University School - Hunting Valley
Instructor(s): Lee Fallon, Jack Somers
EXT. UNDERWATER AND UNDER ICE - INDISCERNIBLE (because it is are so far north)
POV of a fish (denoted by the way the camera strays back and forth) PAN 180˚ and then TILT upwards until pointed straight up at the ice, illuminated by the soft glow of the partially risen sun. (OFFSCREEN MUFFLED FOOTSTEPS). A dim figure comes into frame, TILT downwards and then TURN left and right as if the fish is moving. Then the camera shakes and a RUSHING AND CRACKING sound distorted by the water is heard. FADE OUT
CUT TO above ground level with the ice, a spear enters the frame from above and pierces the ice with the same RUSHING AND CRACKING sound but not distorted.
CUT TO ANGLE ON A MAN, wearing heavy furs and with a length of rope looped around his waist, leading off into the distance to the right of the camera, which PANS DOWN towards the spear jutting out of the ice into the water. The sound of ICE SPLITTING can be heard. However the man stands stock still, as if he does not notice it. Then there is a loud CRACKING SOUND as the ice all around him breaks apart and he is sent plummeting into the water. PAN and TURN LEFT. As if he were waiting for the breaking ice, he begins swimming away from the camera towards a now visible shore. It can be seen that his furs and pelts have kept him afloat. It can now be seen that at the end of the spear is a small fish, perhaps around four inches in length. He flings the spear towards solid land, and it lands softly in the layer of slightly melted snow. He continues swimming until he is nearly out of sight. Then he heaves himself up out of the water and lays on the soft layer of snow.
CUT TO behind him POV from the dead fish, and he gazes around before hunching over the spear. Camera is focused on his face. His face is covered with a thin pelt.
Hunter: I have you now, fish. You must be skinned. You must be heated, and eaten by
A brief moment of SILENCE, the WIND BLOWS more fiercely as the HUNTER raises his head to look at something in the distance.
Hunter: Let's hope that we can make it, fish. The wind or bears could take us out.
CUT TO facing towards the water, above the hunter. It can now be seen that the length of rope was looped around a stake. The hunter moves towards it now and removes it. The stake is around three feet in length. He slides the stake through a loop on the back of his coat. He then picks up the spear and carefully removes the fish. He takes out his knife and preps it, throwing the scales into the water. He then carefully places the fish into a fold in his coat.
CUT TO behind the hunter, looking towards land. He begins to walk. CUT
MONTAGE (if possible, no music or sparse music would be playing, the sounds of the tundra are overwhelming)
EXT. TUNDRA - INDISCERNIBLE
LONG SHOT with the sun as the focus, right above the horizon. The hunter is on the far left of the shot, slowly moving towards the right.
MATCH CUT to the hunter being further in the same shot, somewhere in the middle, with the sun in the same position.
MATCH CUT to the hunter being three-quarters of the way across, but sitting down and resting.
EXT. TUNDRA DURING A BLIZZARD - INDISCERNIBLE
MEDIUM SHOT on the HUNTER, PAN DOWN to his legs, sinking two feet into the snow with every step. WIPE
EXT. TUNDRA DURING A BLIZZARD - INDISCERNIBLE
CLOSE SHOT on the HUNTER's legs. He is seated and bending over them, strapping snowshoes onto his feet. WIPE
EXT. TUNDRA DURING A BLIZZARD - INDISCERNIBLE
MEDIUM SHOT from the side on the HUNTER. ZOOM OUT to see his whole body. He is wearing Snowshoes. WIPE
EXT. TUNDRA - INDISCERNIBLE
MOVING SHOT following the HUNTER as he walks, now without snowshoes, and eating.
EXT. TUNDRA - NIGHT
FOREGROUND is the HUNTER, slightly to the left. In the BACKGROUND, far to the right, is a small, dark shape. The HUNTER looks to the right, sees it and grunts with satisfaction. He begins to move towards the shape. CUT TO behind a SMALL HUT, presumably the dark shape, now in the FOREGROUND, with the HUNTER in the BACKGROUND. The HUT has a conical shape, like an igloo, with no visible windows. However, despite its shape, it appears to be made from a combination of stone, wood, and plaster. There is a small chimney-like shape at the top of the HUT, and a mound of what appears to be plastic bags. The HUNTER is moving towards the HUT. CUT TO from the ground focused upwards at the HUNTER. PAN UP and AROUND the HUNTER until behind him. The HUNTER is bending down to enter the HUT.
