SCREENPLAY
Jordan Crandall
2004
EXT.
URBAN STREET -- NIGHT
Through the window of a handheld video camera, we see a POV
of someone walking quickly along a deserted urban street. We feel the agitation behind the
videocamera and hear the videotaper's quickened breath.
CUT TO:
EXT.
URBAN STREET -- AERIAL VIEW -- NIGHT
An aerial view of a woman, who appears to be the same person
who is carrying the videocamera.
We do not see her face, due to the high angle of the shot, and we cannot
identify her.
CUT TO:
EXT.
URBAN STREET -- NIGHT
We see a continuing POV through the window of the handheld
video camera. An unidentifiable
man, visible from behind, appears up ahead, walking briskly up the street. He is briefly illuminated as he walks
under a street light. The woman
who is videotaping him appears to be following him. Although the woman pursues the man aggressively, she keeps
her distance. She does not want to
be discovered by him.
Suddenly the man stops and looks around, as if he were
momentarily uncertain of his direction.
The woman ducks behind a tree, and then rights her camera to quickly aim
at him again. She watches him
carefully from afar, and we feel the videocamera moving from her
breathing. We do not know whether
she is driven by jealousy and revenge or passion and voyeuristic pleasure.
After several seconds, the man continues walking.
CUT TO:
EXT.
URBAN STREET -- SURVEILLANCE VIEW -- NIGHT
We see surveillance camera footage of the man performing
this same action, in EXACTLY the same way. It is as if it were an instant replay, though with a
different device, a different rhythm, and a different camera angle (a lateral
angle downward). The surveillance
camera appears to have documented the action.
CUT TO:
EXT.
URBAN STREET -- AERIAL VIEW -- NIGHT
We see a continuing aerial view of the woman who is
implicitly pursuing the man. Even
though we do not see her face or videocamera because of the orientation of this
camera angle (which looks down on her from a slight angle behind her), we
assume that the POVs are hers, because her movements correspond. This aerial view is unusual, since it
appears to come from a plane, and so we wonder who is watching her.
WOMAN V.O.
(in a haunting confessional tone)
I followed you...
CUT TO:
EXT.
URBAN STREET -- NIGHT
Continuing POV of the man being followed. He stops at a streetcorner, and the
woman waits behind the corner of a building, keeping her videocamera focused on
him.
WOMAN V.O. (CON'T)
(raw)
I couldn't help it. I needed to know.
CUT TO:
EXT.
URBAN STREET -- SURVEILLANCE VIEW -- NIGHT
We see another surveillance view of the man, but from
another location. We assume that
the area must be heavily surveilled.
Again, the action on this sequence matches the previous one, as if it
were a replay of the action.
MAN V.O.
(defensively, and with part of his speech bleeped
out)
This was not me. That is not me t-here.
I am h[xxxx]. I defend
against him.
CUT TO:
EXT.
URBAN STREET -- NIGHT
Continuing
POV through the woman's videocamera.
Gradually the man's head becomes blurred on screen, in the manner of
live-action crime television, when it is necessary to protect someone's
identity. The man continues
walking down the dark street.
CUT TO:
EXT.
URBAN STREET -- SURVEILLANCE VIEW -- NIGHT
We
see another surveillance view of the man, from another location. This sequence, however, does not appear
to replay a previous action.
Rather, it registers an entirely new action, which is not seen in the
POV shots. The man approaches the
door of a house. The surveillance
camera begins to slowly PAN right, as if it were automated.
CUT TO:
EXT.
URBAN STREET -- NIGHT
Continuing
POV through the woman's videocamera.
The man continues walking down the dark street.
CUT TO:
EXT.
URBAN STREET -- SURVEILLANCE VIEW -- NIGHT
Continuing
surveillance view of the man, as he approaches the door of a house and puts his
hand on the door knob. The
surveillance camera continues to slowly PAN right.
MAN V.O.
You followed someone else. I was not here. I will have been in some other place.
(his voice wavers in space, with a police radio
background noise)
It is not h[xxxx]. It was
not me. This is not me. He am h-there. I am somewhere else. He/t/him.
CUT TO:
EXT.
