsened by poor writing? Absolutely. Throughout the film Depp spoke in disjointed sentences such as, ‘do not touch rock. Rock cursed’and ‘it better you not hit him. Him plenty weak from journey.’The movie domestically made back $89 million of its $219 million budget,[xii] which was presumably a nice change of pace for Native American activists who are still struggling to change the name of the Washington Redskins.

So why is there a perception that white-washed and non-diverse films are successful? Star Wars: The Force awakens is perhaps the greatest piece of proof that diversity is not a roadblock to success. The Force Awakens was already due to be a financial success, but critics praised the fact that of the new trio of protagonists, not a single one of them was a white male. The LA Times lauded the casting choices; ‘Part of the power of “Star Wars” movies has been how they have invited generations of audiences to imagine themselves as heroic characters in the fantastical, detailed world George Lucas conceived nearly 40 years ago. In 2015 —spoiler alert —it is not only white males who get to harness the power of the Force.’[xiii]

When Star Wars introduced aspiring Jedi master Rey, young girls felt welcome in a space usually reserved for men, despite the fact that a woman, Mary Shelley, created the genre. When Finn pulled off his storm-trooper helmet, black children felt that they could be heroes in a world that was, until recently, overwhelmingly white. When Oscar Isaac flew his X-Wing into the Starkiller Base and completely destroyed budding Sith Lord and continual disappointment to his mother Kylo Ren’s dreams, Latinx children were reminded that they have the capacity for greatness. And the films showcasing of diversity certainly paid in dividends. Whilst it was always set to be a box office success, the total earnings of over 2 billion, for a film with a budget of 245 million, was aided by the positive press surrounding the casting choices.[xiv]

Despite the overwhelming success of Star Wars, both financially and creatively, film is still being left behind in regards to diversity. This year’s newest blockbuster and to-be-expected flop Ben Hur features a predominantly white cast despite the Middle Eastern setting. Similarly, Gods of Egypt only just made back its production budget, despite its token casting of African-American Chadwick Boseman, scene-stealer of Captain America: Civil War. Ground has been made in diversifying casts on new forms of media. Viewers have applauded Netflix’s self-produced content and the lengths taken in diversifying casting. 2015s Sense8 featured a main cast with a transgender woman and tech guru, a Kenyan man trying to cure his ill mother, a Korean businesswoman and kick boxer, an Indian pharmaceutical worker disinterested in her arranged marriage and a gay Mexican film star in a long-term relationship with his boyfriend. The diversity of the cast and the effort taken to film at locations all around the world made the series a success.

Also released in 2016 was the sci-fi hit Stranger Things, which was celebrated for its portrayal of female characters. It featured Eleven, an earnest young telepath, Joy, a mother desperate to find her missing son and Nancy, a gun toting teen on the warpath to avenge her friend’s death. The three main female characters were applauded for having their own emotional and fleshed out storylines that were not reliant on male intervention to progress the plot. The women were also given their own agency throughout the eight episodes. When Jonathon, elder brother of the missing Will Byers, realized that Nancy was a better shot than him he quickly handed the gun to her. Chief of Police Hopper never wrote off Joy’s belief that her son was alive as her being ‘crazy’. Mike, Lucas and Dustan never once questioned befriending Eleven because she was a girl. In fact, women go on to save the day. Nancy orchestrates the plan to trap and wound the show’s monster, the Demogorgon. Joy ventures into the alternate universe titled, the ‘Upside Down’, a horrific dystopia, to save her son Will. Eleven ultimately destroys the monster by sacrificing herself and saving her friends in the process.

Netflix’s dedication to diverse characterization and casting has led to the generation of a great deal of exciting content. In the next year alone they’ve already slotted a sizable list of shows. The revamp of Gilmore Girls will be released in late 2016, and is known for its sundry portrayal of women. A Series of Unfortunate Events will also be released in late 2016, featuring Indian and Black actors in lead roles. Season two of Sense8 is set to air in 2017, along with Marvel’s Luke Cage, which will showcase a predominantly African American cast. Also rumoured for a 2017 release are season two of The Get Down, season two of Aziz Ansari’s Master of None, the continuation of Orange is the New Black, part two of Stranger Things and Marvel’s The Defenders, which has a main cast of superheroes comprising of a disabled man, female rape survivor, and Luke Cage, as well as an immensely diverse secondary cast.

