CAYOM YEAR 5 - PART I - MOVIE SUBMISSION

[SLAM!]

YIN

 

Studio: New Journey Pictures

Director: Daniel Espinosa

Genre: Noir/Thriller

Release Date: August 13th, Y5

Special Formatting: Dolby Cinema

Major Cast: Daniel Henney, Megan Liu, Merritt Weaver, Anthony Ramos, Caleb Landry Jones, Alanna Masterson, with Pearl Sun, and Michael Shannon

Theater Count: 2,509

MPAA Rating: PG-13 for Language and Violence

Runtime: 1 h 41 m

Production Budget: 48 Million

Composer: Austin WIntory -- The score is a series of ambient sweeps with subtle inclusion of electronic flair and a heavy emphasis on piano.

Plot Summary: Martin Nguyen and his daughter, Barbara, travel to an ocean-themed amusement park only to find that an orca whale used for shows has gone missing; Martin inquires about the mystery and eventually reaches a point of no return.

 

The plot summary can be found here:

Spoiler

The film begins with an animated opening credits segment akin to Catch Me If You Can, with black and white silhouettes representing the characters as they move against an ocean blue backdrop. Silhouette of Martin Nguyen (Daniel Henney) and his daughter, Barbara (Megan Liu) are shown holding each other’s hand as they run from indistinguishable silhouettes which shift back and forth from a human form to the form of what looks like a stroke of black paint. The sequence is set to the indie art-pop song “He’s The Moon” by Bernice.

 

The song continues to play as the two silhouettes run far away from the audience into the ocean blue backdrop. The color then dissolves into a moving image: a first-person perspective of a vehicle driving down an interstate highway on a hot, sunny day.

 

 

The song becomes the muffled noise of a stereo as we cut to a shot outside the windshield of a burgundy-red car; Martin is driving, and Barbara is next to him in the shot gun seat, typing on a smartphone.

 

Martin smiles. “We should be at Ocean Bay in about thirty minutes.”

 

Barbara acknowledges her father with an ‘mmhmm’ as she texts. Martin glances at her phone for a moment, and brainstorms questions for small talk. Martin gestures toward the radio and asks where she found it; she says ‘Spotify’. Martin asks why she likes it; she says ‘it’s catchy’.

 

Martin prepares to say something about Barbara’s phone until his own phone rings. He answers it. It’s his ex-wife, Ellen (Pearl Sun), who is shown in a long shot of a dark room, sitting at a wooden desk, leaning towards an open laptop, her dimmed body standing out from in front of the translucent white curtain of the large window. Her conversation with Martin cuts between variations of this image and shots of Martin driving.

 

Ellen: If it isn’t the man I once loved.

 

Martin: Ellen! (*said with an eccentric smile*) How goes it?

 

Ellen: My plane landed in Paris after delay after delay, and I just now got situated at the hotel… How is… Ocean Bay? Is that what it’s called?

 

Martin: Well, we’re still driving. Not quite there yet. But we’re close.

 

Ellen: I’m really glad you’re able to take Barbara on a trip—as you know, there’s no way I would’ve gotten out of this business trip. It’s good for you to spend some time with her. And vice versa.

 

Martin: I think so too.

 

Ellen: You’d better.

 

Martin laughs.

 

Martin: I’ll take care of her.

 

Ellen: That’s what I like to hear.

 

They end the conversation. Martin looks down from the road towards a handbag and places his phone close-by an expensive-looking photo camera.

 

Barbara: Dad.

 

Martin: Yeah?

 

Barbara: Dad!

 

Martin looks at the road and sees a man in a black tuxedo (Michael Shannon) standing in the middle of it. Martin swerves away towards the grassy hill on the side of the road.

 

Barbara: What are you doing?!

 

Martin slams on the breaks. A mysterious sensation of weightlessness tumbles within Martin (which is expressed by how he grabs the car handle), but he chooses to disregard it. He rolls his window down and peers back out at the road, but the man who was standing in the road has disappeared.

 

Martin stares back at Barbara, telling her that he thinks the man is fine, asking her if she’s ready to continue on. She nods in agreement and puts her phone in her front pocket.

 

****

 

They arrive at Ocean Bay, a park which brims with vibrant commotion. All sorts of visitors walk amidst the various attractions, and an almost saccharine sense of excitement is felt among these guests. Upon Martin’s entrance, a wide-smiled park employee in a blue uniform with the name tag “Juan” (Anthony Ramos) hands them a flyer and informs them of the ‘big show’—The Beauty of the Sea, and its star, the famous orca whale:

 

Yin.

 

Martin tells him they’ll be attending. Juan replies with charismatic jargon, and the father and daughter go forth into the park. The confrontation ends with a close up shot of Juan’s side, as he looks back at Martin and Barbara, his eyes slyly pinched, his smile suspiciously smug.

 

A placidly-flowing montage of events is shown on screen; this is largely comprised of looking through the glass cages which comprise various sea creatures. During this sequence, Martin takes Barbara to the booths which let children touch the stingrays and starfish.

 

Martin: Be careful not to touch the tails of the stingrays; they could electrocute you.

 

Barbara nods.

 

The two of them eventually make their way to a stairway that leads down into a dark, artificial cave—within this confine exists an exhibit of penguins. They are greeted by an artificial breeze.

 

Martin: You wanna see the penguins?

 

Barbara shakes her head ‘no’.

 

Martin: (playfully) What? Of course you wanna see the penguins! You don’t wanna see the penguins?!

 

Barbara remains adamant.

 

???: Your daughter has the right idea.

 

Martin and Barbara turn around to see a woman (Merritt Weaver) in a scarlet coat marching towards them.

 

Martin: I’m sorry, do we know you?

 

Sam: I’m Sam Winters. I’m an animal rights activist.

 

Martin: Well, we were just about to go—

 

Sam: I’m sure you’re aware of how inhumane it is to keep God’s creatures behind a glass wall?

 

Martin: Listen; I’m taking my daughter to see the show. Alright? Please leave us alone.

 

Martin takes Barbara by the hand and quickly walks away from the cave entrance.

 

Sam: You’re going to the show? Did you hear anything I just said? They abuse that whale for money. You hear me?

 

****

The next scene begins with an establishing shot of the venue for The Beauty of the Sea. Many families are walking on the expansive outdoor auditorium to find seats.

 

Martin points to the splash zone and laughs about sitting there. Barbara declines to sit in the splash zone, and Martin laughs it off. He figures as much.

 

They take their seats in the crowded stadium, and Martin side-eyes Sam near the entrance with a picket sign—“RESTORE THE ORDER”—in her hand. He pretends like he didn’t see her, and the show begins to start. A young woman in a blue uniform with the name tag Laura (Alanna Masterson) steps in front of a big large pool; so does a young man with the name tag Ross (Caleb Landry Jones). They give awe-inspiring speeches about the oceans which surround the borders of the continents, about the life that the oceans hold within their depths.

 

It is soon time for the whale to come out. Laura calls for Yin to be released, and a distant underwater door is opened to the tune of a diegetic orchestral arrangement. The audience begins to clamor with excitement—Martin is visibly excited as well.

But the whale never comes. No dorsal fin wading through the water. No joyous outcry sounded.

 

Ross: (barely audible) I think something’s wrong…

 

Laura: (barely audible) Go run and see. Now.

 

Ross runs out of the arena, leaving Laura to face an audience that is growing more and more restless, more and more confused.

 

Laura: It seems we’re having some oceanicdifficulties right about now! Yin will be out in a moment!

 

Barbara grabs Martin by the arm.

 

Barbara: Daddy? Where’s Yin?

 

Martin: They’re bringing her out, sweetheart, it’ll just take a while.

 

Ross runs back to Laura and whispers to her.

 

Ross: (barely audible) She’s gone.

 

Laura: (barely audible) …What?

 

Ross: (barely audible) …Missing…

 

The two workers discuss the news a little bit more before Laura turns to the audience with a perplexed look on her face.

 

Laura: Ladies and gentlemen… I am very sorry to say that we must cancel today’s showing. We will have more information to share with you soon. We apologize for the inconvenience.

 

Some of the crowd start to boo the workers. Other bellow in disappointment. One furious patron slams a bag of popcorn into the ground and stomps off, shaking his head.

 

Sam drops her picket sign and marches toward Laura; Sam demands to know the whereabouts of Yin, and rebukes the staff for a myriad of things.

 

Martin: Stay here, Barb.

 

Martin walks up to Ross and asks him where the whale has gone, and Ross admits that it’s missing. Martin tells Ross that he’s an investigative journalist who can help track down the whale, but Ross declines the offer.

 

Martin: This is something that the park needs to handle… You should go enjoy yourself at our other attractions, and we’ll be sharing more information when it’s available.

 

****

 

Martin and Barbara walk through the park, disheveled and shaken up. Barbara asks why Yin is missing; Martin says that the situation is complicated and that, hopefully, the whale comes back to the park as soon as possible.

 

Martin suggests that they ride the carousel to pass the time, and Barbara says yes. So they wait in line for some time and board the carousel.

 

Barbara: I wanna ride the whale.

 

Barbara climbs onto the whale. As Martin gets on a nearby seat.

 

Martin: (happily) Well, if you’re gonna ride the whale, then I’m gonna ride the seahorse.

 

They get on, and the carousel begins to spin around. As the ride gently spins, Martin looks out at the blurred image of the immediate parameter... only to find the same tuxedo-clad man, the one he saw in the middle of the road, standing out in the crowd, staring directly at him and his daughter. Martin sees him stand there during the carousel’s first through spins—the second to the last time, the man is turning around and walking away, and the last time, he is gone. Concerned, Martin looks down at Barbara, who is gently swaying, her hair swaying in the natural breeze, her cares eluding her. And the thought of the tuxedo-clad man stays on Martin for the rest of the ride.

 

The ride stops. Martin takes Barbara by the hand and walks elsewhere—quickly.

 

Martin: I need you to stay calm. But someone was staring at us…

 

Barbara: What? When?

 

Martin: On the carousel.

 

Barbara: Are we in danger.

 

Martin: We should be fine if we lay low.

 

Barbara: …Do you think he stared at us because of Yin?

 

Martin peers down at Barbara, grasping at his chin.

 

Martin: …I’ll be honest, Barb, I think that’s a little far-fetched.

 

Barbara: …We need to know what happened to Yin.

 

Martin: …Are you sure? We can have an easy day and wait for tomorrow’s paper—

 

Barbara: Dad. We need to know.

 

Martin scratches his head. He promises Barbara that he’ll ask around about the whale, but maintains that, if they can’t find out more, then it is what it is.

 

****

 

Martin and Barbara find Juan, the park employee they saw earlier that day. Juan asks if there’s anything he can help with, and Martin asks about Yin.

 

Juan: Oh, man. I wish I was helping out in the search. But no, we haven’t found her yet.

 

Martin: How in the world would a whale go missing from a park such as this?

 

Juan: That’s what I’m trying to figure out. Maybe Yin’s been a reincarnated Houdini the whole time.

 

Martin: (laughing) Really? Houdini reincarnated as a female killer whale?

 

Juan: I mean, that makes as much sense as anything else would.

 

Juan’s left eye twitches. Barbara crosses her arms.

 

Martin: Well, it was a pleasure talking to you.

 

Juan: Hey, anytime. I’m an ally. Just come to me if you have any questions.

 

Martin: Well, Barb, I’m hungry for a good hot-dog. You?

 

****

 

Martin and Barbara go to a food vendor. Martin gets hot dogs for the both of them; his has ketchup and mustard while hers is plain; he eats quickly while she eats slowly.

 

Martin: Are you still shaken up?

 

Barbara nods her head.

 

Martin: By what? The man or the whale?

 

Barbara looks up at Martin with piercing eyes.

 

Martin: …I get it. You’re still worried about everything that’s going on, you still wanna find Yin, all this, all that… But I’m sure everything will turn out okay in the end. I wouldn’t worry too much about it.

 

Barbara: Don’t you want to find the whale?

 

Martin: Of course I do. I’m an investigative journalist, you know that. But… there’s not much we can really do about this. These are extraordinary circumstances, it doesn’t happen out of the blue. We’re talking about an orca going missing out of thin air.

 

Martin takes a bite of his hot dog.

 

Barbara: You mean out of water.

 

Martin: (with his mouth full) Yeah. That.

 

Suddenly, Sam walks right past them, marching towards the food vendor.

 

Sam: Now if I wasn’t so damn hungry, I wouldn’t be buying an overpriced pretzel. Seven dollars for a pretzel is bullshit.

 

Martin swallows the food in his mouth and calls out to Sam.

 

Sam: It’s you again.

 

Martin: …Sam, right? Hey, I just wanted to say that I saw you at the show.

 

Sam: Of course you did. Everyone saw me. I had to be escorted out by security guards, for Pete’s sake.

 

Martin: What did she tell you?

 

Sam: Not a thing.

 

Martin: Figures.

 

Sam: Animals deserve better. I’m pissed that Ocean Bay doesn’t even care enough about the animals to keep them safe. Why put them behind glass walls if you can’t even keep them in there?

 

Martin: Right.

 

Sam: Listen. I’m sorry I rubbed you the wrong way earlier. I can get pretty animated every now and then.

 

Martin: No biggie. It’s all good. I’m Martin by the way. This is Barbara, my daughter.

 

Sam looks down at Barbara.

 

Sam: So you’re Barbara, huh? What do you wanna be? When you grow up, I mean?

 

Barbara: A marine biologist.

 

Sam: Can you promise me something?

 

Barbara nods.

 

Sam: Never let anything like this happen ever again. Shouldn’t be too hard, right?

 

Sam buys the pretzel and leaves. Martin looks at his wristwatch.

 

Martin: It’s getting late. What do you say we go on one more ride and call it a day?

 

****

 

The next sequence of shots depicts Martin and Barbara riding a rollercoaster, which is shown to be titled The Manta Ray. This sequence includes a few shots of them standing in line (Martin flipping through a brochure while Barbara stares down despondently, lost in thought), shots of them getting on the dark blue ride, shots of them fastening their seat belts, a few back and forth shots of Martin trying to figure out where he’s seen the ride operator before—he is the man in the tuxedo, but it’s not meant to be obvious—and the rests of the shots are of the roller coaster ride, which gently fade into each other like a stream of water, much like it does during a particular scene in Crouching Tiger, Hidden Dragon, and in-between shots of Martin and Barbara, the tuxedo man’s face sweeps across the screen in front of an orange sky background—this is an extreme close-up. And the final shot is a shot of the roller coaster going up and down a sloping set of tracks in front of the setting sun, as a dolphin would rise from the ocean and crash back into it again.

 

****

 

We fade to a shot of a full moon, which sticks out like a stamp against the black night. We cut to the back of Martin’s burgundy-red car driving down the asphalt road. We cut to a shot of the front seats where Martin is driving and Barbara is staring down with a sad face. We see Barbara’s lips quiver as she begins to speak.

 

Barbara: Mom would’ve wanted us to find her.

 

A shocked expression appears on Martin’s face, turning to a perplexed one as his hands begin to steer the wheel. We cut to a long shot of Martin pulling over to the side of the road. We then cut to a lengthy handheld shot of Martin’s broken expression.

 

Martin: Barb…

 

He hesitates.

 

Martin: I want to tell you a little more about what I do for a living. I didn’t get into investigative journalism because I didn’t want to find the truth. I’ve said this before and I’ll say it again—I am the cat that curiosity kills. I’ve always wanted to find hidden truths. And I have to say, I’m so glad you inherited that trait—I really am. But… I know you have memories of when Ellen and I were together. And when she first told me she had fallen out of love with me, I couldn’t believe it.

 

Tears begin to roll down Martin’s face.

 

Martin: I fought for the truth. But the explanations your mother gave me… None of them made any sense to me. I couldn’t piece the truth together. So I just accepted the divorce and I moved on.

 

Martin looks to Barbara.

 

Martin: Barbara. We need to learn to accept that there are some mysteries whose truths will never be revealed. But if there is one truth I am sure of, it is that I love you, and that I’m proud of you, and that I will keep you safe from harm.

 

We cut to a shot of the front seats. Martin and Barbara stare at each other tearfully, before embracing each other with a hug.

 

****

 

We cut to an establishing shot of a gas station. Martin pulls his car from one of the fuel dispensers to a parking spot in front of the convenience store. He exits the car and turns to Barbara.

 

Martin: Would you like anything?

 

Barbara: Yes.

 

Martin: (laughs) Well, what would you like?

 

Barbara: Soda.

 

Martin: (laughs) Well, what kind of soda?

 

Barbara thinks for a moment.

 

Martin: (laughs) I get it. This is the hardest part for me whenever I get a soda.

 

Barbara: …Strawberry.

 

Martin: Strawberry! Extravagant! (laughs) Stay here, I’ll be right back.

 

We watch from Barbara’s point of view as Martin enters the store. Inside the car, Barbara is able to see through the store windows. She watches as Martin walks to the refrigerators in the back. She peers to the right and notices that the tuxedo man is standing in the cashier’s place. She watches as an unassuming Martin walks up to the counter and sets down two bottles of soda. She watches as Martin looks up at the tuxedo man and becomes frozen by fear. She watches as a man in a black ski mask enters the frame and slams Martin’s head into the countertop. She watches as Martin’s body falls, unconscious, to the ground. She watches as the masked man rummaged her father’s body for his car keys. She watches as the man takes the car keys, walks out of the store, walks to her side of the car, and taps the window on her side of the car.

 

Barbara realizes a truth: there is no running away. She apprehensively rolls down her window, and the man takes off his mask, revealing his wide-grinned face.

 

Juan: You remember me?

 

Barbara looks at Juan in horror.

 

Barbara: What do you want?

 

Juan’s eyes flare like fire.

 

Juan: I want you to know the truth.

 

****

 

The sun rises over the horizon. Martin wakes up on the floor of the convenience store, and he notices a loose-leaf paper note that was left on his body. He rubs his pained forehead, unravels the note, and reads.

 

“Come back and find Yin if you ever want to see your daughter again. – OCEAN BAY”

 

Martin: What?! No!

 

Martin rushes outside and falls to his knees at the sight of the empty parking lot.

 

Martin: BARBARA!!

 

Martin covers his face and weeps. When he collects himself, he reaches for his phone, his pocket still encasing the device, much to his surprise. He frantically opens the Uber app and begins to search for a driver.

 

Martin: The truth is I’ll keep you safe, the truth is I’ll keep you safe, the truth is I’ll keep you safe…

 

Martin finds a name on the list of drivers, and is startled by the familiarity. We cut to the image of the name—Sam Winters.

 

****

 

We cut to the front seats of Sam’s mint green car. Sam has a newfound fury in her eyes while Martin has his hands on his throbbing forehead.

 

Sam: I am fucking livid. I knew those exploitative bastards were up to something! A whale doesn’t just go missing! They had to be in on it! Now a little girl’s in danger! A little girl!

 

Martin winces.

 

Sam: Tell me everything you remember about last night. Tell me right now what happened at the store last night—

 

Martin: Sam, please, give me a moment…

 

Sam seals her lips. She keeps her eyes fixed on the road as Martin prepares to speak.

 

Martin: We stopped to get gas, and I went into the store… I remember seeing the store clerk… He had this tuxedo on… I had seen him before… On our way to Ocean Bay, he was standing in the road, and I almost hit him… On the carousel, I saw him staring at me and my daughter… I saw him operating the Manta Ray… And there he was, staring at me on the other side of the counter.

 

Sam: Holy shit. And you’re telling the absolute truth?

 

Martin nods his head—gently, as not to upset his head. Sam’s jaw drops.

 

Sam: Um… Did you research Ocean Bay before you came? Did you see him in the promotional material?

 

Martin: …Come to think of it… I did…

 

Sam: That’s the manager of Ocean Bay. Gus Ratliff. And you were having hallucinationsof him?!

 

Martin: My daughter saw him in the road, too. So I don’t know what to think anymore. I don’t know what the truth is anymore. Because I don’t know how it’s possible for both of us to have seen him the way we did.

 

Sam: I guess they’re brainwashing people in more ways than one!

 

Martin: I need to call my ex-wife…

 

Sam: …You haven’t called her about this yet?

 

Martin: That’s why I’m calling her now. 

 

Martin puts the phone next to his ear, and we abruptly cut to Ellen, who is sitting in the same Paris apartment room, at the same time of day as we last saw her. Ellen picks up the call.

 

Ellen: Martin…

 

A long pause.

 

Ellen:…What?

 

An even longer pause.

 

Ellen: …Oh… No… No, no, no…

 

Ellen puts a hand on her mouth for a moment.

 

Ellen: …You’re going back for her?

 

Another pause.

 

Ellen: …Well, it isn’t your fault. I don’t blame you for this. And I know you’ll find her. You promised to keep her safe.

 

She hunches forward.

 

Ellen: That's what I like to hear.

 

Ellen ends the call, drops the phone, and runs her hands through her hair. The camera cuts from a medium shot of her to a long shot of her, which places her on the left side of the screen as the white window curtains dance behind her.

We cut back to Martin and Sam. Martin leans back into his seat and sighs.

 

Sam: I should tell you, Martin. Those men left two things: everything other than your keys, and a note. You know they wouldn’t make a mistake like that. They want you to find her. So follow their guidelines, but remain cautious. They might be luring you into a trap—I wouldn’t put it past them. So tread lightly. And know that I’ll have your back. You can be good cop, and I’ll be bad cop. I’ve been looking for a chance to get pull this organization through the ringer.

 

Martin: What for?

 

Sam: …This zoo isn’t like other zoos, Martin. Most other zoos at least have protocols in place to treat the animals humanely, even if I disagree with their capture. But Ocean Bay? The animals they use for shows? They’re treated like toys. I’ve seen it.

 

Martin: …Do you think they see me and my daughter as toys?

 

Sam: I wouldn’t doubt it.

 

Martin hunches forward.

 

Martin: Now I’m livid, too.

 

****

 

We see a brief montage of Martin and Sam’s entrance into Ocean Bay—driving under the sign, paying the parking fee, parking the car, walking (in a daze-like hurry) towards the park.

 

Sam: Don’t worry about paying to get in.

 

Martin: What? Why not?

 

Sam shows Martin a card from inside her wallet.

 

Sam: A friend gave me a lifetime pass. Me and a small group can get in for free.

 

Martin: What would you need that for?

 

Sam: If I’m gonna protest inside the park, I’m not gonna keep paying the organization every time I come.

 

Sam shows the card to a worker in a kiosk, who nods his head and motions them in. Martin sees Juan, who is standing in the same spot.

 

Martin: We need to talk to him. He’ll recognize me.

 

Sam: So how do we go about it?

 

Martin: I have an idea.

 

Martin and Sam march towards Juan, who sees them, sweating bullets through his fake expression of friendliness.

 

Juan: Oh, you! You’re back sooner than-

 

Martin hands Juan the handwritten note. Juan’s expression changes.

 

Martin: Tell me where my daughter is. Now.

 

Juan looks down on Martin with smug lips.

 

Juan: …Retrace your steps.

 

Sam: Retrace your… The heck’s that supposed to mean?!

 

Juan: That’s the only thing I’m allowed to say.

 

Sam: Gus told you that, didn’t he? You’re not fooling anyone!

 

Juan: Like I said. I’ve already said the only thing I’m allowed to say.

 

Martin: We’ll work with this. Sam, let’s go. We’re losing time.

 

Sam: We need more information, right?

 

Martin: (projecting his voice) I remember where we were.

 

Juan: Hey, Martin!

 

Martin turns to Juan, who winks.

 

Juan: I was the one who slammed your head into the counter.

 

Martin is in disbelief. He balls his hands into fists, barely able to contain his rage.

 

Sam: Martin.

 

Martin sees that Sam is walking towards Juan.

 

Sam: I’m bad cop, right?

 

Sam punches Juan in the face. Juan falls to the ground unconscious.

 

Sam: We need to hurry.

 

Martin and Sam hurry further into the park as a crowd of guests rush to help Juan.

 

****

 

Martin retraces his steps through the park, talking to himself aloud, and Sam follows him. They travel past the animal cages, past the starfish petting stages, until they reach the dim cave entrance of the Penguin exhibit. Martin stops and turns to Sam.

 

Martin: This is the place.

 

Sam: …Are you sure?

 

Martin: Yes. And, Sam, I’ll admit. I think I need to go alone past this point.

 

Sam nods her head.

 

Sam: I’ll be nearby. You’ll be able to contact me if you need to. And make sure you don’t fall into their trap. You know they’re trying to trap you into something.

 

Martin: I wouldn’t doubt it.

 

Sam steps toward Martin and gives him a hug.

 

Sam: Find your daughter. Restore the order.

 

Sam releases him. Martin nods and walks down into the cave.

 

****

 

Cut to a long shot of the penguin exhibit. Behind the glass wall, the penguins waddle aimlessly on their icy terrain. Martin enters from the left side of the screen and walks up close to the glass, where the shot becomes a close up on Martin, and a man walks to the glass, standing right next to him. Martin doesn’t even have to look; he knows exactly who this is.

 

Gus: It looks like I belong in there with my tuxedo. Don’t you agree?

 

Martin: …Is she safe?

 

We cut to Gus, thus beginning a shot-reverse-shot pattern. Gus turns his head towards Martin.

 

Gus: You mean the whale or the daughter?

 

Martin shoots Gus an angry look. Gus chuckles to himself.

 

Gus: They’re both unharmed.

 

Martin: How am I supposed to trust you?

 

Gus smirks.

 

Gus: Why don’t you follow me to my office and find out?

 

Gus motions Martin towards a door in the far corner of the cave—in the middle, a message reads ‘EMPLOYEES ONLY’.

 

Gus: This is just an entrance to the underground passageways. Helps the workers get from place to place. Heck, I use it, too. I hate big crowds of people, walking amongst the sweaty masses. This is more like it.

 

Martin rubs his nose and follows him.

 

****

 

We cut to Gus’s office. It is furnished with beige walls, a wool carpet, a redwood desk, pictures of family members, and dozens of merchandise and posters pertaining to various forms of ocean life.

 

Gus: Water?

 

Martin knows better than to accept a drink from a man such as Gus.

 

Martin: No thank you.

 

Gus: …Well, I’ll pour you a drink, just in case you want it.

 

Martin: …Thank you.

 

Gus slides the cup of water across the table.

 

Gus: Much obliged…

 

Gus sits on his side of the desk.

 

Gus: Take a seat.

 

Martin stands in place for a moment, but he eventually takes his seat.

 

Martin: So where is she?

 

Gus: I’m getting to that-

 

Martin: Where. Is. She.

 

The two men stare each other down for a long moment. Finally, Gus speaks.

 

Gus: She’s in the room where we’re keeping Yin. You’ll see her after this discussion.

 

Martin thinks for a moment.

 

Martin: And what if I wanted to skip this discussion?

 

Gus: How would you go about that?

 

Martin: I’d beat you down. Then I’d beat your henchmen down. Then I’d beat down anyone else standing between me and my daughter. And I’d take my daughter, flee from this place, and seek justice against you.

 

Gus: (laughs) Well, look behind you.

 

Martin looks behind him and finds Juan, along with Ross and Laura, standing in front of the door. Martin buries his face in his hands in frustration—he’s been trapped.

 

Gus: Now it’s my turn to ask a question.

 

Martin swiftly lifts his head.

 

Martin: What, are we taking turns questioning each other?!

 

Gus: Did you come alone, Martin?

 

Martin: …No. I came with an animal rights activist.

 

Gus: We know exactly who you’re talking about.

 

Gus snaps his finger, and Juan exits the room.

 

Martin: My turn?

 

Gus: Go right ahead.

 

Martin: …Why did you kidnap my daughter? There has to be a reason.

 

Gus: …We’ve been watching you. Ever since you searched our website. We know more about you than you think.

Gus leans forward in his chair.

 

Gus: You’re the perfect specimen.

 

Martin’s eyes widen.

 

Martin: …For what?

 

Gus wags his fingers.

 

Gus: It’s my turn to ask a question.

 

Martin grabs his head, on the verge of hyperventilating.

 

Martin: This can’t be the truth… It doesn’t make any sense…

 

Gus grins. He slides the cup of water closer to Martin.

 

Gus: Why don’t you drink some water, Martin?

 

Martin’s hands shake violently. He manages to grab the cup. He stares at his own reflection in the water for a moment before looking up at Gus.

 

Martin: You drink it.

 

Martin thrusts the water at Gus’s face, rising onto his feet as Gus yelps in shock. Ross and Laura restrain Martin by grabbing his arms, and Martin flails madly to break free, but to no avail. Gus grabs a taser and storms towards Martin.

 

Gus: I thought higher of you, Martin!

 

Gus jams the taser into Martin’s chest. Martin is electrocuted until he loses feeling in his body Ross and Laura let go of his body, and it falls loosely to the ground. The final shot of the scene is a POV shot of Martin lying on the ground as Gus hovers above.

 

Gus: Soon, Martin. Soon, you will know the truth.

 

Martin closes his eyes and loses consciousness.

 

****

 

Gus: (through a speaker, as all his dialogue will be in this scene) …Martin.

 

In an uncut POV shot, Martin opens his eyes. He is lying on his stomach in a padded sling, hovering above a pool of water. He is outside. It is nighttime.

 

Gus: (to offscreen individuals) Drop it in.

 

Martin feels the sling lower down towards the water. He tries to move his body, but fails—it’s heavier than he expects. He is submerged into the water, and the camera shifts position from something stationary to something more… weightless.

 

Gus: Swim.

 

An unexplained natural instinct fires off inside Martin’s mind. He lifts himself out of the sling—no arms necessary, much to his surprise. He swims around for a moment; he hears a muddled sound behind him and turns around to watch the sling being hoisted out of the water.

 

Gus: Come above the surface.

 

Martin looks up at the surface of the water. An artificial light brightens the surface, watching over him like a guardian.

 

Gus: Martin. Come above the surface. You won’t be able to breath if you don’t. Show us a sign of life.

 

Martin swims towards the light. We cut to a shot above the surface, looking down at the water below, and in this shot, a whale (rendered in CGI à la Life of Pi) pokes his head above the surface. Through Gus’ speaker, he begins to hear a crowd of cheering people.

 

Gus: Welcome to your new existence, Martin.

 

The whale looks at his surroundings; through an establishing shot, we see the same stadium of seats where he had been with Barbara. We cut back to the whale, which begins to splash erratically on the surface.

 

Gus: You’ve figured it out, haven’t you? Martin, you are the whale. Specifically, you are Yin.

 

Martin collects himself. He swims in a circle on the surface—clockwise. We cut to his right eye, which is pained by distress. We cut to his massive tail as it is dragged across the surface. We cut back to his right eye, which is now pained by knowledge. And we cut to a bird’s eye view of Martin as he swims in his circle—the image of his swimming is almost meant to imitate the yin yang, though he has no counterpart.

 

Gus: Why don’t you dive down, Martin? It’ll cool you down.

 

We cut to a moving shot of Martin diving down. The camera follows the dorsal fin as the body rises, breaks through the saltwater, and envelopes itself in complete submergence.

 

Gus: Here’s what we’ve done, Martin. The previous inhabitant of this body passed away the day you came. So me and a team of scientists have placed your consciousness into the body of the whale. We almost sought after the activist—it’d make more sense if it were her. I mean, this is the body of a female orca, after all. Nevertheless, I thought, and many of my colleagues agreed, that you were the perfect specimen. But I’m sure you’re very excited to be in this position. Besides, it’d make for a better show if a human mind of logic and reason was the mind jumping through the hoops. Don’t you agree, Martin?

 

We cut to a shot below the surface as Martin swims away from the light.

 

Gus: You have three electronic devices implanted onto your skin. One is the device that allows your consciousness to inhabit this body. Another is the device that allows you to hear my voice. And the last one is sort of like a shock collar. You disobey me, I push a button, a shock runs through your veins.

 

Martin sees a light further below. He swims further down and finds an underwater passageway. 

 

Gus: Why don’t you see what’s down there, Martin?

 

Martin swims down and stops in front of a giant glass wall. He sees the dark room on the other side—it’s an area for tourists to gaze at the whale, lit with three exits signs. He follows the rays of the light and finds Barbara, who is staring up at him. From the look Barbara gives we can infer that she already knows of Martin’s fate.

 

We cut to a money shot on the other side of the glass. It’s a long, slightly high-angle shot of Barbara staring up at Martin, and Martin staring down at her, the light of the exit signs and the light from Martin’s tank cascade into each other. The red of the exit signs and the blue of the water contrast the halves from each other. Martin’s new body curves as it stares down at Barbara’s white dress—the figures symbolically represent the yin-yang, Barbara representing the order Martin has lost.

 

Gus: We’ve made arrangements with Ellen. This is the last time you’ll be seeing her.

 

Martin’s eyes grow as wide as a whale’s eyes can grow. A dark figure walks towards Barbara from the shadows of the tourist room and grabs Barbara by the hand. A tear rolls down Barbara’s face as she’s dragged away. Martin begins to ram his head into the glass wall over and over, trying desperately to reach her, blood flowing out of his head. And as all hope is lost, Martin opens his mouth and shouts in a whale’s voice.

 

Martin: BARB!!

 

Barbara turns back to look at her father one more time. Then she is taken away for good.

Gradually fade to black on the image of the lone whale behind the glass wall.

 

Gus: Neither I, nor anyone else, will address you as Martin any longer. You will now be known as Yin. You will take the place of Yin. You are Yin. So swim up to the surface. Take a moment to breathe. And begin your training.

 

****

 

We cut from a black screen to a crowd of tourists in the stadium, accompanied by a message in black text, which fades in and out:

 

One Month Later

 

We cut to the inside of Martin’s tank, above the water line. We see Martin rise to take a breath, and the camera follows his dorsal fin down into the water. We hear Laura’s voice on Martin’s speaker say that his role in the show is about to begin. The door between the tank and the stadium pool opens, the sunlight breaking through with its rays. He hears the words “Here she comes now!”, and he hears the sound of the crowd’s cheers, but both sounds are muffled by the water surrounding him. He swims out of the tank and rises up to the surface, letting the crowd watch the dorsal fin pierce the water’s surface—the crowd loves it.

 

Martin looks with his right eye and sees a waterfall. It is just for show, to help spruce up the environment of the stadium, but this is the first time he’s seen it. He looks with his left eye and sees Gus, who is standing in the nosebleed section of the stadium, watching with the eyes of a hawk.

Martin defies his routine and swims towards the waterfall. There is an extreme wide shot of him poking his head out of the water to stare at the waterfall, before turning around at the sound of Ross and Laura’s frantic improvisations.

 

We see a montage of the show. Martin does many jumps out of the water, both through hoops and into the air. There is a shot of the tourists in the splash zone getting splashed as well. There are many shots of Gus looking on with an enigmatic facial expression. There is also a sequence of shots where a little girl is taking photos with the whale—the little girl reminds Martin of Barbara, but he knows it isn’t her.

