Los Tenpurcos/Transcript

Transcript for Los Tenpurcos.

Script
FADE IN EXT: A CONVENIENCE STORE ON A STREET CORNER IN A BUSY CITY  ''Shady-looking people in suits are seen walking in different directions across the shot. Text appears on screen.  Western Canada, 2046. INT: THE CONVENIENCE STORE  The interior of the store is grungy, but somewhat homey too. A brown skinned man is seen at the counter. The song Twilight by Maze is playing faintly on a radio. CUT: A shot of the door, a bell is seen on the top.  The door opens and the bell rings. We pan down to a young girl, our protagonist ALINA. She is around 10-12 years old, has black hair and is wearing a teal trenchcoat. She walks out of the shot. CUT: Looking down an aisle in the store. Alina walks into shot and starts looking for food. CUT: The cashier at the counter. Alina approaches the counter with her purchases.  CUT: The counter, from the cashier's POV. Alina has a large bottle of orange soda, potato chips and two cans of an unlabelled food. BACK TO: The cashier, who smiles upon recognizing Alina.'' CASHIER: Nice to see you again. The usual, I see? CUT: Close-up of Alina, who nods. <p style="text-align:center;">CUT: Wide shot of the counter. The cashier gets out a brown paper bag and puts the items into it, Alina produces some money from a pocket on her coat. <p style="text-align:center;">CUT: Looking across the counter. ''The cashier hands the bag to Alina, while she hand him her money. She walks out of shot. <p style="text-align:center;">CUT: Close-up on the cashier, waving goodbye.'' <p style="text-align:center;">CASHIER: <p style="text-align:center;">Please come again! <p style="text-align:center;">EXT: THE STREET CORNER <p style="text-align:center;">'' Alina walks out of the store. She walks towards the road and looks left and right.'' <p style="text-align:center;">??? (Offscreen): <p style="text-align:center;">Hey! <p style="text-align:center;">Alina suddenly turns her head. <p style="text-align:center;">''CUT: Behind Alina. She is confronted by a group of three Asian gangsters. They have fierce expressions on their face. <p style="text-align:center;">GANGSTER: <p style="text-align:center;">It's the thief! <p style="text-align:center;">CUT: Alina, with a terrified expression. She runs away from the gangsters. <p style="text-align:center;">EXT: A STAIRWAY BETWEEN TWO BUILDINGS. <p style="text-align:center;">Alina enters onscreen running down the stairs, still clutching the bag in her hands. The gangsters follow in hot pursuit. <p style="text-align:center;">CUT: Alina running along a path from the ladder. We follow her into a tube-shaped tunnel with grey walls. <p style="text-align:center;">INT: THE TUNNEL <p style="text-align:center;">We see Alina running towards the camera. The gangsters are catching up. <p style="text-align:center;">CUT: One of the gangsters, pulling out a machete. <p style="text-align:center;">CUT: Behind the gangsters. They are very close now. <p style="text-align:center;"> BACK TO: The gangster with the machete. He throws it at her. <p style="text-align:center;">CUT: Looking at a point where the tunnel splits. Before the machete can hit her, Alina makes a sharp turn into the right tunnel and the machete hits a wall instead. <p style="text-align:center;">CUT: Looking at the end of the tunnel. Alina is still running. Only two of the gangsters are pursuing her now. She runs through to the end of the tunnel and back into the outside. <p style="text-align:center;">EXT: HARBOR  <p style="text-align:center;">Boats are seen in the background. Alina runs through the shot, the gangsters hot on her tail. As they exit the shot, we pan right to reveal that she is running towards a massive harbor. <p style="text-align:center;">CUT: A group of tanker boats. One, labelled as the "RIFTCO TEMPEST", still has an open gangway.  <p style="text-align:center;">Alina runs onscreen, coming to a stop to catch her breath. She seems to have lost the gangsters for now.  <p style="text-align:center;">CUT: A close-up on Alina. She still looks pretty worried. We pan to reveal the boat with the open, which she turns and notices. Believing this to be her only chance to escape her pursuers, she runs towards it. <p style="text-align:center;">INT: THE RIFTCO TEMPEST, LOWER DECKS  <p style="text-align:center;">The interior of the boat looks very industrial and metallic, unsurprisingly for a tanker ship. The only illumination on these decks comes in the form of a series of translucent red emergency lights, which leave everything in shades ofp red and black. We pan back through a hallway as Alina appears, looking around, and begins walking down the hallway.  <p style="text-align:center;">CUT: The intersection between two corridors''. ''Alina peeks out from the first corridor and looks in both directions. The camera focuses on a set of stairs, which she spots. She heads towards them. <p style="text-align:center;">EXT: DECK E <p style="text-align:center;">At the bottom of the staircase, we rejoin Alina as she reaches the bottom deck. Looking around, she attempts to look for somewhere to hide.  <p style="text-align:center;">CUT: An old storage closet. Alina passes by this, then looks at it a little more curiously. Suddenly, she hears footsteps and turns to her right.  <p style="text-align:center;">CUT: The hallway to Alina's right. The footsteps are getting louder. <p style="text-align:center;">BACK TO: Alina, with an even more worried expression. Quickly, the tugs open the door and scrambles into the closet. <p style="text-align:center;">BACK TO: The hallway. One of the ship's security guards enters into the corridor, looking around suspiciously. He walks towards the closet, and we follow him until he stops right next to it. He looks around for a little bit, before sighing, shaking his head, and continuing on his patrol. <p style="text-align:center;">INT: STORAGE CLOSET <p style="text-align:center;"> The closet is very small and cramped. It's not that tight of a squeeze for Alina, however. She lets out a sigh and slumps down. <p style="text-align:center;">Beat. <p style="text-align:center;">The boat's engines rev to life, and it jolts into motion. Alina accidentally bangs her head on the closet wall from this movement. She recoils and begins to rub it out of pain.'' <p style="text-align:center;">EXT: HARBOR. <p style="text-align:center;">''CUT: We see the tempest departing the harbor, heading into a foggy sea. The main title fades in. <p style="text-align:center;">LOS TENPURCOS <p style="text-align:center;"> The opening credits play over a succession of aerial shots showing the boat on its journey to the titular city. <p style="text-align:center;">EXT: A SUPERMARKET, NIGHT <p style="text-align:center;">CUT: The supermarket is called Martymart, the letters of the logo in the process of crumbling to rust. In the background we see nothing but fog, punctuated by the occasional stack of lights from a nearby skyscraper. <p style="text-align:center;">We see a man, one EDDIE BURBICK, leaving the supermarket. He's wearing a disguise, a heavy brown coat with sunglasses, and has two brown paper bags in his hands. <p style="text-align:center;">EXT: A DARK ALLEYWAY <p style="text-align:center;">CUT: Eddie enters the alleyway and we follow him until he stops at a door, seemingly his own home. He produces a set of keys out of his pocket. <p style="text-align:center;">Some footsteps, along with sound of tin cans falling on the ground, are heard. Eddie looks around, suspicious. <p style="text-align:center;">CUT: Close up on Eddie's chest. He puts his hand inside his coat, perhaps getting a weapon. <p style="text-align:center;">CUT: Looking down the alley from behind Eddie. A man with a gun enters the shot. He fires some shots at Eddie. <p style="text-align:center;">Eddie rolls to the left to dodge the bullets, then stands up and charges at the gunman. He hits him with enough force to knock the gun out of the man's hands, pins him to a wall. He pulls out a knife and places it against the gunman's neck. <p style="text-align:center;">CUT: Close-up on Eddie.'' <p style="text-align:center;">EDDIE: <p style="text-align:center;">Who sent you?! <p style="text-align:center;">CUT: ''The gunman who seems absolutely petrified. He stutters some unintelligible words in an attempt to explain. <p style="text-align:center;">CUT: Close up shot of Eddie's sunglasses.'' <p style="text-align:center;">EDDIE: <p style="text-align:center;">Not surprised. <p style="text-align:center;">''Eddie lunges forward, and a slice is heard, implying the death of the gunman. We hear the body slump to the ground. <p style="text-align:center;">INT: SMALL LIVING ROOM <p style="text-align:center;">The living room is cramped, but rather neat and tidy for a low end apartment. A woman, EVELYN BOARDWARD, is seen looking out a window, observing the events that just unfolded in the alleyway. Evelyn is a Asian female with black hair, and is wearing a white long sleeve shirt with blue jeans. <p style="text-align:center;">CUT: The living room door. <p style="text-align:center;">Eddie is seen entering into the room, still wearing the disguise. He seems rather irritated. Flustered, he starts to take off his disguise. <p style="text-align:center;">BACK TO: Evelyn.'' <p style="text-align:center;">EVELYN: <p style="text-align:center;">They don't ever stop, do they? <p style="text-align:center;">''BACK TO: Eddie, who's taken off the sunglasses and coat, allowing us a better look at his appearance. He is a Caucasian male wearing a short sleeve flannel, and has short brown hair with visible stubble on his face. We follow him as he walks over to the apartment's kitchen. He shakes his head.'' <p style="text-align:center;">EDDIE: <p style="text-align:center;">One day, I tell you, I'll have my sweet, sweet revenge on all of them. <p style="text-align:center;">''BACK TO: Evelyn, close-up now, looking out the window.  <p style="text-align:center;">CUT: Evelyn's POV, looking out the window and into the alleyway. The body of Eddie's would-be assassin lies there a pool of blood surrounding his head. Some pedestrians are standing around the corpse, all with shocked expressions. <p style="text-align:center;">CUT: Looking towards Evelyn from outside. Eddie enters the shot, looking out the window with her. He has a can of soda in his hands. <p style="text-align:center;">CUT: Looking at the two looking down from one story above. The body is in frame.'' <p style="text-align:center;">EVELYN: <p style="text-align:center;">Well, people are already taking notice. <p style="text-align:center;">''CUT: Medium shot of Eddie, from Evelyn's POV. He nods, taking a sip of his drink.'' <p style="text-align:center;">EDDIE: <p style="text-align:center;">Let's just hope some doughnut-chomping pig doesn't come knocking down our door tomorrow. <p style="text-align:center;">CUT: ''Evelyn, seen from Eddie's POV. She chuckles, and nods back. <p style="text-align:center;">INT: STORAGE CLOSET <p style="text-align:center;">It is dark, and we find Alina sleeping soundly. Eventually, she opens her eyes. She yawns, stretches, and for the first time looks around at the closet. Looking ahead, past the camera, she notices something odd. <p style="text-align:center;">CUT: The door of the storage closet. It is very slightly opened, the only light in the room emerging from the opening. <p style="text-align:center;">CUT: Close-up on Alina. She looks curious, but this soon fades into worry.  <p style="text-align:center;">Beat. <p style="text-align:center;">CUT: Looking towards one of the closet walls, showing both Alina and the door. She takes a quick breath, then slowly walks up to the closet door. <p style="text-align:center;">INT: RIFTCO TEMPEST, HALLWAY <p style="text-align:center;">Once again, the halls are solely lit up in red emergency lights. Alina is seen very slowly opening door. She pops her head out and looks around and, upon ensuring nobody else is around, opens it completely and steps outside. <p style="text-align:center;">CUT: Side shot, looking down the hallway. Alina looks around at her surroundings. She starts walking down the hallway. Suddenly steps are heard offscreen, causing Alina to flinch, and push herself to the wall at an intersection in the hallway, panting rapidly.  <p style="text-align:center;">CUT: Close-up on the corner Alina is hiding behind. Slowly, she peeks around the corner, trying to determine the source of the steps. <p style="text-align:center;">CUT: Alina's POV, looking down the hallway. A FENNEC FOX emerges from the darkness, and slowly walks towards Alina, seemingly as afraid as she is. <p style="text-align:center;">CUT: Looking behind the fennec. Alina crouches down, seemingly amused to see what she was afraid of. <p style="text-align:center;">CUT: Looking behind Alina. Seeing the fennec still looking at her nervously, she reaches an arm out and tries to pet it. Although unsure at first, the fennec soon realizes Alina isn't trying to hurt it and allows her to touch. <p style="text-align:center;">CUT: Looking from behind the fennec, who is now accepting the pet. It seems Alina has made a friend. Suddenly, loud foosteps are heard down the hallway. Quickly, without really thinking, Alina picks up the fennec, much to its surprise, and briskly walks offscreen.  <p style="text-align:center;">CUT: Another hallway. Alina enters, the fennec still in her arms, looking around nervously. We follow her until she comes to a stop, the camera focusing on a staircase in the background. Eventually, Alina notices this way out, and makes her way towards it. <p style="text-align:center;">EXT: RIFTCO TEMPEST <p style="text-align:center;">We focus on a blue metal door, which opens to reveal Alina, still holding the fennec, looking around. It seems to be a cloudy day, around 5 or 6 in the morning. <p style="text-align:center;">CUT: Wide crane shot of Alina taking steady steps towards the bow. The camera pans to follow her as she makes her way towards the edge of the boat. She lets the fennec leap out of her hands, which follows after her. <p style="text-align:center;">CUT: The bow's edge, looking towards the stern. Alina and the fennec slowly approach the edge. Upon reaching it, she grips onto the guardrail, a somewhat astounded expression on her face. <p style="text-align:center;">CUT: Wide shot of a city, the boat's final destination. Skyscrapers flanked with smog stretch out across the landscape in three directions. In the foreground we see the harbor the boat has docked in. Welcome to LOS TENPURCOS. <p style="text-align:center;">CUT: Looking behind Alina and the fennec, city still in view.'' <p style="text-align:center;">??? (offscreen): <p style="text-align:center;">Hey, who are you? <p style="text-align:center;">Alina turns around, somewhat shocked to hear another person. <p style="text-align:center;">''CUT: A security guard, bulky and bald. He is pointing at an offscreen Alina with a stern expression on his face. <p style="text-align:center;">BACK TO: Alina, now looking terrified at being discovered. She looks down at the water below. <p style="text-align:center;">CUT: POV of Alina's view of the water. It seems like jumping is her best option.  <p style="text-align:center;">BACK TO: Alina. She looks back towards the screen. <p style="text-align:center;">CUT: The guard, walking briskly towards Alina, pulling out his baton. <p style="text-align:center;">BACK TO: Alina, even more terrified. It's either she jumps or takes her chances with the guard. <p style="text-align:center;">CUT: Crane shot facing Alina, moving towards the edge of the bow.  <p style="text-align:center;">CUT: The Guard, realizing what she is about to do, and picking up the pace. <p style="text-align:center;">GUARD: <p style="text-align:center;">Oh, no you don't! <p style="text-align:center;">BACK TO: The same crane shot. Alina quickly picks up her fennec again and, without hesitation, climbs over the railing and jumps from the boat. <p style="text-align:center;">CUT: The water of the harbor, with the ship in the background. Alina enters the shot, falling into the water and going beneath the surface. <p style="text-align:center;">Beat. <p style="text-align:center;">Suddenly, Alina emerges from the water, fennec still in her arms. She is panting for air and, struggling, starts swimming towards the dock. It's apparent that she can't swim very well. <p style="text-align:center;">CUT: The guard runs up to the guardrail, looks down, and notices that Alina has escaped. He sighs, exasperated.'' <p style="text-align:center;">GUARD: <p style="text-align:center;">Damn stowaways. <p style="text-align:center;">EXT: LOS TENPURCOS DOCKS <p style="text-align:center;">''Alina, seen in the water, approaches the dock. She takes the fennec out of her arms and places it on the dock, before climbing onto it herself. She is completely soaked, and notices this. The fennec notices this too, and shakes itself in and attempt to get dry. <p style="text-align:center;">Alina picks the fennec up and proceeds to walk offscreen. <p style="text-align:center;">EXT: LOS TENPURCOS PORT <p style="text-align:center;">The port of Los Tenpurcos, covered in tractor trailers of different colors. <p style="text-align:center;">Alina, with the fennec in her arms, is seen, sneaking around the port looking for an exit into the main city. <p style="text-align:center;">CUT: Two workers are seen, with tractor trailers surrounding them, they are conversing to one another, but we can't hear them. They look mildly overweight and we can see that they have rather bad oral hygiene. <p style="text-align:center;">CUT: Wide back shot of the workers, still talking away. <p style="text-align:center;">Alina enters the shot from the left, trying to be as quiet as possible. <p style="text-align:center;">She looks in the direction of the workers, and she quickly expresses a look of fear and stands still for a second. She then quickly dashes to the other side of the screen, still trying to be quiet, she proceeds to go off screen. <p style="text-align:center;">BACK TO: The workers, despite Alina's efforts, the workers hear her footsteps and turn around, suspicous. One of them turns to the other.'' <p style="text-align:center;">WORKER 1: <p style="text-align:center;">Another trespasser? <p style="text-align:center;">CUT: Wide shot the workers, the shot is slightly askew. <p style="text-align:center;">WORKER 2: <p style="text-align:center;">Probably some kid wanting to get that new game early, let's go take a look. <p style="text-align:center;">The two workers start to walk offscreen. <p style="text-align:center;">CUT: The workers investigating the port. <p style="text-align:center;">WORKER 1: <p style="text-align:center;">Say, what game do you think they're looking for? <p style="text-align:center;">The other worker shrugs, he doesn't seem to know video games very well. <p style="text-align:center;">WORKER 2: <p style="text-align:center;">Eh, could be anything, people's tastes are constantly changing you know. <p style="text-align:center;">''CUT: Inbetween two tractor trailers, it's very tightly compacted. The silhouettes of the walking workers are seen, we seem to be in the POV of Alina. <p style="text-align:center;">BACK TO: The workers, still investigating, they seem to be on the verge of giving up.'' <p style="text-align:center;">WORKER 1: <p style="text-align:center;">Hey, I'm gonna go somewhere else alright? You keep walking here. <p style="text-align:center;">The other worker nods, and the worker proceeds to walk offscreen to another part of the port. <p style="text-align:center;">More coming soon!