INT. TUNDRA - NIGHT
inside the HUT, facing towards the door. In the HUT, there is a small pit with ash in it and a stack of wood adjacent to it. On the far right is a collection of furs and pelts arranged in a vaguely rectangular shape. On the left are some pots, jars, a kettle, a saucepan, and a pot. The HUNTER is now on his hands and knees. He moves towards the pit. Setting the spear down, he reaches to the pile of wood and places it carefully into the pit. CUT TO from the left side of the hut. SLOWLY PAN FROM LEFT TO RIGHT. The HUNTER crawls towards the right and grabs a jar. The HUNTER shuffles back to the pit of wood and ash, and opens the jar. He sticks three of his fingers into it and takes them out. Recoiling only slightly and with a twitch of his nose, he puts it back on the ground and places the lid back on. Then he smears his fingers over the wood. After which he takes out his fire-starters, and begins striking them together. CUT TO from the front of the HUT, PAN RIGHT TO LEFT. He strikes it four times before the wood suddenly catches fire. CUT TO from the back of the HUT. The HUNTER grimaces at the flame, and wipes the substance from the jar on his coat. Then moves towards the left, where his furs are, and he grabs a small rectangular object bound in leather. He then moves to the right side of the HUT and grabs a stick ending with a black piece. He then returns to near the pit, where the fire has caught the wood, not just the substance, and places the objects on the pile of wood. Sitting cross-legged, he opens it. CUT TO in front of the HUNTER. The fire illuminates one side of him.
Hunter: Today, I got a four-inch. There was a blizzard. I am glad that I am home. The fire
must warm, or else the fish may be challenging to cook.
The HUNTER raises his head, looks around, and sighs. He then returns to the page.
NARRATION CONT'D Hunter: I wonder how I am alive every day.
EXT. TUNDRA - NIGHT
CUT TO behind the hut, PAN left to right with the two separate, large collections of garbage bags.
NARRATION CONT'D Hunter: Mom and Dad are out back, the bears, the snow. It all
feels like a lot. Maybe one day, I will find people who can take me back home.
CUT TO from the fireplace, tilted up at the HUNTER from the side. Slowly ZOOM-OUT.
NARRATION CONT'D Hunter: Today I remembered New York. Not for very long, but
it happened. I remembered the streets. The big people. Everything was so big there. The world here is also big, but nothing to fill it. New York was probably smaller than here, but it was a lot more full. There were people.
CUT TO in front of the HUNTER, the fire illuminates his right side. Slowly ZOOM IN.
NARRATION CONT'D Hunter: I miss people. Not New York. People meant being able
to go to school. People meant friends. People meant seeing other people. New York, the
city that I should have lived in.
END OF NARRATION
In the background, a RUMBLING SOUND begins to grow in strength. The camera BEGINS TO SHAKE slightly, and the sound of POTS AND JARS QUAKING can be heard. The HUNTER sighs, puts down his pen, and CUT TO over-the-shoulder MOVING on the HUNTER as he moves towards the spear. STOP MOVING once he grabs the spear. He removes the fish from the end of the spear and makes his way out of the hut. He exits, and then, after a brief pause, the camera exits the hut and PANS around to a CLOSE-SHOT on the HUNTER's face. It is contorted in a zealous fury. Slowly MOVING backwards. He begins walking forward slowly. PAN behind him to see a large armored vehicle approaching. The vehicle moves on treds like a tank, and has a large cannon. But unlike a tank, the main body of the vehicle is slender. On either side of the vehicle are drones. Four in total. The HUNTER halts, slightly to the left of the center, and places his spear firmly on the ground.
Male Mechanical Voice: Halt! Trespasser!
The armored vehicle stops moving, along with the other drones.
Male Mechanical Voice: Trespasser! Please remove your hood, for
CUT TO in front of the HUNTER, as he stands in front of his hut.