URBAN STREET -- NIGHT
Continuing
POV through the woman's videocamera.
The man continues walking down the dark street.
CUT TO:
EXT.
URBAN STREET -- NIGHT (CON'T)
Continuing
POV, with a jump in time to several seconds later, and with a computer
processing overlay atop the image.
The image is now being scanned by an image analysis program. The processing changes the rhythm of the
video flow.
WOMAN V.O.
(with processed dialogue, and contradictory/overlapping speech)
I suspected you. You went to see her/me. They/We suspected/are suspecting that
you went to see me/her. They followed her/We followed us/They are following us. They/We followed/are following me/her
following you following me/her.
They/We have followed her.
CUT TO:
INT.
MYSTERIOUS EMPTY ROOM -- SURVEILLANCE VIEW -- NIGHT
A
burst of static occurs and we find the man inside the house that he was just
about to enter. It is a completely
empty room with no windows.
CUT TO:
EXT.
URBAN STREET -- AERIAL VIEW -- NIGHT
Aerial
view of the woman standing on the street.
CUT TO:
INT.
MYSTERIOUS EMPTY ROOM -- SURVEILLANCE VIEW -- NIGHT
The
man, inside the house, begins to move toward a woman who approaches out of the
shadows. She is a shadowy figure,
difficult to discern.
CUT TO:
EXT.
URBAN STREET -- AERIAL VIEW -- NIGHT
The
woman, standing on the street, begins to move toward a man who walks into the
frame. It is the man who she has
been following. THE STREET
BACKGROUND BEGINS TO TRANSFORM INTO AN INTERIOR SPACE -- THE MYSTERIOUS EMPTY
ROOM.
CUT TO:
INT.
MYSTERIOUS EMPTY ROOM -- SURVEILLANCE VIEW -- NIGHT
The
man and the woman move toward each other.
It is still difficult to distinguish who the woman is, since her upper
body is blurred. She might be carrying
a camera, but it is difficult to tell.
The surveillance camera TRACKS DOWN from its mount and slowly moves down
to groundlevel.
CUT TO:
EXT./INT.
URBAN STREET/EMPTY ROOM BLEND -- AERIAL VIEW -- NIGHT
An
aerial view of the man and the woman approaching each other, as the exterior
street space is gradually transformed into the interior space.
CUT TO:
EXT.
URBAN STREET -- NIGHT
Continuing
POV through the woman's videocamera.
The man continues walking down the dark street, as if he had never entered
a room or encountered the woman.
The woman's POV, however, begins to gain on him, and appears to approach
him more closely from behind.
CUT TO:
INT.
MYSTERIOUS EMPTY ROOM -- SURVEILLANCE VIEW -- NIGHT
The
surveillance camera begins to track along the groundlevel to a position behind
the man. The back of his head
conceals hers.
WOMAN V.O.
I entered her home. I am watching [xxx] with her. [xxxx] touched/is touching her-me.
(raw)
Touch me now.
(pause... then a violent accusation)
How could you?
CUT TO:
INT.
MYSTERIOUS EMPTY ROOM -- AERIAL VIEW -- NIGHT
The
aerial camera begins to track down to groundlevel as the man and the woman
approach each other.
CUT TO:
INT.
MYSTERIOUS EMPTY ROOM -- SURVEILLANCE VIEW -- NIGHT
The
surveillance camera moves to a position behind the man and stops there, as he
and the woman approach closely.
CUT TO:
INT.
MYSTERIOUS EMPTY ROOM -- AERIAL VIEW -- NIGHT
The
aerial camera begins to track down to groundlevel and zooms in on the man and
the woman as they approach each other closely.
MAN and WOMAN V.O.
(dialogue remix; a combination of earlier dialogue
plus the following)
What were they thinking...who would have justified it
so...
CUT TO:
EXT.
URBAN STREET -- NIGHT
Continuing
POV through the woman's videocamera as the man continues walking down the dark
street. The woman has now approach
him closely from behind and she begins to zoom in on him. THE CAMERA SUDDENLY BECOMES A HANDHELD
SURVEILLANCE CAMERA. She ZOOMS IN
on him.
