1

SCRIPT-‘DERANGE’

INT. DARK ROOM DAY

 The shot is black and all that is perceptible is the sound of heav! panicked

breathin".

GIRL

#$%here a& I'

WOMAN

 (A soft! patronisin" voice coos! %ith undertones of &aliciousness)

Don*t %orr child! soon ou*ll feel no pain at all

GIRL

#$%hat'

 There is a sharp intake of breath

WOMAN

It*s ti&e the %orld beca&e a little less$%retched

GIRL

No! stop+ I don*t %ant this+ ,lease! aha! please don*t

haha! please hahaha! plea-haha

 The %ords are choked and beco&e barel audible as the sentences beco&e &ore

and &ore inco&prehensible. The lau"hter beco&es louder! &anic and pschotic.

hot fades to %hite! the lau"hter fades out! echoin" as it does to instil fear in the

audience.

/0T. T/ 2O3NTRYID/ DAY

A&bient die"etic sound plas-%ind! birds! trees &ovin" etc. The preli&inar

shots sho% the countrside in a tran4uil et eerie state.

 Titles appear.

hot cuts in %here a &ediu& shot introduces Alicia sat do%n! starin" at a

cru&pled photo %ith a "rief-stricken e5pression. The photo sho%s Alicia*s fa&il

happil starin" out at her &iserable for&. A tear falls onto the photo! follo%ed b

a close up shot of Alicia %ipin" a%a the tears strea&in" do%n her face.

he looks up and bites do%n on her lip! 6"htin" the ur"e to cr. The sharp sound

of feet on "ravel causes Alicia to leap to her feet. he turns 4uickl! holdin" the

&achete out! standin" resolute and "uarded. #e are introduced to Michael!

holdin" his hands out defensivel! knees bent sli"htl. A s&ile plas on his lips.

Alicia lets out a breath! de7atin" %ith relief. Michael saunters over! no% s&ilin"

broadl. is ees 7ick to the photo in her hand. is s&ile drops.

MICHAEL

 

8

Alicia$

i"hs

$look! there %as nothin" ou could do

Alicia avoids &akin" ee-contact %ith Michael. he tries to look an%here but at

hi&. Alicia tries to hold back &ore tears.

ALICIA

I$I$

Michael steps closer and brin"s up a hand to cup her face. oftl he rubs his

thu&b across her cheek! &asterfull %ipin" the tears rollin" do%n her face. The

shot cuts to a close up of his face starin" at her! concerned. Alicia*s e5pression is

one of surprise and pu99le&ent. uddenl he blinks! as if in a reverie. Michael

4uickl looks do%n! clearl e&barrassed. is hand drops to his side. It 7e5es for

a &o&ent before re"ainin" a natural position.

is other hand reaches out for the &achete in her hand. Alicia 7inches fro& the

soft "ra9e of his hand on hers before handin" hi& the %eapon.

MICHAEL

(Michael secures the &achete to his belt! avoidin" Alicia*s "a9e)

#e*re runnin" out of supplies

Alicia nods! ees closed! and stran"el %ar of her friend. he %alks over to

Michael and in turn! %alks out of shot.

/0T. T/ 2O3NTRYID/ DAY

ound of sta""ered breathin"- so&eone has :ust been crin". tatic &ediu&

close up shot of Michael cuts in fro& black. e stares &orbidl at the ca&era!

visibl %eak and vulnerable.

MICHAEL

 The took her! *kno%

 The shot cuts to black; 1 second. The ori"inal shot of Michael cuts in. e appears

&ore dishevelled.

<efore the outbreak be"an! it %as :ust her and &e. ,artners in

cri&e= utterl inseparable. It*s nor&al to understand that in ti&e

thin"s chan"e. Yet no &atter ho% hard ou convince ourself that

thin"s %ill "et better! never do ou take it in that there*s a chance

a 6ctitious %orld of trann beco&es realit. A fantastical fucked

up %orld. Yeah! "uess that*s the ri"ht %ord for it.

,ause

Archenda. as a sickenin" rin" to it doesn*t it' #hen the dru"

%as introduced! hi"her rankin" individuals %ere "uaranteed a

dose. ,itied souls! lookin" for co&fort fro& a dru" that pro&ised

to control the debilitatin" in7uence of depression. It %asn*t until a

 

>

fe% &onths later %e %ere bein" o?ered the dru"! not that %e

%anted it an%a.

harp breath in

3s! %e didn*t like confor&it-said the potential for an individual*s

a&bition shouldn*t be "overned b the for&s of societ. You &i"ht

have called us outcasts! rebels to the sche&e. In realit %e %ere

the resistance; a breed slo%l din".

