COGNITION
“Before The Storm”
Written by
Jessica Holdway
1.
COGNITION
“Before The Storm”
TEASER
FADE IN:
INT. LOCATION #1 – NIGHT
Panning Shot. Three people trapped in a long white corridor, blank and clear, with an opening at the end of it. An alarm is sounding, annoying, but sincere.
Long Shot of the people, roughly 3 seconds just so characters are introduced.
Mother, blond, tall, slightly aged, plain and practical clothing. Father, quite big with imposing figures, balding, aged. Daughter, tall, thin and pretty, resembles her mother, but shows youth and weakness.
After this shot/pause, all three of them start running to the opening. But as they start to reach it, the opening which was a door now has a shutter coming down.
Angry looking stereotypical security people start coming round the corner. Mixture of faces all wearing the same dull grey uniform.
MS/LS of the family running down corridor as they get closer. Out of breath.
They stop to a halt when they reach the opening, the shutters are now half way down the door. Mum and Dad stop while Daughter steps forward, she then notices they don’t follow her.
CU on daughter‘s face as mother speaks.
MOTHER
(in a stern voice, but sounding hesitant.)
You step out there and you’ll
never see me or your father again.
2.
DAUGHTER
(close to tears)
But what if I want my own life?
I have dreams, ambitions… I want
to travel around without…
(Pause)
Being chased by mad security men!
As this dialogue has been exchanged, the camera is now focused on the gap the shutter has created leaving space only just for one.
FATHER
(hesitant, but still speaks)
Go! Lead the life your brother
could not. Go! Don’t turn back.
We love you.
Security men have caught up and are just two footsteps behind them.
Camera on Fiona as she pushes her way out just has the shutters close.
Mother and Father are trapped. The alarm is still sounding. What was a brightly light white corridor is now dark and dim. A gun is fired.
FADE OUT.
END OF TEASER
3.
ACT ONE
FADE IN:
EXT. LOCATION #1 – NIGHT
The camera is now on Fiona outside of this warehouse-like building. We hear the gunshots previous from the teaser throughout the corridor and outside the building.
CU on Fiona’s reaction. She starts to run, across a road, another road, down a street. As she is running the camera then focuses on a turning into a alley passageway.
It’s pretty dark compared to the streets and pats previously with street lamps, so hardly anything can be seen.
Fiona, realising she needs to be alone, runs into the alley and then a hand comes from the corner of the shot and grabs her, pulling her to the side into the wall.
UP AGAINST ALLEY WALL
A mysterious man is holding Fiona up to the wall, pinning her by her shoulders. He starts to smile then laugh.
MAN
(slightly chuckling)
Fiona, Fiona. Very long time no see.
My, my, I thought it would have been
harder to track you down and hold you
against this very wall.
FIONA
(through gritted teeth)
If you knew the day I have had (beat)
you wouldn’t mess.
This makes the man laugh even more.
MAN
Wait till I tell your parents your
so-called spy skills are not up to
scratch.
4.
FIONA
Didn’t know people like you could
communicate from beyond the grave.
MAN
Now you’ve confused me, I’ll give
you a point for that, but minus
five because you’re the one who’s
pinned to the wall.
FIONA
(she loses it, and starts screaming.)
They are dead! They are dead!
They are dead!
The mysterious man looks at Fiona in shock. He then unpins her from the wall and holds her in his arms, walking her to back up the alley to a car that has now appeared on the road.
Fiona does not protest or try to escape from his clutches. She simply mutters the same thing over and over again.
FIONA
They are dead! They are dead!
They are dead!
The man opens the car door, slides her in, then, hands free, pulls out a syringe and injects her arm while she is still screaming about her parent’s death.
INT. LOCATION #2 – NIGHT
Fiona then falls back onto the back seats and the silence. We hear the door is slammed shut.
Camera stays on Fiona’s body on the back seat of the car. While the man’s voice over is heard, we hear keys, the engine and the audience should notice that the car is moving.
MAN (V.O)
I’m sorry Fiona. Your parents
were such fine assets to this
country. Shame they picked a
fool like me to protect you.
5.