Why is a dedication to diversity in film and media necessary? Film theorists Laura Mulvey and Anna Backman Rogers assert that film is a reflection of the world and as such should be honest in its portrayal of the human experience.‘If the ethics of film are to do with understanding how to live, how to die, how to speak, and how to listen – then surely difference, and understanding, respecting and recognizing that difference, needs to lie at the heart of that thinking.’[xv] In some circumstances an authentic reproduction of our world can be quantified. Hailed as an example of feminism ruining the sanctity of iconic movie making, the Bechdel Test was created to highlight the inequity of development given to male and female characters in film. Critics of the test have argued that it sets an unnecessarily rigid standard for creators and believe that the test is incompatible with iconic moviemaking. So what does a movie need to do to satisfy the Bedchel Test? Two named women in the film have to talk about something other than a man. Once.

No, the other elements of the test haven’t been forgotten. That’s it.

American Beauty, Requiem for a Dream, Donnie Darko, Jaws, Pulp Fiction, The Godfather Part II, Star Wars: The Force Awakens–these are just some of the movies that pass the Bechdel test, most of which are acclaimed. Many of them went on to win Oscars. Jaws won three Oscars and a Golden Globe. American Beauty won five Oscars and three Golden Globes. It is curious that there is a belief that the Bechdel test is placing unattainable standards upon filmmaking. It doesn’t seem like too much to ask that two female characters in Jaws, whose names we happen to know, have a single conversation about the giant shark gobbling up children and scantily clad teenagers. It isn’t too much of a burden, to expect that at some point, while saving the galaxy from a tantrum-throwing adult male who fundamentally misunderstands the beliefs of his grandfather, that Leia and Rey have a quick chat about how they’re going to destroy the Starkiller base.

Female characters should not be used as props and devices for the development of their male counterparts. If filmmakers are meant to accurately reflect society, then they should do so by showing women that they are more substantial than an untimely death at the hands of their partners arch nemesis. To do otherwise is dangerous, and perpetuates societal beliefs that women exist as an extension to men. Similarly, theorists Carole Gerster and Laura Zlogar believe that images of race depicted in films can contribute to the disenfranchisement of ethnic minorities. ‘Hollywood learned its lesson…Euro-American audience consumed a steady stream of images whose function was to marginalize African Americans, Asian Americans, Latinos/as and American Indians.’[xvi] In today’s shrinking world issues regarding gender, sexuality and ethnicity are no longer separate. The rise of intersectional feminism across cultures has meant that critiques of racial diversity in films go hand in hand with feminist critiques. The need for representation is universal.

To not care about honestly portraying the world in media is dangerous. Visibility creates attainability. It allows a young girl who watches the revamp of Ghostbusters to imagine herself existing in a space traditionally reserved for men. It allows a young black girl who sees the trailer for Hidden Figures to believe that her dream to work for NASA isn’t impossibility. It allows a child of colour who watches Luke Cage or the upcoming Justice League or Black Panther to see themselves as a hero. When it is normalized for children to see those who they identify with as heroes, they themselves will grow up believing that they can be the hero of their own life. Film and television is one of the most easily digestible sources of information, and informs our opinions and understandings of the world in which we belong. It has immense power in shaping our interactions with one another, both positive and negative. Surely we want film and television to influence the world to be more tolerant, peaceful and compassionate. Unfortunately, we still have a lot of work to do before diversity in film is universal. Thanks Matt Damon.
Works Cited

 

[i] Christopher Rosen, ‘Matt Damon: Great Wall whitewashingcontroversy was “a f—ing bummer”’Entertainment Weekly (October 8, 2016) Web. Accessed October 8 <http://www.ew.com/article/2016/10/08/matt-damon-great-wall-whitewashing-controversy>

 

[ii] Ralph J. Bunch Centre for African American Studies, ‘The Hollywood Diversity Report’UCLA (2016) Web. Accessed August 25 <http://www.bunchecenter.ucla.edu/wp-content/uploads/2016/02/2016-Hollywood-Diversity-Rport-2-25-16.pdf>

