Be Afraid

The film that has not happened yet.

The film starts with a blurry flashlight, as if from the malfunctioning neon sign.

NARRATOR
(gentle, a bit dreamy female voice over the blurry visions)
Isn’t it amazing, how people gave up hiding these days?

As the NARRATOR goes on, the scene changes. The video footage is a seemingly random kaleidoscope of images, distorted with scratches, lens flares and grainy blur. A paper with numbers, a cup with traces of coffee, pieces of old photos, an open laptop with a download processing, a tip of flaming cigarette, a corner of a house with a number plate, a piece of CCTV footage, a shot from satellite camera, a fingerprint, a fragment of some old gates, an abandoned building.

NARRATOR
(cont’d)
We stopped paying attention to what we are sharing with the systems that keep our cities functioning. We use the devices that allow reaching us wherever we are. We provide the social media with our contacts and real faces. Our words leak into blogs, making our deepest thoughts visible, accessible, vulnerable. We are the user-friendly part of constant data processing. Providing the world with terabytes of information is normal. If there’s no information about you, you don’t exist.
(dead pause)
It’s no wonder we all are subconsciously diseased.

A blurry, slightly distorted view of the city.

NARRATOR
(cont’d)
It’s no wonder we all are subconsciously diseased by paranoia.

Zooming out to discover that the whole view was just a reflection in sunglasses.

1 – INT.: A SMALL CAFÉ — DAY.

A MAN IN BLACK is sitting at the table. He is sipping his coffee and reading something from his communication device (whatever it is). The sunglasses are laying on the table beside him.

NARRATOR
(cont’d)
All we need to go mad is a simple trigger.

MAN IN BLACK raises his eyes as if he is watching somebody come up to him.

NARRATOR
(cont’d)
Nothing too complicated. Just a few words.

View from behind of the MAN IN BLACK; we see that a serious BRUNETTE in strict dress is approaching him. Front view of the coffee table, close-up of MAN IN BLACK’s face; judging by the curiosity in man’s eyes, he clearly sees her for the first time and her visit is a complete surprise to him. View down on the BRUNETTE; she stops by the table and watches the MAN IN BLACK for a few seconds intently. Camera is descending slowly, giving us the closer view of the BRUNETTE.

BRUNETTE
(in dead serious flat tone)
They are going to get you.

Not giving the MAN IN BLACK a second to register her words, the BRUNETTE walks away. Her pace is steady, but she manages to disappear from sight in a few seconds. The MAN IN BLACK looks like he might go after her, but he visibly shrugs, dismissing the thought. He finishes his coffee, leaves cash on the table, walks out of the café.

Cut to the next scene.

2 – EXT.: STREET – DAY.

MAN IN BLACK walks out from the giant office building — right into a LADY IN JEANS, who’s passing him by. Few seconds of slow-motion close-up view of her face. We see that she has different hairstyle, make-up, and outfit, but still it’s the same BRUNETTE from the café. Front view of the face of the MAN IN BLACK — he is a bit taken aback by the sudden collision and he only starts to recognize her face. LADY IN JEANS stops dead in her tracks for a second.

LADY IN JEANS
They are going to get you.

LADY IN JEANS walks away, disappearing in the crowd before the MAN IN BLACK can catch her. The MAN IN BLACK shrugs nervously and keeps walking. Camera goes up, to the blank sky; the image is fading to white, then —

Fading to white noise of malfunctioning advertising screen in a shopping mall.

3 – INT.: SHOPPING MALL — DAY.

Slowly zooming out, to the same MAN IN BLACK, walking idly through the mall, watching something via his mobile device. Cut — he stops to consider something in one of the boutiques. View from inside of the boutique, dim reflections on glass over the face of MAN IN BLACK; we can read a reversed fragment of some poster, that says something like “…ALREADY COMING FOR YOU”. Cut — closer view of the MAN IN BLACK, who looks like he finally noticed the poster and got confused by its contents. We can see someone moving behind the MAN IN BLACK, getting closer. That’s the same LADY we’ve seen before, dressed a bit differently. She leans in, a mere inch away from the MAN IN BLACK.

LADY
(whispers)
They are going to get you.