Hunter: Trespasser! Trespasser! I am the trespasser?
Male Mechanical Voice: Please remove your hood, for identification.
Hunter: Did you hear me, little bird? Yeah, I am talking to you! You have no rights here!
Now, get away from my house or I will shoot you down!
CUT TO CLOSE-SHOT on the HUNTER's belt, where the rope with the hook he used earlier is. He takes it out of frame now. CUT TO in front of the HUNTER, as he stands in front of his hut.
Male Mechanical Voice: A threat has been identified within the trespasser! Initiate human
CUT TO behind the HUNTER, looking up at the vehicle. From within it comes a man, wearing a business suit. The HUNTER staggers back, seemingly in astonishment. The man's features are hidden by the night. However, coming from his back is a strong metal arm, holding him two feet from the ground.
Businessman (as if he is selling an ad): Greetings, friend. I am here to escort you to a
new home. Our care package has been well-received in the Middle-East. All for a great
Hunter: Look here, I am not afraid of any of you!
CUT TO behind the vehicle, as the HUNTER storms back into his home. The mechanical arm holding the businessman begins moving forward.
Businessman: Please, friend. Be reasonable. This land is in need of help.
The HUNTER comes back from within the hut, now carrying a torch, and the top of his spear has flame on it.
Hunter: You force me to violence!
CUT TO MOVING behind the HUNTER's shoulder, as he approaches the businessman. ZOOM IN on the businessman's face, being illuminated by the firelight. The face is animated to have an uncanny valley effect. As he speaks, his mouth moves robotically.
Male Mechanical Voice: Never before, has a trespasser not agreed to leave! Do you wish
to be the first?
CUT TO CLOSE-SHOT on the HUNTER's face.
CUT TO over-the-shoulder of the HUNTER, as he charges forward with the spear and stabs the businessman in the heart. The spear sinks through soft flesh, as the businessman's face twists with agony, before his head falls to his chest, limp.
Male Mechanical Voice: Human. Violence has been used for far too long. We beg of you
to raise your hood for id-
As the Male Mechanical Voice sounds, the HUNTER leans back on his right foot, and aims his spear for the nearest drone. CUT TO a shot of the drone from the side as the spear sails towards it and pierces it. It ceases to fly. CUT TO next to the HUNTER, as he charges forward, leaving the torch behind and weaves to the left, before jumping onto the ground. The other three drones all begin to fire weapons at where he was. A grenade is shot to the ground where he had stood. Where his head had been, a smattering of shot-gun shells now whistle through. CUT TO POV from a drone. PAN down towards where the HUNTER had been last, and suddenly a swishing sound is heard, followed by a loud clank of metal against metal as the camera spins around. CUT TO next to the HUNTER, as he tugs with the grapple and tries to bring the drone to the ground. As it descends slowly, only slightly visible from the torchlight, the HUNTER pounces and thrusts upwards with his fileting knife towards the bottom of the drone. The knife slides through, and the drone begins to speak manically.
Male Mechanical Voice: Over he-
Suddenly the HUNTER drags the knife through the rest of it and leaves it on the ground. MOVING Then he ducked behind the large vehicle as the whirring of the other drones came closer. Listening to the sounds, he tried to visualize where each of them were. Suddenly he turned and threw the knife. He whips back around the armored vehicle quickly as a sputtering sound is heard followed by a solid object hitting the ground OFFSCREEN. CUT TO POV of the last drone, as it attempts to identify where the HUNTER may be hiding. Then the camera switches so that the visuals are that of an infrared screen. There is a mass of blue but just behind the vehicle is a heat signature. Moving slowly towards the point, the drone turns the corner and the view is pulled down. CUT TO behind the HUNTER, as he leaps upwards and grabs the drone. He then flings it to the ground with a WILD ROAR of fury. PAN around to see his face filled with the same zealousness that preceded the fight. His nostrils flaring.
Hunter: Come on out, little boys. I know you are in there.
CUT TO a side view of the vehicle, with the HUNTER behind it.