[iii] Ralph J. Bunch Centre for African American Studies, ‘The Hollywood Diversity Report’UCLA (2016) Web. Accessed August 25

<http://www.bunchecenter.ucla.edu/wp-content/uploads/2016/02/2016-Hollywood-Diversity-Report-2-25-16.pdf>

[iv] Ralph J. Bunch Centre for African American Studies, ‘The Hollywood Diversity Report’UCLA (2016) Web. Accessed August 25 <http://www.bunchecenter.ucla.edu/wp-content/uploads/2016/02/2016-Hollywood-Diversity-Report-2-25-16.pdf>

[v] Eliza Berman, ‘Insiders Reveal How Huge Hollywood’s Diversity Problem Really Is’Time Magazine (January 25, 2016) Web. Accessed 30 August <http://time.com/4192594/hollywood-diversity-problem-oscars-academy-awards/>

[vi] Yohana Desta, ‘Every Major Celebrity Who’s Commented on the Oscars Diversity Controversy’Mashable (January 26, 2016) Web, Accessed August 30< http://mashable.com/2016/01/25/celebrity-diversity-oscars/#jn68xyNoKPqk>

[vii] Nick Allen, ‘”I can’t cast Mohammed so-and-so from such-and-such”says Ridley Scott’Telegraph (November 28, 2014) Web. Accessed September 2<http://www.telegraph.co.uk/news/worldnews/northamerica/usa/11261784/I-cant-cast-Mohammad-so-and-so-from-such-and-such-says-Ridley-Scott.html>

[viii] Box Office Mojo, ‘Exodus: Gods and Kings: Domestic and International Movie Totals’Web. Accessed September 5 < http://www.boxofficemojo.com/movies/?id=exodus.htm>

[ix] Sean O’Connell, ‘Why a White Tiger Lily Works According to Rooney Mara’Cinemablend (2015) Web. Accessed September 2 <http://www.cinemablend.com/new/Why-White-Tiger-Lily-Works-According-Rooney-Mara-70870.html>

[x] Box Office Mojo, ‘Pan: Domestic and International Movie Totals’Web. Accessed September 5 <http://www.boxofficemojo.com/movies/?id=pan.htm>

[xi] Box Office Mojo, ‘Aloha: Domestic and International Movie Totals’Web. Accessed September 5 <http://www.boxofficemojo.com/movies/?id=crowe2014.htm>

[xii] Box Office Mojo, ‘Lone Ranger: Domestic and International Movie Totals’Web. Accessed September 5 <http://www.boxofficemojo.com/movies/?id=loneranger.htm>

[xiii] Rebecca Keegan, ‘Star Was: The Force Awakens reflects our diverse, modern World’The LA Times (December 21, 2015) Web. Accessed September 8http://www.latimes.com/entertainment/movies/la-et-mn-star-wars-diversity-20151221-story.html

[xiv] Box Office Mojo, ‘Star Wars: The Force Awakens: Domestic and International Movie Totals’Web. Accessed September 5 <http://www.boxofficemojo.com/movies/?id=starwars7.htm>

[xv] Laura Mulvey and Anna Backman Rogers, ‘Feminisms: Diversity, Difference and Multiplicity in Contemporary Film CulturesAmsterdam University Press (2015) p 136

[xvi] Carole Gerster and Laura Zlogar, ‘Teaching Ethnic Diversity in Film: Essays and Resources for Educators in History, Social Studies, Literature and Film Studies’McFarland and Company (2006)p 22

 

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Self-Extinction – Emerson Cassidy


FADE IN:

EXT. DESERT – ASTRONOMICAL DAWN                           1

An open, dry desert plain. Small, dry shrubs that cling to the ground make up the only life in sight. It is dawn and the sky is just beginning to lighten. Stars disappear from the horizon as the faint, glistening light of the sun slowly creeps into the sky. Apart from a soft whistle of wind as it races across the plains, not a sound can be heard. We see an abandoned gas station. Rusted old cars and fuel tanks decorate the scene.

BRIAN, mid-twenties, male, lean physic. He is dressed in a cloak with black goggles and gloves as he looks at the desert.

 

BRIAN (V.O.)