,ause

/0T. T/ 2O3NTRYID/. DAY

@uick cuts of the Archans and pscho* people. The pla as Michael*s voice

for&s a sound brid"e over the 4uick cuts.

/0T. T/ 2O3NTRID/. DAY

I can*t stop thinkin" about it. Kno%in" that it %as them. All their 

fault. Their de"radin" nature! %icked s&iles spread %ide like

henas$as da&nin" as the Boker*s s&ile.

Michael s&iles for a second before sole&nl droppin" it. is e5pression is of a

&ild an"er. #hilst see&in"l neutral it*s also intense.

MICHAEL

 Their hu&anit is "one! onl deliriu& e5ists no%.

,ause

I*& trin" to 6nd a %a to re&e&ber the "ood ti&es. <ut it*s so

diCcult %hen it*s shrouded-

Michael tries to continue but stops hi&self! atte&ptin" to hide the pain. is ees

shine %ith tears.

Alicia and I %ere best friends$ou couldn*t ask for a &ore

honest! &ore kind! &ore helpful and &ore beautiful friend$

#hile Michael talks! shots run fro& a 7ashback of Alicia. hot cuts back to

Michael! %ho rakes a hand throu"h his hair! starin" at the landscape ai&lessl.

2uts to other shots of Alicia lau"hin" and runnin" in "lee. Incidental &usic

creates an o&inous at&osphere as Alicia suddenl stops! lookin" out across a

6eld. The distant screa&s of her fa&il crin" out for her! pla in the

back"round. ra&e "oes black before &ediu& shots sho% Alicia screa&in" out in

an"uish. Another shot sho%s Michael holdin" onto Alicia! rockin" her slo%l.

hot cuts back to a &ediu& close up of Michael.

MICHAEL

o&eti&es I think about ho% it happened. If she %as in:ected.

he %ould never allo% herself to be lost to her &ind. o did she

die' If she did$did it happen 4uickl' Did she su?er' Did she cr

out in de6ance' Kno%in" her! she %ould have$

 

E

/0T. T/ 2O3NTRYID/. DAY

hot cuts to shak shots of a &achete and ba" lin" on the 7oor- the &achete is

covered in blood. Alicia &oves fast on her hands and knees! rushin" fro& an

so&ethin" not sho%n. he turns around. As she raises a hand to see the 6"ure

she screa&s out for Michael. The screa& echoes in as a &ediu& close up shot of

Michael cuts in. e shakes! tears streakin" do%n his face.

A branch snaps. Michael*s head darts up! lookin" lost but concerned as his ees

surve the scene before hi&. is ees return to the ca&era as a loud ban"

echoes in the distance.

MICHAEL

Michael speaks ur"entl.

Fook! there*s not &uch ti&e$

e %ipes at his face.

 There*s a haven! :ust EG &iles of here. You need to "o. You*re the

onl one %ith a chance of survivin". I can*t sa I don*t hate %hat

ou have to do. <ut if it &eans savin" the civilisation %e have

left! so be it.

,ause. Michael searches around in his pocket.

As soon as ou reach the&! "ive the& this.

Michael hands over a s&all trinket.

 The*ll kno% %hat to do. The dru" is infectin" the sste& too

4uickl! it*s onl a &atter of ti&e before the Archans 6nd out.

,ause

 There*s so&ethin" else ou need to kno%$:ust as the dru" %as

be"innin" to take its e?ect! ru&ours 7e% around sain" the

Archans didn*t be"in %ith the dru". <ut that the %ere

constructed. Manufactured %ith the ri"ht DNA! &ade to-

o&eone "rabs Michael fro& behind! %rappin" a hand over his &outh and the

other! around his %aist. The ca&era shakes as Michael tries to reach for it!

harshl "ra9in" it. As he stru""les the 6"ure dra"s hi& back! out of shot. The

landscape is the onl visible thin" in shot. eav breathin" resonates fro&

behind the ca&era. T%o le"s appear in front of the ca&era (close up). The 6"ure

kneels! bendin" lo% to turn his face to the ca&era. e stares for several seconds

before "rinnin" &alevolentl.

23T TO <FA2K.

/ND.