MAN and WOMAN V.O. (CON'T)
exactly where would you have been on that night...will
you have touched him...
CUT TO:
INT.
MYSTERIOUS EMPTY ROOM -- SURVEILLANCE VIEW -- NIGHT
The
man and the woman appear to touch face to face. Her face is occluded by his. THE IMAGE IS VAGUE ENOUGH SUCH THAT THE WOMAN COULD HAVE A
VIDEOCAMERA IN FRONT OF HER FACE.
They stand nose-to-nose in such a way that it is not apparent whether
they are taking an amorous or confrontational stance. The image freezes on the contact, as if he were being caught
in the act.
MAN and WOMAN V.O. (CON'T)
tell me what will have happening that night...it is to
be decided...
CUT TO:
INT.
MYSTERIOUS EMPTY ROOM -- NIGHT
The
aerial camera view has now completely descended to ground level. The man and the woman stand face to
face in such a way that it is not apparent whether they are taking an amorous
or confrontational stance. The
video stops on a still frame, as if it were providing evidence, and ZOOMS IN in
an incriminatory manner.
MAN and WOMAN V.O. (CON'T)
to conquer [###]...to place [###]... position [###]...avoid
[xxx]...How I will have seen you.
CUT TO:
EXT.
URBAN STREET -- NIGHT
Continuing
POV through the woman's videocamera, which has become a surveillance camera, as
she ZOOMS IN on the man from behind.
CUT TO:
EXT.
URBAN STREET -- NIGHT (CON'T)
We
suddenly see an EXTREME CLOSE UP OF THE MAN'S FACE, which replaces the back of
his head. The image freezes.
WOMAN
V.O.
That we were desired enough, thought
worthy enough.
CUT TO:
INT.
HOUSE -- NIGHT
We see CLOSE UPS of the man and the woman, facing the
camera. A police spotlight shines
on them occasionally, as if they were under interrogation.
The
man and the woman are shouting directorial commands at one another. In addition to their own personal
commands, they also appear to be "channeling" the voice of the director, whom
they acknowledge periodically with a quick and self-conscious offscreen
gaze. In these moments, the drama
assumes a "staged" quality. For
the most part, however, the man and the woman are seriously engaging one
another in an intense power play.
At several key points, they each fully submit to one another.
Their
voice commands are edited and processed such that they combine and
overlap. The sound does not match
the speaking; often there is a delay, or a divergence of some kind. Pseudo-classical TV sound (of the kind
that signifies heightened drama) occurs, but it breaks up at key moments,
reflecting the cuts and the defractions of the voices.
We
see a CLOSE UP of the woman.
MAN & WOMAN
Look!
CUT TO:
A
CLOSE UP of the man.
MAN & WOMAN
Look at me!
CUT TO:
A
CLOSE UP of the woman again, though this time the man is standing behind
her. He is a shadowy presence,
lurking behind her.
MAN & WOMAN
Look there!
CUT TO:
A
CLOSE UP of the man. His face is
blurred, in the manner of live-action crime television, when it is necessary to
protect someone's identity.
MAN & WOMAN
Look here!
CUT TO:
A
CLOSE UP of the woman.
MAN & WOMAN
Look how I look at you!
CUT TO:
A
CLOSE UP of the man again, though this time the woman is standing behind
him. She is a shadowy presence,
lurking behind him.
MAN & WOMAN
Look there!
CUT TO:
A CLOSE UP of the man alone.
MAN & WOMAN
Look how he/she sees you!
CUT TO:
A CLOSE UP of the woman alone, from another angle,
as if defracted in a mirror.
MAN & WOMAN
Look at yourself!
CUT TO:
A
CLOSE UP of the man, with the woman standing behind him as a shadowy presence,
from another angle.
MAN & WOMAN
Look at him/her!
CUT TO:
A CLOSE UP of the man alone, from another angle, as
if defracted in a mirror.
MAN & WOMAN
Watch!
CUT TO:
A
CLOSE UP of the woman, with the man standing behind her as a shadowy presence,
from another angle.
MAN & WOMAN
Look at me look at you!
CUT TO:
We
see a CLOSE UP of the woman, standing behind the man, forcibly restraining him
by pulling his head back and covering the mouth.