Immortality is a joke… When you’re alone in a ruined world.

 We see broken bottles, food cans, keys and a smashed iPhone. An old newspaper titled “Our end has come!” flicks open in the breeze.

BRIAN (V.O.)

Hunted by what remains.

 

CRUNCH. A boot appears, crushing the iPhone.

UNKNOWN POV

 

The surrounding landscape whips past as the unknown POV leaps over rocks and vaults over the gas pump outside the station. Heavy huffing can be heard. The unknown POV leaps several meters into the air. The surrounding landscape whips past.

 

SPFX: Brian turns to face the pursuer and sees a beast!

 

Standing on four feet. It is armoured, with crimson eyes that shine. A growl cuts through the silence and we see Brian sail through the air, towards a rocky canyon.

Brian lands hard on the floor of the rocky canyon.

Effortlessly, Brian stands, feet firmly planted at shoulders width apart. The beast lands in front of Brian and charges. Brian punches towards the oncoming beast.

FLASH. A brilliant blue light erupts from Brian, whiting everything out with light. The beast shrieks in pain and white noise blankets everything.

CUT TO:

EXT. DESERT – ROCK LABYRINTH – NAUTICAL DAWN              2

Brian stands in the middle of the rocky labyrinth. Open ground, with tall rocky walls either side surround unsettled dust. The sky can just be seen past the limestone walls. Brian is alone, bent over one knee and facing the labyrinth’s exit – a tall, blue-sky passageway squished between rocky walls. Growls come from the distance. Brian looks up, eyes still glowing.

 

SPFX/ SFX: Dozens of shadows appear above the canyon. Some have longer arms or stand on four legs. They lower their heads as much larger one steps into view and roars loudly.

They move towards Brian. Brian closes his eyes and reaches down into his pant pocket, pulling out a small vial. He grips it tightly in his left hand, spreads his arms and gazes into the sky. Light from the sun breaks through the dust cloud as the sun rises.

SPFX/ SFX: The shadows suddenly halt, and then retreat, squealing like pigs.

Brian keeps his eyes closed as his body goes limp and he falls sideways into the dirt. Quietly, he starts laughing… and sobbing. He pushes himself up from the ground, howling in despair. The rising sun can only just be seen past the shelves of rock that blocks this view.

Brian’s howl travels through the air.

 

CUT TO:

EXT. DESERT, CANYON – MORNING                             3

Moving out of the labyrinth, we see abandoned buildings, houses and broken brick roads. ANNA, an 18-year-old girl in tattered and raggedy clothes, wide-eyed turns towards the sound as the howl fades. Her skin is sunburnt.

Brian kneels in the dirt of the canyon. Sitting between curved rocked formations and smooth limestone walls, the sky can only just be seen past the shelves of rock that block this view.

 

CUT TO:

EXT. DESERT, CANYON – NOON                                4

Anna walks slowly towards the rocky labyrinth, gripping tightly onto a long piece of wood. She gazes at the dust cloud before heading straight into it. Passing through the labyrinth’s entrance, Anna tightens her grip on her wooden staff. She squints and constantly checks her surroundings.

A silhouette appears. Anna tightens her grip on her wooden staff and steps slowly forwards. As she gets closer, she raises her staff, ready to swing. The silhouette comes into plain view. It is nothing but and oddly shaped rock.

Anna lets out a sigh of relief. She lowers her staff, her shoulders relax. A soft CRUNCH sounds behind Anna. Anna spins around, bringing her staff up again.

Brian ducks.

Anna’s staff just misses crashing into his head. Anna stands in a combat stance, staff out in front, ready to fight.

Brian raises his hands and his eyebrows.

 

 BRIAN

Hey. OK, just wait. I’m not trying to hurt you.

 

Anna holds her ground, answering him with a glare.

Brian takes slow, steady steps towards her.

Still holding his hands out. Anna swings again. Brian steps back.

 

BRIAN

Hey! I said I’m not going to hurt you.

 ANNA

You’re not gonna take me. I’m not dying by someone like you or those monsters.

 

Anna rushes at Brian with a series of swings.

Brian easily dodges each swing. He leaps back, putting more distance between him and Anna.

Anna raises her staff above her head, and charges at Brian with a war cry.