 

As Ross and Laura begin to tease the final jump, Martin looks with his eye and finds Sam in the audience. The sound diminishes as they stare at each other in a shot-reverse-shot moment. Sam is looking with a hopeful and resolute expression, holding the same sign she’s held before—“RESTORE THE ORDER”.

 

Martin disappears below the water. The crowd holds its breath collectively, hoping for a powerful, graceful stunt. Up in the nosebleed, Gus smirks, feeling vindicated.

 

And in a collection of slow-motion shots, Martin leaps over the waterfall. The viewers of the film can tell that this is a jump so high, even an orca wouldn’t be able to make it. But Martin makes it, despite all probability, and he disappears behind the waterfall.

 

The crowd gasps in shock, as do Ross and Laura. The biggest smile creeps onto Sam’s face—for Gus, the opposite.

 

But the gasps soon turn to panic as the whale rises high into the air. The whale begins to transform. And after a breathtaking, detailed transformation, there is no longer a whale in the sky. No. The creature is a Chinese dragon, with glistening scales of charcoal black and metallic silver, its eyes and hair white as the winter snow.

 

Sam stares up in wonder. Many of the tourists begin to flee the stands for their lives. Ross and Laura run away with panicked expressions. The dragon glides towards Gus, who is still standing at the top of the stands, his body frozen in place, his figure flavored with stoicism. And after an intense stare-down, once the masses are given a chance to escape from the stands, the camera becomes Gus’ low-angle POV, and the dragon smolders him with its breath of fire, the rush of orange flame covering the entirety of the screen.

 

Those flames dissolve into an image which glides briskly above an ocean. The image pans from the ocean to behind the dragon, which is flying swiftly in the air. We cut to the front of the dragon, for a medium close-up shot at a slight high angle—we see its bestial expression as it squirms through the air, perhaps aimlessly. We cut to the white eye, which is given its pupil back. That pupil looks back, and we cut to the back of the dragon, when the dragon looks behind him to see the dorsal fin that’s protruded from its back.

 

The dragon begins to lose its ability to fly. The scales begin to dislodge from his body, floating away into the sky above. The tail of a dragon becomes that of a whale’s, and we see the face of the dragon as it transforms into that of a whale’s. And once the transformation is complete, the whale begins to plummet towards the ocean.

 

The whale lets out a noise of fear and concern. We are given a final POV shot, which is falling towards the ocean at a rapid pace. The whale crashes into the ocean, the sound of the landing assaulting the listener…

 

And like a snap, a close-up of Martin appears on the screen.

 

We cut to a medium shot to see that Martin is lying on a hospital bed in his human form. Breathing heavily, he feels his own body to figure out what he is. He is distressed, but relieved.

 

We cut the door of the room. We see a woman in a nurse’s outfit come inside with a clipboard. She smiles at the sight of Martin.

 

???: You’re awake.

 

We cut to Martin, who acts as if he’s seen her before.

 

Martin: …Who are you?

 

We cut back to the nurse.

 

Sam: I’m Sam Winters. I’m a hospital nurse. You’ve been in a coma for a month.

 

Martin’s jaw drops.

 

Martin: …What from?

 

Sam: You and your daughter were in a car accident.

 

Martin: …Is she okay?

 

Sam takes a moment to speak.

 

Sam: She’s with her mother. I’m sure you’ll see her soon.

 

Sam leaves the room with the clipboard, leaving Martin speechless.

 

****

 

We cut to a montage of shots in Ellen’s house, a home with red walls and posh Chinese decoration. Ellen is putting pillows and a blanket on the dark green couch. Barbara walks around the couch haltingly, feeling the soft padding, smiling to herself.

 

We cut back to the hospital room. Juan, Ross, and Laura walk into the room and greet Martin. Juan sits down in a chair beside Martin’s bed.

 

Juan: What happened was, we… I was driving the car on the same road… I wasn’t paying attention to how fast I was going. And I rammed into the back of your car. You swerved off the road, and your car tumbled down a hill. Your daughter wasn’t injured at all. But you had a head injury and fell into a coma.

 

Martin remembers the feeling of weightlessness he felt after dodging the man in the tuxedo as he watches the tears falling down Juan’s face.

 

Juan: Me, Ross, and Laura… All of us are grateful that you’re alive and that you’re okay. We didn’t want to take you away from your family. Thank God for mercy, right?

 

Another montage, this time with handheld camera shots: Ellen and Barbara park in the hospital parking lot in a white car, both of them wearing black shirts. Ellen and Barbara walk up to the front desk and hurry down a hallway after a front desk receptionist informs them of their destination. Ellen and Barbara find Martin in his room, who is sitting on his bed, smiling. 

 

Ellen and Barbara tearfully embrace Martin. Martin embraces them back.

 

****

 

We cut to Martin and Ellen alone in the hospital room.

 

Ellen: Martin. I was thinking you should stay at my apartment. You can stay for as long as you need to.

 

Martin: Um… That’d be great. Really.

 

Ellen: Yes. There’s a lot of people that want to talk to you where I am.

 

Martin: …Ellen.

 

Ellen: …Yes?

 

Martin: When I was in the coma… I had these… visions.

 

Ellen sits next to Martin on the hospital bed.

 

Ellen: You did? What did you see?

 

Martin: …I saw the truth.

 

Ellen: …The truth?

 

Martin: Yes.

 

Ellen: …What truth?

 

Martin: …The truth that you and Barbara complete me. That you and Barbara are the yin to my yang. That you and Barbara are the order in my life.

 

Ellen stares into Martin’s eyes, and she hugs him—it’s almost strong enough to be a tackle.

 

Ellen: Martin… I’m still figuring out the truth for myself… but if you and Barbara want to help me along… Then I’d be all for it. And if the truth is that we should be together again… then I’m all for it. I promise.

 

We cut to a hospital corridor before Ellen finishes speaking. Martin and Ellen are walking down the corridor, and in the corridor, they find Barbara. Barbara runs to Martin. Martin runs to her. And with their arms outstretched, they collapse into each other. They hold each other as the score swoons around them.

 

Barbara: (whispering) I saw everything.

 

Martin tearfully looks down at Barbara.

 

Barbara: In my mind, I saw everything. In your dream, that was the real me. And I was worried you’d be behind the glass wall forever. Daddy…

 

Barbara begins to cry.

 

Barbara: I’ll never take you for granted ever again!!

 

Barbara sinks her head into Martin’s chest and sobs. Martin doesn’t know what to make of it; nevertheless, he holds her tight. And we cut to a horizontal image of their embrace, their black and white shirts clashing into each other. The image gently fades into an image of Yin, the whale of Martin’s mind, as it floats lifelessly under the shimmering ocean surface.

 

Gently fade to black.

 

Roll credits.

 

Player's Note:

 

Spoiler

So you might be wondering why I wasn't warning anyone about 'divisiveness' or 'Shyamalan-esque plot twists' before posting this plot summary. I decided not to say anything about it because I thought that the story's twists were pretty good and I didn't want to detract from the shock value of unseen plot twists. Part of the reason I placed it in early August for release was because I remembered that The Sixth Sense was also an early August release, and I thought the two films were fairly comparable.

 

I hope it's okay that I didn't describe shot types for all of the moments in the plot; I do intend for the readers to be able to imagine certain shots the way they see fit.

 

In fact, I'm not sure if I wrote this plot summary the way I should've. This is my first plot summary in the game and if there's any feedback you want to send my way in regards to formatting and technique, I'm all for it.

 

But in the meantime, thank you for taking the time to read my summary, and I look forward to writing more!

 

 

This is a completed work.

Edited September 22, 2023 by SLAM!

[Xillix]

He-Man III: The Horror of Hordak

Release Date: August 20, Y5

Studio: Gold Crescent Pictures

Genre: Fantasy/Action/Sci-Fi

Director: Robert Stromberg

Theater Count: 3,890

Premium Formats: Dolby Cinema, 3D, IMAX & IMAX 3D

Shooting Formats: 4.3K Digital (Arri Alexa LF) (Post-converted to 3D)

Aspect Ratio: 2.39:1 / 1.90:1 (Select scenes in IMAX) / 1.44:1 (Select scenes in full-height IMAX with Laser venues)

Release Image Formats: 2K 3D DCP, 4K DCP, 4K Dolby Cinema DCP, 2K IMAX Digital DCP, 2K IMAX 3D Digital DCP, 4K IMAX with Laser DCP, 4K IMAX 3D with Laser DCP

Release Audio Formats: 5.1, 7.1, Dolby Atmos, IMAX 12-Channel

Production Budget: $140 million

MPAA Rating: PG-13

Running Time: 125 minutes

Major Cast: Lance Garret (Prince Adam/He-Man), Shailene Woodley (Teela), Randy Couture (Hordak), Julianne Moore (Queen Marlena), Liam Hemsworth (Buzz-Off), James Marsden (Stratos), Milla Jovovich (Shadow Weaver), Viggo Mortenson (King Randor), Jackson Rathbone (Mekaneck), Steve Austin (Colonel Blast), Scott Adkins (Vultak)

Plot Summary:
Based on the Mattel toyline and comic/TV franchise Masters of the Universe. A sequel to Y1's He-Man and Y3's He-Man II: The Revenge of Skeletor.

 

Scenes written in red text expand up to 1.90:1 in IMAX and 1.44:1 in full-height IMAX with Laser locations.
 

Spoiler

 

The film begins about one year after the defeat of Skeletor at the end of the second movie. In a prologue, we see a group of farmers in a small Eternian village tending to their fields when, out of the clear blue sky, some kind of small spaceship plummets to the ground like a meteorite. The farmers shout and flee, barely escaping the blast radius of the impact. When the dust has settled, a few of the braver farmers approach the craft – a sort of retro-futuristic looking red-and-blue rocketship. A hatch opens, and out come a group of bulky, humanoid, heavily-armored silver robots bearing a bat-winged insignia on their chests. The robots beep and whir unintelligibly, and then begin blasting at the farmers indiscriminately.

 

We zoom up above the farmland, into the sky, where dozens more of the ships are now rocketing down toward the surface. Up we fly into the stratosphere, then out of the planet’s atmosphere entirely, into the darkness of space. Quickly we approach the source of the rockets – a massive interstellar warship emblazoned with the same threatening insignia. A seemingly endless swarm of the smaller spacecraft are pouring out of huge docking bays on its underside. Eternia is facing the start of a full-blown alien invasion.
 

TITLE SEQUENCE
 

There is chaos at the Eternian Royal Palace. Diplomats, guards and soldiers run to and fro in every direction. King Randor (Viggo Mortenson) and Queen Marlena (Julianne Moore) are locked away in an emergency session with a group of high-ranking diplomats and leaders from the various client states of Eternia, including Stratos (James Marsden), leader of the winged bird-people of Avion, and Buzz-Off (Liam Hemsworth), royal representative for the Andreenid bee-people of the Mystic Mountains. The entire planet is suffering ongoing landings and attacks from the unidentified robot invaders. No one in the assembly recognizes the robot-men or the insignia they bear.

 

Meanwhile, Teela (Shailene Woodley), captain of the royal guard, is doing her best to organize the palace guards so they can prepare for a direct attack. However, so far, the attacks have all been carried out against civilian and industrial targets, not centers of government. Many of the guards are deserting the palace to join the army in fighting the invaders in the surrounding cities and villages. Teela, though, is worried this is a diversionary tactic meant specifically to draw defenses away from the palace and other key targets, and implores all of the guards to stay. She faces criticism from some of the people under her command – some of whom even suggest her orders are a disgrace to her dead father, former captain of the guard Man-at-Arms.

 

Outside of the palace, Prince Adam (Lance Garrett, a made-up CAYOM actor) is racing through the forest. He is accompanied by the court wizard Orko (a CGI character voiced by Justin Long) and his friend Mekaneck (Jackson Rathbone), a military scout who is a cyborg with an extending mechanical neck. The trio are making their way towards Castle Greyskull, an ancient abandoned fortress that contains a secret stone of immense magical power. They are encountering heavy resistance, as the robotic troops are converging on the castle. Somehow, it seems they know of its importance.

 

Prince Adam is the appointed defender of Greyskull and the magic stone, but had his powers stolen by the half-demon dark wizard Skeletor, leaving him unable to transform into He-Man. Ever since, Orko has been trying to work out how to recharge his Sword of Power with magic from the stone so that he can regain his abilities – but it’s a very tricky, sensitive process, not helped by the fact that Orko is a bit of a klutz. The invasion, though, has forced their hand. They need to try and bring back He-Man now.

 

Adam, even without his powers, is a pretty good fighter, wielding the ironically-powerless Sword of Power like a pro thanks to his extensive training with Teela. Along with Orko’s use of simple offensive spells and some brute-force brawling courtesy of Mekaneck, the three do fairly well for themselves and manage to reach Greyskull. The robots are attempting to get in, but the drawbridge across the gaping chasm that surrounds the fortress is closed, so they aren’t making much progress.

 

Unfortunately for Adam and company, since he no longer has the power of He-Man, the enchanted fortress does not react to his presence. The drawbridge remains closed as he approaches. Orko has to zap him across the moat with a teleportation spell, which spits the young prince out in midair just in front of the drawbridge. Adam sinks the sword into the ancient wood, carving a slit in it as he slides down, clinging to the hilt for dear life. His descent slows gradually until he finally comes to a stop, but he still has no way to actually get inside the castle…

 

Until a bolt of explosive magic courtesy of Orko narrowly misses him, blasting a hole through the drawbridge and sending burning splinters of wood out of the screen into the audience. Adam climbs through the hole into the fortress, and Orko repeats the spell to get Mekaneck across. The scout nearly falls to his death, but his extending neck saves him when he deploys it to full length, allowing Adam to grab on and pull him in – no small feat without his super-strength. Orko, who is always floating anyway, simply flies across the moat and into Castle Greyskull.

 

The three proceed into the lower chambers of the fortress, where the magic stone is hidden. Thankfully, it is intact and still radiating enormous amounts of mystical power – more than enough to recharge the sword. Nervously, Orko begins the ceremony, using a brand-new spell to attempt to transfer the power. Thankfully, it works, and in a matter of moments the Sword of Power has been completely recharged, transforming Adam into He-Man. But the transfer doesn’t stop.

 

Orko begins to panic, trying to do anything he can to end the spell as an unstable arc of volatile magical energy forms between it and the sword. But he doesn’t have the power or the skill to correctly handle such an incredible force. He-Man shouts for Mekaneck to get down, jumping between the stone and Orko and conjuring a magic barrier with his sword. Critical mass is reached, and the unthinkable happens.

 

Some sort of chain reaction destroys the magical stone. It starts with a few cracks, quickly spreading, until chunks begin to break off and finally the entire thing explodes. It’s almost like an atomic bomb has been set off beneath Castle Greyskull. The glowing shockwave tears the fortress apart from within stone by stone, completely leveling the structure. Trees are uprooted within a mile-wide radius, the robots in the area being totally annihilated. When it’s over, all that’s left of Greyskull is a huge crater, sunlight streaming down through the dust into the previously-underground chamber where our heroes are.

 

Or at least where two of our heroes are. Mekaneck is nowhere to be seen. Panicked, He-Man calls out his name, but there is no reply. Not a trace of him. He has either been blown away or vaporized by the explosion. And the sacred power that has resided here for millennia is gone forever – gone except for what remains in He-Man and his sword, and within Skeletor somewhere across the universe. Orko tries to apologize but cannot string together a sentence in his shock. He-Man simply collapses onto his knees and cries out in agony.

 

In orbit around the planet, the giant flagship of the invaders floats silently. Inside, within a sinister, hi-tech command center, a ghastly despot sits upon a demonic-looking throne. His head is stark white, batlike and vampiric in shape, equipped with pointed ears and a set of even pointier fangs in his mouth. His eyes are glowing, featureless red orbs. He wears a regal set of black-and-red armor bearing his bat-wing insignia. In the places where his muscular body is visible through gaps in the metal outfit, we can see he has the same distinctive blue skin tone as Skeletor. He is Hordak (Randy Couture), supreme overlord of the Horde.

 

Into the command center marches one of his loyal subjects, Colonel Blast (Steve Austin), a mostly-human cyborg in silver armor with laser guns built into his body in numerous locations. He relays a report from the Horde Troopers – the name for the robot soldiers – about the sudden destruction of Castle Greyskull and the great loss of troops in the explosion, as well as the unfortunate restoration and survival of He-Man. Hordak seems only mildly perturbed. He says, in fact, the loss of the magical stone may be for the best. His superior technology will allow him to conquer the planet, and now the only significant magical obstacle is He-Man himself.

 

Out from a dark corner steps an enchantress, her body completely covered in a flowing bright red dress, most of her head and face hidden by a matching hood. She is Shadow Weaver (Milla Jovovich), Hordak’s adviser on the mystical arts, and she is quite a bit more upset about the stone’s destruction as she had wished to claim its power for herself. Hordak curtly reminds her the same quest was the ultimate undoing of his “foolish usurper” Skeletor, and asks if he needs to prove to her once again the uselessness of magic against his scientific brilliance. With a bow and a defeated sigh, she defers to him. The evil lord declares it is time for him to make himself known to his future slaves…

 

He-Man and Orko arrive back at the royal palace and are greeted by Teela, who immediately asks what happened. The pair, still recovering from the shock, explain as best they can, each one feeling guilty over the loss of the stone and the death of Mekaneck. Teela tries to reassure them, saying that tough decisions need to made in desperate times, and that Mekaneck knew the risks associated with the mission. She also informs them that the robot armies all across Eternia have continued to target settlements and innocent civilians, and that she is having serious morale problems with the guards. She expects the king and queen will order He-Man to protect the surrounding cities.

 

But before they can meet with the rulers, a massive hologram of Hordak, beamed down through the atmosphere from his flagship, appears in the sky. Hordak declares he has returned after nearly seven hundred years in exile. As he explains, he was the king of Infinitia, the rival kingdom that used to occupy much of the planet, and Keldor was his court wizard. Lusting for power and resentful of his focus on science and technology, Keldor and his followers had used their dark magic to stage a coup, installing Keldor as the new king and forcing Hordak to flee into space on an experimental ship.

 

But while Keldor was seeking the mystical power of Greyskull, transforming himself into Skeletor and being foiled in his attempts to conquer Eternia, Hordak had found another inhabited planet, Etheria. Over the centuries he had improved his technology, gaining followers and building a robot army before finally succeeding in conquering Etheria. He had sent a scout to observe Eternia, and learned of Skeletor’s resurrection and second defeat. Now he is here to do what Skeletor never could – to take over Eternia and make it the first colony of his evil Horde empire!

 

Hordak ends his holo-transmission with an ultimatum – the rulers of Eternia and all its client states will surrender and acknowledge him as the new overlord of the planet, or he will continue to have his army slaughter the entire civilian population of the planet.

 

He-Man, Teela, and Orko meet with King Randor, Queen Marlena, Stratos, Buzz-Off, and the representatives of the other Eternian client states. None are willing to surrender to Hordak, but all admit these are dire circumstances indeed. Rockets are still landing constantly, bolstering Hordak’s invasion force – it seems there is no end to his robot army. They all know that it is extremely unlikely they can win the war on Hordak’s terms – even with He-Man.

 

But the king and queen cryptically declare that they have a plan in mind, though it will require some preparation. They may have a way to get a small force up onto Hordak’s flagship to cut off the invasion at its source. For now, though, they dismiss the gathered leaders and diplomats, suggesting they should all return to their homes to try and make a difference. Doing nothing to protect innocent lives while preparations are made for a direct assault, they all agree, is unconscionable. Orko offers to teleport everyone back, saying it’s the least he could do after messing up his ceremony.

 

So, with a glimmer of hope and blazing determination, Buzz-Off returns to the Mystic Mountains and Stratos to Avion, bidding He-Man farewell and good luck. He-Man himself goes to join the army in defending a city near the royal palace, while Teela returns to rallying the guards – an increasingly hopeless proposition now that Hordak has confirmed his intention to focus on slaughtering the populace. More and more of the palace guards desert their posts to join the fight in the surrounding areas.

 

When his ultimatum elicits no offers of surrender – as he expected – Hordak decides to send down his generals to join in the invasion force, specifically targeting He-Man’s allies. Colonel Blast is sent to Avion to battle Stratos, equipped with a high-tech jetpack. To fight Buzz-Off in the Mystic Mountains, he sends Vultak (Scott Adkins), a purple, winged, vulture-like humanoid creature who collects and studies unique species, performing cruel genetic experiments. He hopes to capture Buzz-Off as a test subject if possible.

 

Shadow Weaver wants to battle He-Man, but Hordak is suspicious of her motivations – understandable, considering how his relationship with his prior court wizard turned out. Not wanting to give her the chance to encounter any of the remaining Power of Greyskull directly, he chooses instead to send Leech (a CGI motion capture character who does not speak, performed by some stunt guy). Leech is a hideous, slimy, green amphibian monster with huge, toothy suckers on the ends of his round, tentacle-like arms. He has the ability to drain the life energy from victims he bites. Hordak hopes that he can either use this ability to steal He-Man’s powers or at least make his body so weak as to essentially negate them.

 

There is an extended, multi-faceted action sequence as the generals arrive on Eternia and do battle with their respective adversaries in the midst of sprawling battlegrounds within burning cities under siege. We cut back and forth between Buzz-Off versus Vultak, Stratos versus Colonel Blast, and He-Man versus Leech. At first, the generals get the upper hand on the heroes. Colonel Blast’s jetpack allows him to fly faster than Stratos, and his aim with his laser-guns is excellent, forcing Stratos to dodge constantly, sometimes taking glancing blows on his armor, unable to really fight back without any ranged weapons. Buzz-Off is handily outmaneuvered in midair by Vultak, who attacks with his talon-like feet and rips into the Andreenid’s wings, grounding him. That leaves Buzz-Off scrambling to avoid the evil general’s swooping, predatory attacks.

 

He-Man is caught off-guard by Leech, so busy furiously slicing down throngs of Horde Troopers that he doesn’t even notice the monster’s arrival. The hideous beast wraps its arms around the heroic warrior, biting into his flesh with his suckers, proving the impracticality of He-Man’s incredibly skimpy “armor.” Energy flows out of He-Man’s body into the monster, and the hero rapidly grows weaker. Soldiers rush toward the pair to try and aid him, but He-Man, still traumatized over Mekaneck’s death, warns them to stay back. With a surge of adrenaline, he forces himself free of Leech’s grip.

 

The tide begins to turn in the other battles. Stratos can maneuver more precisely than Colonel Blast, and manages to get in close, throwing off the villain’s attempts to aim his lasers as the bird-man circles and loops around him tightly. Buzz-Off is able to grab onto one of Vultak’s ankles during a dive, yanking him out of the air and slamming him onto the ground. Stratos strikes Colonel Blast’s jetpack, breaking it, and leaving the cyborg to fall out of the sky to his death. Buzz-Off pins Vultak down and beats him mercilessly, knocking him unconscious. Free from the monster’s clutches, He-Man charges up the Sword of Power with glowing energy and slashes off both of Leech’s arms. A final empowered stab through the heart finishes off the beast.

 

Up on the Horde flagship, Hordak watches on a bank of monitors as his generals are defeated. He is furious, and his mood is most certainly not helped by Shadow Weaver’s insistence that he should have sent her down and she could have defeated He-Man. Enraged, Hordak blasts at her with a shot from a laser cannon built into his armor’s gauntlet – she conjures a magical shield, but it shatters from the force of the blast, and she’s thrown across the room, her dress catching fire and partially burning away.

 

Underneath the dress, it is revealed that she, too, is a cyborg – in fact, she has more extensive cybernetics than Colonel Blast had by far. But her mechanical parts are not made to enhance her. Their design evokes clamps and restraints, and wires criss-cross her scalp and plug into her skull. The technology Hordak has installed into her is to inhibit, control, and torture her – to ensure she never becomes another Keldor. If she crosses him again, he warns, he will not hesitate to destroy her. He orders her out of the command center, and makes his way over to a communication console, where he places a call to his scout, the mole he’d hidden within Skeletor’s ranks – Webstor (Dominic Purcell).

 

In the heat of battle, Orko appears in a puff of magic smoke next to He-Man. The warrior shouts at him to leave, reminded again of Mekaneck’s death by the wizard’s presence, but Orko – obviously frightened and saddened by He-Man’s response – explains the king and queen have asked him to bring He-Man back to the palace. He-Man apologizes for his initial reaction – somewhat halfheartedly – and the two teleport back to the palace.

 

King Randor and Queen Marlena meet with their son, Orko, and Teela. They say they believe they have a way to send He-Man and Teela up to Hordak’s flagship in orbit. Teela presumes Orko is going to teleport them, but Orko denies it, sadly noting he can’t teleport people that distance with any sort of accuracy – which is why he has no idea where Skeletor wound up. The king explains they, in fact, have their own spaceship, and that they simply had to make sure it could be brought back into working order “after all these years.”

 

Teela and He-Man are incredibly confused. The first they’d ever heard of an Eternian spaceship existing was earlier the same day when Hordak revealed he’d built one centuries ago; space flight was not a technology modern Eternian science had developed. With a deep sigh, Queen Marlena makes a startling confession – the spacecraft they have, hidden beneath the palace, is not from Eternia. And neither is she.

 

About thirty years ago, Randor – then still a prince – had been out on a journey through a vast Eternian desert. It was there that he came across a crashed spaceship and the sole surviving member of its crew – Marlena. She had been part of a classified mission to examine an unusual cosmic phenomenon, which had gone wrong and flung the ship across several galaxies. Eager to study the ship and the alien visitor, the royal family had both brought back to the palace in secret. The hope was to reverse-engineer the ship, or at least repair it.

 

To avoid public controversy, the whole thing was covered up, and Marlena was taught the ways of Eternia and made a citizen and guest of the royal family under the guise of being a diplomat from a made-up small independent city-state. But the research went nowhere, and Randor and Marlena fell in love – so eventually, they were married. Thus, protecting the secret of Marlena’s origin became even more important, lest she be decried as an illegitimate ruler. That is why the truth had been kept even from Adam until now. Marlena expresses her hope that Adam can forgive her, and he tells her there is nothing to be forgiven for. No matter where she came from, she is still the mother he has always loved, and always will.

 

The group heads down into the hidden passageways under the castle, making their way toward the spaceship. Randor explains that they were never able to repair it well enough for interplanetary spaceflight, but they believe that it will be sufficient to enter orbit and reach Hordak’s flagship. However, it will be a one-way ride, and they will need to come back down either on the flagship itself or by stealing another Horde vessel. As they make their way into the large underground hangar where ship is stored, a curious He-Man asks his mother what the name of her home planet is.

 

The camera pans across the hangar, revealing a ship which, even with the jury-rigged Eternian repairs, is clearly identifiable as a NASA space shuttle. “Earth,” Marlena states simply.

 

Orko points out that He-Man has lost some power – though he wasn’t there when he was battling Leech, his magical sensitivity allows him to feel that the monster did, in fact, drain some of the stone’s magic from him. Randor suggests calling upon the aid of Buzz-Off and Stratos, sending them alongside Marlena, Teela and He-Man, but the warrior prince refuses. He says their people need them, and that he cannot bear to take them away from their homes. He also says Teela should remain behind in order to guard the palace, though Teela loudly protests. Virtually all of the guards have deserted their posts, and even if the Horde Troopers attack the palace, she will be of little use here without them.

 

Marlena, though, correctly senses there is more to He-Man’s refusal. She gets her son to admit that he is worried about someone else dying “because of him,” since he was unable to save Mekaneck. He would prefer to go it alone and not put any more of his friends in the line of fire. He’s not sure he can ever forgive himself for what happened. Marlena repeats her son’s own words to him – there is nothing to be forgiven for. Mekaneck’s death was not his fault, or Orko’s. Sometimes, terrible things happen, and those who make it through feel like they’re to blame.

 

She confides that after her space shuttle crashed, killing the rest of the crew, she struggled with the same feelings of survivor’s guilt. Sometimes she wished that she had died instead of them. But she has had to accept the fact that all of them knew what they were doing was dangerous, that they were pioneers using unproven technology, much like Orko’s unproven spell, in an attempt to benefit their world. Her crew, like Mekaneck, died with honor, and it is not her responsibility or her son’s to spend the rest of their lives wondering if they could have saved them. They must move forward and honor their sacrifice.

 

He-Man accepts his mother’s words of comfort and wisdom, though he admits it will take some time for them to sink in. He asks Teela if she is sure she wants to come and accept the risk, and she confirms it. Reluctantly, he agrees to take her with him – but still insists that Buzz-Off and Stratos be left to defend their own homelands. The group makes preparations for launch, hoping to take Hordak by surprise.

 

On his flagship, Hordak concludes his call with Webstor, finalizing some sort of plan the audience is not privy to. As he is about to return to his throne, his attention is drawn by a notification on another screen – systems are tracking another Horde ship, still quite some distance away, closing in on the flagship. This confuses Hordak greatly. “Impossible...” he mutters. He tries to open a line of communication with the ship, but there is no response. He directs a pair of Horde Trooper rockets to intercept the ship, and returns to his throne to watch the invasion’s progress on the multitude of screens.

 

The preparations made, Marlena, Teela and He-Man say their farewells – just in case – and board the space shuttle. There is a countdown, ignition, and finally, blast-off, the shuttle flying up vertically out of the underground chamber through a magically-camouflaged hole in the ground. The high G-force experience is totally foreign to Teela and He-Man, but Marlena slips back into her old training quickly, expertly flying the shuttle despite its sorry state. It shoots through the sky and up out of the atmosphere, approaching the flagship.

 

Hordak, still watching his monitors intently, first notices that the rogue Horde ship has blasted both of his intercept rockets and destroyed them, proving its hostility. Then he sees the approaching Earth spaceship closing the distance. With what looks like a two-pronged assault coming his way, he ceases further Trooper deployments to Eternia and redirects his remaining robots to join the ship’s patrols. He also summons Shadow Weaver and offers her a final chance to prove herself, to use her magic to defeat the attackers. She begs him to disable some of the cybernetics limiting her power, but he refuses.

 

The NASA shuttle arrives first, Marlena expertly piloting it into one of the open docking bays on the flagship’s underside just before it closes thanks to Hordak’s just-issued orders to stop rocket deployments. As the dock doors seal, the room re-pressurizes, allowing the three passengers to disembark their shuttle, which is unexpectedly intact. Unfortunately, it’s also out of fuel. There are plenty of Horde Troopers still in the dock, so He-Man has his mother hide inside one of the empty Horde rockets while he and Teela battle the robots. Thankfully, they’re able to make quick work of them, but at He-Man’s urging, Marlena remains hidden as he and Teela venture further into the ship.

 

Hordak quickly begins to run out of robot soldiers as the Eternian heroes reduce them to scrap metal. Unwilling to do nothing as the intruders make their way to his command center, Hordak rises from his throne and goes to confront them. He instructs Shadow Weaver to wait for the rogue Horde ship to arrive, then intercept anyone who disembarks from it. If she successfully captures or kills them, he says, he will CONSIDER removing some of her cybernetic limiters. She enthusiastically agrees.

 

Teela and He-Man encounter Hordak in a long, crowded hallway as he approaches them following their destruction of the last of the Horde Troopers. They point out his is outnumbered now, and that He-Man wields the power of Greyskull, demanding his surrender. He simply laughs a maniacal laugh and insists that there is no magical force in the universe that will ever be able to defeat him again.

 

Hordak charges into battle, and does an excellent job in holding his own against both warriors. He monologues as he fights, as villains do, saying that centuries of genetic tweaking and cybernetic augmentation have done for him what magic never could. He is not quite as strong as He-Man, but he is remarkably close, and he has the added advantages of laser blasters, other hidden weapons like blades and motorized buzzsaws that emerge from his armor, and, well, actual protective armor in the first place. He’s also an impeccably skilled melee fighter, at least as good as Teela and more accomplished than He-Man. As such, despite many impressive attacks and dodges and acrobatics from both sides, the battle appears locked in a stalemate.

 

Meanwhile, the rogue Horde ship crashes right through the side of the opposite end of Hordak’s flagship, shaking the entire huge spacecraft and causing alarms to blare loudly everywhere. Shadow Weaver rushes to the point of impact, the ship’s computers automatically sealing off the breached section to prevent total depressurization. The cyborg wizard gets as close as she can, but is blocked by a huge emergency door that has closed and blocked off the hall in front of her.

 

But then, in a flash of magical light, the new arrivals teleport into the hall behind her. She turns to face them and her expression turns from one of determination to one of shock and awe. The camera pans to reveal the interlopers – Skeletor (Dave Bautista), Evil-Lyn (Carrie-Anne Moss), Beast Man (John Tui), Mer-Man (Kellan Lutz), and Trap Jaw (Nathan Jones). Terrified, Shadow Weaver bows to Skeletor, begging him to spare her so she may serve him. He doesn’t let her finish talking. With a blast of dark magic from his staff, supercharged by his stolen Greyskull magic (and which blasts the audience right in the face in the 3D version as his staff pokes out of the screen), he vaporizes the weak, compromised mage instantly.

 

We cut back to Hordak’s fight against He-Man and Teela, which is still indecisive. Hordak still can’t seem to shut up, and now taunts Teela for her “great mistake” in coming here and abandoning the palace. He reveals to her that even now, Webstor is making his way into the essentially unguarded palace to assassinate the king! This revelation shakes Teela and He-Man enough that they lose their focus, and Hordak gains the upper hand in the fight, landing solid blows on both of his opponents. But before he can finish off the heroes, the uninvited guests on his ship arrive at the scene of the battle!

 

Hordak absolutely loses it upon seeing Skeletor and his minions, instantly forgetting about his fight with the heroes. He screams semi-coherently about taking his revenge on his usurper, about conquering Eternia when he had failed, but Skeletor coldly mocks him in return. He reveals that, when Orko teleported them off of Eternia, he and his group had wound up on Etheria – where they witnessed the collapse of Hordak’s rule at the hands of what Skeletor dubs “a pathetic rebel uprising.” Hordak’s ORIGINAL plan may have been to return to Eternia so he could use it to build an empire, but in the end he wound up fleeing there in desperation when he had nowhere else to go. Skeletor had stolen one of the Horde ships captured by the rebels and followed Hordak back to Eternia, intent on finishing him off for good.

 

Hordak remains defiant, challenging Skeletor to one-on-one combat. Sure of his superiority, Skeletor agrees, sending his minions after He-Man and Teela. The Eterian heroes, still reeling from their battle with Hordak, turn and run, hoping for Skeletor and Hordak to finish each other off. As all this is happening, the damaged flagship’s orbit begins to decay, and it starts to fall down into Eternia’s atmosphere.

 

Teela runs ahead of He-Man, leading the way back to the docking bay so they can attempt to escape the doomed flagship. He-Man uses the Sword of Power to block Evil-Lyn’s magic spells and Trap Jaw’s laser blasts, just barely keeping ahead of them. A frustrated Evil-Lyn teleports herself in front of Teela, but only succeeds in startling her and getting a swift kick to the face that knocks her to the floor, allowing the heroes to pass.

