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SEQ. 05 - PROLOGUE
The Focus Features logo appears on screen and we slide INTOthe “O” in Focus.
Stock dissolves from 35mm to 16mm. BLACK & WHITE. GRAINY,
like OLD DOCUMENTARY FOOTAGE.
Experiment 208, day 20...
INT. SCIENTIST’S LAB - DAY
We see an early incarnation of a MACHINE (this will be theinner brain of the FABRICATION MACHINE). We see the
scientist, in a white coat.
We pull back to see the Scientist is playing a complicatedMULTI-LEVEL 3-D chess game on a MULTI-LEVEL GAME BOARD with
the MACHINE. The Scientist makes an elaborate multi-level
move. The Machine reaches an arm out into the chess game butthen malfunctions and strews the game everywhere.
We pull back further to see the back and legs of theDICTATOR, with black-uniformed soldiers flanking him. The
regime’s emblem can be seen on the uniforms.
Please. Give it a chance.
We’re on the machine, which is clicking and jerking as itmalfunctions.
One more. That’s all.
He turns to leave. We hear the clicking of boots as thesoldiers accompany him out.
We see the scientist’s dejected face as he comes towards thecamera to turn it off.
INT. SCIENTIST’S LAB - NIGHT
The grainy footage rolls again; we see the scientist movingaway from the camera (having just turned it on).
The lab is shadowy, late at night. We see his worktable for
the first time, covered with discarded sketches, a furiouslyfilled-in journal, and pieces of failed machinery (the flooris also similarly littered). The TALISMAN sits on the
worktable. Nearby is a small old-fashioned tiny little box.
(tired, but dictating to
keep the documentary
My last possible solution....
(muttering to himself)
It must work...
He gently brushes his fingers over the little box as thoughfor good luck. He picks the TALISMAN up off the table. He
moves over to insert the talisman into the port of themachine.
His back to us, he faces the machine. We see him puttingsomething over his face (but only from behind).
There is a sudden FLASH OF GREEN LIGHT and the machine JOLTS,
and then suddenly, starts up...lighting up, electricitycrackling, parts moving in smooth coordination, etc.
The scientist waits, watching. The machine continues to run.
Its arms move smoothly, almost curiously.
The scientist puts the device covering his face down and getsup and comes towards camera.
We see the camera’s POV as the scientist comes towards us:
CLOSE on the scientist’s face, which is exhausted, cheekssunken, eyes wide, pupils dilated.
Pull back to show the machine purring, suddenly full of a newsort of energy. Something new has happened.
The scientist switches off the camera and:
INT. SCIENTIST’S LAB - A DAY LATER
The machine zips through the complex 3-D chess game at
lightning speed, checkmating the scientist in seconds as theDictator watches.
The scientist laughs fondly and pats the machine.
You see, it evolves.
The scientist proudly gives the machine to the dictator. Aflash goes off: someone is taking a picture O.S.
The dictator exits; we hear the click of boots and see asmuch as possible of the soldiers flanking him.
OUT OF SIGHT OF THE SCIENTIST,
CLOSE on the machine: the dictator is gripping it with anasty firmness. The machine seems to try to squirm away.
The director’s BLACK-GLOVED HAND grasps it harder.
The machine, responding to the brutality, lashes an arm outand grabs the nearest soldier (seen from the back, we seeonly the uniform and helmeted head) by the back of his arm,
BREAKING his ARM. The soldier falls (if possible).
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