Brian catches the staff with his right hand, unflinching from the impact, he rips the staff out of her hands.

Anna stumbles, but she quickly regains her footing. She holds her ground, keeping her eyes fixed in a cold glare towards him.

Brian watches her, glancing at her clenched fists.

BRIAN

(sternly)

Now listen.

(slowly)

My name is Brian. I’m not trying to hurt you.

ANNA

Oh really.

(raising her tone of voice)

Then care to explain what that light was? There is no one else around here, and I can’t see what’s underneath that cloak.

 

Anna straightens her posture and takes a small step towards Brian.

 

ANNA

Are you another kind of monster?

 

Brian lowers his head. He clenches his left hand into a fist. He looks up and tosses the staff at Anna’s feet. He turns and walks away.

 

ANNA

ANSWER ME!

 

SPFX: Brian stops. He takes a deep breath. His eyes shine briefly.

 

Anna notices the shine, and slowly reaches down to pick up her staff.

Brian turns around.

Anna freezes.

Brian starts removing sections of his outfit; gloves, goggles and reveals his face and arms. SPFX: Blue marks cover every visible part of his body – like vines that have grown onto his body – and they are glowing.

 

BRIAN

I’m not like them.

 

Anna has a look of astonishment and confusion clear on her face.

 

BRIAN

But we were born in the same fashion.

CUT TO:

EXT. CANYON – LATE AFTERNOON                                  5

Anna and Brian sit opposite each other in the empty bottom of the canyon. The day’s light has begun to fade. A small fire rages between the two. Anna watches Brian with caution. She clenches her staff tightly in both hands. Brian drinks from a military water bottle. Brian offers the bottle to Anna. Anna glances at the bottle for a second, before her eyes dart back to Brian.

 

BRIAN

Like I said

(speaking slowly)

I’m not trying to hurt you.

 

Brian shakes the bottle. The water sloshes inside.

Anna snatches it from his hands.

She gulps down what liquid remains.

Her eyes never leave Brian. She throws the bottle back to him.

Brian catches the bottle and sets it down on the ground.

 

ANNA

You said you’re similar to them.

Anna leans closer to Brian

 

ANNA

What does that mean?

 

Brian takes a deep breath, and sits up straighter.

 

BRIAN

We were both created as a long time ago. In an effort to create immortality… By your kind.

 

Anna looks at Brian, confused.

Brian holds out his right hand. He nods at the glowing blue marks.

 

ANNA

Alright. By why are you different?

 

BRIAN

I was a success… mostly.

 

SPFX: Brian removes his cloak completely. The markings are thicker and more prominent the closer they are to his torso. This is because his torso is covered with black marks that form a vest of scars, covering his chest.

 

BRIAN

Most of humanity was experimented on. I don’t even know if there are others like me.

 

Anna moves in. She gently touches his chest.

Brian breathes in through his nose as though it hurts where her fingers touch. Brian pulls away.

 

Anna looks sad.

 

ANNA

They were people. Those creatures?

 

BRIAN

They were my friends. Now they’re beasts.

(His voice turns guttural)

When I fight them, all I can hear, see and feel is their agony.

 

Brian buries his head into his hands.

 

BRIAN

(softly, out of earshot)

It’s always there, always clawing into my head. It never stops. It doesn’t get quiet. It won’t ever stop.

 

Anna steps, slowly, towards Brian.

Brian suddenly jumps up. He quickly pulls his cloak back on. Brian turns and walks away from Anna.

Anna raises her hand to his shoulder. Brian shrugs off her hand.

 

ANNA

Anna.

BRIAN

What?

ANNA

That’s my name.

 

CUT TO:

EXT. CANYON – LATE AFTERNOON                                  6

 

Brian and Anna walk through the canyon. The brown stone lightly streaked with shades of red and burnt orange. As the afternoon sun becomes darker, the light shifts to purple.

Anna keeps pace behind Brian.

 

BRIAN

So… Do I get to hear your story?

 

ANNA

I was in hiding. Until your little light show caught my attention.

 

Brian slows his pace.

 

BRIAN

And before that?

 

ANNA

Not much to tell. I’ve been alone out here for a long as I can remember.

 

Brian turns to look at Anna, continuing to walk.