 

Hordak thinks he’s doing pretty well against Skeletor – like the beginning of his confrontation with the heroes, the battle seems to be at an impasse. But soon the demon-wizard grows tired of toying with his enemy. We watch in slow motion as Skeletor charges his staff with a massive surge of evil power, shattering Hordak’s thick cybernetic armor with a series of expertly-executed strikes.

 

Left defenseless, the fallen lord of Etheria falls onto his back, bruised, bleeding and spurting brightly-colored hydraulic fluid from his cyborg implants. Skeletor offers him a chance to beg for mercy. Hordak opens his mouth to speak, but his expression remains defiant. Skeletor doesn’t give him the chance to utter a word. With a mighty swing, he slams the glowing ram’s skull at the tip of his staff down on Hordak’s own skull like a hammer, killing him.

 

By now the flagship is falling rapidly through Eternia’s stratosphere, its outer hull beginning to burn up and peel away. Teela and He-Man run into the docking bay, followed closely by Skeletor’s goons. As Teela rushes toward the rocket where Queen Marlena is hiding, He-Man turns around and swings the Sword of Power in a wide arc, firing off a trail of energy that strikes all the pursuing villains and blows them back. Then he and Teela hurry into the rocket, climbing inside with Marlena. Luckily for them, the door sealing the bay shut is falling apart and flying off of the ship.

 

The villains are forced to grab onto anything they can as the wind howls into the now-exposed docking bay, and just as Marlena manages to launch the Horde Trooper rocket, Evil-Lyn musters enough magic energy to zap her and her companions out of the docking bay to parts unknown. The heroes’ rocket soars out into the air, but is quickly hit by all manner of debris coming off of the flagship.

 

Marlena shouts that they’re going down, and tells her passengers to brace themselves for a crash landing. This is intercut with quick flashes of Marlena as a NASA astronaut on the crippled space shuttle thirty years ago; she is yelling the same dialogue in both time periods, so it syncs perfectly to her lips even as we cut back and forth. We hold on the past inside the space shuttle for several seconds as the craft makes its final approach down into the desert, cutting to black at the moment of impact.

 

When the image returns, we are back in the present – where we see the Horde rocket has landed in the very same desert. In the background of the shot, the flagship smashes into the ground miles away, collapsing in on itself and erupting into a gargantuan fireball with a deafening roar. Against this backdrop of devastation, the hatch on the small rocket opens up, and all three of its occupants emerge relatively unscathed. With the command signal from the flagship cut off, the Horde Troopers all over Eternia simultaneously deactivate. We see shots of Buzz-Off and Stratos in their homelands as the threat is instantly nullified, eliciting huge cheers of victory and relief from the soldiers and civilians surrounding them.

 

Before Teela and Marlena can even catch their breath, He-Man shouts to his mother that they need to get back to the palace. Marlena, who at this point is completely out of the loop, asks why. All He-Man manages to spit out is “they’re going after Dad!” But they are dozens of miles away from the palace. Desperate, He-Man begins to sprint away from the rocket, pursued by the women, Marlena demanding an explanation. “There’s no time,” He-Man shouts back. “We might be too late!”

 

We cut to several hours later, as indicated by the setting sun in the sky. The trio finally arrive at the royal palace, where hundreds of soldiers and guards are celebrating the defeat of the invaders. They cheer and greet the returning heroes, but He-Man rushes through the crowd, ignoring them, screaming his father’s name. Teela and Marlena ask around if anyone has seen King Randor, but the shaking heads they receive in response are not encouraging.

 

Orko spots He-Man and approaches him, saying that he’s been looking for the king as well. The two race deeper into the palace, searching the ornately-decorated winding halls, calling out for the king. Then they spot something that stops them in their tracks. A pair of dead palace guards, their bodies hung from the hallway ceiling by strands of spider webbing. Roll credits.

 

MID-CREDITS SCENE:

 

We see a distant shot of Snake Mountain. The camera zooms in rapidly, much as it zoomed from the planet’s surface up to the Horde flagship in the opening. It flies into a cave, through the dark winding tunnels and passages within the mountain, and finally makes its way into the core, as Skeletor and his minions, having escaped the crash, arrive back at the entrance to Skeletor’s throne room. Skeletor has Beast Man and Mer-Man swing open the huge doors, and on the other side, they find that the room is already occupied – by a group of four humanoid snake-men. The quartet of reptiles turns to look at the returning king of darkness staring straight into the camera, and we fade to black, revealing a final title card:

THE WAR FOR ETERNIA CONTINUES NEXT SUMMER.

 

 

Edited March 14, 2019 by Xillix

[Xillix]

American Dragon: Flash Point

Release Date: November 5, Y5

Studio: Rising Crescent Pictures

Genre: Fantasy/Family

Director: Yimou Zhang

Theater Count: 3,905

Premium Formats: 3D, IMAX & IMAX 3D
Shooting Format: 6.4K Digital (Arri Alexa 65) (Post-converted to 3D)
Aspect Ratio: 2.39:1 / 1.90:1 (Select scenes in IMAX)
Release Image Formats: 2K 3D DCP, 4K DCP, 2K IMAX Digital DCP, 2K IMAX 3D Digital DCP, 4K IMAX with Laser DCP, 4K IMAX 3D with Laser DCP
Release Audio Formats: 5.1, 7.1, Auro 11.1, DTS:X, Dolby Atmos, IMAX 12-Channel

Production Budget: $150 million

MPAA Rating: PG
Running Time: 122 minutes
Major Cast: Ryan Potter (Jake), Jackie Chan (Lao Shi), Lucy Liu (Chang), Lance Henriksen (Kulde), Clancy Brown (voice of the Dark Dragon), China Anne McClain (Trixie), Ty Simpkins (Spud), Morgan Lily (Rose), Steve Carrell (Professor Rotwood), Kelly Hu (Susan), Sean William Scott (Jonathan), Steve Buscemi (voice of Fu Dog), Callan McAuliffe (Fred)

Plot Summary:

 

The third and final chapter of the American Dragon trilogy based on the Disney Channel cartoon American Dragon: Jake Long. The prior films can be found here:

American Dragon: Jake Long

American Dragon: Darkness Rising

 

Spoiler

Scenes in red text are expanded up to 1.90:1 in IMAX.

 

 

Like the first two movies, this film opens with a brief animated sequence in the style of ancient Chinese art, recapping the basic premise of dragons with human forms being the guardians of peace between the magical and human worlds, the status of New York City teenager Jake Long as the first American Dragon, his defeat of the sinister Huntsclan, and the reappearance of the evil Dark Dragon, who, aided by now-exiled Great Dragon of the East, Chang, seeks to enslave the human race and become the dictator of a new world order with magical creatures as the ruling class. But for over a year now, Chang and the Dark Dragon have been in hiding, and while his grandfather Lao Shi cooperates with the Great Dragon of the West in his search for the evildoers, Jake has graduated high school and turned his attention to more localized magical affairs...

 

We transition into live-action to see Jake (Ryan Potter), in his full-on transformed dragon body, walking out into a small arena full of flashing lights and cheering fans. Over his red and yellow scales, he's wearing thin black mask that covers the area around his eyes and wraps around to the back of his head; it is accompanied by a pair of green spandex trunks and bracers on his wrists and ankles. He is making an effort to walk with a more humanoid stride; his tail drags limply behind him, his wings folded and prone, and he takes each step with his digitigrade dragon feet fully planted on the floor. Walking beside him is his friend Spud (Ty Simpkins), in one of those black T-shirts with a tuxedo design printed on the front, hiding his eyes behind cheap-looking mirrored sunglasses.

 

The pair step out into the center of the arena to find a wrestling ring, the announcer gesturing dramatically as Jake waves to the screaming audience. "And in this corner, the challenger, the up-and-coming hotshot himself, DRAGOOOOOONFIIIIIIIIIIIIRE!"

 

Jake climbs into the ring, flexing and winking, showboating for the crowd. His opponent is a large, muscular man in a cyborg costume, metal plating covering half of his face and most of one arm. The announcer steps out of the ring, the bell tolls, and the match is on! The two charge at one another, the super strength Jake wields in his dragon form allowing him to body-check the other wrestler, sending him flying off into the ropes! In the audience among the cheering fans is Jake's friend Trixie (China Anne McClain), selling screen-printed T-shirts bearing the image and logo of Dragonfire, Jake's wrestling persona.

 

The battle continues as Spud shouts useless and boneheaded advice to Jake from the sidelines - real pro stuff like "try to grab him!" and "watch out for his fists!" Thankfully, Jake is winning anyway. Even when his opponent manages to grab him in a powerful hold, a quick flick of his tail pries the wrestler off of him. In rather short order, Jake pins his enemy, who is counted out, ending the match in what the announcer describes as "another overwhelming victory for KEWL amateur wrestling's hottest rising star!"

 

After the match, Jake - still in his Dragonfire persona - and Spud, who is acting as his manager, have a meeting with the league president in his office. The president, retired wrestler King Hammer, congratulates Dragonfire on his win - but Jake's defeated opponent storms in, decrying what he calls an unfair fight. "He's got animatronics in that stupid dragon suit! That tail whip was an illegal move!"

 

"Yo, why are you complaining about animatronics when you're half-robot?" Jake replies.

 

"It's just PLASTIC!" he shouts back angrily. "This is ridiculous, Hammer - first that huge guy with the cow mask, who's gotta be on steroids, and now this freak? It just ain't fair to the rest of us!"

 

"It was never my intention for KEWL to remain an amateur league," Hammer replies coldly. "Folks like TerrorTaur and Dragonfire have star quality, and that's just what we need! If you can't handle hanging with the real pros, go back to fighting in your cousin's backyard!"

 

"Real pros? His manager is a KID!"

 

"Hey!" Spud butts in angrily. "I'll have you know I'm a high school graduate, and a legal adult as of my birthday last month! I also got a very nice fruit basket from my gran-gran." His anger subsides as he breaks into a dopey smile, closing his eyes and licking his lips while he thinks about strawberries.

 

"Speaking of TerrorTaur," Jake says to Hammer, "our deal's still on, right? This was my tenth straight win. You said I'd get a shot at him."

 

"Look, you're good," Hammer says uneasily, "but TerrorTaur can be... overzealous. You're really building a fanbase. Making me a lot of money. If he puts you out of commission, that all comes crashing down. We could both lose a lot of money."

 

"I don't care about the money," Jake insists. "I want the championship! And I can handle anything that big slab of steak can dish out."

 

"And need I remind you," Trixie says as she enters the office unannounced, carrying a fat wad of cash from the T-shirt sales, "that if you breach our contract, you forfeit your cut of revenue from ALL official Dragonfire merchandise?"

 

"Oh yeah!" Spud chimes in. "I forgot about that..."

 

"Fine, fine," Hammer relents. "But if the champ breaks that fancy costume of yours, I ain't paying for it."

 

We cut to outside of the arena, as Trixie, Spud, and "Dragonfire" leave the building and are approached by several fans. Jake signs a few autographs, only to be greeted by a familiar face - Professor Rotwood (Steve Carrell), his high school mythology teacher, a cook who believes in the existence of magical creatures but is almost impressively wrong about all the specifics. Trixie and Spud ask him what he's doing there, but he waves a dismissive hand at them, claiming to be a big fan of Dragonfire's and complementing "the wonderful accuracy of this costume" as he stares intently, mind visibly working overtime as he searches for any sign that this is, in fact, just a costume and not a real life dragon.

 

"Mr. Rotwood-" Trixie interjects, only to be cut off by an annoyed cry of "PROFESSOR Rotwood, thank you very much!" before continuing - "shouldn't you be off writing a lesson plan or something?"

 

"Hahahaha," Rotwood laughs sarcastically. "You should know by now that I am such an expert on magical creatures I do not need to plan my class! As I recall, you both had to take it twice to pass, yes? It is good you have found such... undemanding employment."

 

"Yo, step off my crew," Jake warns, pointing a claw at Rotwood and snarling. "If you're such an expert, you should know about a dragon's temper."

 

Rotwood apologizes and nods, taking one more glance all over Jake for zippers, seams, anything - and finding nothing. As he heads back for the parking lot, Trixie and Spud congratulate Jake for telling him off once he's out of earshot. "Yeah," Jake says, "I've always wanted to do that."

 

As Rotwood enters his old, beat-up van, he closes and locks the door before pulling out a hopelessly obsolete, well-used tape recorder. He begins recording, narrating to himself excitedly for his notes -

 

"There can be no doubt about it! The so-called-wrestler Dragonfire is no impostor! I had lost hope when TerrorTaur proved to be a childish fake - everyone knows minotaurs have horns made of gemstone - but this is the real thing! I shall proceed with my plan after his next public match!"

We cut to the Isle of Draco, where Jake's grandfather Lao Shi (Jackie Chan) is meeting with Kulde (Lance Henriksen), the Great Dragon of the West. Kulde laments that the re-emergence of the Dark Dragon - and Chang's betrayal - has left him in charge of a magical world in chaos all alone. He thanks Lao Shi for his help over the past several months in attempting to track down the evildoers, but unfortunately, every lead they've found has only turned up a dead end. He is sure that they are planning something big, and he has a hunch what it might be - an attack on the Thousand-Year Assembly. The audience is not told what this is just yet, but the idea of the Dark Dragon interfering with it clearly strikes fear into Lao Shi.

 

Kulde says every possible precaution must be taken, and he is not sure if he can do it alone. He mentions that his observations of Lao Shi's grandson show him to be doing very well. Kulde suggests that perhaps Jake no longer needs Lao Shi to be his dragon mentor. As such, he offers Lao Shi the official position and title of Great Dragon of the East.

 

Lao Shi contemplates the offer silently for several seconds before sadly shaking his head no. "Jake is still young, impulsive. I am not sure if he is ready to bear the responsibilities of the American Dragon without me."

 

"You have been apart from him for months at a time ever since the last Dragon Summit. He has been handling affairs most impressively," Kulde opines.

 

"Yes... but I still worry about him," Lao Shi confesses. "Especially with the state of things as they are. I fear the Dark Dragon has a special interest in him."

 

"Which is part of why we're working to stop him before he can strike again. With you working alongside me full-time, we may yet find and defeat him."

 

Lao Shi still looks unsure. Kulde places a reassuring hand on his shoulder. "A year ago, Chang and I tried to take Jake away from you. That was wrong of us. You have proven you were exactly the one who needed to train him - but your efforts have borne fruit, Lao Shi. He is strong, and skilled, and good-hearted. I will not try to force you apart again - I only ask you to consider that you may be able to do more good for him and for the entire world here than you could by his side."

 

We cut back to New York City - Chinatown, specifically - as a now-human Jake arrives back at his grandfather's shop alongside Trixie and Spud. Inside, they meet with Fu Dog (voice of Steve Buscemi), the talking canine who assists Lao Shi.

 

"How'd we do, kids?" Fu asks excitedly. "Did you get the championship match?"

 

"You know it!" Jake replies, striking an exaggerated triumphant pose. "Ain't no one can stop Dragonfire!"

 

"I don't know, Jake. Remember what happened the last time you tried to fight a minotaur?"

 

"Psssssssssssht," Jake scoffs, waving a hand dismissively. "That was practically FOREVER ago. I got the mad skills now! This'll be a piece of cake!"

 

"Y'know, maybe you should just try talking to him - explain how dangerous it is for him to be out in the open. If something goes wrong, the whole magical world could be exposed!"

 

"Hammer won't even let us see him until the match," Spud explains. "He treats him like I treat my super-collectible limited edition action figures!"

"Oooooooh, that's not a bad idea!" Trixie exclaims.

"What?" Spud asks. "Keeping the minotaur in a secret box under my bed?"

 

"Wh - NO! Jakey, if you win this championship we gotta make you an action figure! Just THINK how much cash we'll make off that!"

 

"Yeah! We can sell it at all my matches and-"

 

"Woah woah woah," Fu Dog interrupts. "You don't really think you can keep wrestling after we nab the minotaur, do ya?"

 

"Well, I..."

"Look, I know you wanna strut your dragon six-pack in front of the ladies, but did you not hear what I just said? The whole reason we're doing this is because magical creatures showing off in the open is a terrible idea!"

 

"Aw maaaaaaaaaaaan..."

 

"Speaking of which," Fu continues, "How exactly ARE you planning to get the minotaur out of there once you beat him?"

"I was kinda hoping you'd have some sort of magical whatsit to help with that..."

"Kid, you've got to start thinking things through. What would Gramps say, huh? There's not always gonna be a magical whatsit to solve your problems when you don't plan ahead."

"Yeah yeah, I know..." Jake trails off.

"...There is this time though, right?"

"Yeah," Fu Dog replies with a chuckle, wandering into the back of the shop to retrieve it. "I gotcha covered."

 

We flash forward several days and cut to Rose (Morgan Lily), Jake's sorta-kinda girlfriend and formerly a member of the magical-creature-slaying group known as the Huntsclan. Since the events of the previous film, she has moved back to New York City and is now living among the magical creatures in a hidden subterranean community underneath the streets of Chinatown. She is out shopping for groceries in a market filled with fantastical foods and mystical creatures like pixies, trolls, centaurs, and even mermaids swimming around in channels of water laid out like sidewalks.

 

As she goes about her business, she comes across an excited group of young goblins looking at a promotional flyer one of them found when it slipped down through a sewer grate. Rose asks to see the flyer and is surprised to find that it's an advertisement for a wrestling match between "Dragonfire" and "TerrorTaur" - or, as she immediately recognizes, Jake and a real minotaur. A look of surprised concern flashes on her face, morphing into one of anger. She takes the flyer - to the annoyance of the goblins - and storms off.

 

Cut to Jake's house, Rose knocking at the door, flyer in hand. Jake's preteen little sister Hayley answers, and seems amused by the obvious fact that Rose is angry at her brother. Hayley calls out to Jake that Rose is here to see him, but as soon as he enters the living room to greet her, Rose sternly demands they speak in private. After all, Jake's father Jonathan (Sean William Scott) is in the living room along with Hayley and Jake's mom Susan (Kelly Hu), and Jonathan is completely unaware of the existence of magical creatures.

 

After the pair relocate to Jake's room, Rose gives him an earful about pulling such a "stupid stunt" as a public magical wrestling match without letting her know. Jake claims that, with Rose's conflicted feelings about her involvement in magical affairs, he didn't want to worry her - after all, she was just settling into her new life. Besides, he says, Fu Dog, Trixie, and Spud are helping him out, so it's totally fine. Rose seems less than convinced. She informs him that she will be coming to the match in case anything goes wrong, but Jake, being his usually overconfident self, says she doesn't need to worry. Still, though, it'll be nice to have her there to show off to. Rose rolls her eyes at his brashness, but it's part of what she likes about him, and by the end of their conversation the two are on good terms again.

 

In an unknown location, we see Chang (Lucy Liu), former Great Dragon of the East, conducting some sort of forbidden magic ritual. Power flows into her evil master, the Dark Dragon (voice of Clancy Brown), who roars triumphantly at the ceremony's completion. He expresses that he feels far more powerful than he did even before he was injured in the battle with Jake, Lao Shi, and Rose that concluded the previous film. He asks if their plan is ready to proceed - without stating what the plan is - and Chang confirms it with a sinister smirk. Soon, she says, the American Dragon will be theirs...

 

The day of the big championship match arrives, and Jake's confidence is still unshaken. Jake - in his Dragonfire persona - arrives along with Spud and Trixie, who has brought an absurd number of boxes of Dragonfire-branded t-shirts and other merchandise. "You better win this match, Jake," she warns him. "Forget the balance of the magical world and all that. This is my last chance to sell this stuff! You KNOW how much cash I dropped on these things?"

 

Rose, meanwhile, attends the match as a ticket-holding member of the audience. She is seated not far away from Professor Rotwood, who looks quite out of place among the wrestling fans, glancing around anxiously. Rose is so busy watching Rotwood, though, that she does not notice when Chang, in a civilian disguise, enters the arena and is seated in an adjacent area.

 

The announcer introduces the two combatants, with the champion, the hulking minotaur going by TerrorTaur, stepping out first. The crowd goes wild, except for Spud and Trixie, who loudly boo him. Then Dragonfire steps out, and, much to the relief of Jake's friends, receives a similarly enthusiastic response. The combatants enter the ring with one another for the first time, and begin exchanging trash talk.

 

"Yo cow-boy!" Jake shouts. "When this fight's over, there won't be enough of you left to make a cheeseburger!"

 

"Big words from a little lizard," TerrorTaur replies. "Especially considering what happened last time."

 

"Last time?" Jake asks, confused. TerrorTaur raises his arms to flex his huge biceps, and the body odor that wafts out from his armpits instantly clues Jake in, giving him a brief flashback to the first movie, when he fought this same minotaur and was dealt a... rather humiliating defeat. "That was YOU? Daaaaaaang, then you've had this coming, yo!"

"Hah! You don't stand a chance, kid. Especially not when I've got a bit of help from my new friend." As he says this, TerrorTaur's eyes briefly flash with a surge of dark magic - the same sort of mystical energy we'd just seen Chang channeling into the Dark Dragon. Jake is confused and alarmed, but before he can inquire further, the bell rings and the match begins!

TerrorTaur is much stronger than Jake naturally, and with Chang's dark magic further empowering him - as evidenced by repeated flashes of a purplish glow in his eyes - his physical might is completely overpowering. Jake focuses on evasion, using his superior agility to dodge the minotaur's strikes and retaliate with quick kicks and punches and tail-whips. But during one of his counterattacks, TerrorTaur manages to grab onto Jake's tail! He flings the dragon around like a helpless ragdoll, repeatedly smashing him into the mat, eliciting concerned shouts and grunts of sympathetic pain from Trixie, Rose, and Spud. Chang, though, watches with obvious glee, even cheering on TerrorTaur to blend in with the fans.

 

The empowered minotaur spins Jake around by his tail, tossing him onto the ropes. The dragon bounces back off, zooming right into a devastating body-slam by TerrorTaur. Dizzy and in pain, Jake is pinned to the mat and the ref begins his count. Rose's warrior instincts kick in, her eyes narrowing, fists clenching. She barely manages to keep herself from running out of the audience to intervene. Just as it seems Jake is about to lose the match, he resorts to desperate measures. A small burst of dragon-flame breath to TerrorTaur's face catches his opponent off-guard, loosening his grip and allowing Jake to escape the hold!

The shocked audience erupts into rapturous applause - including a visibly ecstatic Professor Rotwood, who sees this as the strongest confirmation yet of his suspicions. Jake turns the tide of battle with a quick series of attacks. The blast of fire and smoke to the face has left TerrorTaur partially blinded, which allows Jake to evade his attempts to fight back quite easily. A barrage of kicks, tail lashings, and well-aimed punches wear his opponent down, until finally the minotaur collapses in a daze, the purple energy dissipating from his eyes. Jake pins him, and out of view of the spectators, slips a small magical whatsit out of his trunks, pinning it onto TerrorTaur's chest and covering it up with his fur.

The ref finishes his count, and Dragonfire is declared the winner and new champion! Spud screams his head off in excitement, Rose sighs in relief, Professor Rotwood quickly leaves his seat and wanders off to parts unknown, Chang growls in frustration, and Trixie immediately begins hawking the Dragonfire merchandise to everyone in the arena. As Jake is presented with the championship belt, an embarrassed, light-headed TerrorTaur is escorted out of the arena. As soon as he's out of view of the audience and his handlers, the magic trinket under his fur activates and teleports him away.

 

The match over, Jake, Trixie, and Spud head back into King Hammer's office. Hammer is in a frenzy because no one can find TerrorTaur, and Jake suggests that he was just so humiliated he ran off somewhere. "That punk probably won't show his face around here ever again," he says. Hammer says that's okay, though - after all, Dragonfire is the new champ, and is bound to drive the league to even bigger success. That makes it pretty awkward when Jake has to reveal that, now that his initial contract is up, he actually won't be returning for any more matches. An enraged Hammer threatens to sue the three friends, but "Dragonfire" is unconcerned, saying only that he has "a few lawyer friends who can work some real magic." Jake has to give back the championship belt, and Hammer kicks him out of the arena and tells him never to come back.

 

By the time the trio leave the building, most of the spectators have left and the parking lot is largely empty. Rose, though, is there waiting for them - and, just out of sight, Chang is skulking around as well. Rose, "Dragonfire," Trixie, and Spud are celebrating when they are suddenly approached - by Professor Rotwood. He congratulates Dragonfire on his win and practically begs for an autograph, apologizing profusely for offending him during their last meeting - while rather suspiciously eying Rose as well. Odd for so many of his former students to be hanging around this dragon...

Jake agrees to sign something for Rotwood just to get him to shut up and go away. Rotwood, though, says it's a very precious magical artifact that he doesn't want to bring out in the open, saying he stores it in the back of his van. Rose points out how creepy that is, but Jake, rather looking forward to finding some way to make a fool of his old teacher, goes ahead and follows him back to his van. At Rose's urging, his three friends tag along just to be safe.

 

Sure enough, when Rotwood opens up the back of his van, the interior is revealed to be a mobile prison cell he's constructed specifically for capturing a dragon - and in a slot on the inside of the door is the Hunstman's dragon-slaying staff, which Rotwood quickly grabs and aims threateningly at Jake! Rotwood explains he found it while digging through the rubble of what, despite the city's cover-up efforts, he knew must have been a magical battle - and by the way Jake reacts with shock and fear, he knows he must have been right!

 

Rose's instincts kick in again, some kind of trigger going off in her head when she sees the staff. She yells out and runs toward Rotwood, distracting him just long enough for Jake to knock the weapon out of Rotwood's grip. Then he pushes his former teacher out of the way, Rose's attack slamming into his scaly chest. Seeing the fire of rage in her eyes genuinely frightens him. Still seemingly out of her mind, Rose picks up the staff and twirls to point it at Rotwood, its green energy glowing in her grip. She, unlike the professor, actually knows how to use it.

 

Though Rotwood throws his hands up in surrender, he doesn't seem scared. Instead he's fascinated, validated, even, by the discovery that one of his ex-students clearly knew that magic was real this whole time, if she's in cahoots with a dragon. "And judging by your entourage," he smirks, "I believe I can guess who you are, Mr. Dragonfire. Or should I say... Mr. Long?"

Jake, not very good at hiding his emotions, confirms Rotwood's theory with his shocked expression. Rose charges like a bull, the glowing tip of the staff aimed for Rotwood's chest - but Jake leaps into the air, propelling himself forward with a mighty flap of his wings, and tackles her to the ground.

 

"Rose, you can't do this!" he shouts.

 

The ex-Huntsgirl tries to push him off, though it's not very effective considering he's in his full dragon form. "He knows too much!" She replies.

 

From offscreen, Rotwood yelps. Jake looks back over to him to find him wrapped in the tail of a dragon - the tail of the partially-transformed Chang!

 

"The Huntsgirl is right, American Dragon," she states coldly. "This fool knows more than can be allowed. He knows of our existence, but he does not know yet to fear us."

 

"Let him go!" Jake yells angrily in return.

 

"Why? So he can try to capture you again? So he can expose us to the world? Start a war we're not prepared for?" Chang shakes her head solemnly, squeezing Rotwood tighter. "I warned you about this, American Dragon. There's no way to keep the humans from discovering the magical world. The only way to maintain peace is to strike first. To subjugate them."

 

"That's not true! My friends-"

 

"Friends? Like your rabid attack dog there?"

Rose is still infuriated, delirious, still struggling to escape and fight.

 

"You don't REALLY think you can trust her, do you? How long before that aggression comes back around to target you?"

 

"Jake," Rose cries, still gripping the weapon, "Let me GO!"

"You see she is a danger to herself and everyone around her. This is what happens to the humans when they don't know their place. But perhaps these ones can still be... educated."

 

"I'm not letting you near her," Jake growls.

"I expected as much," Chang replies calmly. "Thankfully, I have what I need already." With a wave of her hand, Chang summons Trixie and Spud, who are immobilized and silenced inside a sphere of magical energy and float through the air towards her. Evidently, she had captured them while Rose and Jake were busy with Rotwood.

 

Chang demands that Jake surrender and come with her right now to meet with the Dark Dragon, or else Spud, Trixie, and Rotwood will all be killed. Jake agrees on one condition - leave Rose alone. Chang scoffs and agrees, saying it will hardly matter once the Dark Dragon's plans come to fruition. Rose angrily screams at Jake not to go, but he pleads with her to trust him. He tells her that he knows Chang is wrong about her, and that she knows what's right deep down. She has a lot of trauma to overcome, but she is the strongest person he knows - and he is confident that if she believes in herself, she can use her skills to do what is right. With that, Chang uses a teleportation spell to transport herself, Jake, and the three human captives to parts unknown.

 

Cut to another magic portal opening, this time inside of the back room in Lao Shi's shop. Out steps the master himself, looking confused and concerned. He asks Fu Dog why he had to be summoned back from Draco so suddenly. Fu Dog says he had best let Rose explain herself. He leads Lao Shi into another room, where a devastated rose is crying softly, gripping the Huntsman's staff. She and Lao Shi lock eyes, and the old man's expression sinks. We do not witness the ensuing conversation.

 

In a dark cavern lit by magic floating lights, deep underground in an unknown location, we find Chang and her prisoners. Rotwood, Trixie, and Spud are crammed together in a too-small cage, all three unconscious thanks to a sleep spell. Jake back in his human form, is in restraints - ones, Chang notes, are forged from unicorn horn and will keep him from transforming. From pitch-black shadows, the Dark Dragon emerges. Jake bitterly asks what he wants from him, and the arch-villain replies it is the same as before - his loyalty, and his help in conquering the human world.

 

Jake, obviously, refuses, but Chang reminds him that his friends' lives are on the line. If he does not cooperate, they will be killed - and so will he. Reluctantly, Jake asks what exactly he has to do.

 

Kulde was correct - the Dark Dragon is planning to strike at the Thousand-Year Assembly. Jake says he's not sure what that is, having only heard his grandfather vaguely mention that it was approaching. The Dark Dragon finds this amusing, citing it as proof that his old rival Lao Shi is an inept master. For the benefit of Jake - and the audience - the villain explains.

 

Every 1,000 years, the Sacred Dragon Temple appears on Victoria Peak in Hong Kong for a few short hours in the morning. Built millennia ago, little is known of its origins - but it is of vital importance. Within the temple is a magical spring of immense draconic power. Towards the end of each thousand-year period, dragon bloodlines begin to weaken, leading to some children being born without dragon powers - like Jake's mother, the Dark Dragon creepily points out - and eventually the loss of dragonhood entirely in future generations. So when the temple emerges from its pocket dimension, every dragon in the world must gather there and drink from the spring to replenish the magic in their blood and ensure the future existence of dragonkind.

 

The Dark Dragon and Chang have prepared a potent mind control potion - which Chang proudly shows off in its distinctive vial - and plan to contaminate the spring water with it. But obviously, neither of them can attend the assembly without drawing too much attention. So they need an infiltrator to do the job for them - and that will be Jake. Once the assembled dragons drink from the tainted spring, all of them will become the loyal servants of the Dark Dragon, and under his command, the conquest of humanity will begin.

 

Jake has no choice but to agree to the proposal, which elicits a mighty, earth-shaking evil laugh from the Dark Dragon. But a close-up of the hero's eyes makes it clear the gears are spinning inside his head as he tries to think of a way out of this mess...

 

Back at the Long family household, Lao Shi and Rose give the news about Jake's capture to his mother Susan and little sister Hayley. Obviously, both are devastated - but Hayley, with her youthful pluck and optimism, immediately asks what the plan is for rescuing him and his friends. Lao Shi explains that, despite their best efforts, he and Kulde have still not turned up any leads as to the evildoer's location. But they do expect he will make an appearance at the Thousand-Year Assembly, and that is their best shot and tracking down and rescuing Jake. Lao Shi says that he will bring Rose with him to Hong Kong, as her warrior skills may come in handy - but Hayley and Susan demand to come along too. In fact, Susan insists on bringing Jonathan, even though he has no idea the magical world exists.

 

"We're his family," Susan says. "It's our job to be there for him. All of us. Jonathan will understand."

 

"It's too dangerous," Lao Shi insists, worried for the safety of his daughter and granddaughter. "Hayley is a child, and you and Jonathan - you have no dragon powers," he points out. "I understand how you feel. I should have been here with Jake. If I were, then maybe this never would have happened." He pauses for a moment, holding back tears. "But I will not let harm come to any of you. This is my burden."

 

Sadly, Susan accepts her father's judgement - but insists upon a compromise. She, Hayley, and Jonathan will travel to Hong Kong, but not the temple. They will explain it to Jonathan as a vacation, and say that Jake has been staying with Lao Shi. That way they can all be there for Jake after the assembly, as soon as he is rescued. Lao Shi agrees, but Rose and Susan exchange a meaningful look.

 

A montage follows, showing the passing of roughly two weeks - the time until the assembly. We cut between silent, music-set scenes such as Susan explaining Jake's stay with his grandfather to Jonathan, Rose training with the Huntsman's staff to try and gain focus and clarity while using it, Lao Shi and Fu Dog poring over ancient magical tomes, Chang and the Dark Dragon doing more sinister plotting, Jake observing their movements and working out the layout of the caverns in his head, the Long family packing for their trip to Hong Kong, Lao Shi and Rose consulting with Kulde on Draco, the human captives in the cavern finally waking up from the slumber spell (and Rotwood immediately proceeding to make the others wish they hadn't with his fascinated monologuing), the family taking a flight to Hong Kong while Rose and Lao Shi teleport there, and Jake having some sort of conversation with Spud, Trixie, and Rotwood while the villains are out of the room.

 

As the montage ends, it is the night before the assembly. In the cavern, Rotwood, Trixie, and Spud are having a whispered argument about something the audience isn't in on. Rotwood is arguing he should do "it" - whatever "it" is - because he clearly has the most knowledge of magic. At first Trixie and Spud try to confront him on the obviously incorrect nature of that statement, but soon Chang returns to the chamber and they are forced to concede to him. Rotwood proceeds to make a ruckus and insist he needs to be let out of the cage to use the bathroom. Chang asks how that can be since he hasn't been given anything to eat or drink all day, but he insists he's got some sort of bladder infection and she lets him out just to shut him up.

 

Chang goes to escort Rotwood to wherever the facilities are, locking the cage behind her. But as she goes to leave, Trixie and Spud make a show of trying to break out of their cage, diverting her attention. Rotwood, pretending not to notice, keeps walking and disappears around a tunnel bend.

 

Chang casts another slumber spell on Trixie and Spud, knocking them out, but Rotwood has already escaped to parts unknown. She asks Jake which way he went, but he insists he didn't see. Frustrated, she runs off to search for him - only to be confronted by the Dark Dragon, who's captured Rotwood himself and is furious at Chang for allowing him out of her sight. He says he found Rotwood "scampering around the caves like the insect he is." Rotwood is returned to the cage and locked back inside, and as the Dark Dragon continues to scold a profusely apologetic Chang, the professor winks and smiles at Jake. Something's been pulled off.