MAN & WOMAN
Look here!
CUT TO:
A
CLOSE UP of the woman alone. Her
face is blurred, in the manner of live-action crime television.
MAN & WOMAN
Look as she/he does!
CUT TO:
A CLOSE UP of the man alone, from another angle.
MAN & WOMAN
Look as her/him!
CUT TO:
A
CLOSE UP of the man, standing behind the woman, forcibly restraining her by
pulling her head back and covering the mouth.
MAN & WOMAN
Look how you look as her!
CUT TO:
A
CLOSE UP of the woman, with the man standing behind her as a shadowy presence,
from another angle.
MAN & WOMAN
Look!
CUT TO:
A CLOSE UP of the woman alone.
MAN & WOMAN
There!
CUT TO:
A
CLOSE UP of the man, with the woman standing behind him as a shadowy presence,
from another angle.
MAN & WOMAN
Look at him/her!
CUT TO:
A
CLOSE UP of the woman alone, from another angle, as if defracted in a mirror.
MAN & WOMAN
Look as her!
CUT TO:
A FAST-FORWARDING AND REWINDING OF THE ABOVE ACTION, AS IF
IT WERE A VIDEOTAPE RECORDING.
MAN & WOMAN V.O.
(heavily processed and overlapping dialogue;
improvised)
This is how I will have seen you/her|This is how
you/I will have looked at me/him|I am watching myself, myself as you/they saw
me/see me|I see myself as you/he saw me|Look how I will have seen you|This is
how you will have looked to me/looked at me.
WOMAN V.O.
At this point she [xxxxx].
MAN V.O.
(as if discovering something)
There... [###]in this region.
WOMAN V.O.
They see me|I am watching|She/it watches me|They would see us.
(pause; with desperation)
Incriminate me.
CUT TO:
INT.
HOUSE -- NIGHT
In the green haze of a night vision camera, we see the woman
watching herself in the mirror.
She breaks a glass and cuts herself somewhere on lower half of her
body. We don't see where, we only
see her face. There is clearly guilt, retribution, suffering. The pain is so great that it can only
be localized on the body. But
there is also a pleasurable release, as if a restraint had been cut.
CUT TO:
INT.
HOUSE -- NIGHT
In the green haze of a night vision camera, we see the man
watching himself in the mirror and punching himself on the lower half of his
body with such violence as the mirror threatens to break.
CUT TO:
INT.
HOUSE -- NIGHT
A
close up of the woman alone, staring straight ahead. An intense, emotional moment of powerful communion with the
man.
CUT TO:
INT.
HOUSE -- NIGHT
A
close up of the man alone, staring straight ahead. An intense, emotional moment of powerful communion with the
woman. The police spotlight
gradually increases to wash out his face.
BEGIN DISSOLVE
MAN V.O.
(overdramatized, as in a classical monologue)
Into whose hidden hands did I/he sacrifice his
image/self?
Who would betray me/love me? Script me? Judge me?
Lover-prosecutor, camera-image-judge.
My own/his image formed/forming against
myself/himself?
Save me/Banish me.
DISSOLVE TO:
EXT.
HOUSE -- NIGHT
We see a police light at the exterior of the house -- the
same house that we saw the man entering earlier. We hear the sound of a police radio. The handheld camera bursts through the
door aggressively.
INT.
HOUSE -- NIGHT
We see a highly intense fight in process.
MAN & WOMAN
(improvised speech, accusing one
another in terms of wrong and right, true and false. There are many sounds of scuffling and fighting.)
The woman strikes him.
She then becomes aware of the intruding camera.
WOMAN
(pointing an accusatory finger)
Him!
(simultaneously)
You!
CUT TO:
INT.
HOUSE -- SURVEILLANCE VIEW -- NIGHT
A
burst of static and then we see the EXACT same action, but from a surveillance
camera view.
CUT TO:
INT.
HOUSE -- NIGHT
The
man and the woman continue improvised fighting. The handheld camera, accompanied by a police spotlight,
moves in as if to restrain the man.
The man suddenly lunges toward the woman, and in response, the camera
turns in order to attend to the woman.