 

BRIAN

No parents?

 

ANNA

I’ve learned to take care of myself.

Anna swings her staff over her shoulder. While a small grin appears on her face.

 

CUT TO:

EXT. CANYON/ABANDONED GAS STATION – LATE AFTERNOON        7

 

Brian enters through the abandoned gas station doors and begins rooting around the shelves. He tosses aside magazines, boxes, and checks an empty cigarette carton before also tossing that to the floor too. Anna moves behind the desk and finds a hooded jacket. She puts it on.

 

ANNA

Where are you going? There’s not much around here.

 

Brian continues rummaging through the junk. He does not answer Anna.

ANNA

Hey! what are you looking for?

Where are you planning on going?!

 

BRIAN

To the mountains. It’s got to be better than this place.

 

Brian grasps at the pocket that holds his vial and sighs.

Anna looks at him. She opens her mouth to speak; her lips quiver as she hesitates.

 

ANNA

How do you know?

BRIAN

(spits)

I don’t! But anything is better than this.

 

Anna frowns.

 

Brian stands up, holding onto a road flare. He turns to walk back out the door. Anna eyes him suspiciously. He moves his arm to cover the markings on his right wrist. Brian stops just outside the gas station entry. Anna, still inside, watches Brian leave.

 

BRIAN

(loudly)

Let me show you something.

 

Anna doesn’t answer, but follows Brian outside.

Brian moves over to a small patch of earth and kneels down. He puts his hands together.

 

BRIAN

These powers had an original purpose, Instead of killing those beasts.

 

Anna watches him closely.

 

SPFX/CGI: Brian closes his eyes and holds his palms together. A small orb of light appears. His blue-vein markings glow. Brian lowers his palms to the ground. As soon as the light touches the ground, it dissipates. Light travels through the ground like a pulse. Anna’s eyes follow the points at which the light vanished. Small blades of grass begin to grow from the ground. Anna looks at her feet, eyes wide and mouth open. She glances up at the gas station roof. Rusted edges of the gas station now have vines growing up the edges.

 

ANNA

Impossible!

 

SPFX: Brian moves out of Anna’s eyesight. He looks at his fingertips, which are now turning a sickly black colour. His hands have begun to age. They are wrinkled, grey-skinned and frail. Brian clenches his fists. His markings flash and his hands look normal again.

Anna watches Brian from the corners of her eye. She turns her head away as he stands.

 

 

EXT. CANYON – DUSK                                        8

 

Brian and Anna walk through the canyon. The canyon walls are darker now.

 

SFX: The sounds of their footsteps can be clearly heard.

 

Brian kicks a small rock. The sounds echoes.

Anna walks closer to Brian then before. She glances behind them warily.

ANNA

So what are you? Some kind of god.

 

BRIAN

Pfft…

I’m no god.

(Looking at Anna)

I don’t know. Interpret it however you want.

 

ANNA

You’ve killed those beasts?

 

BRIAN

It affects them differently.

 

ANNA

What about your chest? What happened there?

 

BRIAN

Not entirely sure…

 

Brian stops and looks at her, his brow furrowed with irritation.

Anna raises her eyebrows.

Brian turns. He is not going to continue. He walks on in silence.

Anna looks at the back of Brian’s head, eyes narrowed…

 

SPFX: Brian stops and doubles over, retching. His eye glow, darker than before. His body tenses up. He moans quietly. His eyes stop glowing as he stands up straight. Anna looks at him with unease, gripping her staff tightly. She jumps, eyes leaving Brian as growls can be heard in the distance.

Brian and Anna both look into the sky, then at each other, expressions worried/fearful.

 

BRIAN

We have to find cover. Fast.

 

ANNA

Where? We’ve wandered too far out to head back

 

BRIAN

Come here. Trust Me.

 

SFX: Anna opens her mouth to protest but is interrupted by a loud snarl from the b.g.

 

BRIAN

COME ON!

 

Anna immediately steps to Brian’s side. He grabs her arm and without warning, throws her over his shoulders.

ANNA

Hey! What are you going to-

 

-Brian takes off, running with the speed of a car.