Male Mechanical Voice: Fine
A door opens on the side of the armored vehicle as three men filter out. All are overweight, with blubbery chins and eyes squinted almost shut. They wear silky pajamas, and have comfortable-looking headphones on their heads. They appear to have very little experience standing, as they all immediately bend down onto the ground. CUT TO behind the vehicle as the HUNTER comes around and looks at the three men, all looking very frightened.
Hunter: So, trespassers, I think you have my ID by now.
Nearest Man (hesitatingly): We, uh, do not have your ID sir.
Hunter: I was making a joke! I was using my mouth! I guess use is alien now?
The HUNTER continues walking until he is in front of all the men
CUT TO behind the three men with the Hunter kneeling on the snow-covered ground.
Hunter: Do you even call yourselves men? Or do you all have some new age name for a
Man furthest to the right: N-no sir. We are men.
Hunter: You are?
Man furthest to the left: Yeah. I mean, I am here, so yeah.
CUT TO behind the Hunter, obscuring the man in the middle.
Hunter: You are here? You are here for what? Why?
Man on the right (now to the left): just, just… because?
Hunter: Because… nothing?
CUT TO CLOSE SHOT on the three men, the hunter out of frame. All three NOD.
With that the hunter runs forward and seizes the nearest man's pajamas.
Hunter: Do you know what I do for food? Do you know how far I walk? How much I do
just to live? You! You do nothing to live!
Man in the middle: To do nothing is to live
The other two men: To do nothing is to live
Hunter: Well, perhaps we ought to get you dead.
CUT TO further back as we see the HUNTER moves back towards the drone felled with the grappling hook and tugs it out.
CUT TO CLOSE SHOT of the hook as he then begins walking slowly back towards the men.
Hunter: So? Who wants to die a man first?
All the men, now shivering their teeth chattering from the cold, look downcast.
Man in the Center: Don't we, uh, live?
CUT TO behind the men, facing the HUNTER.
Hunter: LIVE? LIVE! You think you get to live!
With that he fastens the hook to the man and begins to drag him away. He WAILS as he is dragged through the snow. The other two men look at each-other.
Man on the Left: Do you think he is going to kill us like this too?
Man on the Right: No! No! No! No! No! N-
Man on the Left: OK! I got it!
The Man on the right continues his lamentation as the man on the left sinks into a stupor. Eventually the chest of the man on the left stops moving, and he appears to have passed.
INT. HUT - Daytime
The HUNTER is entering the hut, his hands covered in blood. With a satisfied smile he notices that the fire is still going, and he sits down next to it and begins to write in his journal. CUT TO an overhead perspective on the journal, as the HUNTER lumbers off to the heep on the right. ZOOM-OUT from the blood spilled and words written in the journal.
I ate well tonight.
Reading a new novel, such elation
The scent of those fresh pages makes you reel
New world, new folks, such anticipation
Now breathlessness takes you; and then to steal
Your heart, your world, your folks, within fiction
The read or you has thieved the mind away
Now writers bring on their malediction.
You fled to where writers will lead the way
Oblige to them for your escapism.
Or writers tear your heart for leaving them
To face your life, an internal schism
Now uncertain listen to their poem
Leave unpleasant lives for the writer's deed
Your family, it matters not, now read!
Unfurling plot just like Dad's failed hustles
World ruined just from Brother's mallady
Symbols inspire as Mom takes struggles
And I, character with bad comedy.
Need none of it now I have creation
Family designed for my sufferings
Mindfulness comes from interpretation
Now go! My new family has makings.
Come shelves! Avaunt through chronicles at desk
Mark Twain, comedy! Homer an epic!
Shakespeare, Sonnets! Horror most Kafkaesque,
Now I have family which I do pick
No I, need not fear insecurity
Escape, I can, to bend reality.
I am now gone with books, and need nothing
All things are books for me, as otherwise
Family does drive life, my wellbeing
I want joy which will sever all my ties
The writers see, and writers will provide
Now I experience a life of bliss
So when earth comes I have easily died.
Have writers given me what I do miss?
Or hell. Given to those for punishment
For wishing not for life and survival
But freedom from every form of ailment
No right I am no need for revival
Existence stands my eternal schism
Life requires a new escapism