It stops short as the man strikes her.
The
fight continues with the camera caught in an ambiguous position. On the one hand it represents the
authority of the law (a la live-action crime shows), but on the other hand its
role is to conduct such violence as voyeuristic entertainment. It wants to resolve the conflict, but
it feeds on it too. It alternates
between protection and instigation.
There is no "real" police presence behind it, so in the end it is
helpless to go beyond its function as simply an index of power. It is a third character in the fight,
but it has no real character presence itself.
MAN & WOMAN
(improvised speech, accusing one
another in terms of wrong and right, true and false. Many sounds of scuffling and fighting.)
While
the man and the woman are disturbed by the camera's presence, they attempt to
court it in order to win power over one other. They jostle for its attention and its backing. When the camera moves to a POV shot, it
is as if the man or the woman were endowed with the power of the law it
represents, and their improvised speech moves between subjective persona and
"objective" institutional authority.
In other words, the characters speak both as individuals as well as in
terms of the Institution that speaks through them.
The
actors also want to be "worthy" of the camera's attention, as if they were
auditioning for their moment in the limelight. We wonder who has the real power: the law enforcement agency
or the "law" of drama.
CUT TO:
INT.
HOUSE -- NIGHT
As the man and the woman continue fighting, an image
analysis program scans the images of the two of them. The program is geared
toward predicting behavior and alerting the viewer to a potentially problematic
situation. The processing changes the rhythm of the videostream.
CUT TO:
INT.
HOUSE -- NIGHT
The
man and the woman continue improvised fighting, seen through the handheld
camera. Their bodies briefly
appear to merge into one another.
CUT TO:
INT.
HOUSE -- SURVEILLANCE VIEW -- NIGHT
A
surveillance camera "replay" of the action. The action moves so fast otherwise that we have to look to
these surveillance camera views -- which move much more slowly -- for
documentation of what "really" happened.
We assume that the surveillance camera provides reliable documentation.
The
woman picks up an ambiguous object with which to confront the man. We do not see the object, since it is
blurred, in the manner of live-action crime television, when it is necessary to
protect someone's identity -- except in this case, it is an OBJECT that needs
such protection.
The
woman threatens him with the object and suddenly there is AN INTERRUPTION IN
THE FLOW OF THE VIDEO. We pick up
the action a few seconds later, when the man is laying on the ground, as if
unconscious, and the woman is standing over him, with the blurred object gone. It appears that the "attack" occurred
not only in terms of the woman assaulting the man, but through the attacking of
the medium of the video itself (as if the tape itself were damaged in that
spot). We have to get more context
in order to read what happened. We
cannot assume that the woman actually struck him. There is no moment of impact that is readable and usable as
an incriminatory image.
CUT TO:
INT.
HOUSE -- NIGHT
The
handheld camera footage is then rewound and fast-forwarded, as if one were
looking for contextual evidence.
If the surveillance camera footage was a documentation of what occurred
earlier, then it seems we could find the "incriminatory moment" on the handheld
camera videotape, which could help us to understand what happened. The action moves backwards and
forwards, in different speeds, as the event is reconstructed through different
points of emphasis. A FUNDAMENTAL
GAP remains at the moment of "attack."
MAN & WOMAN V.O.
I/They will be vindicated/Convict me.
I had nothing left.
CUT TO:
INT.
HOUSE -- NIGHT
The
image analysis program scans a replay of the woman as she brandishes the
object, attempting to reconstruct the event through computer processing. A FUNDAMENTAL GAP remains at the onset
of the "attack," which is unable to be reconstructed.
MAN & WOMAN V.O.
Guilt[####]
He was assaulted by her revelation.
Wronged|Absolved|[xxx]d.
CUT TO:
INT.
HOUSE -- NIGHT
The
man and the woman continue improvised fighting, in real time, seen through the
handheld camera. THE CAMERA TRACKS
UP AND IS TRANSFORMED INTO A SURVEILLANCE CAMERA, and the action slows to its
rhythm.
WOMAN V.O.
It is not I.
What does [xxxxx] want from me?
CUT TO:
INT.