 

In Hong Kong, Susan, Haley, and Jonathan return from a long day of sightseeing. Jonathan in particular is exhausted; the girls have done all they can to tire him out. He and Hayley head to bed, but Susan stays up - she claims she wants to walk around the area near the hotel for a bit to tire herself out, because she's not yet ready for bed. Ever oblivious, Jonathan is convinced and agrees to the idea, expressing how much he's looking forward to finally seeing Jake again tomorrow night as he heads to bed. Meanwhile, in a different hotel - one for magical creatures, hidden away from the main city - we see Lao Shi asleep. He has been traveling with Rose, but her bed in an adjacent room is empty.

 

Rose and Susan meet up on the outskirts of the city, by the edge of a large forested park, with Rose carrying the Huntsman's staff. She asks Susan one more time if she really wants to go through with this - and she confirms without hesitation. Thus, Rose leads her through the park and into a hidden lair underground. The Huntsman's staff serves as a kind of key, a blast of energy activating a sensor and opening up the facility to them.

 

Rose explains that the Huntsclan had learned about the Thousand-Year Assembly decades ago, and constructed this facility near the site of the ancient temple as part of a plan to launch a full-scale attack during the assembly. Now that the Huntsclan has been eliminated, a huge stache of dragon-slaying tools and weapons has been left here, abandoned. They should be able to find something for Susan to use in order to fight Chang and the Dark Dragon. But, she warns, she has never actually visited the facility, and doesn't know the layout or what security measures might be in place. The pair stick together as they explore the facility, and eventually they do find what Rose believes is the entrance to the armory. She is again able to open the door with a blast from the staff, but when Susan enters through the doorway, a sensor detects her dragon blood - diluted as it may be.

 

Alarms and flashing lights are set off throughout the facility, and laser turrets emerge from hidden panels in the ceiling. Rose's warrior instincts kick in once again, and she manages to deflect the blasts with her staff. After a few tries, she even manages to bounce them right back at the laser turrets, blowing them up and disabling them. The two scramble through the armory, hearing the sound of something approaching - it almost sounds like a group of people, though Rose insists that's impossible. In quite a rush, Susan grabs the first weapon she finds - some kind of energy blaster.

 

Very quickly, a swarm of robots dressed in Hunstclan uniforms appear at the armory entrance. "Of course," Rose exclaims, frustrated with herself. "Even at its heights the clan couldn't have taken on all of Earth's dragons at once. Not without more soldiers. There must be an army of these things!"

Sure enough, the entrance to the room is totally blocked by an enormous horde of robots, and there seems to be no way the two women can fight through them. Unless...

 

"Mrs. Long!" Rose shouts in a commanding voice. "Grab as many weapons as you can and toss them into a pile in front of the robots!" Susan obeys, and Rose pitches in as well, the two rushing to build up a mountain of the bizarre high-tech weaponry by pulling anything they can off of shelves and of cases, piling them on top of one another. As the robots approach the pile, Rose and Susan back away, and Rose charges up a huge energy attack on the Huntsman's staff. It actually begins to melt and break apart in her hands as she pushes the device beyond its limits, building up a huge mass of glowing green power...

 

Finally, she fires. In slo-mo, we see the staff disintegrate in her hands, sending her reeling backwards. The overcharged bolt of energy hits the pile of weapons and sets off a chain reaction, each weapon's energy core overloading and rupturing, creating a colossal burst of power that destroys most of the robots - and much of the armory. When the dust begins to settle, Rose and Susan scramble back to their feet, grabbing a few unbroken weapons from the remaining shelves, and charge out of the armory.

 

There are still several robots in the immediate area - and many, many more that can be heard marching towards our heroes from deeper in the facility. Rose hands most of the weapons she was carrying over to Susan, keeping for herself only a special bow, one which automatically generates an energy arrow when the string is pulled. She escorts Susan back to the exit, skillfully taking down robots with expert aim as they approach. When the two finally make it out - Susan lagging behind, burdened as she is with several heavy weapons - Rose destroys the access console with another well-shot arrow, causing a malfunction that seals the entrance shut behind them, trapping the robots underground.

 

Susan thanks Rose for protecting her, lamenting the loss of "her" staff. Rose shakes her head and scoffs. "It was never mine. Just a reminder of a part of myself I needed to overcome. And I think I finally have."

The next morning, a sleeping Jake is awoken by the sound of his friends' screams. The Dark Dragon is looming over him, dangling the cage Trixie, Spud, and Rotwood are inside of by a long chain. "Good morning, American Dragon," he booms. "This is the dawn of our destiny." At the Dark Dragon's signal, Chang releases Jake from his bonds, reminding him that if he tries anything, his friends will be killed. He raises his hands in a sign of submission, eliciting an evil chuckle from his captor. Chang hands Jake the vial of mind control potion, which he slips into a jacket pocket.

 

"We know your grandfather Lao Shi will be there looking for you," she warns him. "Avoid him at all costs. He must not stop you. No one must."

 

"Fail to complete the mission for any reason," the Dark Dragon threatens, "And your human friends will pay the price."

 

"You will need to wait until the spring water has been collected in the ceremonial serving vessel to poison it," Chang continues. "Put it directly in the spring and it will dilute too much. We will be watching," Chang continues, casting a spell that summons a sort of magical, holograph-like viewing portal, showing Victoria Peak. The area is surrounded by a thick wall of fog, but the portal's view zooms down through it, and beyond the wall of whiteness, within the mystical veil, is the ancient open-air temple - ornate and beautiful, looking as if it had just been built.

 

"The dragons of the world have begun gathering already," she explains. "Be discreet. No one can see you tainting the water."

"Stealth mission," Jake says in a half-hearted approximation of his usual witty tone, "Got it. Anything else?"

 

"There will be much, much more to do once the world's dragons are under my command," the Dark Dragon says haughtily. "But, all in due time. Now, American Dragon - go and do my bidding!"

 

In a swirl of dark magic, Jake appears inside the temple. There are only a handful of others already here, and looking around, it doesn't seem as though anyone has seen him. We intercut between him looking for a place to lay low and the arrival of Lao Shi, Fu Dog, and Rose. The three are being escorted by Kulde, who is carrying Rose's Hunstclan bow hidden under his long ceremonial robes.

((NOTE: I had this all written out very nicely and then screwed myself over by accidentally backspacing out of the page. I 100% absolutely CANNOT be assed to re-write the entire relatively complicated climax and finale up to the standard of the rest of this summary. I am done with this movie and the grief it's caused me, so I present to you a very brief Reader's Digest summary of the climax and denouement.))

-The assembly has not been informed of the potential threat from the Dark Dragon because the ceremony is too important to scare anyone away from or to cause a panic.

-Susan tries to sneak out of the hotel to reach the temple with her bag of stolen Hunstclan weapons, but Hayley and Jonathan wake up to the noise. She finally admits the truth about the family and what's happened to Jake. Jonathan faints when Hayley decides to "help" by showing off her dragon form to prove it's true. But when he comes back around he only has one question - how can he help save his son?

-Kulde, Lao Shi, Fu, and Rose encounter Fred Nerk (Callan McAuliffe), the Australian Dragon from the second film. Because he was with Jake the first time he fought the Dark Dragon they decide to let him in on the truth and enlist his help.

-Jake successfully remains in hiding long enough for all the dragons of the world to arrive, forcing Kulde to move forward with the ceremony and fill a special vase with water from the spring. However, he, Lao Shi, Fu, Fred, and Rose are taking the vase back to the main gathering area to keep it safe, and Jake can't contaminate it with them around.

-Luckily, Hayley, Jonathan, and Susan arrive at the temple just then - wielding the stolen Hunstclan weapons. This causes a huge commotion that forces Kulde, Fu, Lao Shi and Fred to intervene quickly, leaving Rose to guard the vase. Jake takes a gamble by approaching Rose and asking her to trust him, saying the only way to save his friends, dragonkind, and the world at large is to pour the potion into the water, but there's no time to explain. Though conflicted, Rose chooses to trust Jake and allows him to complete his mission because she loves him and because he has trusted her so much despite her dark past.

-Jake goes back into hiding, swearing Rose to secrecy about his presence and actions. Kulde has confiscated the weapons from the Longs but come up with a story - with help from Susan - about having sent them to find the old nearby Hunstclan base and gather information and artifacts; this is just barely enough to calm the crowd and allow the ceremony to proceed.

-One by one, all the dragons sip from the vase. The ceremony finishes with Kulde being the last to drink the tainted water. The Dark Dragon and Chang appear in the temple through a magic portal, declaring that, thanks to the American Dragon, they are all now under a spell that will make them unable to resist the Dark Dragon's commands. They've brought the caged Rotwood, Spud, and Trixie with them, and the Dark Dragon commands the crowd to reduce them to ashes... but nothing happens.

-Jake, in his dragon form, flies out into the open and reveals how he outsmarted the villains. He'd memorized the layout of the caverns and relayed it to the human captives. Then, while Trixie and Spud provided a distraction, Rotwood ran to Chang's chambers and switched out the mind control potion for another potion of the same color, swapping the vials. Luckily, it turns out the replacement potion was a harmless test batch with no working effects.

-The Dark Dragon declares he will simply subjugate everyone by force, and a massive melee ensues, with Kulde returning the Hunstclan weapons to Rose and the Longs so they can participate. Chang's channeling of dark power into the Dark Dragon has made him strong enough to take down several other dragons at once, and the evil duo also summon an army of shadow demons to fight alongside them, evening the odds. Lao Shi and Kulde focus on fighting Chang, while Jake and Fred go for, as Jake calls him, "tall, dark, and ugly."

-Rose manages to free Trixie, Spud, and Rotwood from the cage during the huge brawl, the temple being destroyed all around them by the fire and magic and energy blasts zooming everywhere. She escorts them over to the Long family, who guard them and Fu Dog with the Huntsclan weapons. Jake's friends cheer him on and Jonathan proves to be hilariously and unexpectedly adept with his energy sword, citing fencing lessons he took in high school.

-Rose joins the fight against the Dark Dragon, and the tide of battle begins to turn as the shadow demons are gradually destroyed. More and more of the dragons join the direct assault on the main villains, and eventually Chang is KO'd and captured, leaving the Dark Dragon all on his own and fighting what even he can see is a losing battle.

-Refusing to surrender, the Dark Dragon storms into the center of the temple where the spring is located. He drinks up a huge volume of the magic water, the draconic power being absorbed into his body and transforming him into a Godzilla-sized, horned, unstoppable dragon king. He wipes the floor with all opposition, and all seems lost as he gets Jake in his clutches, swearing to kill him off first. But then...

-The short window of time where the temple crosses over into our dimension comes to an end! A titanic energy vortex appears and begins swallowing the structure. Anyone sucked in will be sealed away with the temple for the next 1,000 years. This distraction is enough for Jake to escape, and a mad stampede to flee the temple begins.

-Our heroes, though, realize this is their only chance to defeat the Dark Dragon - so Kulde, Rose, Fred, and the Longs stay inside the disappearing temple, fighting to keep the Dark Dragon from escaping the dimensional vortex. Trixie, Spud, and Rotwood aid the evacuation of the other dragons. Both teams are relatively successful in their tasks, but the vortex is advancing rapidly and they are running out of room and time to fight. One by one they are forced out of the temple until only Jake and Rose remain inside to hold back the Dark Dragon. It becomes clear that to keep the villain from escaping, one of them will need to remain inside until the end and be sealed away with him.

-Rose insists she be the one to sacrifice herself. She says it is the only way she can redeem herself for her past crimes against the magical world, and that there is no place for her anyway because she doesn't fit in with humans or magical creatures - the only place she feels like she belongs is with him, but she has always known they couldn't really be together. He begs her not to do it, but she is adamant she will, threatening to blast him out of the temple if she needs to. With a tearful final embrace, he bids farewell and leaves the temple, leaving Rose crammed inside with only seconds to spare...

-But Lao Shi has been watching, reflecting on Kulde's words to him earlier, about being able to let Jake go. With his long dragon tail, he snatches Rose from out of the temple and tosses her clear, taking her place inside. The entire Long family cries out for him, but there is no time left. As he struggles to hold back the Dark Dragon, who is now hindered by the last room of the temple literally closing in on him as it is compressed and sucked into the vortex, Lao Shi tells Jake how proud he is to have been his mentor, and how he truly believes he is ready to take on the responsibilities of the American Dragon - that his actions have done not only him proud, but the entire magical world. No matter what happens to him, Lao Shi says of himself, his teachings, his memory, and his love will always be with Jake and the entire family. And with that, the vortex closes in around the two last dragons and the remnants of the temple, sealing them away for another millennium.

-The film's melancholy conclusion finds the gathered heroes mourning Lao Shi's sacrifice when the mystical fog around Victoria Peak lifts, revealing a huge crowd of people from Hong Kong who have been drawn to the mountain by the cacophonous noise of the confrontation and discovered the fleeing dragons, some of them not yet transformed back into their human forms. Fear, anxiety, and uncertainty fill the air. Cameras are rolling, videos are streaming onto the internet. There is no going back. The magical world is no longer a secret.

-Kulde takes the initiative to try and gather the crowd's attention, to calm the dragons and the humans and offer some sort of diplomatic explanation. He is struggling for words when Jake brings Rose, Trixie, Spud, and his family to along with him to join Kulde. The Great Dragon asks if Jake has something to say, and Jake replies that he wants to honor his grandfather's legacy by proving the Dark Dragon wrong about humans and magical creatures co-existing. He may not be good at speeches, but he hopes he can show everyone how harmony between worlds is possible by example. He steps in front of the crowd, taking Rose's hand and holding it tight. Just before he can begin his speech, we cut to the end credits.

 

 

Edited March 13, 2019 by Xillix

[SLAM!]

Veggies in the Rain: A VeggieTales Movie

 

Studio: New Journey Pictures Animation

Directors: Mike Nawrocki and Phil Vischer

Genre: Musical

Release Date: April 2nd, Y5

Major Cast: [the classic cast will reprise their roles]

Theater Count: 3,427

MPAA Rating: G

Runtime: 1 hr 43 m

Production Budget: $28 million (two times the budget of the real-life film Jonah: A VeggieTales Movie)

Plot Summary: Bob and Larry adapt to a changing landscape in the film industry with the help of the plucky young actress Petunia Rhubarb.

 

Spoiler

We open the same way Singin’ in the Rain opens, fading in on three figures. They are all wearing yellow raincoats and holding black umbrellas. Their backs are turned to the camera. And rain pours and pours. But, as we’ll see soon, it’s no matter to them. No matter at all.

 

The music blares in jubilee. Words appear on the umbrellas—the first one: “Bob The Tomato”; the second one: “Petunia Rhubarb”; and the third one: “Larry the Cucumber”.

 

The song kicks in. They turn around and begin the first four lines of the song “Veggies in the Rain,” before the film quickly dissolves to the opening credits.

 

We fade in on an animated replication of the 1927 Chinese theater. The front is bustling with commotion. One by one, the stars of the movie premiering at the theater are walking past the cheering crowd on a red carpet. Bob The Tomato and Madame Blueberry (who is playing the Lina LaMont role) are the last two stars to appear; they are stopped by an interviewer, and Bob shares a glamorized version of his story—how him and Larry built a path for themselves, how Madame Blueberry “fell in love” with him, and how him and Larry have managed to continue starring in films.

 

The crowd of fans try to storm towards Bob. He manages to escape inside the car of someone who’s passing by—Petunia Rhubarb. Petunia doesn’t really care about Bob’s status as a movie star. She is an actress, but doesn’t like movies, and prefers to act as a side job. They stop at Bob’s house, and Bob thanks Petunia for the ride.

 

We cut to a get-together, one called by the head of the movie studio, Mr. Nezzer. Bob and Larry excitedly greet many of the studio’s crew members; Archibald Asparagus (a director), Jimmy and Jerry Gourd (sound workers), a cinematographer (Pa Grape), and many other workers, the French Peas.

 

Attention is directed towards a nearby projector, much to Bob’s surprise. In this film, Mr. Nezzer himself looks to the camera and announces a new initiative to secularize their film industry’s entertainment output, much to the confusion of the guests. One actress remarks that it’s “vulgar.”

 

The next day, when they’re shooting their next film, Bob and Larry have a long conversation about the change. Bob is hesitant about this sudden change from a predominantly faith-based industry to a more secular one, but Larry is a little more into it. He suggests that the change doesn’t mean they have to stop following God. He also suggests that it’s good to be lighthearted; on set, Larry bursts into a song about silliness in order to prove this point.

 

Bob invites Petunia onto an empty movie set, and as Petunia takes in the sites, Bob sings a song about his love for film, and his love for her.

 

The next thing we see is Mr. Lunt, a movie star in his own right, singing about cheeseburgers; the walls of the set are pink, and the set is populated with dancing animatronic cheeseburgers. It’s a very grandiose, satirical song number.

 

Alfred Asparagaus has a discussion with Bob about how competition among the studios is ramping up—the secularization is allowing for more varied storytelling—so the next film needs to match their level of quality if they are to stay relevant.

 

We cut to the filming process; various veggies that are a big part of the VeggieTales series are a part of this crew. This is the crew’s first attempt at a ‘secular’ film. Safe to say, they botch it. For Madame Blueberry—bless her heart—her lines are completely unintelligible, and she is overacting to the point of unintentional comedy. Not even Bob can save this mess.

 

The film premieres to a test audience—a rowdy crowd that makes fun of the film all throughout its runtime. After the premiere, Bob, Larry, and Petunia are seen standing together, and in a cold sweat.

 

We cut to the trio at an apartment. They brainstorm ways to fix the film before it’s released. And they have an idea: they should make the film a musical. What else is more capable of exuding one’s spirit than music? They then proceed to sing the classic song “Good Morning”.

 

Bob leaves the apartment as it pours down rain. He sings this film’s rendition of “Singin’ in the Rain”: “Veggies in the Rain”. It’s a joyful solo number.

 

We then cut to Bob proposing the changes with other vegetables in a meeting room. They like the idea, but are slow to understand it. We see a long, dreamlike musical number, where many vegetables are dancing with one another; it’s a surefire example of how the Christian optimism and freedom can translate to the arts.

 

Petunia dubs Madame Blueberry’s lines for the film. But Madame Blueberry falls into a jealous rage and attempts to blackmail Bob and Larry from Hollywood. So at the premiere of the film, Madame Blueberry attempts to prove that it’s her voice saying the lines by hiding Petunia and her microphone behind the backstage curtain. Bob, Larry, and Archibald raise the curtain, foiling this plan; Bob calls out to Petunia and says that she’s the real star of the film.

 

The film ends when Bob and Petunia are staring at a billboard advertising the film “Veggies in the Rain,” and Bob looks to Petunia and says “God made you special, and he loves you very much.”

 

@Xillix This is a completed work.

Edited March 10, 2019 by Slambros

[SLAM!]

BANANA FISH

 

Studio: New Journey Pictures

Director: Martin Campbell

Genre: Crime/Drama

Release Date: June 25th, Y5

Major Cast: Judah Lewis, Isaac Jin Solstein, Ross Butler, Greg Kinnear, Ken Watanabe, Lucas Till, with Ewen Bremner, and John Malkovich

Minor Cast: [pending]

Theater Count: 3,055

MPAA Rating: R for Strong Violence, Drug Material, Pervasive Language, and Sexual Themes

Runtime: 2 hr 2 m

Production Budget: $35 million

Plot Summary:

(copied and pasted from My Anime List) 

Nature made Ash Lynx beautiful; nurture made him a cold ruthless killer. A runaway brought up as the adopted heir and sex toy of "Papa" Dino Golzine, Ash, now at the rebellious age of seventeen, forsakes the kingdom held out by the devil who raised him. But the hideous secret that drove Ash's older brother mad in Vietnam has suddenly fallen into Papa's insatiably ambitious hands—and it's exactly the wrong time for Eiji Okumura, a pure-hearted young photographer from Japan, to make Ash Lynx's acquaintance...
 

THIS PROJECT HAS BEEN CANCELED.

Edited February 5, 2019 by Slambros

[SLAM!]

Sabrina

 

Studio: New Journey Pictures Classics

Director: Paul Dano

Genre: Drama/Thriller

Release Date: November 26th (platform opening), December 3rd (limited expansion), December 10th (wide expansion)

Major Cast: Haley Joel Osment, Frank Dillane, Shailene Woodley, Max Minghella, Melissa Benoist, Laura Harrier, Ben Foster, with Emma Watson as Sabrina, and Matt Damon as Radio Show Conspiracy Theorist*

* = voice role

Theater Count: 4 (Nov. 26th), 39 (Dec. 3rd), 1,255 (Dec. 10th), 2,534 (Dec. 17th)

MPAA Rating: R for Language, Brief Nudity, and Disturbing Themes

Runtime: 1 hr 44 m

Production Budget: $10 Million

Composers: Geoff Barrow and Ben Salisbury -- The score leaves a sense of coldness in the viewer with its electronic swoons, which serve to complement the dramatic tension of the film.

Plot Summary: The film adaption chronicles the disappearance of an innocent women named Sabrina, and the added layers of trauma thrown on those coping by internet conspiracy theory regarding what happened to her.

 

The plot summary can be found here:

Spoiler

 

We see the opening credits appear in red letters on a black screen, without any sound or score. Eventually, the screen very gradually fades into a close-up of Sabrina (Katherine Waterston), doing dishes, and smiling. She is wearing clothes with a blue color palette. We cut behind her as she finishes up, and we watch her look over her shoulder. We have a short montage of cuts as she searches around the sparsely-furnished house; the last room of the search is a bedroom with a green wall and green bedsheets, where she finds what she’s looking for. She pulls a cat out from under the bed and cradles it in her arms.

Sabrina: There you are! Why were you hiding from me? Look at that face!

We cut to the hallway as she walks into the kitchen.

Sabrina: Do you want supper?

We cut to the kitchen window that stands above the kitchen table. A smiling woman in a red shirt (Kate Mara) appears in the window and smacks the glass with an open palm – much louder than intended. We cut back to Sabrina.

Sabrina: God! …Don’t do that!

The woman lets herself inside, sits down at the table, and takes her shoes off.

Sandra: Sorry! I told you I was coming after work.

Sabrina: It’s alright. I guess I’m not used to being alone at night.

Sandra pets the cat in Sabrina’s arms. They continue talking to each other as they interact around the kitchen.

Sandra: Where’s your man?

Sabrina: He had to work. I thought it would be weird for him to spend the night in my old bedroom anyway.

Sandra:  But you could have done fantasy role-playing! Parents are out of town… Home alone with your boyfriend…

Sabrina: Don’t be boorish, Sandra.

Sandra: Hey, would you rub my shoulders for a minute? This job is killing me.

At this point, Sandra is sitting on the kitchen counter. We cut to an overhead close-up shot of Sandra as Sabrina’s gentle hands clutch her shoulders.

Sabrina: How’s that?

Sandra: So good.

They continue talking. Sandra asks about a book she wrote; Sabrina says it had some interesting parts. They sit down at the kitchen table; Sandra comments on a bowl of fake apples, and Sabrina says she repainted them recently. Sandra says she wishes she could stay longer; she can’t get out of a party.

Sandra: Wanna help me with this crossword puzzle? Twelve letters. We killed the Clutter family.

Sabrina: Dick and Perry.

Sandra: I knew that.

They discuss Sabrina’s job hunting. Sabrina once applied for a sales job that turned out to be vacuum sales, door-to-door. She surmises that it was a scam.

Sandra: Who sand “Stand By Your Man”?

Sabrina: What? Oh- Tammy Wynette.

Sandra: Hey, you know stuff! You should just go on a game show and win a pile of money.

Sabrina: That’s an idea.

We cut a long shot of them at the table, which cuts to a long shot of them sitting down on Sabrina’s bed. Sandra says she’ll be going on a bike ride around the Great Lakes in the Springtime. Sabrina replies and says it’d be a great idea to get out of the city, to get away from the internet. When Sandra asks if she wants to join her, Sabrina asks if it’s safe, citing wild animals as a reason why it wouldn’t be. They sit in silence for a moment.

Sandra: Remember when I was nineteen and I rode a bus to Panama Beach by myself?

Sabrina: Yea. What compelled you to do that?

Sandra: I just wanted to do it. I don’t know what I expected to get out of it. I was thrown into a Spring break nightmare. It was terrifying. The place was lousy with college date rapists and steroid freaks. I had just enough money to stay in the worst motel off the main strip. I called mom on the first night and she didn’t even realize I had left Chicago. I didn’t have anything to do during the day so I sat in the old arcade and watched people play air hockey. At night, I hid in my room and watched public-access. I was watching the sunset on the beach my last night, and these three guys walked up and asked me back to their room. One of them said they were out hunting. I started walking away and he grabbed my arm. I ran to the street and they got in their car and started following me. I ducked into this taco place and hid in the bathroom for two hours, crying.

Sabrina: You never told me that.

Sandra: I was too proud. You know, I haven’t been on vacation since. So anyway, don’t worry about riding a bike through the woods. The fucking wild animals stay in hotels.

(Post “Children” from the movie Jackie without any explanation.)

Sabrina accepts Sandra’s offer to go on the bike ride. Sandra sees the time and gets up to leave, while Sabrina thanks her for stopping by. We see a shot of them hugging each other in the corridor where the front door is as Sabrina sees her sister out—the shot utilizes claustrophobic framing. We are treated to a montage of Sabrina locking the back door, brushing her teeth, reading a book in bed, going to sleep, waking up in the morning, feeding the cat, drinking a mug of coffee at the table, jotting down a list, and walking outside with a backpack on her shoulders. It is a bright, sunny day—if there are clouds, they are few in number, and snow white in color.

There is one final shot of Sabrina walking away from her home, offscreen. This shot dissolves, gradually, to a close-up shot of a man with long, blond hair (Macaulay Culkin) sitting in front of a drab, gray wall. The young man wears an expression which exudes melancholy and exhaustion.

We cut to an establishing shot that slowly pans around the room, revealing that it’s a train terminal. There is a lot of people in the terminal going about their business or waiting for their rides, but the atmosphere is somber nonetheless. During this shot, a bulky man in a navy blue sweater (Chris Sullivan) walks into the terminal. We can tell he is looking for someone.

We cut to the blond-haired man. Then we cut back to the navy-blue sweater man, who waves, and calls out the name of the blond-haired man: Teddy. Teddy says the sweater man’s name in response: Calvin, who hugs Teddy while he’s still sitting down, and sits next to him.

Calvin: How was the train?

Teddy: It was good.

Calvin: Yea…

The camera cuts further away for a moment as they sit in silence. The camera then cuts closer.

Calvin: I like your hair.

Teddy says nothing.

Calvin: Well… I’m parked out front if you’re ready.

****

We’re given a shot of Calvin walking out to the parking lot; Teddy follows him with his head down. We dissolve to a shot Calvin’s car as it moves on the highway. Then, we cut to the inside the car.

Calvin: Are you hungry? I can stop somewhere if you’d like.

Teddy: No thanks.

A pause.

Calvin: I know the circumstances are awful. But it’s still good to see you.

Teddy looks out the window, saying nothing.

Calvin: I’m glad you still felt like you could reach out to me.

Teddy: Yea.

Calvin: It will be nice to have some company at the house.

Teddy: Hm.

We cut back to Calvin for a moment. Then we cut to the a moving shot of the landscape outside the car—it’s forested, and there’s a mountain in the distance.

Calvin: That’s Cheyenne Mountain. That’s where they built the Norad complex in the sixties. There’s a bunker deep under there with a cafeteria, convenience store, gym, and chapel that can withstand a full-blown nuclear attack. Pretty weird, right?

Teddy: Hm.

Calvin motions toward the radio.

Calvin: Do you remember this song? …You made me this mix for my twelfth birthday. I pulled it out when I knew you were coming.

Teddy doesn’t seem to like that very much. Calvin turns the radio off.

Calvin: Whoops. I’m sorry, man. We don’t have to listen to it.

They sit in silence.

****

We cut to the car arriving at a two story house in the suburbs.

Calvin: Home sweet home.

We cut to inside the house as Calvin opens the front door. A cat, one that’s darker in fur color than the cat Sabrina had, strolling up to its owner, who picks him up.

Calvin: Hi, Randy. Come here. Randy, this is Teddy. He’s gonna be staying with us for a while.

Calvin sets Randy down and notices that Teddy didn’t bring any luggage. Teddy remarks that he forgot.

Teddy: Well, you’re welcome to take anything you need. Seriously, don’t even ask. We can go out this weekend and pick up some stuff.

Calvin shows Teddy the kitchen and the living room. Then the two of them go upstairs. The first room they see is an empty room with mustard yellow walls.

Calvin: This is just the spare bedroom. Jackie was going to make this her work room. If you ever want to do anything in there, be my guest.

Calvin shows Teddy the upstairs bathroom and the laundry room. Then, Calvin shows his own room. It’s a little messy, with clothes lying on the floor here and there. Calvin walks into the room and begins to change his clothes.

Calvin: I’m gonna say that my room is the only one that’s off limits. You know I don’t mind having you here at all. I’m just weird with personal space.

Teddy: No problem.

Calvin: I appreciate it. You’re not missing anything.

We see that Calvin is putting on a military uniform.

Calvin: I’ve gotta start getting ready. It’s a good thing my boss let me take a half day. I told him it was an emergency. Just so you know, I work Monday through Friday, Four to Midnight.

They walk to another room—the room Teddy will be sleeping in. It has a lot of things in it—clothes and toys meant for a female toddler.

Calvin: This was Cici’s room. We can clear some of this crap out. When they left, I just shoved all of her stuff in here. Hm. I haven’t been here in a while.

Calvin purses his lips together and sighs.

Calvin: Well… I’m sorry to rush out the door. But I really do have to get to work.

Teddy: OK.

Calvin: Hey, I did want to show you something.

They walk back into Calvin’s room. Calvin walks toward his closet.

Calvin: I just want to be up front about it. I think it might even put your mind at ease.

Calvin reaches in and comes out with a pistol safely wielded in one hand.

Calvin: How do you feel about weapons?

Calvin puts back the pistol and pulls out a shotgun.

Calvin: I only bought them to protect my family. If anything ever happens in the house, come get me, and I’ll take care of it. I keep them in a locked bag in this closet. And I keep the key with me at all times. I just wanted you to know that I’m well protected if anyone tries anything.

Teddy: OK.

They walk down the stairs.

Calvin: Do you need me to pick up anything on the way home?

Teddy: No, thanks.

Calvin: Are you gona be all right by yourself?

Teddy: Yea.

Calvin: Ok, well… Everything’s gonna be all right. See you later.

As we here the sound of the door opening and closing, we’re left with a shot of the living room, Teddy’s figure barely visible as he sits on the couch.

****

The score unsettles us with the ambient stir of a growling orchestra. We see a montage of Calvin driving into the military base. We have many different shots Calvin walking through the inside of the military base—he knows exactly where’s he’s supposed to go, and he moves with a purpose. Eventually, we get an establishing shot of the offices where Calvin works, where we cut back and forth to Calvin and his coworkers. Calvin strikes up a conversation with a coworker named Simon (Stranger Things’ John Reynolds in a minor role) and tells him that he had to take a half day because of a doctor’s appointment. After taking the air force’s daily medical evaluation survey, he finds the office of a black-haired man in the same military uniform (David Dastmalchian).

Calvin: Hey, Dahlman.

Dahlman: What are you doing here?

Calvin: Sergeant Smith let me take a half day. I had a doctor’s appointment.

Dahlman stares back at his computer.

Calvin: Hey, do you have any news for me?

Dahlman: What are you in the mood for? Current affairs? Sad? Funny? Celebrity gossip?

Calvin: Funny, please. I need something funny.

Dahlman searches for something funny and finds an article about porn product placement. He reads the article aloud to Calvin. It’s a lot of information.

Dahlman: Blah, blah, blah, you get the idea.

Calvin: Pretty weird stuff. I was hoping for something more along the lines of a stupid YouTube video or something.

Dahlman: You know, I should really get back to it.

We cut back to Calvin’s desk. Simon complains that he’s got an itch on his ankle. The he scratches his back, and remarks that the itch on his ankle goes away when he scratches his back. Dahlman comes to his desk and holds two fingers up to his lips—this is code for a smoking break. The two of them walk to a dark room where airmen are sitting at computers in front of screens displaying maps, graphs, and newscasts—one particular airman is taking a phone call, and he’s the one who gives Calvin two cigarettes. We cut to outside the building, where Dahlman talks about his Korean girlfriend’s brother and their trip to Pikes Peak as they smoke their worries away.

We cut to the inside of a lounge—the two of them are standing in front of vending machines.

Dahlman: Why did you say you were late today?

Calvin: Because I had a doctor’s appointment.

Dahlman: Wanna have a game session at your place tonight?

Calvin: Damn. You know what? I don’t think I can.

Dahlman: Aw. Really? Chin-sun is hanging out with her brother and I got “permission” to go out. Why not?

Calvin: Dude. I am so tired I’m going to sleep as soon as I get home.

Dahlman: Come on, man. Do you know how many hours Kelly and I put in last night to unlock level eleven? Sometimes I think you don’t even care about the clan.

Calvin: That’s ridiculous. I’m as loyal as they come.

As Calvin grabs his snack, he notices something. We cut to a message written on a piece of paper that’s been taped to the machine: “DON’T DESPAIR. This machine is temperamental, but it will give you change for your dollar bill if you persevere.”

Calvin: Ha! Who wrote this?

Calvin looks behind him, but his friend is gone.

Calvin: …Connor?

We cut to a man in a military uniform walking down the staircase into the lounge—this man is Sergeant Smith (Michael Stuhlbarg in a minor role).

Sergeant Smith: Wrobel?

Calvin: Hey, Sergeant Smith.

Sergeant Smith: Hey, you get off at Twelve? Would you stop by my office at Eleven-Forty?

Calvin: Will do.

****

We cut to an image of a large row of tables in a big room, all of which have napkins and bottles of salt and pepper on them. There is no one at any of the tables. We gradually dolly back to reveal that it’s a picture-frame, with the caption “Trainee Mess Hall – 1948”. We cut to Calvin, who is staring at the picture-frame on the wall. During this shot, Sergeant Smith calls out to him, and as they interact, the camera does shot/reverse-shot for the duration of the scene.

Sergeant Smith: Sorry, Cal. Had to take a phone call. Come on back! Sergeant Heffer took off for the night so we can spread out back here. …So. I just wanted to follow up with you about the position of special investigations.

Calvin: Oh.

Sergeant Smith: Colonel Tucker asked about you again. He still thinks you would be a prime candidate. And he wanted me to see where you were at.

Calvin: I’m certainly honored, really.