 

 

EXT. CANYON – NIGHTFALL                                       9

Brian bolts through the canyon with inhuman speed. Anna holds tightly onto his back. The night leaves the canyon a dark, midnight blue.

 

SFX/CGI: Shadows are everywhere. CRASH. Rocks break apart either side of Brian and Anna. Loud growls travel through the canyon. Anna lifts her head to look behind them.

 

CGI: Shadowy beasts erupt from the darkness behind them.

They burst up through the earth and smash through the rock wall. There are dozens of them. They bite and snarl at each other in an attempt to get ahead. More growling shadows can be heard from above Anna and Brian.

Brian jumps onto a rock, still holding Anna.

 

SFX: The rock breaks apart as he launches off, into air.

Brian and Anna fly through the air, past beasts that leap at them. One of the beastly shadows tears into Anna’s back.

Anna screams in agony despite keeping her grip on Brian.

Brian lands on the top of the canyons edge, out of reach of the beasts.

 

SFX: Shadows amass below.

 

Anna’s moans of pain drown out their sounds.

 

BRIAN

Damn it.

 

Brian lays Anna facedown onto the ground to check her wounds.

 

ANNA

I’m fine.

 

She tries to push herself up from the ground, but the pain proves too much. Her arms give way to her body weight and she falls down.

 

BRIAN

You’re hurt.

 

A loud roar is heard.

Brian moves over to the ledge.

 

SPFX: The alpha beast is moving past the now-placid crowd.

It looks up at Brian and shows it’s horrid and mangled teeth in a sadistic grin.

Brian swallows loudly.

 

SPFX: The beasts’ start to claw and scale up the rocky wall.

Brian picks up the now unconscious Anna like a princess, her head resting on his chest. He shakes his head at her condition and starts running across the top of the canyon, towards the ruins of a once sprawling city. His confident footsteps pound the ground.

 

CUT TO:

EXT. DESERT/CITY – NIGHT                                  10

 

Brian passes by a wrecked plane, a convenience store and piles of abandoned, rusted cars. He enters the city, following a path of cracked pavement that separates crumbled buildings. Brian stops in the middle of an overpass.

Brian looks quickly left and right. He gently places Anna on the ground. Brian grabs the vial from his pocket. It has a silvery liquid inside.

 

SPFX: A faint mist escapes from the vial as the cork is popped. Brian directs a silvery drop into one of Anna’s wounds. He quickly places his right hand on her back.

Brian’s blue markings glow. Anna starts to convulse and groan. She almost yells out, but Brian puts his hands over her mouth. His hands have aged again. His face now shows similar degrading features, becoming skeletal. Anna’s wounds heal. Her entire body regenerates itself; her sunburnt skin returns to its original, pale complexion, her red hair increases in saturation and her body becomes shapelier, curvier.

 

SFX: Roars echo from the distance.

Brian removes his hand from Anna’s mouth and he picks her up once again and starts running. Brian heads towards the closest building. He kicks the cracked glass of a window.

 

SFX: SMASH.

 

Brian ducks under the fallen, wooden pylons and steps carefully around piles of rubble.

 

SFX: Growls and snarls can be heard from outside. Brian continues to move through the building. CRACK. Brian stops in his tracks. He looks down. The floorboards creak loudly underneath his weight. A CRASH is heard from outside.

The shadowy beasts ram the outside of the weakened building with their combined weight. Some try to claw through the walls.

Anna wakes up. She yells incoherently at Brian, and starts to fight free from his grasp.

 

BRIAN

Don’t move. The floor–

 

SFX: CRUNCH. The floor breaks apart from underneath them and both are sent tumbling down into the darkness.

 

 

CUT TO:

INT. BASEMENT BUNKER – NIGHT                                  11

SPFX: Suddenly, a flash of red erupts from the darkness, illuminating the screen.

Brian struggles to his feet, holding the flare from earlier. Anna moves into the light.

 

ANNA

What happened to you?

 

BRIAN

(menacingly)

I saved your damn life. Now the voices are louder than ever…and they’re COMING!

 

Brian scurries about the room. Anna looks confused.

 

ANNA

WHAT HAPPENED!

 

Brian turns to her.

 

BRIAN

I gave you the gift. Now you’ll hear the voices. Only you won’t live until they consume your mind.

