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| The Fifth Columnist: Opening Scene | |
| By andie | ||||
| 06 December 2006 | ||||
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My first submission to greatwriting, "The Fifth Columnist" is also my first go at scriptwriting in general. The script's written with Japanese animation in mind and addresses the theme espionage action (perhaps not unlike the anime Ghost in the Shell, to those who might have seen it). Regardless of the specific medium and genre, I'm just very curious in knowing what the literary clique makes of this piece--so any feedback would be very much appreciated :) thank you for reading! edit: Sorry, forgot to mention that there is no dialogue in this opening scene o_O Don't let that put you off though folks! FADE IN: I/E. BURDENKO MILITARY HOSPITAL, GOSPITALNAYA SQUARE, MOSCOW, NEO SOVIET REPUBLIC. 23 APRIL 2066. 9PM. ESTABLISH HOSPITAL’S FAÇADE The hospital lobby is moderately busy that night. Newcomers enter the building through automatic sliding doors and register their names by the reception desk. Staff and patients pass by the hall every now and again. A nurse comes out of one of the lifts in the main hallway. She rushes to the emergency section in the building’s right wing. Things look more hectic as the nurse arrives at the ward. A young man has just been brought in on a stretcher, his stomach bleeds from a large stab wound. A team of one doctor and two nurses quickly attend to him. Across the ward, three other patients lie quietly on their beds. They all stare at the wounded man as his treatment commences. Up on the second floor waiting lounge, dozens of patients sit for their turn to be examined by the general practitioners. Most people in the queue are young and male, though some children are also present with the company of their parents. More patients are seen dotting the third and fourth floor corridors. PAN UP FROM FOURTH FLOOR TO FIFTH FLOOR INTERIOR The corridors of the fifth floor look rather bare compared with the ones beneath them. Luminescent white walls dominate its wide passageways, giving a somewhat clinical impression. Almost invisibly, a number of staff walk across the corridors in their equally sterile white uniforms. Agent Bishop is on her way to the left wing. Wearing a lab overcoat and a pair of framed spectacles, she blends in naturally with her environment. Her dark shoulder-length hair hangs neatly at the back of her neck. A fake identity card hangs by her breast pocket, and a grey A4-sized folder is firmly placed in her arm. Her black pumps clack modestly on the white marble floor. Bishop peers through her fibre-optic glasses, which show her a transparent blueprint of the hospital map. There are two dots on the map: the blue one marking her position and the red marking her target’s. SHOW HOSPITAL BLUEPRINT AND DOTS ON FIBRE-OPTIC SCREENS Bishop glances around her. The corridor looks painfully similar to the ones she has just passed before. White doors, almost as luminous as the walls surrounding her, line up to her left and right every four metres or so. Bishop spots a hospital staff coming in her direction, around 30 metres from her current position. She activates her specs’ zoom-in feature. The man looks quite young, perhaps a couple of years older than her. He is black- haired and wears a coat that very much resembles hers. He looks pretty harmless. Everything seems to be going on smoothly until the next few seconds, when the fibre-optic screens unexpectedly flash before Bishop’s eyes. SHOW THE WORD “ABORT” FLASHING THREE TIMES ON FIBRE-OPTIC SCREENS Bishop twists her brows. Despite her puzzlement, she walks on. But the flashing does not stop, and is starting to irritate her. A second later the message on the screens change. SHOW FIBRE-OPTIC SCREENS WITH MESSAGE: “ABORT OP. RETURN TO SAFE ASAP. N.” GLOWING IN LIGHT BLUE Bishop frowns and quits her step. While she thinks over the validity of the message, the black-haired hospital staff passes her by. Bishop angles her head to study his face. PAN AROUND AND CLOSEUP ON THE MAN’S EYES IN SLOW MOTION The man walks past Bishop, leaving her with a deeper frown. She senses a signal of recognition for and from the black- haired man, but cannot remember if she has ever really met him before. When the man disappears behind a corridor turn, Bishop rushes to her target’s location as previously pinpointed by the specs. She clips out her I.D. and swipes it through the scanner next to the VIP room door. The door slides to reveal a spacious room painted in light creme. There is something uncomfortably posh about the room and its interior. A middle-aged man lies on the bed with both eyes closed. The bottom half of his face is covered with an oxygen mask that is connected to the oxygen supply tubes beside the bed. Bishop takes little notice of her target. Instead, her eyes glare at the heart-scanning monitor on the creme wall. The whole screen is black save for a pair of faint-glowing green lines running across the middle of the monitor. ISOLATE HEART-SCANNING MONITOR. SFX: DECEASED HEART RATE Bishop springs out of the room and across the corridor. The black-haired man’s sharp blue eyes immediately haunt her. FLASHBACK: PAN AROUND AND CLOSEUP ON THE MAN’S EYES IN SLOW MOTION CUT BACK TO: Squinting her oriental eyes, Bishop looks for important clues from the past. CLOSEUP ON BISHOP’S EYES FLASHBACK: Blurry images of a grey chamber emerge from the back of Bishop’s memory. There were several men in the chamber. They all gathered before a large steel table; some sitting, the rest standing. Their fitted black uniforms were armed with weapons, and she was one of them. CUT BACK TO: Bishop is back in the main hallway. She halts her step after seeing two hospital staff talking to each other near the elevators. As Bishop adjusts her breath, she spots the mysterious man. He is standing in front of the emergency exit door at the far end of the hallway; not a breath later he disappears behind it. She heads to the same direction. FLASHBACK: Bishop’s thoughts are back in the grey chamber. This time she manages to capture some details of the scene. She was standing before a steel table among a number of other men in black. There were maps, folders and papers scattered on the table. One of the men, apparently the leader of the team, stood in front of a giant map and briefed them on their mission. CUT BACK TO: Bishop reaches the end of the hallway and opens the emergency door. She lifts her head up and catches sight of the mysterious man. He is ascending the stairs at an extraordinary pace, leaving her about three floors down. FLASHBACK: All the pieces are coming together on Bishop’s mind. She remembers. She was present in the grey chamber for an operation briefing in Berlin back in the year 2063. It was a joint mission held by the British, French and German Intelligences in capturing Europe’s most powerful druglord of the time. CUT BACK TO: Never mind the fact that the operation was aborted mid-way; there had been a certain individual in her group who reminds her of the man she is chasing now. He had looked different then, but there had been something about him that gives away his current disguise. PAN AROUND AND CLOSEUP ON THE MYSTERIOUS MAN’S EYES Bishop searches deep inside her memory. Blond. That was the colour of his hair. His expression was cold, his face pretty. But most important of all, he had the same eyes as those of the man she is pursuing.
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