Sergeant Smith: It’s a big decision, you know.

Calvin: I just have a lot of personal stuff I need to take care of after I’m discharged.

Sergeant Smith: Well, as I’m sure he told you, it’s a three year minimum in O.S.I..

Calvin: I know. He went over the bare bones of the contract. Honestly, it was a little scary.

Sergeant Smith: How so?

Calvin: My daughter is already four. The prospect of moving to Virginia, and being dispatched anywhere in the world for months at a time, and being forbidden to contact my family. I don’t know if I can do it. …My wife and daughter are living with her parents in Florida. I’m trying to reconcile with her and move there when I get out next Spring. If she wants me.

Sergeant Smith: I’m sorry to hear that. We’ve all made our sacrifices, though. All I ask is that you consider it. If you’re thinking “career”, this could really open doors for you. And in three years, you’re out. You can go wherever you want.

Calvin: …I’d really have to think about it.

Sergeant Smith: I understand. I won’t push too hard. Just remember that crisis leads to opportunity. …So what happened, today? You said you have an old friend staying with you who’s going through some kind of crisis of his own?

Calvin: Yea, my old friend from Illinois. It’s a weird thing. His girlfriend is missing.

Sergeant Smith: Missing?

Calvin: It’s one of those horror stories you here about. She just never came home. They even got her on camera a block away from her apartment walking home from work at her usual time, and after that, nothing.

Sergeant Smith: That’s strange. When was this?

Calvin: A month ago.

Sergeant Smith: Uh-oh.

Calvin: Yea. He had some kind of nervous breakdown, so his parents asked if he could come stay with me. I said “sure thing” even though we lost touch after high school.

Sergeant Smith: Well I commend you for helping out a friend.

Calvin: Can you keep this between us? I told the guys I had a doctor’s appointment.

Sergeant Smith: No problem, but I really don’t find it necessary to deceive your fellow airmen.

Calvin: I know, I’m sorry. I just didn’t want to have a little press conference in the office.

Sergeant Smith: These guys would literally take a bullet for you. I’m sure they’d be just as concerned as I am about you and your friend’s well-being. Maybe they can help. And obviously, if you need anything at all don’t hesitate. My door is always open.

Calvin: Thanks, Ed. I appreciate it.

Sergeant Smith: What was her name, by the way? I’d like to follow the story.

Calvin: Sabrina Gallo. …There haven’t been any new developments. All the articles are from last month. The family has a little Facebook page, but that’s about it.

Sergeant Smith: I’ll be praying for her. Keep me abreast, all right?

Calvin: You got it.

Sergeant Smith: Would you shut that door for me on your way out?

****

We cut to a shot of Calvin’s house. Then we cut to the inside of the house as Calvin walks in through his front door. Calvin brought Chicago-style Pizza. He takes off his military uniform and sits with Teddy on the opposite side of the couch.

Calvin: Remember that kid that used say grace before lunch in high school?

Teddy: Ray Ramondi.

Calvin: Heh—whatever happened to him?

The two friends continue to talk about their high school days. Calvin shows Teddy the tattoo on his shoulder and tells the stories behind it. Calvin goes upstairs for a moment and comes back downstairs wearing a black Snuggie-like sleeved blanket—his little nightly ritual. Teddy accepts when Calvin offers him a cigarette, and he admits that he doesn’t have a plan. Calvin continues to reminisce for a moment, until Teddy puts his face in his hands.

Teddy: …I just want her to come back. This can’t be happening. Dear God. What happened? Where is she?!

Calvin: …I’m so sorry.

Teddy: …Ah! Is there a bathroom, down here?

Calvin: Around the corner.

Teddy: Ah!

Teddy flees to the bathroom. We cut to Calvin, and we hear the sound of vomiting. After a moment, Teddy comes back and brings cold drinks to the couch.

Teddy: I haven’t kept a meal down all month. … I swear to God, if they find whoever is responsible, I am going to kill him. I’m serious. I am going to kill him. And if he’s dead, I’m just going to kill myself. That’s the truth.

They sit in silence for a moment.

Calvin: …Yea. I totally understand. I’m sure I’d feel the same way.

Teddy: Yea.

We cut to a shot that dollies in on a black TV screen.

Calvin: Let’s watch something.

Calvin turns on the TV. We see a montage of a news station’s 9/11 memorial program, discussing, in stark detail, the sentiments that Americans at large still feel about the event in the current moment. After the documentary-style segments and the statements from interviewees, we cut back to Calvin.

Calvin: Take a nice stroll down memory lane at the nine-eleven museum…

Calvin stares down for a moment.

Calvin: Remember Drew Peterson? That cop that killed his wives? It was a big news story, way back when. We were watching a TV special about Drew Peterson one night when we leaned in and kissed each other for the first time. Now, whenever I see or hear anything about Drew Peterson, I feel like I’m eighteen in Emma’s basement again. Is it weird to feel nostalgia for stuff like that?

Teddy has fallen asleep. We have a montage of shots where Calvin carries Teddy up to his room and lays him down on the mattress. Calvin takes off his jacket and shirt, and puts those clothes in the laundry room. Calvin checks to see if Teddy needs anything like pillows or a blanket, but Teddy is unresponsive, so he leaves him alone. And we see a shot of Teddy smiling.

Calvin goes into his room and plays online warfare-type video games on his laptop with Dahlman. When he’s done, he stares at a folder of photos he’s kept of his wife, Jackie (Sienna Miller). He closes the laptop and turns out the light.

Once the light is turned off, we cut to dark, expressively-lit images of Sabrina and Teddy. Sabrina is under the covers of a bed.

Sabrina: My Dad really liked you. He said you were a good guy.

We see a shot of Teddy staring at Sabrina.

Sabrina: What?

Teddy: I’m just looking at you.

Sabrina: Come here.

Teddy comes to her.

Teddy: What do you want to do? It’s early.

Sabrina: I’m pretty tired. Let’s just lie here.

We cut to the outside. It’s expressively-lit to the point where it doesn’t even look like they’re outside in a real environment. They have a discussion about when Sabrina will be home. She says she’ll be home after midnight. Teddy says that she doesn’t want her to be out that late and that he’ll go with her. Sabrina is grateful for this. And as they walk hand in hand, Sabrina fades away into oblivion. We hear the non-deigetic sound of Teddy’s screams.

We cut to Calvin getting out of his bed—it’s the same expressively lit shot, where we can tell his environment is very dark. He grabs the pistol from his closet and stumbles to Teddy’s room as the screams continue.

Calvin: Hm? What the- who is that? Who’s there?! Teddy?! What the fuck is going on?! I can’t see! Teddy!

Calvin flips the light switch. The lighting goes back to normal. Teddy is standing in the corner of the room, screaming. It’s clear that he isn’t entirely conscious. Calvin sets the gun down and tries to talk sense into Teddy, telling him that he’s having a nightmare. He sets Teddy back down on the mattress and closes his door.

Calvin sits on his mattress for a moment. The light becomes brighter and brighter during a close-up; we cut to outside his blinds-covered window, and he lifts up the blinds to take a peek. The sun is coming out.

Calvin: Jesus.

We see a short montage of Calvin putting on a shirt and treating his lower eyelids, which showcase tiredness. He opens his laptop, and we cut between Calvin and his POV of the computer screen—he’s got a Skype call.

Jackie: Calvin?

Jackie has her brown hair tied in a bun. The walls behind her are much brighter than the walls behind Calvin.

Calvin: Hey, Jackie. Did I wake you?

Jackie: No, no. What’s wrong?

Calvin: Nothing. I just wanted to talk to Cici. Is she there?

Jackie: Cici! Come down here! Daddy! …Have you been up all night?

Calvin: No. I just got up early to do some chores before work. How have you been?

Jackie: Great. My mom and I have a lot to do with Cici today.

Calvin: That’s great. Keeping busy.

Jackie:  Yea, so I’ve gotta get ready. She’s coming right now.

Calvin: Ok, well-

The face of an adorable little girl populates the screen. Calvin tries to ask her many questions, but the little girl’s answers are brief and almost unintelligible.

Calvin: Can I talk to mom? Is she there?

The little girl loses focus on the conversation and walks away with her fingers in her mouth.

Calvin: Cici. Tell Mom to come back to the computer.

She is gone.

Calvin: Hello?

No response. Calvin closes the laptop.

****

We cut to a shot of the suburban neighborhood. We cut back to Calvin’s room, where Calvin is sprawled out on his bed. The cat watches him as he slowly gets out of bed and travels downstairs. He checks his phone—six missed calls from an unknown number.

Calvin goes to Teddy’s room. He is missing. The pistol Calvin left on the drawer has been placed on the mattress. Calvin looks around the upstairs building for Teddy, and eventually walks into the spare bedroom, where the unknown number calls for a seventh time. Calvin answers.

Calvin: Hello?

???: Is this Calvin Wrobel?

Calvin: Yes?

???: Can I speak to Teddy?

Calvin finds Teddy’s jacket in the washing machine.

Calvin: I, uh… I’m not sure where he is at the moment. Who is this?

???: Oh God. Oh my God…

Calvin walks down the stairs.

Calvin: Calm down. Who is this?

???: My… Um… Oh God!

Calvin: Who is this?!

???: *snf* My name is Sandra. I’m Sabrina’s sister.

Calvin: Oh God. I’m so sorry. What’s going on?

Sandra: It’s, um…

Calvin: Oh no.

Sandra: …We got a letter at my parent’s house. It had Sabrina’s bus pass in it.

The camera stays on Calvin for a moment.

We cut to the outdoor landscape of the neighborhood. Teddy is walking around, aimlessly, in Calvin’s air force uniform.

???: (offscreen) Hey! What’s your name?

We cut to a homeowner, who is looking at something in front of his porch.

Homeowner: What is your name?

Teddy: Teddy.

Teenage Boy: If you see a kid named Logan, tell him I’m out for his blood.

In the final shot of the homeowner, we see that the name Logan has been carved on the homeowner’s sidewalk.

We cut to Teddy, who walks into a playground and sits on the swing set. We cut to the road from Teddy’s stationary point of view—Calvin car has come to a stop. We cut back to Teddy, who is watching. We cut back to the faraway car—through a telephoto lens, Calvin gets out of the car and runs to Teddy. We see a faraway shot of Calvin discussing what happened with Sabrina; we see Teddy falling down onto his face.

We cut to Calvin carrying Teddy up the stairs. We cut to Calvin smoking a cigarette on the couch. We cut to Calvin putting on his air force uniform—he’s presumably taken it off of Teddy’s body. We cut to a low angle POV shot of Calvin in front of Teddy’s door. We cut to Teddy, in a daze, on the bed. We cut back to Calvin; he takes off his hat, in the same way a military member would share the news of an army member’s death. We cut to Teddy, who has an extremely sad expression. We cut to Calvin at his workplace; he is lost in thought as the people around him are going about their day as normal.

****

The sound cuts out as we cut to an illustrated image of a daycare center. There are children of all stripes in this daycare center, of all interests and personalities. And there are many of them. Very many of them.

We cut to Calvin walking into Teddy’s room. We see that Teddy is reading out of a children’s book.

Calvin: You found Cici’s favorite book.

Teddy puts the book down and looks up at Calvin. Calvin holds up a bag of food from Hardees/Carl’s Jr.

Calvin: Hungry?

Teddy: No.

Calvin sits down on the mattress.

Calvin: Listen… I don’t even know what to say about that letter. It’s awful. I can’t stop thinking about it. …Jesus… Maybe it’s some kind of good sign. Before that, we all assumed the worst already happened. I don’t know.

They sit in silence for a moment.

Calvin: Do you think maybe there’s something we’re missing?

Teddy: What do you mean?

Calvin: I dunno. We assume we are dealing with a straight-up abduction, or a ransom. Maybe there’s a more complicated explanation. I’m just saying we don’t know what the hell happened. So the bus pass doesn’t really mean anything yet.

Teddy: I hope so.

Calvin: Sure! Look at Patty Hearst. Anything is possible.

Teddy: I guess so.

Calvin: Jesus. Your lips are all cracked. Have you had anything to drink all day? Have some soda. Do you still like Cheeseburgers with just ketchup?

Teddy: Yea, thanks.

Calvin: I can keep that in my brain for over a decade, but I can’t tell you when the civil war happened.

Calvin gives Teddy a burger. Teddy is having trouble moving, so Calving holds the burger to Teddy’s mouth, in order to help him eat.

We cut to Calvin alone on the couch, smoking again. He picks up a box, one that’s been delivered to his house. We watch him go into the laundry room, climb on top of one of the machines, open a door on the ceiling, and places the box in the attic—

Teddy: (*offscreen*) Calvin?

Calvin jumps, having been startled.

Calvin: Jesus Christ! You scared the shit out of me!

Teddy: What are you doing?

Calvin: I thought I heard a rat in the attic.

Teddy: A rat?

Calvin: Yea. I didn’t see anything. What are you doing awake?

Teddy: I just wanted to say thank you for letting me stay with you.

Calvin: Oh. Yea, of course. Don’t mention it.

Teddy: I really appreciate it.

Calvin: It’s no trouble at all, Teddy. I mean that.

Teddy: Well, goodnight.

Calvin: Yea.

Teddy walks back into his room. Calvin catches his breath as he sits on top of the laundry machine.

****

We cut to an establishing shot of Sandra’s apartment. Sandra is sprawled out on her couch, one leg hanging off the cushion, staring up at the ceiling. She perks up at the sound of a knock on the door.

Sandra: …Anna?

Anna: Yea.

Sandra: Hold on.

Sandra opens the door for Anna (Amanda Warren). The two women hug each other for a long time.

Anna: How are you doing?

A moment’s hesitation.

Anna: It’s ok.

Anna places a hand on Sandra’s shoulder as they walk into the kitchen.

Anna: What do you need? Water? An ice pack?

Sandra says nothing. Anna picks up an ice pack.

Anna: Here. …Your hands are shaking like crazy.

Sandra puts the ice pack over her forehead, obscuring her eyes to the audience.

Sandra: The doctor gave me something for that.

Anna: Is it helping?

Sandra: No.

Sandra sets down the ice pack.

Sandra: Let’s sit down. How long can you stay?

Anna: I can stay for as long as you need. Have people been here with you?

Sandra: Suzanne’s coming after work. My Aunt’s coming tomorrow, but she has to leave at two.

They sit on the couch.

Anna: Do you have a backup? I might be able to come back.

Sandra: I might go to my parents’ house. But it’s hard to be there.

Anna: Yea.

Sandra: The last time I saw her, she was watching their cats. That was two days before she disappeared.

They sit for a moment. Then Sandra stands up and begins to pace around the living room.

Sandra: Sorry. I can’t sit here. I don’t know what to do. I’m serious. I don’t know what to do! God. I don’t know what to do.

Anna calls Sandra to her. Sandra sits on the floor, between Anna’s legs, as Anna sits above her on the couch. Anna places her hands on Sandra’s shoulders.

Anna: Close your eyes. Place your hands in a comfortable position. Now take a deep breath. And let it out slowly. Do that again. Good. Just focus on your breathing. Can you feel it travel down to your feet? To the ends of your fingers? …Slow and deep. Keep breathing. Let your shoulders drop. Feel yourself sink back with each breath out. Ok. Now allow a place to come to your mind. A place where you can feel safe and peaceful. It can be real or imaginary.

Sandra smiles. We cut to a first-person POV shot of plains of swaying grass.

We cut to Anna.

Anna: Allow yourself to step forward.

We cut back to the plains.

Anna: Look to your right.

We see a river.

Anna: Now look to your left.

We see a horse. Another horse joins it in the shot.

Anna: Allow yourself to feel the weather. Observe the colors.

We see a yellow house among the nature.

Anna: Now walk to the place where you want to go. The place where you will feel safe and calm. Enter the place. Whatever it may be.

We cut to the inside of the house. The furniture and décor is sparse, but pleasant.

Anna: Go to the place where you can be at peace. And rest.

We cut to Sandra lying down on a soft bed.

Anna: Breathe in and out. Slow and full. And be at peace. You are at peace.

We cut back to Anna and Sandra—back to reality.

Anna: You are at peace.

We cut to a close up of Sandra’s face. Her eyes are closed. She is at peace.

Anna: Open your eyes whenever you feel comfortable.

Anna opens her eyes. Her smile disappears.

Anna: How do you feel?

Sandra: …Um… I still don’t know what to do…

She grabs her head leans into herself.

Sandra: Fuck. I don’t know what to do. Ah. Fuck. God fucking dammit. I want it to stop.

Sandra repeats ‘I want it to stop’ as Anna tries to console her. Sandra lets out a blood-churning scream. Anna keeps a hand on Sandra until she falls onto her side.

Sandra: I think I want to be alone right now.

Anna: Are you sure? I can spend the night if—

Sandra: I’m sorry. I can’t sit here with you right now. I really want to be alone.

Anna gets up and walks to the door.

Anna: Please call me if you need me and I’ll come back.

Sandra: Thanks.

We hear the opening and closing of the door as the camera lingers on Sandra, who stays on the floor for a moment. She eventually gets up off the floor; she exits her apartment and walks out of the building, onto the neighborhood sidewalk. She calls out Anna’s name twice.

****

We cut a man named Terry opening the mailbox of a government building. Through a short montage, we see him walking through the government building and into a certain work room. We cut to a woman (Ann Mahoney in a minor role), who is working on her computer; she’s in front of a poster board that has pictures of her family on it. Her name is Mona. The two of them go into the lounge room to get some coffee; while Mona is opening the envelope, a coworker named Greg tells a story about his trip to multiple dentists; one dentist told him he needed six cavities filled, a root canal, and a deep cleaning; another dentist told him he only needs one cavity filled. However, the first dentist told him the second dentist was lying; he’s had eight dentist appointments in the past year, and he doesn’t know what to do about it.

Mona looks down at the package she’s opened. It’s a VHS tape from Illinois. Mona and Terry scramble to find a TV and player for the tape, and they find both in a storage room. Terry looks inside the VHS player and finds his child’s favorite Barney video, one he’d lost a long time ago. The two government workers place the mysterious tape inside the player and find the channel that’s displaying its contents.

We do not see or hear the content of the VHS tape. We only see Mona and Terry’s disgusted reactions. Mona turns off the TV after a moment.

Mona: I… Um… I suppose we should call the police.

Mona takes her phone out of her pocket. Terry leans against a cabinet in shaken silence.

Mona: Yes, hello. This is Mona Newman from the Standard Journal. We just received a tape at our office that appears to show a young woman being murdered. …Yes. …No, I’m not.

Mona sits in the opposite corner of the room from Terry.

Mona: …I have no idea. …Yes, they can meet us here. …There’s a return address on the package. Do you want it? …Four. Nine. Three. One. North. Harding. Street. Illinois. …It just says Illinois. …Thank you. Bye now.

Mona tries to recover for a moment. Terry attempts to say something, but the words won’t come.

We cut to an apartment room, where a detective is interviewing a young man about a twenty-three year old named Timmy Yancey.

Young Man: I don’t think he had a job. The rent checks came from his mother. I heard him walking around a lot. One time I did ask him to turn his video games down, but he didn’t listen. I met his mother. She was the only one who helped him move in. It was his first time leaving home. I remember that.

Detective: Can you remember anything usual about his time leasing the apartment? Anything that stands out?

Young Man: Yea. You know I’ve been thinking about it. Maybe two months ago I heard people talking upstairs at night. Like two in the morning. I don’t know if that means anything. I just thought it was strange because he never really had company over.

Detective: Could you hear what they were saying?

Young Man: No. But there were at least three male voices.

Another detective, Detective Craig (Lance Reddick in a minor role) comes into the room and calls the interviewer upstairs. We cut to a body that is lying on a mattress and completely covered by a white bedsheet.

Detective: This was photographed already?

Craig: Yep.

We see them look under the cover, but we do not see the body.

We follow the detective as he slowly walks through the apartment hallway, which is crowded by law enforcement officials. He makes his way to the bathroom; there is a dead body in the bathtub; the water is blood red; the eyes are closed and the lips are smiling. We will soon learn that this is the body of Timmy Yancey. Beside the bed lies a pile of black clothes and, most notably, a black ski mask. The Detective jots down notes on a notepad as Craig watches from the bathroom entrance.

We cut to Calvin, who is hard at work in his office.

Dahlman: Hey, Calvin. Come look at this.

Calvin walks up to his friend’s computer.

Dahlman: This just happened in Illinois. Have you seen this?

Calvin looks at the screen.

Calvin: I, uh. I have to go home.

Dahlman: What’s wrong, Cal?

Calvin: I gotta go!

Calvin hurries out the door as coworkers talk amongst themselves, puzzled at the behavior. Dahlman follows him out into the corridor.

Dahlman: Hey!

Calvin shouts to Dahlman without looking back at him.

Calvin: Tell Sergeant Smith it’s an emergency. I’ll explain later!

We cut to the inside of Calvin’s house. Calvin hurriedly opens the front door.

Calvin: Teddy!

We cut to Teddy, who is sitting on the couch.

Teddy: Calvin? What’s wrong?

Calvin hesitates. We cut back to Teddy.

Teddy: …What’s wrong?

Calvin attempts to say something, but the words won’t come.

****

Calvin is interviewed by a blond-haired policewoman (Katee Sackhoff in a minor role) inside an interrogation room.

Calvin: I didn’t want to be the one to break it to him if we ever got the bad news about Sabrina. I tried to prepare myself. But not for this. *snf* Man…

Policewoman: Let’s try to go over what happened in your house. When your neighbors called 911, they thought someone was being killed over there.

Calvin: I told Teddy what happened, and he lost his mind. I tried to subdue him, and he struggled against me. We bounced around my living room and knocked the television off the wall.

Policewoman: Were you in fear that he was going to harm you?

Calvin: No, no. I just didn’t know what he was capable of in that moment. He was hysterical, like he was possessed.

Calvin denies the potential of Teddy being a suicide risk. The policewoman leaves the room, saying that the detective will be with him in a moment. 

Calvin peeks through the blinds of a window next to him. We see a car lot. The cars are there, but the people aren’t.

Detective Craig walks in.

Craig: Calvin? I’m Detective Craig.

Calvin: How’s Teddy?

Craig: Not good. To be honest, we need to go over some details that are going to be difficult for him to hear.

Calvin thinks for a moment.

Calvin: Is there really a tape of it?

Craig: I’m afraid so. More than a few, actually.

Calvin: Jesus Christ.

Craig: We’re trying our best to secure them all. He sent out several to news outlets all over the country, a few local politicians, one to a sportscaster in Chicago. One of the newspapers already ran a photo of Timmy Yancey from the video, and believe me when I say that we are not happy about that. We’re desperately trying to keep this video from leaking onto the internet, for the sake of Teddy and the victim’s family.

Calvin: Yea.

Craig: How long has Mr. King been staying with you?

Calvin: About three weeks.

Craig: How’s he been handling everything?

Calvin: We don’t talk much. He stays in his room most of the time. Sleeps a lot. Doesn’t eat enough, but I don’t force him.

Craig continues to ask Calvin a flurry of questions concerning Teddy. Calvin thinks of a question of his own and decides to ask it.

Calvin: Where did it happen?

Craig: Timmy Yancey lived one block away from Sabrina’s apartment, believe it or not.

Calvin: Are you fucking kidding me? And it was one guy?

Craig: One person that we know of, obviously. We’re looking into it.

Detective Craig offers Calvin a cup of coffee from the break room and leaves. Calvin breaks out his smartphone, dials, and puts it against his ear.

Calvin: Hey, Jackie. How are you? …Me? I’m not good. I can’t talk about it right now. I’ll explain later. Is Cici there? I need to talk to her. …Oh, right. I’m sorry. I didn’t realize how late it was. She’s at home with you right now? …I was just checking. …Ok. …Bye now.

Calvin puts the phone down and sits in silence for a moment.

We cut to outside the building as Calvin and Teddy walk to the car. Then we cut to the road, the camera following the car. We cut to Calvin opening his front door for Teddy, then watching Teddy go up the stairs, then watching Teddy walks into his room. And Calvin walks into his own.

We cut to Calvin lying down on his bed in what is almost a fetal position. He gets a phone call and answers it.

Calvin: …Sandra? …God, I am so sorry. …Yea. We just got back from talking to the police. He just went into his room. …Oh, ok. Hold on.

Calvin grabs something to write with.

Calvin: This Thursday at Noon. Rago and sons funeral home. Western Avenue. …No, I’m sure he will. …Me? I’ll try. Thanks, Sandra. …I am so sorry. …I’ll tell him you called.

The call ends. He lays his head on the pillow, but his eyes are still open.

We cut to a computer screen; the name “Timmy Yancey” is being typed into a search engine. We cut back to Calvin—he is sitting under the covers of his bed.

We cut to him clicking the magnifying glass within the search bar, and a picture of Timmy Yancey pops up. “Images” is clicked, and we see photos of Timmy Yancey’s face and photos of a man in a black ski mask. An article titled “What we know about Timmy Yancey” is clicked. We see a list of facts, including a fact that VHS tapes were sent to many people. Calvin scrolls down on the page to reveal the comments section, revealing that there are people who want to see the footage. We cut to a list of trending hashtags; #TimmyYancey and #SabrinaGallo are intermixed with hashtags of playoff games, a salmon recall, and the Spark movie franchise. We cut to the search bar, where the name “Sabrino Gallo” is being typed. We’re shown Sabrina’s innocent smile. We’re shown an article about Sabrina that labels her as a victim; the image of the man in the black ski mask is included in the article.

Calvin scrolls down from an image of Sabrina to the webpage’s curated selection of clickbait articles. Calvin clicks on a story about an African-American teenager who surprises a mother and her two-year-old daughter by buying her a doll. The doll looks strikingly similar to the little girl.

We cut to Calvin, who looks up from his computer screen and winces.

****

We cut to Calvin in a grey jacket, standing in his walled-off back porch. He calls someone on his phone.

Calvin: Sergeant Smith? It’s Calvin. Did you see it on the news. …Yea. …He’s here. He’s ok I guess. Did Dahlman talk to you last night? …I’m sorry for running out like that. …Mm. …I appreciate that. …Do you think it would be alright if I stayed home with Teddy tonight? I’m worried about leaving him alone. …Thanks for being cool about it. I’ll keeping you posted.

We cut from Calvin kicking around leaves in the back porch to, at the sound of the phone’s beep, Calvin in his air force jacket standing in the upstairs hallway. He enters Teddy’s room and tells him that they should figure out how to get Teddy back to his town for the funeral, and that he needs to go to work. Teddy doesn’t respond to him. Calvin exits the room, takes off the air force jacket, and puts back on the grey jacket.

We cut to the highway. Calvin is driving his car, aimlessly, as he listens to the playlist he made for Teddy. The montage of Calvin on the road cuts from shots of the orange-skied evening to the violet-skied nighttime in order to show the passage of time. In the montage of shots, we watch Calvin park in an empty parking lot, eat a Hardees cheeseburger, drink a large soda, check his wristwatch, and rest his hands against his fist.

We cut to Calvin walking through a grocery store. He asks an employee where the bathroom is, and he’s pointed towards a room in the storage area of the facility. He walks into a lounge room, where an employee is consoling another employee at a bench. Calvin asks them about the bathroom, but they both look away from him. Calvin enters the workers’ bathroom and turns on the light.

We cut to Teddy walking out of his room. He stumbles through the upstairs hallway towards the bathroom. He washes his face, and the camera watches from behind as he relieves himself.

We cut to Calvin, who is washing his hands. We cut to him walking back through the grocery store with his head down. We cut to the employee who told Calvin about the bathroom—she gives Calvin a thumbs up. We then cut to a shot, one that dollies inward, of Calvin standing alone in a grassy field, smoking outside.

We cut back to a long shot of Teddy, who is in Calvin’s room. We cut to a medium close-up of Sabrina with a blue summer shirt, standing in front of a calmingly blue background. We cut to Teddy as he opens the door of the closet; he pulls out the bag with the guns in it and tries to open it—aggressively—but ultimately fails to open it. We cut to Teddy in his room, looking up at the ceiling and browsing through Cici’s stuffed animals.

We cut to a medium close-up of Sabrina with a red sweater, standing in front of a startlingly red background.

We cut to Teddy peeking through the blinds of the room’s window, bending down, and picking something up. We cut to what he picked up: a radio. Teddy turns on the radio, and is greeted to the voice of a Radio Show Conspiracy Theorist (Matt Damon). Teddy listens to the theorist for a very long time as the camera cuts multiple times within the room. This is an example of the things he says:

Radio Show Conspiracy Theorist: We can’t get lost in the meaningless metaphors of octopus tentacles and pyramids and secret symbols on the dollar bill. The villains don’t hide behind cloaks. They grace magazine covers. Are they creating a global dictatorship? Does it already exist? I don’t know that it matters. The “haves” already have it all. Keeping us in peace is their only goal. Our masters will flee to their compounds, leaving us with unimaginable plagues and “natural” disasters. It’s a grim prospect. I’m not looking for a fight, but I won’t back down if I’m being attacked. Sometimes I hope I don’t live to see it.

After the theorists’ first of many monologues, the doorbell rings. Teddy shuts off the radio and travels down the stairs. He hears another doorbell ring and a hello, but when Teddy sees Calvin’s air force uniform and boots across the walkway, he goes back upstairs and looks through the blinds of the window in the spare bedroom. Two figures in suits stare up at him from the driveway and wave. Teddy backs away from the window for a moment. When he peeks through the blinds again, the men are driving away in their black van. Teddy sits in the corner of that room for a long time. Then he peeks through the blinds again.

It’s Calvin. He parks his car in the driveway and walks inside.

Teddy walks back into his own room and lays down on his mattress.

We cut to Calvin, who opens the door to Teddy’s bedroom.

Calvin: Teddy? I’m coming in. …How are you doing?

Teddy looks up at Calvin. Calvin is wearing his air force jacket.

Calvin: Did you decide if you want to go back for the service?

Teddy: I’m not going.

Calvin walks back out of the room, leaving Teddy sniffling. The camera watches Calvin as he walks into his room and finds the bag of guns protruding from the closet entrance. Calvin looks in Teddy’s direction with concern on his face.

****

We cut to a long shot of Sandra. She is wearing a red winter coat. We cut to her riding a bus, trying not to make eye contact with a mustached man in the back. We cut to her in a movie theater, about to watch the preview for a G rated film. We cut to her alone in a restaurant. We cut to her walking past a clothing store with dresses in the window. We cut to Sabrina in a yellow shirt, staring down at the bottom right corner of the screen, with a smile on her face, in front of a yellow background. We cut to Sandra crying herself to sleep in her dimly lit room. We cut to Sandra working her custodian job, washing a bathroom mirror. We cut to Sandra walking in the rain. We cut to Sandra doing her own dishes. We cut to Sandra working her custodian job, mopping a staircase. We cut to Sandra sitting on a bench in front of an advertisement that is showcasing pictures of happy women; this time, she is wearing a red hat. And in this shot, the final shot of the montage, we watch her as she crosses her arms and shrinks into herself.

We then cut to the inside of a lounge. There is a woman with glasses on a stage.

Woman With Glasses: Thanks. …Hey everybody. This one will be short. Um, when I was in Junior High School, I knew this girl named Michelle. I haven’t thought her in years, but I was online the other day, and all my friends were sharing this article…

Sandra walks into the lounge. We cut to a shot that shows how many people are in the lounge—it’s a lot. We cut to a shot of Anna, who has a table in the far corner of the lounge, a ways away from the stage. Sandra walks over to her, and they hug.

Anna: Sorry. I didn’t know this thing was happening.

Sandra: It’s okay.

Anna: Should we stay or go?

Sandra takes a seat.

Sandra: No. This is fine.

We cut back to the woman on the stage.

Woman With Glasses: I don’t know what I would say if I saw her again. I guess I should reach out. Anyway, sorry for rambling. Thank you for listening.

The people at the lounge golf clap for the woman as she exits the stage. A heavy-set woman in a pink blouse walks onto the stage; we’ll say she’s the organizer of the event.

Organizer: Thank you everyone for coming. The first Wednesday of every month, we gather here share stories. There are no guidelines. You can be sad, funny. You can confess your deepest, darkest secrets. I wanted to create an event where anyone can show up and have a platform. I think we spend too much time in isolation. This is a chance for regular people like us to share our thoughts. I think this is a healthy outlet. At least for me. Ha, ha. …Ok. So our next presenter is Pete. Pete?

A young teenager in a beige hoodie steps onto the stage.

Pete: Thanks! …My boss is a complete asshole. Almost every day, he yells at me for things other people should be doing. “It’s not my responsibility.” I want to scream at him. I didn’t sign up for this. But, like, I think he’s crazy. Like, mentally ill or something. I’m pretty well-liked at my job. I’m kind of the comic relief.

We cut to Sandra and Anna.

Sandra: I’m gonna go.

Anna: Are you sure? Can I come with you?

Sandra: No thanks. I’m just gonna go home.

They both get up and give each other a hug. We cut to a medium close-up of the two as they hug.

Anna: Ok. I love you.

We cut to an extreme close up of Sandra.

Sandra: Love you too.

We cut to a long shot of Sandra walking down the city sidewalk, looking forward at nothing in particular.

****

We cut to the outside of the air force building. It’s snowing pretty hard. Calvin, Dahlman, and Simon decide to make a run for it. Once they’re in the snowy field, Simon throws a snowball at Dahlman like a child. They proceed to throw snowballs at each other like children. Then, Simon goes into his car; Calvin tells him to get home safe and follows Dahlman through a field to a gym facility. In the locker room and at the weight lifting center, they talk about a mass shooting in Omaha, Teddy, Sabrina and her family, and Timmy Yancey (and how hard it is to believe that he would’ve been capable of doing what he did).

Calvin reveals to Dahlman that he’s not sure whether he’s gonna take the job in the Office of Special Investigations or move to Florida to be with Jackie and Cici. Dahlman reveals that he’s been talking to Sergeant Smith about the position as well.

We cut to Calvin’s house. Teddy is staring out the window, watching the snow fall from inside the spare bedroom. The sound of the theorist greets him through the radio. He’s talking about the Omaha shooting, too. Teddy sits against the wall and listens.

Radio Show Conspiracy Theorist: … And at the end of a twelve hour work day, when our paychecks are sufficiently robbed and our government programs are practically useless and our infrastructure is crumbling, they’ll still put us on a plane and fly it into a building. They will still send the executioner into an elementary school to murder our children. They will still poison our food and spike our medicine. And they will still send you to jail for not paying for the privilege. I don’t like feeling restrained. It’s this feeling like you want to run and play, innocent and carefree, and this father figure is holding you back. I don’t want any part of it. I’m serious. I want out. We won’t stand for it much longer.

Outside the window, the snow continues to fall.

****

We fade from the window to an establishing shot of Calvin’s house. He is shoveling snow out of the driveway, and he’s just about finished. He sees Teddy in an upstairs window, staring at him from above. Calvin waves to him and shouts, inviting him to breakfast. We cut from an image of Teddy in the window to an image of Calvin and Teddy at a booth inside of a restaurant. Teddy stares down at the menu.