 

ANNA

What?

 

BRIAN

I’m going to kill them… and us.

 

CUT TO:

EXT. CITY/BUILDING                                        12

SPFX: Their building is being attacked. Dirt and debris fall from the rafters at the impact made by the beasts.

 

CGI: The beasts leave scratch marks against the stone, as they try to dig into the building. The large shadow leaps onto the building and digs its claws into the stone.

 

SMASH. It breaks through a window and starts pulling out various objects; rubble, desks and a table. It then moves inside, pulling itself over piles of rubble. It smashes the floor with both arms. The floor caves in. The shadowy beast proceeds to start smashing its way through the next floor, moving closer to Brian and Anna.

 

CUT TO:

INT. BASEMENT BUNKER – NIGHT                                  13

An old lantern, somehow still alight, illuminates the darkness of the bunker in which Brian and Anna now hide

 

SFX: Sounds are heard above a set of stairs, behind a door.

 

SPFX: The door bursts open, flinging Anna into the room. A faint red light illuminates from the direction she was tossed from. Brian walks in, his body is glowing a ruby red instead of bright blue.

Anna rises to her feet.

ANNA

(fearful)

You’re mad!

BRIAN

(yelling)

You don’t know what it’s like.

I’ve had to suffer this power for nearly two centuries. TWO CENTURIES of constant pain, endless voices, and having my sanity slip… day… by… day.

 

Brian falls to his knees. He pulls out the vial and stares at it crazily.

 

ANNA

Then why did you save me?

 

BRIAN

No one wants to die alone…

Anna rises to her feet, backing away from the crazed Brian.

 

SPFX: Anna’s hands glows, but she talks no notice.

Brian eyes her hands, a small grin spreading across his face.

 

ANNA

(desperately)

I’ve been alone for my whole life. I’m used to it!

 

BRIAN

Perhaps… But now we will stay and ignite these ruins with the powers I was punished with.

 

SPFX: Brian looks at the vial again. His markings glow faintly. He turns around and stretches his arms out – and grunts loudly. Brian looks down and sees a STEEL BEAM plunged through his chest. Anna twists the beam.

 

Brian falls to his knees, but doesn’t seem in pain.

Anna snatches the vial from his hand.

 

SFX: A roar shakes the darkness of the room.

 

SPFX: The red light still illuminating the doorway shows the shadow of the Alpha.

 

Anna looks at Brian with pity. Before she turns on her heel and escapes through the bunkers open air vent and into the darkness. Brian gazes after her.

 

BRIAN

One day you’ll see things my way.

Especially now that you possess it.

 

SPFX: The alpha approaches Brian. Its teeth gleam in the low light. The alpha’s crimson red eyes look into Brian’s.

Brian lets out a small smile before his eyes flash, and he screams at the top of his lungs.

 

CUT TO:

INT. BASEMENT BUNKER/BEAST TUNNELS – NIGHT               14

Anna runs blindly through a dark hallway. She trips over a wooden beam and falls into a hole, tumbling forward into a tunnel dug by the beasts. The tunnel is rough and the floor uneven. Bits of broken pipes and debris can just be seen poking out the tunnel walls. Anna rises, and keeps running.

 

SFX: Anna flinches at the sound of Brian’s inhuman scream.

 

SPFX: The light from an explosion appears behind her. Anna is swept up in the blast. Anna crosses her arm to shield herself from the explosion. A blue light glows. She moves her arms down. They are covered in glowing, blue markings. The yellow/white light from the blast fills the screen.

 

CUT TO:

EXT. DESERT – ASTRONOMICAL DAWN                           15

A pale white mist covers the ruins of the collapsed city.

 

SFX: A soft thump is heard from a pile of rubble.

 

SPFX: Anna bursts up from underneath the rubble. Her body is covered with the same markings that Brian had possessed.

She squints her eyes as they adjust to the light of day.

Anna stares at her arms with horror, before looking up and appraising her new surroundings. She turns, looking all around her, realizing that she is alone.

 

CGI: Anna looks down to the ground, where small green shoots are emerging from the rubble. Anna’s head slowly lifts up. The same growth is now reaching over the entirety of the destroyed city.

FADE TO BLACK

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