By the moment the MAN IN BLACK turns around, the LADY’s already gone. The MAN IN BLACK already looks anxious. We see him trying to scan the passing-by crowd, looking for the LADY, but all in vain.

4 – INT.: SUBWAY STATION — EVENING.

Cut to the MAN IN BLACK, hurrying down the stairs. He suddenly stops at the sight of the same LADY in completely different outfit (grunge clothes, shabby handbag, earphones plugged in her ears, cap covering her hair), spins around, trying to track her down. We see him approach through the crowd, camera showing the moving people slightly from above. Cut to the LADY, who keeps walking like she doesn’t notice the MAN IN BLACK at all, not even plugging the earphones out. Cut to the MAN IN BLACK, who is getting closer. Cut to the view from behind of the LADY, where we can see the train approaching the station, opening the doors. Zooming out to see the MAN IN BLACK already stretching his hand out to reach the LADY. Cut to the slow-motion close-up view of the face of MAN IN BLACK; he clearly doesn’t want to know who exactly the LADY is. Cut to the slow-motion close-up view of the back of the LADY’s head; she is slowly raising her head, as if she feels something.

Zoom out. The LADY spins around right in the moment the MAN IN BLACK is already few feet away.

LADY
(indifferently, no sympathy in her voice)
They are going to get you.

While the MAN IN BLACK is a bit taken aback, the LADY makes a precise step backwards, entering the train carriage. A second before the doors of the carriage get closed, she sharply raises her head and meets the eyes of the MAN IN BLACK.

LADY
Run.

The doors of the carriage close, the train starts moving. We can see the pale reflection of MAN IN BLACK on the glass of the windows and carriage doors, as the train goes whooshing by. When the train disappears in the tunnel, it reveals graffiti on the opposite wall above the rails. It says, “THEY ARE ALREADY HERE”.

Fade to black.

Over the complete darkness, the NARRATOR’s voice returns.

NARRATOR
(same dreamy voice)
There’s no use in running when you don’t know how to hide.

There’s something flashing in the dark. After a few seconds, we see that the flashing is merely the malfunctioning of a ceiling lamp.

5 – INT.: SUBWAY TRAIN — NIGHT.

The train carriage is dark and half-empty. We can see the LADY in one of the seats.

NARRATOR
There’s no use in running when you know how to hide, either.
The trick is, you don’t really need to run. You can always hide in plain sight.

As the NARRATOR goes on, the LADY is calmly changing her outfit. The camera follows her actions, giving us the closer views. LADY takes off her cap, revealing completely unfamiliar hairstyle; plugs out her contact lenses; turns her coat inside out. By the time she finishes, we see completely different person.

A front ‘portrait’ view of the LADY. The LADY looks straight into the camera. She is calm, collected and attentive.

NARRATOR
Your fear is the greatest weapon.

Fast fading to black, quick ‘rewinding’ the scene of LADY stepping into the carriage; we see the LADY gazing at her watch and at the MAN IN BLACK in the crowd, clearly calculating time to appear in his line of sight. Quick change of angle, more rewinding, and cut to the moment of the LADY’s whispering to the MAN IN BLACK’s ear in the shopping mall, then her quick retreat around the corner. We see the MAN IN BLACK pass her by without noticing her. Another change of angle, cut to the LADY, reflecting in the mirror of a WC in café, calmly changing her wig from dark one to the blond one. More quick rewinding, cut to the view of LADY beholding the MAN IN BLACK in café before their first meeting and comparing him to a photo on her mobile device. Cut to the next scene.

6 – EXT.: AN OLD BRIDGE ABOVE THE RAILWAY — EVENING.

The red sunset is blossoming in the sky above the bridge, where SOMEONE, whose face we can’t see because of the bright light, hands the LADY a manila folder with photos of the MAN IN BLACK. LADY nods, taking the folder and inscribing the “MAKE HIM NERVOUS” line on top of it.

NARRATOR
Their weapon or yours — your choice.

Cut to close-up view of the LADY’s face, when she’s standing on the bridge in bright red shades of sunlight, studying the photos in the folder. The LADY slowly raises her gaze to look straight into the camera.

LADY
(in synch with NARRATOR’s whisper, in calm confident tone)
Be afraid.

Cut to black and the same blurry light, as at the beginning of the movie.
Credits roll.
END.

© citywatch.su, 2012

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