Calvin: What’s looks good?

A waiter brings them glasses of water and walks away.

Teddy: (to the waiter) Thank you. I really appreciate it.

The two of them sit in silence for a moment.

Calvin: How have you been feeling lately?

Teddy: Angry.

Calvin: Yea… Well, that’s healthy at least.

Teddy: Mm.

Calvin: Don’t want to be all pent up, you know? It means you’re processing everything, I guess.

Teddy: I am so angry at everyone.

Calvin: Who?

Teddy: Everyone. Myself.

Calvin: Well, the only person truly responsible is dead, so at least—

Teddy: There’s plenty more where that came from.

Calvin: Yea, but you don’t want to lash out at people in general.

Teddy: I didn’t ask for this situation, man. She didn’t do anything to deserve this shit.

Calvin: No, of course not. …A lot of people are able to turn their grief into something positive. Maybe you’re destined for some kind of job in law enforcement.

Teddy: I don’t know about that.

Calvin: Well, what about charity work? Helping other people might make you feel better. There are some places to volunteer right here in town. And no, I’m not trying to get you out of the house.

Teddy: Heh.

Calvin: Seriously, I don’t think so much isolation is good for you right now. We could even hang out with my friends from work some time.

Teddy: Hm.

They sit in silence for a moment.

Teddy: What do you do at your job?

Calvin: Me? I’m what’s called a boundary technician.

Teddy: What’s that?

Calvin: We have our networks, right? You know, sensitive information is being exchanged electronically across the globe. I look for weaknesses in the system, update firewalls, investigate possible security breaches.

Teddy: That’s it?

Calvin: I wish I had an exciting story for you, but I work in a cubicle. It’s a desk job, really.

Teddy: Ever flown any drones?

Calvin: Me? No. Nothing like that. You know, it’s called the department of defense, not the department of offense. Most of our efforts are devoted to security and surveillance. We all make fun of those commercials that make the air force look like an action movie.

They pause and listen to some news stories from the TV. Calvin tells Teddy a story about how the restaurant they’re eating at was an all-American diner, but after a health inspection, the restaurant had to be undergo major revisions, which have ultimately hurt the restaurant’s business.

****

We cut to Calvin, who is working at his desk. We cut to Teddy, who is lying down on his mattress. We cut to Dahlman, who is also working at the air force base; we cut to his computer screen to see that he is surfing through a news site. He looks bored…

Until he scrolls down to the breaking news section; the first headline is this: “Chicago Execution Video Surfaces on the Net”.

Dahlman’s eyes light up. He looks behind him, to make sure that no one’s looking, and, giddily, he clicks on the links that lead to the video. We see that the video is buffering on YouTube.

We cut to Dahlman’s back.

Calvin: (offscreen) Hey.

Dahlman: Oh, hey, Calvin.

We cut to Calvin, who is standing nearby.

Calvin: What’s up?

Dahlman blocks the computer screen with his body.

Dahlman: Nothing.

Calvin: Do you want to have a cigarette?

Dahlman: Uh, yea sure. I can do that.

We cut to the hallway. We have an unbroken shot of Calvin and Dahlman walking casually towards the camera.

We cut to Teddy on the mattress, in just his underwear, who is thrust into a psychotic breakdown during the radio show theorist’s following speech.

Radio Show Conspiracy Theorist: What I’m talking about is the order of chosen men who inherit power. From pharaohs and kings to bankers and executives. Their path is paved for them, and life is but a child’s lavish play pen. It used to be that the peasants would toil in meaningless servitude, unable to see the bigger picture, without a chance to break the cycle. Now we have computers to help us to our research. Suddenly, the rhythms and patterns of oppression and deceit since time immemorial come into startling focus. …I want to get to some fascinating material about Prince Bernhard that was sent in by a listener. But first, there’s something else I need to talk about. Here we have another piece of the fear mongering campaign, which seems to know no end or limits of depravity. It makes perfect sense, actually. An innocent person walks down a street in America, now their execution is being downloaded about five million times an hour. This taps into the deepest fears that man can conjure, but also our morbid desire to see these things. Be honest, how many of you are at your computer right now, trying to find this video? I have to give them credit, they know how to captivate an audience. Now, you’re all asking me what this means. What is really going on here? It’s just too early to tell, but it has all the hallmarks of the stages tragedies that have become so routine, each more horrific than the last. We are now thoroughly desensitized. It’s as if these guys are trying to outdo each other for our attention. The sanitized information is available from when this story broke out two months ago. I encourage all of you amateur sleuths our there to read through it closely, looking for the discrepancies, inaccuracies, distortions, and outright lies that seem so easy to spot if you’ve trained your cynical eye. As a rule, I would say that any reporting that can be traced back to a handful of parent corporations can be immediately dismissed as fiction. I haven’t gotten a chance to study the video too closely. I’ll do my part, and we can get to the bottom of this thing. What are they trying to say with this one? Don’t leave your house? Don’t trust your neighbor? Submit yourself to a martial law police state? If you’re willing to believe the official story, that an archetypal loner with no resources abducted and slaughtered a total stranger in his small apartment for no reason, by all means, pull that wool a little bit tighter. There is something more complicated at work, you can be sure of that.

We cut to a POV shot of Calvin’s car is it strolls down the empty road. It is a starry night. We cut to Calvin turning the corner towards his house; he sees a white van parked in front of his house.

Calvin: What the fuck is this?

Calvin pulls into his driveway and turns the rear view mirror. We cut to the van, revealing that it’s from the local news station. We cut to a shot of Calvin getting out of the car.

Reporter: (offscreen) Mr. Wrobel, sir! Can we talk to you for a moment!

Calvin: What is this?

We cut to a cameraman and a reporter. Smart viewers will recognize the figures from earlier in the film. The cameraman’s camera is flashing a spotlight on Calvin.

Reporter: Is Mr. Teddy King still with you? We were hoping to speak to him.

Calvin: What’s going on?

Reporter: The new development with the video leaking on the internet.

A poignant hesitance.

Calvin: What?

Reporter: How has Mr. King been holding up?

Calvin looks up. We cut to the outside of the window of spare bedroom—something is peeking through the blinds, but it’s too dark to see. Calvin looks back at the news people.

Calvin: I, uh…

Reporter: Do you have anything to say about the situation?

Calvin: Jesus, no. I, uh…

Reporter: If you could just give us a comment, Calvin.

Calvin: I really don’t have anything to say.

Reporter: Well, if you could maybe talk to Mr. King and see if he would be willing to—

Calvin: No. I have to go inside.

Reporter: What do you think about the—

Calvin: Look. I asked you nicely. Please respect my privacy. I don’t even know why you’re asking me about this. I didn’t even know Sandra. …Please, I don’t want you guys out here. You’ll upset him.

Reporter: Can I give you a card?

Calvin: Just go! I have to go inside.

The reporter and cameraman stare at Calvin. They simply stare under the cover of the night. We cut to Calvin opening the door.

Calvin: Get off my property. I’m serious!

We cut to Calvin walking into his house and slamming the door. His cat is cowering in the hallway. Calvin looks around in the dark house.

Calvin: Hello? Teddy?

Calvin goes up the stairs and sees that there’s a light on in Teddy’s room. He walks up to the door.

Calvin: Teddy. Can I talk to you? …Hello? …Come on, man. Are you all right? Please open the door!

Teddy swings the door open.

Teddy: GET OUT OF HERE!

Calvin: Hold on a minute…

Teddy: I DON’T WANT TO TALK TO YOU!

Calvin: I’m sorry, man.

We get a shot of Teddy and a shot of Calvin. Teddy is furious. Calvin is disheveled.

Teddy: Get the fuck out of my face.

Teddy slams the door.

We cut to the screen of Calvin’s laptop. He is typing “Timmy Yancey” in the search bar, and “Timmy Yancey video” is the first item popping up. We cut to a concerned Calvin, who is in his bed, his laptop rested on his body. We see an article of Sabrina’s family—the headline says it’s the reaction to the leaked footage of the murder. Calvin clicks on an attached video, and we watch an inconsolable Sandra through the laptop’s coarse pixels.

Sandra: (tears pouring down her face) This is madness! This has to stop! Get away from me!

We cut to Calvin, who closes his eyes, rubs his forehead, and grimaces. We cut to the computer screen for a more thorough attempt at finding the video of the murder; he finds it on a site that allows him to download the video for free. Calvin clicks on the mousepad. We cut to the image of the video, which is buffering. We cut back to Calvin as sound comes out of the computer.

Timmy Yancey: (offscreen; diegetic source of dialogue is the computer) No one is going to enjoy this less than me. It has become increasingly difficult for my voice to be heard above the din of chatter, This is only a means to an end.

We dissolve from a shot of a long shot of Calvin to a medium shot of Calvin. At the end of the dissolve, he slams the laptop shut. He is seen crawling on his hands and knees out of his room and vomiting in his toilet. We’re given a shot of the three doors of the upstairs rooms, and we are given a shot of the front door of the house. We cut to Calvin sleeping on his bed; the scene is expressively-lit like Teddy’s dream sequence from earlier. We hear Teddy’s screams; we assume he’s having a nightmare. Calvin sits up in his bed, but lays on his stomach and covers his ears.

****

We cut to Sergeant Smith sitting at a table in the lounge, laughing with each other. Calvin walks in.

Sergeant Smith: Wrobel. How’s it going?

Calvin: Hello, Sergeant Smith.

Dahlman: You alright, buddy? You look wrecked.

Calvin: I think I’ve got a bug. It must be the weather.

Calvin fiddles around with the vending machine.

Sergeant Smith: That machine is still out of order.

Calvin: Damn.

Sergeant Smith holds a bag of popcorn.

Sergeant Smith: Join us.

Calvin: No thank you. I’ve gotta get back.

Dahlman: Feel better, man.

We cut to Calvin at his desk. He has his arms crossed. He talks to Simon about his ‘sickness’ and tries to get out of work, but when Simon reminds him that he’s called out sick twice the past month, Calvin decides to stay.

We cut to Teddy in the spare bedroom. He turns on the radio and listens to it on the opposite side of the room. The Radio Show Conspiracy Theorist discusses the video. He belittles the video with things about the video that he believes ‘give away’ the ‘fabricated nature’ of the video.

Radio Show Conspiracy Theorist: I won’t mince words: I don’t believe for a second that Sabrino Gallo was killed by Timmy Yancey. The video just looks unbelievable. I don’t believe something like that could happen. Maybe forces too evil to comprehend did, in fact, murder Sabrino Gallo. I just don’t think a man named Timmy Yancey is responsible.

We cut to Calvin’s car pulling up to his house. He stares at the upstairs window—the light is on. Calvin decides to drive past the house after realizing this.

We cut to Calvin sitting at the bottom of the slide in the neighborhood playground, scrolling through his smartphone. We frequently cut to the screen: he’s got a lot of emails in his inbox.

Calvin Wrobel types his full name into Google. These are the searches that pop up without Calvin even having to click:

calvin wrobel fake

calvin wrobel actor

calvin wrobel exposed

calvin wrobel teddy king

calvin wrobel interview

calvin wrobel facebook

calvin wrobel air force

calvin wrobel timmy

calvin wrobel youtube

Calvin: What the fuck?

He slumps into himself. We see a blogsite with an article that discusses how ‘the actor playing Calvin Wrobel has flubbed a line’, calling special attention to the time he said he didn’t know Sandra. The are especially skeptical of Calvin because of his membership in the Air Force.

Calvin scrolls down to the comments section. There are seventy-seven comments on this blog page alone. 

The first one says “Someone should kill you, Calvin Wrobel.”

The last one, posted by someone without an avatar photo, is praising the article for standing against the ‘lies’, and it reads:

“This is what it means to be a man. To assert yourself. To stand up and make yourself heard. To be effective. To reject authority in all its forms. To rape and pillage and run wild in the streets. I love this site for telling it like it is! Rock on!”

We cut to the road; a police car parks behind Calvin’s car. Calvin looks up from his phone, startled by the flashing red and blue lights and the sound of the siren. The same policewoman that interviewed him gets out of the car.

Policewoman: Hey! This park closes at dusk!

Calvin: Yea, I’m sorry.

Policewoman: Do you live in this community?

Calvin walks up to the policewoman.

Calvin: Yes. Right around the corner. I just needed some fresh air.

Calvin takes a moment, and finally notices that she is someone he’s seen before.

Calvin: Oh, hey.

A moment of silence.

Policewoman: We’re gonna need you to go home. This park is closed.

We cut to Calvin scrolling through his phone in a restaurant. He is sullen. A waitress walks up to him.

Waitress: Would you like anything else?

Calvin: No, thank you.

Waitress: We’re closing in twenty minutes. Have a good night.

We cut from an image of a sullen Calvin to an image of Calvin’s car parked next to a liquor store. We see images from Calvin’s phone; various pictures demean and belittle Calvin’s reputation, some comparing him to an actor named Garry Platz, and even to the killer in the black ski mask—Timmy Yancey.

He scrolls through the forums of a radio show. The posts have discussions about the execution video, false panic of martial law and ‘gun grabs’, and a database of Sabrina’s family’s contact information and home address.

Calvin looks at his emails. He opens one that threatens him with violence and includes the names and address of his wife and child in Florida.

We cut to Calvin walking into his home. He walks upstairs and to his room, but he stops and hears sounds coming out of Teddy’s room. The sounds come into focus: it’s the radio show that sponsored the forums he was looking at. Calvin backs away from the door in horror and disbelief.

****

We cut from Calvin’s snow covered lawn to Calvin alone on the house in his sleepwear, visibly uncomfortable. He watch him as he smokes a cigarette and stares down at his carpet.

We cut to Calvin in the kitchen wearing his air force uniform. He picks up his cell phone and holds it to his ear.

Calvin: Sandra? Hi. How are you? …Yea. Do you want to talk to Teddy? …All right. I’ll go get him.

We cut to the inside of Teddy’s room as Calvin carefully opens the door.

Calvin: Teddy?

We see the corridor and the edge of the mattress, but we don’t see Teddy just yet.

Calvin: I’m coming in.

The camera peers into the room and finds Teddy alone, on his mattress, in a sulk.

Calvin: Sandra’s on the phone. Do you want to talk to her?

Teddy remains silent.

Calvin: I think you should.

Teddy: Mm…

Calvin: Come on, man.

We watch Teddy as he slowly gets out of his bed and walks past Calvin.

Calvin: The phone’s on the counter. Don’t unplug it, though. It has to charge before I leave for work.

Teddy walks out of the room. Calvin peers out the door to watch him leave, and he quietly closes the door. The camera cuts further away as he turned toward the mattress.

We cut to Teddy in the kitchen. He walks over to the phone and picks it up.

Teddy: Sandra?

Sandra: (through the phone) Ted?

Teddy: Hi.

Sandra: What are you doing out there? …Are you coming back?

Teddy: I don’t know.

Sandra: Well, you owe me and my dad four-hundred dollars for moving and storing all your stuff when you left.

Teddy: Oh, right. Thanks. I’ll pay you back.

Sandra: What are you gonna do with everything? We’re not gonna pay for a storage space forever.

Teddy: Can you donate it all to the salvation army?

Sandra: Why don’t you come home and take care of it yourself?

Teddy: Yea… I will.

Sandra: When?

We cut from a close-up to a long shot.

Teddy: I’m not sure.

We cut back to Teddy’s room. Calvin searches the room; the closet, the cupboards, under the bed. He finds a pair of small child’s scissors on the floor; Calvin picks it up and confiscates it. He also finds the radio hidden behind a red pillow; we watch as Calvin picks it up and takes it out of the room.

We cut back to Teddy.

Sandra: I don’t know what to say to you. You’ve been gone for two months, and we haven’t even heard from you. It would be nice to know that you cared, but at this point, I don’t think you give a fuck about Sabrina or our family at all. You just left. We’ve been dealing with everything. You only dated her for, like, two years. I didn’t see you both getting married or anything. Maybe there was some connection I didn’t see. I just though you were her boyfriend. Just some guy. And then she died, and you made no effort to reach out to us. You didn’t come to her funeral. No condolences. So fuck you, man. Seriously, fuck you. You’re a coward.

Teddy hesitates.

Teddy: I’m sorry.

Sandra: I don’t really need you in my life at all, to be honest. You can send us a Christmas card with your future wife if you feel like it, but we’re not family. I don’t want to know you.

Teddy is on the verge of crying.

Sandra: So just think about what I said. It’s been very difficult over here. We could have supported each other.

Teddy: I’m so sorry.

Sandra: Yea. I just wanted to tell you that.

Teddy: All right.

Sandra: Take it easy.

Teddy: You too.

Teddy sets the phone down and rests his elbows on the kitchen counter. We cut to a close-up—his hair covers his face, but we can still tell that he’s shaken up.

We cut to Calvin in his room, with Teddy’s radio. We loos around for a place to hide the radio and eventually decides to go into the laundry room and place it in the storage place where he was seen putting the delivery package earlier in the film. We cut from a shot of Calvin evaluating his decision to a shot of him placing the red pillow back where he’d found it—with a worried look on his face.

He walks into the kitchen and sees that Teddy is sitting on the couch again.

Calvin: I’ve gotta go. Do you want anything special for dinner?

Teddy: No.

Calvin turns. He stares at Teddy for a moment before walking out of the house.

We cut to Calvin drinking from a water fountain at his workplace. A coworker named Courtney tells him that Dahlman has interviewed for the job in the Office of Special Investigations.

Calvin: He did?

Courtney: Yea. I’m rooting for him. You’ll be moving to Florida soon, right?

Calvin: I guess so.

Courtney: I just wanted to say hello. I hope you’re doing alright.

Calvin: Thanks.

Courtney points the water fountain.

Courtney: Excuse me.

Calvin: Sorry.

Calvin steps out of the way, and Courtney drinks from the fountain.

****

We cut to a computer screen. An email is opened. Someone has sent Calvin someone’s “handwritten account” of a U.S.-owned island in the pacific ocean. It states that this is where the ones chosen to act as victims of violence are brought once their deaths are reported. The email is read by a female AI. The reading is juxtaposed with various images of flowers, flowing water, and Sabrina’s hand touching both elements. The footage is still cycling through its imagery when it dissolves onto Calvin’s distraught reaction.

****

We cut back to Teddy, who is still on the couch. He walks upstairs into his room and lies down on his mattress. We cut to a POV shot of the ceiling fan. It’s not in motion, but he’s looking at it nonetheless. We cut to him rolling over to the pillows, grabbing the red pillow, and pulling it away.

A poignant hesitance.

He gets up, looks through the rest of the pillows, looks around the room, and looks behind the mattress.

He is furious.

He storms out of his room. We cut to him swinging open the door to Calvin’s closet. He then marches over to Calvin’s bed and overturns its covers. He then stumbles out of the room and into the laundry room, where he looks up.

We cut to the ceiling door.

Teddy climbs on top of the laundry machine and opens it. He reaches in and grabs his radio.

He sets the radio down and decides to see what else Calvin is hiding; he reaches into the attic and pulls out a backpack, and he finds a myriad of supplies when he opens it. He pulls out a yellow box: it’s an Emergency Preparedness Kit.

Teddy decides to reach into the attic one more time. He finds the box from earlier in the film sets it down, and opens it. He finds a black gas mask resting on a bed of Styrofoam, much to his curiosity.

We cut to a tracking shot that follows Teddy as he walks downstairs and into a kitchen. He reaches into one of the drawers and arms himself with a kitchen knife. And with the radio in one hand, a knife in the other hand, and clothed in just his underwear (as he has been for most of the time he’s been alone in the house), he walks outside of house and onto the driveway. He cut back and forth from Teddy to a house across the street—their upstairs window has a light.

Teddy walks back inside and goes into the garage. He finds a stockpile of boxes and cans of food. It’s enough food to support someone for a very long time.

We cut to Calvin’s car at a gas station. A white truck pulls into the pump directly behind Calvin’s car. The man gets out of his vehicle—he is a bald man in a black hoodie and beige khakis. Calvin watches in his air force uniform as the man gets out of his car and goes into the convenience store—the bald man is staring at him like a hawk the entire time. When the bald man comes back, he walks to his truck, but he continues to stare at Calvin. Calvin puts the guzzler back into its holster; he gets into his car and drives away without taking his receipt. We leave the sequence of shot with a long shot of the man standing by his white truck, watching him go.

We cut back to Teddy, who is sitting on the mattress, holding the kitchen knife, listening to the radio.

Radio Show Conspiracy Theorist: This is it, my friends. I can’t believe we are each given one life and it has to come to this. It is truly a waste and a tragedy. I wish you all the best, but there’s nothing I can do to help you after tonight. I feel I’ve been a selfless and righteous patriot, but at a certain point, I must protect myself and my own. I hope you’ve heeded my countless warnings, and you’re well-prepared. I have it from a source in a high place that the troops are mobilized, under the guise of a defensive drill. This is not some worst-case scenario prediction. They are coming for us now. Right now. I’ve been screaming about this for fifteen years. First, they’re going to announce a state of emergency. There will be an unconfirmed threat of invasion, or a possible nuclear attack. Then they will shut down the power grid and disable the internet. This will make it easier to keep the population under control. Then they will halt food transportation. Think about what will happen when your grocery store shelves are empty. Where will you turn? This is when they will establish rallying points for food and supplies. They you will have frightened and defenseless groups of people being shepherded together. And they will be completely dependent on those in control. Game over. The moment to organized an armed rebellion has passed. …I’ve exposed reports about the need to reduce the global population by eighty percent by the year 2020. This could very well be that moment of reckoning. I’m scared, I’m angry, and I don’t want my life to end. If someone is coming after me and my family, I will retaliate. I’m sorry, but I think I’m going to have to cut the broadcast short. I have a lot to do tonight. For the rest of the show I’ve prepared a playlist of my favorite songs from my youth. I hope you enjoy it. Good luck.

We cut to Calvin entering through and closing the front door. He is carrying a bag of food from Hardees.

We cut to Teddy. He hears the sound of the door and the footsteps.

Calvin takes off his hat.

Teddy turns off the radio.

Calvin takes off his boots.

Teddy grabs the knife.

Calvin walks up the stairs.

Teddy rises from his mattress.

Calvin makes it to the second floor of the house.

Teddy walks to the door.

Calvin walks to the door.

Teddy crouches behind the door.

Calvin places his hand on the door knob.

A close up: Teddy snarls like an animal.

A close up: Calvin hesitates.

A long shot of Teddy.

A long shot of Calvin.

…

…

…

…

Calvin backs away from the door. He sets the Hardee’s bag in front of the door, walks into his room, and shuts his door. Teddy notices the footsteps; he swings open his door, with his knife in his hand; he finds the Hardee’s bag at his feet, and he retreats back into his room, cradling the Hardee’s bag in his arm as he sets the knife on top of a wooden cupboard. 

****

It’s a snowy day with an overcast sky. Teddy gets up off of his mattress and pulls down his blinds. We see a POV shot of the snowy yard next door. Teddy pulls back down the blinds and picks up the radio; he turns it on, but it’s only broadcasting inconsequential reports of the weather and the traffic.

We cut to Teddy in the living room with a t-shirt and jeans. After staring out the backyard’s glass door, he walks to the kitchen counter and picks up a note. It reads:

“Running errands.

There is some food in the fridge.

Be home after work with some groceries.”

Teddy sets the note down and winces at yesterday’s behavior.

We cut to Calvin in the supermarket, in a toy aisle. He is buying a gift box and Christmas wrapping paper. He walks to the cashiers; there are two cashiers, but both of them are transfixed by something on their phones.

Calvin: Hello.

Cashier: Oh, sorry. How are you today, sir?

Calvin: Doing well, thanks. How are you?

She unintentionally ignores him.

We cut to Calvin walking towards the air force base. He passes by a female airman leaning against the outside wall, staring at her phone. Calvin salutes her, but she’s too saddened by what’s on her screen to react.

We cut to the offices. Calvin’s coworkers are surrounding Dahlman’s computer screen.

Calvin: What’s going on.

The coworkers turn towards him.

Calvin: What’s wrong?

Calvin joins the group of coworkers.

We cut to the video on the computer screen. It’s a man, standing in front of a brick wall, wearing an inconspicuous black-and-white-striped shirt.

Striped Shirt Man: What about me?! Everyone tells me I am a supremely gifted person. I’ve come to expect nothing less than total fulfillment. Simple pleasures no longer suffice. My senses have dulled to the few things that used to make me happy. What now? What am I supposed to do, live an unappreciated life and be forgotten forever? Where is my parade? I have to express myself somehow. If it can’t be positive, it will have to be negative. All that matters is I’m remembered.

We cut back to Calvin and his coworkers.

Calvin: What is it?

Dahlman: Happened this morning in Denver. He streamed this video on Facebook, then killed everyone in a daycare center including himself.

Calvin: …God…

The coworkers disband. We cut to Calvin at his own computer, looking up more information about the mass murder. We see picture of a crime scene; a picture of victims’ parents hugging each other; a picture of first victim, who was the teacher; a picture of the striped-shirt man with a caption reading ‘The New Face Of Evil”; a trending page showing “Denver Massacre” at the top; Calvin’s e-mail inbox, which has no unread content.

Calvin gets up from his desk.

Calvin: …Cigarette, anyone?

We cut to Teddy in his room. He is listening the radio show with his arms crossed. 

Radio Show Conspiracy Theorist: Well, listen, sometimes you have to run with the information you receive. I still truly believe that something is in motion. It’s just a matter of time. I thought yesterday could have been the moment of truth. It’s good, these false alarms. Waking up with everything at peace and returned to normal makes me thankful to be able to fight another day. Let that be a lesson to you all to be better prepared in the future. On to business: Denver. Let’s talk about it. Another big one. Young toddlers. The final death tally is thirty-one. More of the same. The globalists with stop at nothing to undo our constitutional rights. I’m sick of these—

Teddy turns the radio off and sits in silence for a moment. We get a shot of the silence radio—nothing is coming out of its speakers. It is powerless.

Teddy crawls over to Cici’s old bookshelf. He pulls out the favorite book that he had found before. He lays on the mattress and opens the book.

We cut to a hand-drawn, animated segment. Four images are shown.

The first is an animated version of the illustrated image of the daycare center. Children of all stripes are running around, happily, without a care.

The second is a grid of the alphabet, and in this grid, there’s an animated image of something in their corresponding letter box—an apple in the A box, a butterfly in the B box, a carrot in the C box, etc.

The third is a ‘spot the differences’ set of images in which a little girl bakes a cake with her mother.

The fourth and final animated image contains the type of voice acting suitable for a children’s educational program: a lion, a tiger, a squirrel, and a mouse are frolicking about on two legs instead of four. They stand against a white background.

Lion: This isn’t working.

Squirrel: Nonsense! Watch how Miss Mouse dances.

Miss Mouse: 1… 2… 3… 4…

Lion: 1… 2… It’s no use!

Miss Mouse: We won’t judge you. Don’t be afraid to get silly.

Tiger: Watch me!

We cut to Cici—Calvin’s daughter—playing in the water at the beach; she’s wearing floaties and a one-piece swimsuit. Jackie calls out to her from the shore.

Jackie: Not past you knees. All right?

Cici continues to play in the water. Jackie walks to the water with a stone.

Jackie: Look what I found. It’s a nice, flat rock. Perfect for skipping. Watch this.

Jackie skips the stone across the saltwater.

Cici: Wow!

Jackie: Here’s a good one. You try it.

A cell phone rings on the shore.

Jackie: I’m gonna answer that. Be careful.

Jackie picks up the phone.

Jackie: Hey. We’re doing well. How are you? …Good. How is your friend doing? …Let me know if there’s anything I can do. …Apartment hunting? When were you thinking of coming out here? …I don’t know. I’ll have to check my schedule. …No. It’s fine. …When is your last day? …Wow. Only a few months away. Can I call you when I get home tonight and we can talk about it? …You too.

We cut to Cici in the water. We cut back to a long shot of Jackie with her eyes closed and her hands behind her head.

We cut to Calvin, who is outside a restaurant.

Calvin: All right. Have a good day.

Calvin ends the phone call. He walks inside the restaurant and sits at a booth.

Calvin: Sorry about that.

Dahlman: No problem. Is everything okay?

Calvin: Oh, yea. Just wanted to check in with Jackie.

Dahlman: So. Do you feel like you’ve made the right choice?

Calvin: You know what, I do. I’m looking forward to being a regular person again. I like Florida. And I miss my daughter and Jackie.

They sit in silence for a moment.

Calvin: Things are starting to calm down. It’s been a terrible year. But we got through it.

Dahlman: You can say that again. What looks good?

Calvin: I’d love a club sandwich.

Dahlman: Me too.

****

Sandra wakes up from her bed. We cut around as she walks around the house; she finds a note from her mom, which says she’ll be home by 9:00 pm. We watch as Sandra walks over to a couch in a living room; she sits down, and see her face; she is at peace.

We cut to the lounge from earlier in the film. A lot of people are there. So are Sandra and Anna.

Organizer: Thank you as always for coming. Our first speaker of the night is Sandra. Let’s give her a round of applause for coming up here to share what’s on her mind.

The people clap for her as walks onto stage with a stack of papers in her hands.

Sandra: Thanks. Um… I’m going to read some things… My sister was killed recently. Since then, I’ve been getting these messages from all over the place. If it’s all right, I was just going to read some from different strangers.

A hesitation.

Sandra: I don’t want to make anyone uncomfortable. I hope this is okay.

The organizer gives her a thumbs up from the coffee table.

Sandra: Ok. Here they are.

“Hey Sandra. My heart is breaking for you and your family. What can I do? Where can I send a donation?”

“Is this Sandra Gallo’s official e-mail? Write me back. I think I may have information that will be useful to you.”

“Sandra. What is going on? This just doesn’t add up.”

“Hi Sandra. I sent you a message on Facebook. What’s up? Is this for real or what? I think you owe us an explanation.”

“Is this really your e-mail address? What proof do we have that your identity is real, just like your fake sister?”

“I’ve been studying pictures of you and your sister online. And there seems to be a discrepancy between your hair color and the shape of your nose before June of last year. How can you explain this?”

“Sandra. The community needs to know the truth. The inconsistencies have become impossible to ignore. If you don’t step forward and explain yourself, we will need to take the next step. This injustice cannot stand.”

“Hi Sandra. I’m a photographer based in Milwaukee. I find your sadness quite breathtaking, and would love to shoot you for a series I’m working on. Let me know if there’s a place we can meet up next week.”

“Hey. I saw your picture in the newspaper. If I sent you the clipping, would you be able to sign it for me?”

“Hey Sandra. I have reason to believe your sister is still alive. I don’t know your involvement in the story, if you are real or what. But I thought you would want to know. Message me for details.”

She peers out to the audience. The other guests are captivated. So is Anna.

Sandra: Um. I’m gonna skip some of these. This last person has been sending me death threats. This is what he said:

“Your address is online. People in our community are waking up to the truth. I’m armed and protected. See what happens if they try and test me.”

“I don’t buy this story. I don’t really believe anything I’m told from so-called sources. Remember the Gulf of Tonkin? Why should we believe your story?”

Sandra’s lips quiver.

“This whole thing is fake. It’s a fucking lie. It doesn’t make any sense. Where is she?”

Sandra bunches the papers together. The audiences stares at her.

Sandra: I think that’s all I want to read. I’m sorry. I don’t know if this was the right thing to do. Thanks.

Organizer: Thank you, Sandra.

Anna smiles as Sandra retakes her seat.

Organizer: Why don’t we take a break from the reading and have a moment of silence.

The camera cuts around to various people in the room. Everyone has been deeply affected by the reading.

We cut to Sandra and Anna in a secluded diner.

Anna: How are you feeling? Do you feel any better?

Sandra: Not really.

They sit in silence.

****

We cut to Teddy on Calvin’s living room couch. He goes to the downstairs bathroom and finds the cat’s food and water bowls. He looks around the house to try and find the cat, but he’s unable to find it. He finds Calvin getting ready for work; there’s been a misunderstanding—neither of them had been feeding Randy.

They can’t find him in the house, so Teddy decides to go out searching for him. He puts on his green jacket with a scarf and beanie. Calvin gives him ten dollars so he can buy himself dinner and drives off to work. Teddy calls out for Randy and asks neighbors about the cat. He walks around well into the night but is simply unable to find the cat.

We cut to Teddy in a fast food diner. He’s just about finished eating when the bald man in the black hoodie—the one who was staring at Calvin at the gas station—walks inside and makes an order.

Bald Man: How’s it going. I’ll have a ham-and-cheese to go. Thanks.

Teddy stares down. The bald man looks at him.

Bald Man: How’s it going?

Teddy: Good.

Bald Man: Yep.

Teddy: Hey, have you seen a cat around?

Bald Man: Ah. No. Sorry, buddy. Can’t say I have.

Teddy: Thanks anyway.

Teddy walks outside. The bald man grabs his bag of food and follows him.

Bald Man: You know, there’s a rescue shelter a few miles down the road.

Teddy: Really?

Bald Man: It’s that way, on the left. I can’t remember what it’s called, but you’ll see it.

Teddy: Thanks. I’ll check it out.

Teddy begins to walk away. The bald man stands by his white truck.

Bald Man: Are you walking?

Teddy: Yea.

Bald Man: Listen. I’ll give you a ride down there. Seriously, I’m going that way anyway. Come on, I insist.

****

We cut to the inside of the white truck. The bald man asks Teddy about the cat, then asks where he’s from, then asks about the friend he’s staying with.

They make it to the shelter. The bald man insists on waiting for Teddy outside. Teddy goes inside the shelter, and the front desk employee helps him, but they’re not able to find Randy inside the shelter. He walks back outside and into the white van.

Bald Man: Damn. No luck?

Teddy: No.

Bald Man: Well, now I insist on giving you a ride home. I’m the one that sent you on this wild goose chase.

Teddy: Are you sure?

Bald Man: Of course.

The bald man drives Teddy back to the house, asking questions about how to contact the cat’s owner along the way. He parks in the driveway.

Teddy: Thank you so much for your help.

Bald Man: My good deed for the year. Ha Ha!

Teddy: Yea.

Bald Man: Don’t worry. I’m sure the little guy will turn up.

Teddy: Well, have a good night.

Bald Man: Yea, you too.

The wave goodbye as they depart in their own separate ways.

****

We cut to Calvin at his workplace. He gets a phone call.

Calvin: Sorry. I’ll be right back.

Calvin leaves his office and takes the call. It’s Jackie. The camera cuts back and forth between Calvin and Jackie as the call progresses.

Calvin: Hi.

Jackie: I hope you’re happy.

Calvin: What’s wrong?

Jackie: Your daughter is crying right now and it’s your fault.

Calvin: What happened?

Jackie: Did you send her a package?

Calvin: Yea…

Jackie: A package with your name and return address on it.

Calvin: Yea. What’s wrong?

Jackie: And Christmas presents inside that say “From Santa.” Nice going, Calvin.

Calvin: Goddammit. Why did you let her open it?

Jackie: Because you were supposed to send her dolls back to her months ago. I’ve sent you ten fucking messages about it.

Calvin: I can’t believe this. I sent my daughter some presents.

Jackie: Cici is bawling. She’s screaming that Santa isn’t real.

Calvin: Let me speak to her. I’ll apologize and make up an excuse. It will be fine.

Jackie: I don’t want you talking to her right now.

Calvin: She will get over it! She’s four years old.

Jackie: I don’t want you out here.

Calvin: I’m sorry. All right? It was an innocent mistake.

Jackie: I don’t think you should move out here.

Calvin: Well, it’s too late now.

Jackie: We don’t want you here. Cici doesn’t even ask about you anymore.

Calvin: That’s not true. I love her.

Jackie: You call once every two weeks, sometimes in the middle of the night, and you talk to her for about ten minutes.

Calvin: That’s over the phone. It will be different when I’m there in person…

Jackie: Like when we lived in that Colorado house? When you completely ignored her? I can’t take that again.

Calvin: Let’s just talk about this later. I’m at work.

Jackie: I’ve said everything I wanted to say. I can’t stop you from moving here, but I don’t want it. Neither do you. Stop fooling yourself.

Calvin: Is that it.

Jackie: Yea.

Calvin: Alright then. Goodbye.

A long shot of Jackie.

A long shot of Calvin.

We cut to the airmen’s lounge. Sergeant Smith is fiddling with the vending machine.

Calvin: Sergeant Smith?

Sergeant Smith: Oh. Hey, Calvin. This damn thing. I’m trying to get my chips.

Calvin: I need to talk to you about something.

Sergeant Smith: What’s up?

Calvin: I want that job in the Office of Speicla Investigations.

Sergeant Smith: Seriously? It’s a little late for that.

Calvin: I’m sorry. I’ve been uncertain. I now see clearly that it is where I belong.

Sergeant Smith: Well, I agree with you, but damn, the colonel had to move down the list when you passed…

Calvin: I’m ready. You said I was the most qualified.

Sergeant Smith: Yes, you are…

Calvin: You haven’t offered anyone else the job yet?

Sergeant Smith: Not yet.

Calvin: Then give it to me. I’ll do anything.

They shake hands.

Sergeant Smith: Let’s go up to my office and we’ll figure it out.

Calvin: Thank you, Ed. You won’t regret this.

Sergeant Smith: Yea… I think this is right.

We cut to Teddy on the couch. Calvin walks in. They talk about the cat, about how it’s still missing. Calvin offers Teddy a beer, but he declines.

Calvin goes to his room. We see him watching funny videos on his computer; suddenly, he gets an email. It’s from a stranger. It’s labeled ‘HAVE NOT FORGOTTEN’.

****

We dissolve to Calvin at his desk, staring into space. Simon waves a hand in Calvin’s face.

Simon: Calvin. Hello.

Calvin: Oh. Sorry.

Simon: There’s a problem with a server. Would you mind checking it out?

Calvin: No problem. What’s wrong?

Simon: I’m getting an error message from Row CC, Rack 4. I can’t seem to figure it out from up here. I’ll need you to go down there and console in.

Calvin: You bet.

Simon: Thanks.

The camera follows Calvin in an unbroken shot as he moves through the building with a laptop in his hand. He goes to a room with rows of large computers. He inspects one of the servers for a moment before walking towards the room’s door.

We rapidly cut to the other side of the door as Calvin opens it, before rapidly cutting to Dahlman standing in the hallway.

Dahlman: Hey, Calvin.

Calvin: Whoa! Jesus, Connor. Ha-ha. What are you doing down here?

Dahlman: I just came to see if you needed any help.

Calvin: Oh, no. I couldn’t find anything wrong with it.

Dahlman: Oh, good. That’s a relief.

Calvin: Yea.

They meet each other in the middle of the hallway.

Dahlman: I wanted to talk to you about the job…

Calvin: Ok.

Dahlman: And just tell you congratulations, man.

Calvin: Oh. Thanks a lot, Connor. I really appreciate it.

Dahlman: I think it will be good for you.

Calvin: Well, you know, it’s a big commitment. Sergeant Smith says a lot of my experiences here will be useful there.

Dahlman: I just hope you’re prepared.

Calvin: Yea, you know, it’s a new challenge.

Dahlman: It is a big commitment.

Calvin: Yea, I know.

Dahlman: I don’t think you know what you’ve signed up for, Calvin, and I think we should talk about it.

Calvin: What do you mean?

Dahlman: It’s not like it is here. You won’t be sitting at a desk the whole time.

Calvin: Oh, right. That. You know, I’m fine with it. I’m prepared to travel if I have to.

Dahlman: Travel? What about extrajudicial killings? Are you prepared for that?

Calvin: What?

Dahlman: What if an American citizen needs to disappear, for reasons that might never be revealed to you, and you are involved, even peripherally, in the plot? Are you willing to participate in a crime like that? Something they can hang over your head for the rest of your life?

Calvin stares in disbelief.

Dahlman: That’s not even the worst of it, Calvin. Do you read about black sites? You know what goes on in them, right? No. You don’t. Nobody does. Once you pass through that door, there is no leaving. This was my chance. I’ve been preparing for this for five years. I was ready to get inside and find out for myself. You think you’re going to Germany or South Korea to do some tech support? You’ve got another thing coming. Calvin. You don’t know what the fuck you’ve got yourself into. I don’t think you have the stomach for it.

Calvin is wide-eyed. His lips are clenched.

Dahlman: What? That stuff is just another day at the office! I worry about how you will react when you’re taken into one of those infamous false flag massacres. That work gets really hairy. Wait until you meet the crazy guys they send in there to pull the trigger. What about when you find out things the public can only dream about? This is life-changing stuff. We’re talking about the hidden mechanisms that govern our world. Will your head explode under the pressure? Goddamn, man. I can tell you really have no clue. Ha! Wait until you’re at the water cooler and you find out the truth about nine-eleven. Or what happened to Sabrina.

Calvin: Stop it! That’s enough!

Dahlman: What? Ha-ha…

Calvin: Shut up, Connor! Shut the fuck up!

Dahlman: Are you kidding me right now?

Calvin: I can’t take it!

Dahlman: Dude, I am messing with you.

Calvin: WHAT?!

Dahlman: Calm down, Calvin. I’m joking around!

Calvin catches his breath.

Dahlman: You didn’t really take that seriously? Come on, man. You’re smarter than that. I mean, yea, I was a little pissed that you swiped thejob from me. Kinda screwed up my plans. I’m just giving you grief.

Calvin: You—

Dahlman: Jesus, man. You’re paranoid.

They stare at each other for a moment.

Dahlman: You’ll do great. I mean it. Everything will be fine.

Calvin wipes sweat from his brow.

Calvin: Sorry, I’m just—

Dahlman places a hand on Calvin’s shoulder.

Dahlman: Don’t worry about it. You’ve had a stressful year. You gotta learn to take a joke again. Like you used to!

Calvin: Yea…

Dahlman: Just take it easy.

Calvin: Okay. Sorry.

Dahlman: I should get back upstairs. See you there?

Calvin: I’ll be right up.

Dahlman begins to leave.

Dahlman: And remember: A lifetime of silence behind the glass door! Ha-Ha!

Calvin is left alone in the hallway. He is still catching his breath.

We cut to a tracking shot that watches Calvin walk back in the offices. In this shot, he retakes his seat and slumps. He stares down at the ground. We cut to Simon.

Simon: Thanks, Cal.

****

We cut to VHS footage of a grassy mountain, accompanied by TB subtitles, which read ‘Four Months Later’. Cell phone towers are visible behind the mountain.

We cut to Calvin, who is emptying the cupboards of his kitchen, putting items in boxes. Dahlman greets him from inside the house; it’s revealed that he’s helping with packing. Calvin shows Dahlman around the upstairs rooms, and it’s revealed that Dahlman will be renting the house from Calvin.

Calvin shows Dahlman the child’s room, the one that Teddy stayed in months ago. We can see that Calvin has left the radio and Cici’s dolls behind.

We cut to the driveway. They pack the last of Calvin’s boxes into his car. They hug each other, and Dahlman wishes Calvin well as he gets in his car.

Calvin: Are we forgetting anything? I think that’s it.

Dahlman: Oh—where’s the mailbox?

Calvin: Sorry. Thanks for reminding me! It’s down at the end of this complex!

Dahlman: Cool. Why don’t I see if there’s anything for you before you leave.

Calvin: Good idea. I always forget to check.

Dahlman: Be right back.

Calvin waits in his car. Dahlman goes around the corner of the house and comes back with a stack of letters.

Dahlman: Good thing I checked!

Calvin: Wow, thanks. I do everything online now. This is all junk.

Dahlman: Chin-Sun is on her way over.

Calvin: Take care.

Dahlman: Remember what I told you.

Calvin: What?

Dahlman: Have a good trip! Call me when you get there.

Calvin: Oh. Sure thing. See ya.

Calvin drives out of the driveway, sheepishly waving goodbye. Dahlman simply watches him leave; he stands in place, refusing to lift a muscle.

****

We see a small flurry of shots of Calvin traveling down the road, listening to the radio, and parking at an animal shelter. We cut to a non-diegetic image of a shaggy dog, then cut back to Calvin as he walks through the hallways of the shelter.

Calvin: Hey!

We cut to Teddy, who is wearing a shirt that says ‘STAFF’ on the back, working with a hose.

Teddy: Oh, hey.

Calvin: How’s it going?

Teddy: Good. I’m glad you could stop by. Are you leaving now?

Calvin: Yea, pretty much. Is this a good time?

Teddy: Let me check.

We cut to a woman in an office that is decorated with dolls and family photos. Teddy walks in.

Teddy: Dora. Would it be all right if I took my fifteen?

Dora: Sure thing.

Teddy: Thanks.

Teddy turns to Calvin.

Teddy: Just let me wash my hands.

We cut to Calvin and Teddy at a picnic table.

Calvin: So I think I’ll get as far as St. Louis tonight. Then finish the drive to Virginia tomorrow.

Teddy: That’s a long trip.

Calvin: Yea, I’m excited. How’s the job?

Teddy: Good. Everyone is nice?

Calvin: Are you happy out here?

Teddy: Um, I don’t know how to answer that.

Calvin: You’re right. Sorry.

Calvin pauses before speaking again.

Calvin: Did Randy ever turn up in the shelter?

Teddy: No.

Calvin: Damn. Poor little guy. Have you talked to Sandra recently?

Teddy: No.

Calvin gains information from that answer.

Teddy: Well. I should get back inside.

Calvin: Oh. So soon?

Teddy: Yea. Good luck out there.

Calvin: Thanks, you too. How can I get in touch with you? Do you have a phone now?

Teddy: You can just call the shelter and ask for me.

Calvin: Cool.

Teddy: Thanks for everything.

Calvin: No problem.

Teddy stares down and smiles.

****

We cut to a forward shot of the highway as Calvin drives with his sunglasses on. We’re treated to a montage of stopping at convenience stores, counting pieces of licorice in his hand, driving some more, getting gas, stopping for coffee… highway activities such as that.

We cut to Calvin sitting down at a booth in a fast food restaurant. This is the place where he chooses to check his mail—the mail Dahlman had given him.

He stares down at the first letter. It reads:

“Do not cross us. We will always know where you live.”

Calvin swallows. He reaches into the letter and finds a coupon for $5.00 off at a store called “Chicago Produce”. We cut to a long shot of Calvin setting the letter and coupon down and thinking to himself.

We cut to the exterior of a motel. It’s nighttime. Only one of the windows is lit.

We cut to a medium shot of Calvin in the shower with his arms wrapped around his waist.

We cut to Calvin closing the blinds of his hotel room.

We cut Calvin pulling the covers of the bed over his body. He watches various TV channels before drifting asleep.

We cut to the hallway of his conversation with Dahlman—this time, it’s presented in the expressively-lit trademark of a dream sequence. We cut to a shot of Calvin in his Air Force uniform that tracks in and zooms out at the same time.

We cut to a corner of the hallway. A shadowy figure is crouched in this corner.

Calvin: What are you doing down here?

We cut to the shadowy figure. He stands up. He’s wearing a black ski mask. He has the voice of Timmy Yancey.

Timmy Yancey: Look who it is.

Calvin: Oh no.

Timmy Yancey: So, do you feel like you made the right choice?

Calvin: I’m scared.

Timmy Yancey: Do you have anything to say about the situation?

Calvin; I wish it never happened. I want to take things back.

Timmy Yancey: It’s a little late for that.

Calvin: I’m so sorry.

Timmy Yancey: I hope you’re happy.

Calvin: This was all just a big misunderstanding. I don’t know what you want from me.

Timmy Yancey: Someone should kill you, Calvin Wrobel.

Calvin: NO!

Timmy Yancey: Let’s go up to my office and we’ll figure it out.

Calvin: Please. Let me go.

Timmy Yancey: What do you do at your job?

Calvin: I’m a boundary technician! I’ve told you that!

Timmy Yancey: Stop fooling yourself.

Calvin: What do you want me to say?!

Timmy Yancey: That machine is still out of order.

Calvin: What do you want me to do about it?!

Timmy Yancey: We’re gonna need you to go home. This park is closed.

Calvin: Please!

Timmy Yancey: We’re closing in ten minutes. You have a good night.

The man in the black ski mask holds a knife up to Calvin’s neck.

Timmy Yancey: No one is going to enjoy this less than me.

BANG! BANG!

We cut to Calvin as he springs up from his slumber. Someone is pounding his room’s door.

BANG! BANG!

???: Open up!

We cut back to Calvin. He’s frozen. He’s terrified.

???: Goddammit, I see the lights on! What are you gonna do, make me sit out here all night?

Calvin clutches his covers.

BANG!

???: Let me in!

We cut to a drunk man in the hallway. He’s at Calvin’s door.

Drunk Man: I’m sorry. All right? What do you want from me? I’m sorry! Did you hear me? Then fuck you! Open the God. Damn. Door.

We cut to a woman, who opens the door of another room and peers into the hallway.

Woman: Scott! Jesus Christ, would you shut up?

The drunk man turns towards the woman.

Drunk Man: There you are. It’s about time!

Woman: Shut up. You’re gonna get us kicked out.

Drunk Man: Don’t tell me what to do. I’ve had it!

The camera cuts to Calvin and stays on him as the argument continues outside. Calvin gradually shrinks into himself with a horrified expression on his face.

Woman: Get out of the hallway. You’re drunk. You’re being an asshole.

Drunk Man: I’ve had enough of this anger from you!

Woman: You sound like a fucking idiot.

Drunk Man: I’m not gonna take that!

Woman: Then sit out there and think about what you’ve done.

We hear a slam of a door. We hear the shuffling of feet.

Drunk Man: Don’t walk away from me! …Hey. Let me in!

Cut to black.

(Post “Children” from Jackie here.)

Roll credits, which are initially accompanied by shots of Sandra on her bike ride near the Great Lakes, which fade in and out of black.

 

 

@Xillix This is a completed work.

Edited September 22, 2023 by SLAM!

[SLAM!]

THE MONA LISA

 

Studio: New Journey Pictures Classics
Director: Julian Schnabel

Genre: Historical Drama

Release Date: February 26th (platform opening), March 5th (limited expansion), March 12th (wide expansion), March 19th (wider expansion)

Major Cast: Felicity Jones as Adult Lisa del Giocondo, Johnny Flynn as Francesco di Bartolomeo, Mia Goth as Teenage Lisa del Giocondo, Colin Firth as Lisa's Father, and Gary Oldman as Leonardo da Vinci

Theater Count: 4 (Feb. 26), 238 (Mar. 5), 791 (Mar. 12), 1,557 (Mar. 19)

MPAA Rating: PG-13 for Language and Some Suggestive Material

Runtime: 1 hr 50 m

Production Budget: $15 Million

Composer: Jonsi (of Sigur Ros fame) -- The score is comprised of emotional avant-garde rock.

Plot Summary: This film chronicles the remarkably mundane life of Lisa del Giocondo, a middle-class supporter of the arts, who couldn't possibly have known just how impactful her role in history would be.

 

The plot summary can be found here:

Spoiler

We begin less than a decade after Lisa was born in 1479. She is a young girl at this time. In the opening moments, Lisa’s father, Antonmaria di Noldo Gheradini (Colin Firth), rounds up the family into a carriage—for the umpteenth time, they’re moving from one country home to another country home. The children protest to the very limit, but Antonmaria isn’t having any of it—this is for the best, as they can’t pay for the house’s damages, and he’d prefer to live closer to his wheat farm, anyway.

 

They go. From the carriage, Lisa looks, and sees the country home becoming smaller and smaller in view.

 

We cut to 15-year-old Lisa (Mia Goth) sitting in a darkened room, staring out at the dilapidated plains in the distance. Words appear on the screen—1945. She’s found some time to herself. She draws a picture on a piece of paper, and she smiles.

 

Suddenly, she is interrupted. Her father is calling her downstairs. It’s a surprise, he says.

 

She walks outside of the home. Her father introduces her to a man named Francesco di Bartolomeo di Zanobi del Giocondo (Johnny Flynn). Francesco kneels in her presence. Her father explains that the man is a modestly successful cloth and silk merchant, that he previously had two wives, and that Lisa would be his third.

 

Lisa knows exactly who Francesco is. She runs to him and hugs him tightly. She’s ready for this.

Francesco is given a dowry of 170 golden Florentine coins (known as florins), as well as a farm near the country home. The father is ashamed of such a modest dowry, but Francesco tells him that it’s just enough.

 

****

 

There is a scene of Lisa in her room, packing her things. She’s shaken up, but hopeful for the future. The marriage will increase her social status, after all.

 

****

 

We see a montage of Lisa moving from her father’s home to Francesco’s home, one that is set to an ambient, emotional score. In the latter stages of this montage, she meets Francesco’s other wives, and she shares intimate moments with Francesco.

 

We cut to the future—1503 to be exact. An older Lisa (Felicity Jones) is walking through the city streets of Florence—the people go about their daily lives in the clothing that was custom for the time.

 

Before they enter a certain building, Lisa gets Francesco’s attention and thanks him for what she’s about to receive. Francesco says with a smile on his face, “Of course, I’d do this for you."

 

We cut to the inside of a sparsely furnished room. Lisa and Francesco are meeting with none other than the legendary artist himself, Leonardo da Vinci (Gary Oldman). They discuss a portrait for the lady. During this conversation, Francesco remarks that one reason why he was able to reach such a legendary artist was because of his status as an elected member of the Dodici Buonomini, a council of Renaissance Florence’s official government, the Signoria. Lisa gives Leonardo an idea of what she’d like it do be—in this scene, she reveals her own appreciation and passion for the arts. Leonardo makes a referential sketch; he compliment’s Lisa’s features and promises that he’ll be finished with the portrait as soon as possible. Lisa and Francesco insist that the painter can take as long as he wants; in their eyes, they have nothing but time.

 

The couple goes back to their home. Lisa thanks the eldest child of five for taking care of the rest while they were gone. Lisa applies herself to her children, struggling to be the mother they deserve. She manages. As the women of the time were expected to do, she manages.

 

****

 

Cut to 1512. Lisa is still struggling with motherhood. Francesco has transcended the government ladder, going from the Dodici Buonomini to being an official of the Signoria itself. Life is good, until…

A cold night comes. Lisa’s children begin to ask of the whereabouts of Francesco. Lisa dons a black garment, the kind she’s seen wearing in the Mona Lisa portrait, and begins a frantic search for Francesco through the streets of Florence. She hears that Francesco has been imprisoned; she rushes to the prison where he is being held, and, from behind the bars, Francesco explains that he’s been pinpointed for capture because of his ties to a powerful political family, who had been in exile at the time. Lisa expresses her worries and fears—her desire for him to be with her; Francesco remarks that he sees no knows coming down Lisa’s cheeks and uses this as makeshift proof that Lisa can get through this until he is released.

 

We see through a montage that Lisa continues to take care of the family. She lives through notable moments, including her daughters’ decision to become Catholic nuns. At the end of the montage, Francesco comes back from the prison. He shows up at the doorstep of the home, and Lisa embraces him.

 

****

 

In the next scene, the camera remains completely stationary, and there are no cuts. It is a very simple image, one where Lisa and Francesco are lying down with each other. They discuss their lives, their love, their children, and Medici family.

 

Lisa brings up the portrait. She expresses concern that they’ll never cross paths with Leonardo da Vinci ever again, that they’ll never see the finished product. Francesco tells her that he doesn’t need a portrait of her to know how beautiful she is. Lisa stares into Francesco’s eyes and smiles.

 

****

 

1537. Their lives are nearing an end. Francesco returns Lisa’s dowry to her, plus more clothing, jewelry, and money—he does this so she can be taken care of in the future.

 

Time passes. Francesco catches a plague and passes away. Lisa is initially devastated; four years later, she herself falls ill, and she is sent to a convent, where she can pass away in peace. On her deathbed, she is wearing the same black garment she’s shown to wear in the Mona Lisa. Nuns care for her, and she tells the nuns that she’s lived a good life, one she’s happy to have lived.

 

In a surreal ending, Lisa rises from her bed. The nuns wave goodbye in the background as she runs out the door of the convent. She opens it and finds that she’s in the dilapidated country plains where she grew up—they look suspiciously like the one in the background of the Mona Lisa. The people she’s known and loved in her life are all there. The film ends after a heartwarming montage, where she runs with the others in the plains and embraces Francesco.

 

 

 

@Xillix This is a completed work.

Edited September 22, 2023 by SLAM!

[Alpha]

POSTPONED

Edited March 16, 2019 by Alpha

[YM!]

God of War: Ascension 

Studio: Endless Entertainment
Legendary Pictures
Cruel and Unusual Films
Release Date: Q3/Q4 Y5

Tagline: “Vengeance comes to an end”

Genre: Action/Fantasy/Drama
Director: Zack Snyder
Rating: R for strong brutal violence, scary images and language throughout
Budget: $170M
Theater Count: 4,205
Format: 2D, 3D, Dolby Cinema, IMAX 2D+3D (God of War: Ascension was filmed in IMAX)
Runtime: 145 minutes
Cast:
Jason Momoa as Kratos

Shree Creeks as Pandora

Keira Knightly as Athena

Sean Bean as Zeus

Tom Hardy as Hades

Chadwick Boseman as Hermes

Russell Crowe as Poseidon

Linda Hunt as Titan Gaia

Kit Harrington as Helios

Monica Bellucci as Aphrodite

Alexa Davalos as Hera

Florian Munteanu as Hercules

Edited February 20, 2019 by YourMother the Edgelord

[Ethan Hunt]

Relativly Easy 

 

Studio- Hunt Productions 

Director- Steve McQueen

Genre- drama 

Release Date- October 15th 

Theatre Count- 2,743

Rating-R 

Runtime- TBD

Budget: 25M

Cast: 

Thomasin McKenzie

 Toni Collette

Algee Smith

Jonah Hill 

Jon Bernthall

Betty Gabriel

 

Plot- not done yet 

 

 

 

[YM!]

Smells Like School Spirit 

 

Studio: Infinite Studios

Monkeypaw Productions

Blumhouse Productions

Release Date: 4/2/Y5

Director: Jordan Peele

Rating: R for violence, bloody images, language including sexual references, and mild horror

Budget: $8.5M

Theater Count: 3,205

Format: 2D

Runtime: 105 minutes

Cast:

Yara Shahidi as Sydney

Woody Harrelson 

Katherine Langford 

Dacre Montgomery 

Alisha Boe

Natalia Dyer 

Justin Pretince 

Amandla Sternberg

and

Jordan Peele

 

Plot:

Under Construction 

Edited January 3, 2019 by YourMother the Edgelord

[Xillix]

ByteRealm

Release Date: February 26, Y5

Studio: Gold Crescent Pictures

Genre: Sci-Fi/Action

Director: Alex Proyas

Theater Count: 3,664

Premium Formats: 3D, Dolby Cinema 2D+3D & IMAX 3D

Shooting Format: Digital 8K (Red DSMC2 Monstro) (Post-converted to 3D)
Aspect Ratio: 2.39:1 / 1.90:1 (Select scenes in IMAX)

Release Image Formats: 2K DCP, 2K 3D DCP, 4K DCP, 4K Dolby Vision DCP, 4K Dolby Vision 3D DCP, 2K IMAX 3D Digital DCP, 4K IMAX 3D with Laser DCP
Release Audio Formats: 5.1, 7.1, Dolby Atmos, IMAX 12-Channel

Production Budget: $105 million

MPAA Rating: PG-13

Running Time: 97 minutes

Major Cast: Dacre Montgomery (Kyle Knight/HavocDrake), Hailee Steinfeld (Erin Rimes/SapphireBlaze), Chris Pine (HexBug – voice and mocap), Constance Wu (Lucy Zhou), Ludi Lin (Tommy Zhou/RuneFox)

Plot Summary:

Scenes in RED TEXT expand up to 1.90:1 in IMAX
 

 

Spoiler

 

In the not-too-distant future, the internet has continued to expand, growing more sophisticated and even more ingrained in the lives of everyday people. Virtual reality tech has benefited from a series of breakthroughs and a period of rapid development, and with sufficiently powerful computers and advanced peripherals called “Immersion Kits,” users can enter a multi-sensory VR representation of not only the worldwide web, but individual systems and servers. This representation of the “digital world” is known as the ByteRealm.

 

Though Immersion Kits are still expensive and have yet to reach mass adoption among consumers, the ByteRealm is still accessible to most people as an onscreen audiovisual representation with traditional computer monitors. As such, much of the internet has been reconfigured with ByteRealm support in mind, and most computer users have a ByteRealm “avatar” – a 3D model to represent themselves, which, within certain standards, is totally customizable from appearance to animations to voice. Some people choose to appear more or less as digital versions of their real selves, but idealized or fantasy avatars are considerably more common.

 

Since its introduction, the ByteRealm has revolutionized several aspects of computing. Tech support and programming quality assurance are now performed primarily by Kit users, who can enter a system and search for errors in the code as if examining a structure for cracks. High-end cybersecurity firms employ Kit users equipped with software-based “weapons” and analysis tools – security programs and subroutines given tactile form in the ByteRealm – to fight off security threats directly on behalf of their clients.

 

The same tech developed for these security firms, of course, has also found its way into the hands of certain technically-adept independent users. Inevitably, this means that hacking has been revolutionized alongside security. Hackers are generally classed into two categories: White Hat and Black Hat. These terms existed well before the development of the ByteRealm, but have surged dramatically in public use and awareness since. A White Hat hacker, in modern parlance, is essentially a vigilante or mercenary security agent using programs similar to those employed by the major security companies. A Black Hat hacker is a criminal, using hacking tools and malware programs reverse-engineered from said security tech.

 

Kyle Knight (Dacre Montgomery) is a young man living in a cramped, run-down apartment in Boston’s Chinatown, working as a bike-riding delivery guy for one of those online fast-food-delivery services. Obviously, this was not what he’d planned to be when he grew up. In his small hometown out west, Kyle was one of the smartest kids in high school, with a knack for programming. He applied to several prestigious universities, including MIT, but had quite the rude awakening when he was rejected from all but the sketchy for-profit Back Bay Institute of Technology.

 

Though his grades at BBIT were good, this was only because the entire school was a giant student loan scam with no real academic standards. He graduated with a Bachelor’s Degree in Computer Science which he very quickly learned was completely worthless. Unwilling to move back home a failure, he’d rented the cheapest apartment he could find in Boston and held down multiple low-level jobs just to scrape by. He did have a certain, if unremarkable, talent, though – and that led him into the world of Black Hat hacking, where he’d become known as HavocDrake and used cybercrime to supplement his paltry income.

 

While trying to make a name for himself, he discovered another up-and-coming Black Hat going by the handle SapphireBlaze was, in fact, also a former BBIT student who’d been screwed over – Erin Rimes (Hailee Steinfeld), who was living in the suburbs with her distant, inattentive parents. The pair had decided to work as a duo in order to try and compensate for each other’s shortcomings, and had so far been doing a pretty decent job as petty cyber-crooks. Then comes the news that BBIT is shutting down, with all student accounts being transferred to a huge, ruthless debt collection agency and no relief for the students who’d been scammed.

 

Kyle and Erin decide to hack into BBIT’s servers before they are taken offline and the accounts transferred, in a last-chance attempt to wipe out their college debt. It’s by far the biggest job they’ve taken on so far, and in order to coordinate more effectivel, the pair – neither of whom have an Immersion Kit – choose to meet up in person at Kyle’s apartment to pull it off, Erin lugging over her big heavy computer equipment.

 

Meanwhile, Lucy Zhou (Constance Wu), founder and CEO of Boston-based Zhou CyberSecurity, or ZCS, is running a test of her company’s latest software. It is the most powerful suite of hacking and security tools ever programmed, designed to be installed directly into a user’s ByteRealm avatar as a plugin. In effect, it has the potential to turn its user into a “digital superhero,” but Lucy hates that term. It doesn’t help that a few people around the office crack Superhuman Samurai Syber-Squad jokes, which she does not appreciate.

 

The test is being carried out on their own secure servers, with the participation of Lucy’s son Tommy (Ludi Lin). He’s logged into the system via an Immersion Kit, appearing in cyberspace as a generic company-branded avatar. The idea is to install the plugin onto said avatar and have Tommy test out various functions in the server. In order to test some of the plugin’s functionality, though, the server requires an internet connection. And to everyone’s shock, the test is interrupted when the notorious Black Hat hacker HexBug (Chris Pine) breaks into the server before the plugin can be equipped onto Tommy’s avatar.

 

HexBug – whose glowing orange avatar resembles an anthropomorphic, cybernetic insect complete with big segmented bug-eyes and a proboscis – attacks Tommy’s avatar, and, in a brief fight represented visually within the ByteRealm, deletes it, forcing Tommy to log out of the server. The hacker steals the plugin, in the form of a small, glowing cube of code, for himself. Before he can install it, though, it’s blasted out of his avatar’s grip by a team of ZCS employees who have logged in with their own militaristic-looking security avatars.

 

HexBug proves an incredibly formidable opponent, manipulating the server’s code and re-shaping the battleground on the fly to his advantage. One by one he takes out the security avatars, who are playing keep-away with the plugin. When there is only one left, Lucy makes a drastic command decision – ordering the plugin uploaded to another company server, which she will then have immediately disconnected from the network. But HexBug’s attack interrupts the transfer, sending it out of the company’s network entirely to an unknown server. His prize gone, an infuriated HexBug logs out of ZCS’s systems. ZCS has backups of the plugin, naturally, but realize the terrible danger of a working copy being out in the wild.

 

Meanwhile, HavocDrake (whose avatar resembles a dragon-man wearing a sci-fi tinged suit of knight’s armor) and SapphireBlaze (whose looks like a faceless, glittering sapphire golem of a warrior woman) have broken into BBIT’s systems. Unfortunately, their tinkering with the financial data is noticed by someone at the debt collection company that is set to inherit the accounts, and a White Hat security force is deployed to stop them. The pair of relatively amateur cyber-crooks are handily outmatched, and when SapphireBlaze’s avatar is captured and disabled, she’s forced to log off and abandon it to avoid being traced to her real-world location.

 

However, as luck would have it, since BBIT’s physical server is close to ZSC’s and has a similar IP address, this is where the experimental plugin has wound up! HavocDrake finds the glowing code-cube in the heat of battle and, though he doesn’t know what exactly it is, he’s desperate enough to install it onto his avatar. Doing so does, in fact, more or less transform it into a virtual superhero (or super-anti-hero as the case may be). His suit of armor becomes a sleeker, more colorful red-tinged cyber-suit, equipped with all sorts of mysterious doodads and trinkets.

 

Even though he really has no idea what’s just happened or even what he’s doing, HavocDrake is now equipped with such powerful tech that he absolutely wipes the floor with the much more experienced White Hats sent to stop him, deleting several of their avatars outright and sending the rest running. The battle over, he deletes not only all record of his and Erin’s debts, but ALL of the BBIT student accounts on file. His mission accomplished, he’s so thrilled and shocked that he can’t resist playing around with a few of the new software tools he suddenly has at his disposal. Unfortunately he accidentally crashes BBIT’s server from the processing strain, forcing him to log off.

 

Back in the real world, Kyle is ecstatic, but the always-more-cautious Erin is concerned. That plugin had to come from SOMEWHERE, and people would clearly be looking for it. Though she’s happy to have her debt cleared, she’s worried for Kyle because he’s obviously just painted a huge target on his back. She warns him to be careful and use it sparingly, a warning he doesn’t seem to pay too much attention to.

 

The staff at ZCS is in a frenzy searching for the lost plugin and trying to figure out how HexBug was able to access and control their systems. It appears that he actually had a legitimate security certificate coded to his avatar, raising the likelihood that it was an inside job – either he is someone who works at ZCS, or someone let him in. News arrives of the attack on BBIT, and from the description of events given by one of the White Hats who fled the scene, Lucy knows immediately that someone has taken and used their plugin. But because the server had crashed shortly after, all access logs were corrupted and there is no chance of getting a trace. All they have to go on is the handle HavocDrake and the visual appearance of his avatar.

 

Shortly thereafter, we see Tommy at his swanky apartment, plugging himself into an Immersion Kit. He takes control of his own avatar, a sleek anthropomorphic fox in light cyber-armor, decorated with mystical and mythological symbols from around the world. Tommy is in fact RuneFox, another notorious Black Hat and known accomplice of HexBug. The two criminal’s avatars meet in a hidden server somewhere on the deep web. During their conversation it becomes clear that Tommy had let HexBug into the ZCS server to allow him to steal the plugin, and that the older hacker is quite upset at the failure of the plan. RuneFox fills him in on the fact that someone going by HavocDrake has installed the plugin themselves, and HexBug tells him to find this hacker and take the plugin back by any means necessary; HexBug himself needs to lie low for a while after the ZCS attack.

 

Predictably, Kyle ignores Erin’s advice and dives right into using his newly-empowered avatar to go on a digital crime spree. We see a montage of him attacking various increasingly high-profile targets, making himself quite rich in the process and handily out-hacking defense systems or White Hats he comes up against. HavocDrake becomes a feared name practically overnight, with much speculation as to his identity and the source of his powerful tech. No one from ZCS comes forward to claim involvement, but they – along with several other major tech firms – do post a significant bounty for his identification.

 

By now Kyle has used his ill-gotten funds to move out of his crummy Chinatown apartment into a nicer, bigger place, and to buy himself a top-of-the-line computer and a full Immersion Kit. He’s also quit his job as a delivery guy and does Black Hat work full-time. Erin tries to talk some sense into him about how incredibly obviously suspicious all of this is, but he doesn’t want to hear it. He’s used a lot of the new tools in the plugin to make himself, as he says, “a ghost” digitally, virtually untraceable, but Erin points out that just because he’s spending less and less time in the real world lately doesn’t mean it’s any less important – and out here, he’s practically screaming his identity into the wind. The two get into a major argument and it seems their friendship is over. Erin even considers turning him in for the bounty.

 

Before Erin can make that decision, though, HavocDrake makes the mistake of accepting an invitation to meet with HexBug on his deep web server. He’s so cocky and high on his own string of successes that, even though he’s fully aware it’s likely a trap, he isn’t concerned at all. After the initial tense exchange of pleasantries, HexBug explains to HavocDrake what the plugin that gave him such power is, where it came from, and that he wants it quite badly.

 

HexBug ironically echoes Erin in saying so much power in the hands of an inexperienced young man will get him into more trouble than he can handle. He introduces his apprentice, RuneFox – thus calmly pointing out to HavocDrake that he’s outnumbered – and makes an offer. If HavocDrake surrenders the plugin to him, HexBug will take him on as another apprentice, and things will work out quite nicely for all of them. HavocDrake, of course, refuses.

 

Thus ensues a 2-on-1 battle; RuneFox and HexBug against HavocDrake. Our antihero is obviously outmatched in terms of skill, and frequently put into a position that seems hopeless – only for him to retaliate with some powerful new cyber-weapon from within his plugin-granted armor at the last second, turning the tide. It’s almost as if the plugin’s code is taking action without him, defending itself where he fails to – because he sure as hell doesn’t know how he’s doing half the things he is.

 

When they realize they’re getting nowhere trying to defeat HavocDrake and forcibly uninstall the plugin as-is, HexBug and RuneFox decide to switch to “Plan B.” HexBug attacks ferociously, distracting HavocDrake long enough for RuneFox to slide in and make a quick, successful jab. As he does so, one of the runes on his armor lights up and disappears, its code being transferred into HavocDrake’s avatar. It’s the ancient Thurisaz rune, known commonly in English as the Thorn – a simple line with a triangle jutting out from one side, rendered here in bright, menacing red.

 

This, it turns out – like all the markings on RuneFox’s armor – represents a computer virus of his own design. At first HavocDrake can hardly tell anything has happened, the various security tools installed along with his stolen plugin doing their best to fight off its effects. But it’s an advanced, nasty little bit of adaptive code, and soon HavocDrake’s avatar is visibly glitching and malfunctioning as the infection spreads, his cyber-weapons failing or misfiring. The more experienced hackers taunt him, but before they can finish him off, without prompting from Kyle, the plugin forces HavocDrake to log off of the server and out of the ByteRealm entirely.

 

Meanwhile, researchers at ZCS are making the same discovery as HavocDrake – working with their backup copies of the plugin and running further tests, they realize they have accidentally created what, at present, is the world’s most advanced artificial intelligence, one that becomes more aware with further use after being installed into a host avatar. Unwilling to deal with the potential ramifications of this, Lucy orders the project shut down. This makes it even more important to find HavocDrake and his stolen copy.

 

Forced back out into the real world, Kyle calls Erin for help. She’s unsympathetic at first, since this is exactly what she warned him would happen – but when he explains HexBug and RuneFox are after him, and have done something to the plugin, she finally decides to intervene. Just… not in the way he’d hoped. Erin, having learned from Kyle that the plugin originated at ZCS, heads to their offices in person to turn him in – and ask for their help.

 

When she arrives and explains what she’s there for, she’s quickly rushed into a meeting with Lucy. She divulges Kyle’s identity and location but begs them to show him some kind of leniency. She also explains that HexBug and RuneFox have corrupted the plugin, and says Kyle needs help but is too proud to admit it to anyone but her. Because she does not want any details about the plugin – and especially its AI components – to come out into the open during legal proceedings, Lucy agrees not to press charges if Kyle will cooperate.

 

Lucy, Erin, and a team of ZCS security personnel arrive at Kyle’s apartment. Kyle feels quite angry and betrayed, but Erin manages to talk him into letting them in peacefully when she explains no charges will be filed. Worried about how the virus is reacting to the plugin, Lucy has Kyle log into the ByteRealm, “inside of” his own computer, with the Immersion Kit. She and her employees attach special monitoring equipment to Kyle’s PC so they can see what is happening in the ByteRealm and interface with the plugin. Lucy is alarmed to see that the Thurisaz virus is spreading through the plugin’s code quite rapidly, causing major malfunctions in both the plugin’s functionality, its accidental AI, and HavocDrake’s underlying avatar. Being a highly-accomplished programmer and having worked on the plugin herself, Lucy goes to work trying to repair and disinfect it.

 

But the viral infection has allowed the villains to get a trace on HavocDrake’s IP address, and soon HexBug and RuneFox break into his PC. The three fight while Lucy works desperately to disinfect and repair the plugin and HavocDrake’s avatar. Now that he doesn’t have full access to his ill-gotten cyber-powers, he is completely outmatched by the villains, and is forced to fight defensively, using firewalls and redirects and other such tactics to avoid attacks.

 

Not able to see into the real world and thus unaware it’s his mother behind the keyboard helping HavocDrake out, RuneFox, in his taunting of his enemy, lets his true identity slip. Learning of her son’s betrayal makes Lucy furious and all the more determined. Finally, she manages to separate out the viral code from the rest of the plugin and avatar – but not without corrupting the burgeoning AI, ripping it out of HavocDrake as well. The mass of code goes surging out of him and, still running off its basic AI instinct, escapes into the internet.

 

With his strength and functionality restored, HavocDrake takes the fight back against the villains. Lucy coaches him on how and when to use the plugin’s various tools since there’s no longer any AI to assist him. It’s a hard-fought battle, but ultimately HavocDrake wins, deleting RuneFox’s avatar. HexBug swears revenge and logs off as villains are wont to do.

 

With the battle over, a lot of hard decisions are left to be made. Kyle willingly gives up the plugin, or what’s left of it, but when Lucy tries to extract it she finds her emergency code-surgery has left it inexorably tied with the code of the HavocDrake avatar. There’s also the complication of her son. Ultimately Lucy calls in an anonymous tip and has Tommy/RuneFox arrested, knowing this will result in the plugin becoming public knowledge during legal proceedings. She orders all backups erased, leaving no intact copies, to avoid anyone else going after ZCS for it.

 

However, she also knows HexBug is still at large and the capabilities of the plugin might be needed to defeat him. So, rather than having Kyle turn over his avatar or destroy it, she allows him to keep it – on the condition he swear off Black Hat work and become a closely-monitored, unofficial “employee” of ZCS so that they can train him in its use and continue to evaluate and experiment the plugin. He agrees. Finally, Lucy agrees to quietly pay Erin a portion of the bounty that had been posted for HavocDrake in exchange for her silence on the matter.

 

MID-CREDITS SCENE:

 

Somewhere in the deep web, the chunk of viral code and corrupted AI that was severed from HavocDrake’s avatar begins to reconfigure and stabilize itself. It takes on the form of a monstrous, muscular, clawed green humanoid with a jagged mouth and the Thurisaz rune emblazoned across its chest – the world’s first independent, artificially intelligent computer virus.

 

 

Edited March 18, 2019 by Xillix

[Reddroast]

Kirby and the crystal quest

Release Date: 9/24/y5

Studio:Horizon Entertainment/Tall Tales Animation

Genre: cg animation/Adventure/Comedy

Based on the kirby game series by Nintendo

Budget 85 MIllion

Driector: Pete Docter

Writers: Pete Docter & Woolie Madden

Composer: Danny Elfman

Major Cast: 

Billy Magunssen as Banada Dee

Terry Crews as King Dedede

Pedro Pascal as Meta Knight

Ben Schwartz as Marx

Kimiko Glenn as Ribbon

 

Supporting cast: tba

Release formats: in 2d and 3d.

 

Theatre count: 4,321

Edited January 9, 2019 by Reddroast

[YM!]

Touchdown 

 

Studio: Infinite Studios

Release Date: 1/29/Y5

Genre: Action/Drama

Director: Rawson Marshall Thurber

Rating: PG-13 for sequences of gun violence and action, and mild brief language

Budget: $55M

Theater Count: 3,202

Runtime: 125 minutes

Cast:

Jason Statham as Dick Simmons

Daisy Ridley as Tracey Simmons

Florian Munteanu as Ivan Gorbachev

 

Plot:

Dick Simmons is a Black Ops agent who is meeting up with his estranged daughter, whom he hasn’t seen in years, Tracey Simmons, a college senior about to graduate in a few months. The two plan to go the Super Bowl game between the Patriots and the Saints, as the two both love football, recommended by his ex wife as an opportunity to bond. As

Edited February 15, 2019 by YourMother the Edgelord

[YM!]

Splatoon

Studio: Endless Entertainment

Horizon Entertainment (through both Aesir Pictures and the Tall Tales Animation division) 

In Association with Nintendo

Genre: CG Animation/Comedy/Action

Directors: Craig McCracken and Rodney Rothman

Producers: Genndy Tartakovsky, Mark Dindal, Meg LeFauve (executive), Chris McKay (executive)

Writers: Rodney Rothman, Craig McCracken and Tom Wheeler

Score: Daniel Pemberton (the score emulates that of many old school spy movies as well as having a heavy jazzy feel to it with a prevalent but not overwhelming bit of hip hop in it)

Original Song: “Make It Splat” by Ariana Grande and Hailee Steinfeld 

Based on:

Splatoon (2015)

 

Main Voice Cast

 • Justice Smith as Blue

 • Ariana Grande as Callie

 • Hailee Steinfeld as Marie 

 • Ice Cube as Lord Octavio

 • Michael Keaton as Captain Cuttlefish

 • Peter Serafinowicz as Argonaut  

 • Dacre Montgomery as Trent

 • Charlie Day as Humboldt 

 • Angela Bassett as Cerulean 

 • Daniel Kuulaaya as Caleb 

 • Kristen Schaal as Inciratta

with

 • Al Pacino as Ocho

and

 • Helen Mirren

 

Release Date: June 18th, Y5

Theater Count: 4,023

Format: 2D, 3D, and Dolby Cinema 

Budget: $85 million

MPAA Rating: PG for mild action, mild thematic elements and crude humor

Running Time: 107 minutes (including the 7 minute short of Can You Imagine?... The Bedtime Stories)

 

Animation: Done in house by Tall Tales Animation (the animation style employs splat and squish technique to create a very cartoony computer animation, similar to that of Cloudy with A Chance of Meatballs, Hotel Transylvania and the CGI portion of Can You Imagine?)

 

Short: Can You Imagine... The Bedtime Stories?

Director: Genndy Tartakovsky 

Animation style: Alternates between Paperman like traditional animation and cartoony CGI

Rating: G

Runtime: 7 minutes

Cast: 

Alison Brie as Jennifer Anderson

Ryan Reynolds as Kyle Anderson

Iain Armitage as Ethan Anderson 

Dave Bautista as Earl

 

Short:

Spoiler

The short picks up a month after Can You Imagine?, as the Anderson family relationship has been strengthened and Jennifer and Kyle have found their spark again. It’s a pretty normal Sunday night as Ethan refuses to go to sleep parked in front of the TV as it’s past his 9:00 bedtime. The two attempt to read him a bedtime story as Jennifer reads Little Red Riding Hood with Earl, the mustached fish, as the main character as Earl’s story takes place in CGI animation, following pretty much the same story. Ethan, although likes the Earl addition finds it boring which Kyle agrees as he decides to take control as he tells Ethan an original story with Earl but as a space cowboy fighting against intergalactic beasts to save a princess. As we switch back to CG animtion, we see Earl facing off three monsters, one with many arms, a dragon like one and a whale like one, getting humorously thrashed around as the princess swallows him, and just as he’s about to get swallowed by the whale like one, he pulls out a giant blaster, and just as the fight is about to get started, Jennifer interrupts as it’s too violent. The two parents have a friendly but competitive competition about the better story to tell Ethan, as Jennifer uses classic stories like The Ugly Duckling, Cinderella and Hansel and Gretel with more exciting twists, (dragons instead of ducklings, Cinderella escaping the stepmother’s death trap, and gingerbread monsters) as Kyle uses angry vengeful gods, deadly treasure hunts and a Motorball like version of Football, as poor Earl is knocked about and brutally injured as he goes back and forth through stories in the CG world. Just when Earl is about to get hit by a giant meteor, we cut back to the traditionally animated world as Jennifer and Kyle are asleep in Ethan’s bed as we see Ethan parked out in the living room, saying parents are so cute when they’re tuckered out as he turns back on the TV.

 

Plot: 

https://docs.google.com/document/d/16fj0M42KhTmYN5kCOSlIoeePdTjNp8_UkXgpSvjm-H8

Edited March 19, 2019 by YourMother the Edgelord

[Hiccup23]

Giovanni

Date- February 5th
Genre- Thriller
Rating- R
Theaters- 2,958 theaters
Budget- 30 million
Running Time- 111 minutes or 1 hour and 51 minutes
Studio- O$corp Pictures
Director- Tate Taylor
Original Score- Danny Elfman
Actors/Actresses
Giovanni- Miguel Bernardeau
Eli- Cody Fern
Grace- Camila Mendes
Jaime- Alvaro Rico

 

Coming Soon!
 

[cookie]

There'll Always Be England

 

Studio: Cookie Pictures

Genre: Period/Thriller/Drama

Director: Brian Helgeland

Producers: Sebastian Peters, Gil Kenan

Composer: Dario Marianelli

Release Date: July 23rd

Theater Count: 3,475

Budget: $60 million

Running Time: 115-120 minutes (estimate)

Rating: R

 

Synopsis: During the height of the London Blitz, air force pilot Jonathan Foghorn volunteers to investigate a string of sabotages believed to be caused by German spies infiltrating the RAF. Jonathan, otherwise a shut-in with lacking social skills and numerous obsessive-compulsive behavioral traits, suddenly finds himself acquainted and later enraptured with a woman with similar setbacks named Elena. As their relationship grows however, evidence mounts that Elena may have involvement in the sabotages Jonathan was meant to investigate, causing tension and suspicion between the two and Jonathan's superiors as he desperately seeks to uncover evidence of Elena's innocence.

 

Cast:

Tom Hardy as Jonathan Foghorn

Katherine Waterston as Elena Fischer

Logan Marshall-Green as Harris Foghorn, Jonathan's brother who looks after his brother from time to time

Liam Neeson as Gordon Clarke, an air marshal within the RAF and Jonathan's superior

 

Plot: Under Construction

Edited January 7, 2019 by cookie

[SLAM!]

CALENDARS

 

Studios: New Journey Pictures Nonfiction

Director: Hannah Gertrude (a made-up director)

Genre: Documentary

Release Date: July 2nd (platform opening), July 9th (limited expansion), July 16th (limited expansion), July 23rd (wide expansion)

Theater Count: 4 (July 2nd), 41 (July 9th), 305 (July 16th), 623 (July 23rd)

MPAA Rating: PG-13 for Mild Language and an Argument

Runtime: 1 hr 11 m

Production Budget: <$100K

Plot Summary: This documentary chronicles the filmmakers’ trip to a waste disposal to search for calendars that have been thrown away by their owners—the filmmakers hope that the calendars will tell beautiful stories.

 

The plot summary can be found here:

Spoiler

We open with a series of shots of a garbage dump, a forlorn place. The sky is overcast. One of these opening shots captures a raccoon scurrying across the frame in a lucky moment of serendipity.

We’re given shots of a brittle man with long hair, a black t-shirt, and blue jeans dig through a pile of trash with a flash light. His movements are thorough.

 

We cut to his interview spot—an open space in the middle of multiple piles of garbage. He’s asked a question: why do you do what you do? His answer: he’s looking for the stories that human beings tell by the things they throw away.

 

We see a shot where the filmmakers are clearly seen following the long-haired man through the dump; he asks the filmmakers what they’re looking for. They say they’re looking for Calendars. The man laughs to himself and says he knows exactly where to find them.

 

We see many shots of the filmmakers helping the man dig through a massive mountain of trash. The people have a discussion about how many people don’t use physical calendars anymore, that many people use the digital calendars that are found on their smartphones and similar gadgets.

 

One of the crew members finds a calendar in the trash mountain. He opens it, and the cameraman zooms in on it. It’s a hot pink calender with pictures of characters from Dora the Explorer. The writing in the pages is simply the sloppiest handwriting. The filmmakers have trouble reading it… it’s the long-haired man who’s able to read it.

 

Calendar entries include ‘play date’, ‘Latin festival’, ‘last day of school’, ‘birthday party’, ‘first day of school’, etc. We cut often to simple recreations of these events, filmed with a 16mm camera to mimic the home footage style of filming. Nice orchestral music accompanies the footage.

 

The people surmise that this calendar belonged to a young girl. One of the filmmakers makes a joke about assuming people’s gender.

 

The next calendar they find one with a DIY cover that’s been painted in Jackson Pollock’s style of messy, sporadic color. They open it. These are the following events we see through the home footage: ‘art showcase’, ‘coffee date’, ‘movie date’, ‘today is the day to ask him’, ‘move-in day’, ‘coffee date’, ‘movie date’, ‘pride rally’, ‘pride art showcase’, ‘coffee date’, ‘movie date’, ‘doctor’s appointment’, [a long break between entries], ‘doctor’s appointment’, ‘visit with parents’, ‘tell him you’re there for him’, ‘tell him you’re there for him’, ‘tell him you’re there for him’, tell him you’re there for him’, ‘tell him you’re there for him’, ‘doctor’s appointment’, ‘tell him you’re there for him’, ‘tell him you’re there for him’, ‘tell him you’re there for him’, ‘tell him you’re there for him’, ‘tell him you’re there for him’, ‘tell him you’re there for him’, ‘tell him you’re there for him’, ‘tell him you’re there for him’—

 

That last one is crossed out with a red X on the calendar. It is closely followed by ‘memorial service’, written in much worse handwriting than the other entries. There are no other entries on any more panels after ‘memorial service’.

 

The long haired man looks at the back cover of the calendar to see the year when the calendar had been manufactured.

 

1981. It’s a relic of an ancient past.

 

The same filmmaker who made the joke about assuming genders says something about the owner of the calendar deserving what happened to them. That person retorts—he thinks he’s in the right. A female filmmaker argues that they don’t even know if the person who owned the calendar was different than them, that, perhaps, they were jumping to conclusions, and even then, it’s a very rude and insensitive conclusion to jump. The filmmakers begin to argue, and the audience hears the argument, loud and clear, no holds barred. The long-haired man tries to calm the filmmakers down, but it’s no use. The instigator threatens to quit the film; he stomps off by himself, and one of the filmmakers, one who doesn’t want him to quit, follows him with a camera hidden in his clothes—we see footage of that personal turmoil.

 

The filmmakers still around the long-haired man decide to ask the man more questions. The long-haired man speaks about the division felt between Americans in the modern day and age. He says that things were better when he was around the filmmakers’ ages. He says that he prefers to ostracize himself from the current generations by dumpster diving, because he wants to avoid arguments that he finds to be of little practical value. We says that there are inherent truths to be found, and that people shouldn’t believe things that aren’t true. And he leaves it at that.

 

We cut back to the camera hidden in the clothes, as we watch the conflicted filmmaker, who is battling with himself and his desire to forsake the rest of his crew. The camera watches the filmmaker hold his face in his hands for a long time before it shows his acceptance.

 

We’re treated to a montage of the filmmakers hugging it out, with the long-haired man smiling to himself.

 

There’s one more calendar to be found in the dump. The cover has posh, elegant decoration of flowers on it. Someone named Susan had been the owner. The man and the crew flip through the pages, but they don’t find any words. They find a single heart, drawn in black Sharpie, on every panel. Every. Single. Panel. The home footage simply shows a woman, one who looks to be in her 50s, drawing these hearts with earnestness, each day that she’s going out and about. The space around the calendar changes throughout the montage of home footage shots, but the woman is unfazed. She is accepting of the passage of time—the viewer can tell by the look on her face.

 

The female filmmaker from earlier complains and says that ‘Susan’ should’ve kept this calendar as a memento. She’s upset that calendars are in the garbage dump at all; she likens the act of throwing away a calendar to throwing away a part of one’s life. The long-haired man makes a jest—they won’t have to worry about that now, with the advent of technology, cloud storage, and all sorts of similar technologies.

 

The sun begins to set. The long-haired man makes an offer to start a small campfire in the middle of the dump. Searching for a way to get more footage, the filmmakers agree to this.

 

As we cut to the moments when the long-haired man is setting the fire, the conflicted filmmakers is filmed walking up to the crew member he had offended. He apologizes. He says that what he said was wrong, and that he’s ashamed to have said. The female filmmaker forgives him, allowing him to cry in her arms.

 

We see a montage of the filmmakers throwing junk in the fire—mindfully, as not to catch everything on fire. In these shots, we can clearly see the long-haired man as he sits in a beach chair, drinking a beer, nodding his head.

 

The last moments of the film are comprised of home footage from when the filmmakers were children. This footage implies many things about the beauty of life, and, inexplicitly, expresses a truth: that life both beautiful and short, and that it must be lived to the fullest.

 

Cut to black.

 

Roll credits.

 

This is a completed work.

Edited September 22, 2023 by SLAM!

[Rorschach]

 

Studio: Lager Pictures

Production Companies: Lager Pictures, TOHO

Genre: Superhero/Action/Comedy

Based on the Manga Series by ONE

Directed by Edgar Wright

Written by Edgar Wright and Simon Pegg

Producers: Christopher Lager, Maria Lager, Nick Frost, Simon Pegg, Edgar Wright

Composer: Ludwig Goransson

Director of Photography: Bill Pope

 

Main Cast:

(* = indicates performance done through motion capture, ** = indicates facial profile used but rest of body downward from the neck is done through motion capture, *** = indicates voice performance)

Taron Egerton as Samuel "Sam" Capebaldi, a bald-headed 25 year old “C” class hero who is bored of fighting because he is effortlessly able to defeat enemies with a single punch.

**Charlie Heaton as Genos, a 19 year old cyborg hellbent on revenge after his family was killed by a rampaging cyborg. He becomes Sam’s disciple after the latter saves him from a near death experience.

Jared Leto as Dr. Genus, a 100+ year old scientist and former child prodigy who becomes disillusioned with humanity, believing them to primitive. He forms the House of Evolution to “bring true humanity and evolution into the world” through genetic manipulation. He is the co-antagonist of the film.

*Patrick Wilson as Boros, the powerful and ruthless leader of the Dark Matter Thieves, a group of aliens that raid planets for their resources. Like Sam, he is an over-powered being bored with his powers and longs for a worthy opponent to fight him. He is the co-antagonist of the film.

Ludi Lin as Speed o’ Sound Sonic, a ninja for hire who is tasked by Dr. Genus with killing Sam.

Harry Styles as Sweet Mask, the “A” Class rank #1 hero, a beautiful and incredibly popular model/singer/actor who hides his narcissistic and radical world views under his public facade.

Anna Kendrick as Tamara Helios/Tornado of Terror, the “S” class rank #2 hero and the top female superhero. Despite her petite stature, she is a gifted and powerful esper.

Ansel Elgort as Street Rider, the “C” class rank #1 hero, a selfless hero who rides around on his bicycle fighting street level crime.

Chris Hemsworth as Tank Top Tiger, the "C" class rank #6 hero, a vain, muscular bound hero who gets into a feud with Sam.

*Colin Farrell as Crablante, a mutant humanoid resembling a humanoid crab from the waist up.

*Jamie Foxx as Carnage Kabuto, a giant humanoid beetle-like creature whom Dr. Genus dubs his most powerful creation.

With

*Helen Mirren as Geryuganshoop, a psychic octopus who acts as the second command to Boros.

Tilda Swinton as Ms. Sitch, the shady and domineering Disaster Prophecies Measures Committee Chairman for the Hero Association. *Swinton also plays Shibabwa, an alien seer who gives Boros a glimpse of his future.

And

Chow Yun-Fat as Silverfang, the “S” class rank #3 superhero, an expert martial artist who runs his own dojo.

 

Minor Roles:

Jensen Ackles as Snakebite Sneck

Tadanobu Asano as Atomic Samurai

*Ike Barinholtz as Pretty-Prett Prisoner

John Cena as Tank Top Master

Jemaine Clement as Pig God

Terry Crews as Superalloy Darkshine

McKenna Grace as Child Empress

Neil Patrick Harris as Flashy Flash

***Jason Isaacs as Metal Knight

Toby Kebbell as Drive Knight

Zachary Levi as Tank Top Black Hole

John Malkovich as Dr. Stench

Daniel Radcliffe as Zombieman

Alexander Skarsgard as King

*Bill Skarsgard as Melzargard

Miles Teller as Watchdog Man

Iko Uwais as Metal Bat

 

Cameo Roles

Spoiler

*Mark Strong as the Vaccine Man

Bob Odenkirk as Dr. Jenkins

*Colton Haynes as Marcus

***Charlie Day as Super Custom YO649Z MK. II

*Daniel Henney as King Craven

*Margot Robbie as Mosquito Girl

*Hugh Jackman as the Beast King 

*Idris Elba as the Armored Gorilla

*David Tennant as Ground Dragon

*Al Pacino as Sky King

*Dacre Montgomery as Druggie Alien #1

*Naomi Scott as Druggie Alien #2

*Taissa Farmiga as Druggie Alien #3

*Logan Lerman as Druggie Alien #4

*Tom Hardy as Pluton

 

Super Duper Top Secret Cameo:

Spoiler

Joe Keery as Garou

 

 

Release Date: June 30th, Y5

Theater Count: 4,226

Format: 2D, 3D, Dolby Cinema, and IMAX 3D

Budget: $200 million

MPAA Rating: PG-13 for stylized violence and action throughout, language, and drug references.

Running Time: 144 minutes

 

Author’s Notes:

 

Spoiler

Explanation of the Hero Association classes (from lowest to highest):

C Class is the lowest class out of the four classes. Although C-Class heroes are the weakest, their strength exceeds that of an average person in usually. When a hero enters the association, he/she begins here (unless they score high enough on the exam, in which case they can directly climb up to a different rank). C-Class heroes must perform weekly heroic acts to fulfill their quotas, otherwise they are removed from the Hero Registry. The currently highest-ranked C-Class hero is Street Rider. There are currently about 390 heroes in this class. C-Class has the most heroes out of all the classes.

 

B Class is the second weakest class. When a hero becomes Rank 1 in C-Class, he or she can climb up to B-Class. Heroes in this class are stronger than the previous rank and do not have to perform weekly heroic acts to fulfill any quotas. The currently highest-ranked B-Class hero is Miss Blizzard. There are currently 101 heroes in this class.

 

A Class is the second strongest class out of the four classes. When a hero reaches Rank 1 of B-Class, he/she can climb up to A-Class. Heroes in this class are considered very powerful and are often the most popular heroes. The currently highest-ranked A-Class hero is Sweet Mask. There are currently 38 heroes in this class.

 

S Class is the highest class in the Hero Association. Here gather the most powerful heroes, who are said to be unbelievably strong, at least as much as an emergency army division. This class was originally created to gather individuals who, despite their low ranking, were capable of defeating disaster level Demon Mysterious Beings on their own. The currently highest-ranked S-Class hero is Blast. There are currently 17 heroes in this class. The S-Class has the smallest number of heroes out of the four classes.

 

Explanation of Disaster Levels by the Hero Association:

Disaster levels are the designations given by the Hero's Association to rank threats by strength and scope of destruction. There are 5 threat levels with danger ranging from threatening people to cities or even the entire world.

 

This is the order:

Wolf: Any potential threat that poses a danger to an unknown degree.

Tiger: Any threat to a large number of people.

Demon: Any threat to a city and its people.

Dragon: Any threat to multiple cities.

God: A threat endangering the survival of humanity in general.

 

Synopsis: Sam Capebaldi, a super-powered man who can defeat enemies in a single punch, has grown bored with his overpowered abilities and the absence of a worthy challenger. He gains an ally in the form Genos, a teenage cyborg who devotes himself to Sam as his disciple, forming an unlikely friendship. The two superpowered men join the Hero Association to gain the status of official heroes and face several challenging obstacles. Meanwhile, across the universe, a dangerous threat in the form of an all-powerful alien ruler sets his sights on Earth, in search of worthy opponent.

 

One Punch Man contains a sequence of flashing lights which may affect guests who are susceptible to photosensitive epilepsy or other photo sensitivities.

 

Plot:

Spoiler

https://docs.google.com/document/d/1Xjd9Nvs0tA5gXCUDDkdsbmhgaDuf-gqwx4HrKcsTEOg/edit?usp=sharing

 

Edited March 19, 2019 by Rorschach

[Reddroast]

20 minutes ago, Rorschach said:

 

Studio: Lager Pictures

Production Companies: Lager Pictures, TOHO

Genre: Superhero/Action/Comedy

Based on the Manga series by ONE

Written and Directed by Edgar Wright

Producers: Christopher Lager, Maria Lager, Edgar Wright, Nick Frost, Simon Pegg

Composer: Ludwig Goransson

Director of Photography: Bill Pope

 

Main Cast:

(* = indicates performance done through motion capture, ** = indicates facial profile used but rest of body downward from the neck is done through motion capture, *** = indicates voice performance)

Taron Egerton as Jay Saitama, a bald-headed 25 year old “C” class hero who is bored of fighting because he is effortlessly able to defeat enemies with a single punch.

**Charlie Heaton as Genos, a 19 year old cyborg hellbent on revenge after his family was killed by a rampaging cyborg. He becomes Saitama’s disciple after the latter saves him from a near death experience.

Ludi Lin as Speed o’ Sound Sonic, a ninja for hire who is tasked by Dr. Genus with killing Saitama.

Anna Kendrick as Tamara Helios/Tornado of Terror, the “S” class rank #2 hero and the top female superhero. Despite her petite stature, she is a gifted and powerful esper.

Harry Styles as Amai Mask, the “A” Class rank #1 hero, a beautiful and incredibly popular model/singer/actor who hides his narcissistic and radical worldviews under his public facade.

Ansel Elgort as Street Rider, the “C” class rank #1 hero, a selfless hero who rides around on his bicycle fighting street level crime.

Jared Leto as Dr. Genus, a genius scientist and former child prodigy who becomes disillusioned with humanity, believing they are primitive. He forms the House of Evolution to “bring true humanity and evolution into the world” through genetic manipulation. He is the antagonist of the film.

*Colin Farrell as Crablante, a mutant humanoid resembling a humanoid crab from the waist up.

*Jamie Foxx as Carnage Kabuto, a giant humanoid beetle-like creature whom Dr. Genus dubs his most powerful creation.

*Stanley Tucci as The Deep Sea King, the self-proclaimed leader of the creatures of the sea.

With

John Malkovich as Dr. Stench, the scientist who gave Genos his cyborg body and acts as a father figure to him.

*Clive Owen as Boros, the powerful and ruthless leader of the Dark Matter Thieves, a group of aliens that raid planets for their resources. Like Saitama, he is an over-powered being bored with his powers and longs for a worthy opponent to fight him. He is the co-antagonist of the film.

Tilda Swinton in three roles, one being Ms. Sitch, the shady and domineering Disaster Prophecies Measures Committee Chairman for the Hero Association.

And

Chow Yun-Fat as Silverfang, the “S” class rank #3 superhero, an expert martial artist who runs his own dojo.

 

Minor Roles:

Jensen Ackles as Snakebite Sneck

Tadanobu Asano as Atomic Samurai

*Ike Barinholtz as Puri-Puri Prisoner

Jamie Dornan as Tank Top Black Hole

***Jason Isaacs as Metal Knight

Lily James as Felicia Helios/Miss Blizzard

Billy Magnussen as Tank Top Tiger

Alexander Skarsgard as King

 

Ice Cube, Idris Elba, Hugh Jackman, Helen Mirren, Edgar Ramirez, Margot Robbie, Bill Skarsgard, Mark Strong, and David Tennant have been cast in unspecified roles. According to Edgar Wright, "...more exciting cameos from talented actors will be announced soon."

 

Release Date: June 30th, Y5

Theater Count: 4,226

Format: 2D, 3D, Dolby Cinema, and IMAX 3D

Budget: $200 million

MPAA Rating: PG-13

Running Time: 142 minutes

 

Author’s Notes:

 

Explanation of the Hero Association classes (from lowest to highest):

C Class is the lowest class out of the four classes. Although C-Class heroes are the weakest, their strength exceeds that of an average person in usually. When a hero enters the association, he/she begins here (unless they score high enough on the exam, in which case they can directly climb up to a different rank). C-Class heroes must perform weekly heroic acts to fulfill their quotas, otherwise they are removed from the Hero Registry. The currently highest-ranked C-Class hero is Street Rider. There are currently about 390 heroes in this class. C-Class has the most heroes out of all the classes.

 

B Class is the second weakest class. When a hero becomes Rank 1 in C-Class, he or she can climb up to B-Class. Heroes in this class are stronger than the previous rank and do not have to perform weekly heroic acts to fulfill any quotas. The currently highest-ranked B-Class hero is Miss Blizzard. There are currently 101 heroes in this class.

 

A Class is the second strongest class out of the four classes. When a hero reaches Rank 1 of B-Class, he/she can climb up to A-Class. Heroes in this class are considered very powerful and are often the most popular heroes. The currently highest-ranked A-Class hero is Amai Mask. There are currently 38 heroes in this class.

 

S Class is the highest class in the Hero Association. Here gather the most powerful heroes, who are said to be unbelievably strong, at least as much as an emergency army division. This class was originally created to gather individuals who, despite their low ranking, were capable of defeating disaster level Demon Mysterious Beings on their own. The currently highest-ranked S-Class hero is Blast. There are currently 17 heroes in this class. The S-Class has the smallest number of heroes out of the four classes.

 

Explanation of Disaster Levels by the Hero Association:

Disaster levels are the designations given by the Hero's Association to rank threats by strength and scope of destruction. There are 5 threat levels with danger ranging from threatening people to cities or even the entire world.

This is the order:

Wolf: Any potential threat that poses a danger to an unknown degree.

Tiger: Any threat to a large number of people.

Demon: Any threat to a city and its people.

Dragon: Any threat to multiple cities.

God: A threat endangering the survival of humanity in general.

 

Synopsis: Saitama, a superpowered man who can defeat enemies in a single punch, has grown bored with his overpowered abilities and the absence of a worthy challenger. Saitama gains an ally in the form Genos, a teenage cyborg who devotes himself to Saitama as his disciple, forming an unlikely duo. The two superpowered men join the Hero Association to gain the status of official heroes and face several challenging obstacles. Meanwhile, across the universe, a dangerous threat in the form of an all-powerful alien ruler sets his sights on Earth, in search of worthy opponent.

 

Plot: Under Construction

It has arrived. @Rorschach this better be on par with Hot Fuzz (Which is my favorite movie of all time.

Edited January 8, 2019 by Reddroast