HOUSE -- NIGHT
We
return to the fast-forwards and rewinds.
After many tries of finding the perfect incriminatory moment,
we
settle on what could be the best revelatory moment, and we ZOOM IN on this
image in order to understand it better.
It is as if we were trying to zoom into the FUNDAMENTAL GAP itself.
MAN V.O.
(raw, as confession)
I am evidenced. Substantiated. The evidence proves me, produces me.
We
ZOOM IN so closely to the image that it becomes grainy and indeterminate. We continue zooming in as the image
dissolves under our gaze.
CUT TO:
INT.
HOUSE -- NIGHT
The
man and the woman continue improvised fighting, seen through the handheld
camera. The man has ripped the
woman's blouse open and the action pauses on her breast. We feel the breath of the person behind
the camera as it lingers on the breast, centering it in the frame. Under the glare of the police light,
the image is washed out completely.
It dissolves to white.
CUT TO:
INT.
HOUSE -- NIGHT
We
return to the image analysis footage, which builds up with such intensity that
it appears to consume the image itself, along with its medium of conveyance (as
if burning through a film strip).
It builds to COMPLETE BLACKNESS.
WOMAN V.O.
That I would become|me at the onset of your capture, take shape
through the disintegration of your [xxxx].
CUT TO:
EXT.
HOUSE -- NIGHT
We see a police light shining on the exterior door. The man is standing in the doorway,
apparently surrendering to the law, his arms up, his shirt raised and his pants
lowered. He stands there like this
in total surrender and humiliation before the law.
CUT TO:
FLASH
OF POLICE SPOTLIGHT.
CUT TO:
INT.
HOUSE -- SURVEILLANCE VIEW -- NIGHT
We see a surveillance camera view of the woman alone,
squatting in the corner of the room.
CUT TO:
INT.
HOUSE -- SURVEILLANCE VIEW -- NIGHT
We
see the man on his hands and knees, alone in the room. The surveillance camera is handheld.
FADE TO BLACK
EXT.
HOUSE -- NIGHT
We
hear footsteps and see handheld camera views taken from the exterior of the
home, looking through the windows.
This scene is ostensibly a continuation of the woman following the man
earlier, after he entered the house.
She has moved around to the side of the house in order to spy on him
inside. We wonder what is
happening inside the house. We
never get a clear picture, since we see only momentarily glimpses of parts of
bodies as they linger near the edge of the window frame.
CUT TO:
EXT.
HOUSE -- SURVEILLANCE VIEW -- NIGHT
The same action through a handheld surveillance camera. The action is continuous, and not
delayed, as before.
CUT TO:
EXT.
HOUSE -- NIGHT
The same action, but scanned by an image analysis program.
CUT TO:
EXT.
HOUSE -- SURVEILLANCE VIEW -- NIGHT
We see a brief glimpse of the man standing fully in the
window frame, his body pressed against the glass. THE WINDOW APPEARS TO WRAP AROUND HIM as the surveillance
camera tracks down to groundlevel.
CUT TO:
EXT.
HOUSE -- NIGHT
A continuation of the image analysis program, which
accumulates to a wall of solid black.
(overdramatized, as in a classical monologue)
Into whose hidden hands did I/he sacrifice his
image/self?
Who would betray me/love me? Script me? Judge me?
Lover-prosecutor, camera-image-judge.
My own/his image formed/forming against
myself/himself?
Save me/Banish me.
BURST OF WHITE
CUT TO:
INT.
MYSTERIOUS EMPTY ROOM -- NIGHT
The man and woman enter at opposite ends of the MYSTERIOUS
EMPTY ROOM. They eye each other
carefully and circle carefully around each other from a distance, as if they
were in preparation for a boxing match. Each move is made with the utmost care.
Extremely slow and careful, as if on hair-trigger alert. A ticking sound punctuates the
tension. The tension builds.
The camera sweeps between them as it BEGINS TO ADOPT THE
MOVEMENTS OF A VIDEO GAME. It
moves between POVs of each and to a third person view. It seems to wend its way through the
walls of the space, as if bulldozing through them, opening up other channels of
passage.
CUT TO:
INT.
MYSTERIOUS EMPTY ROOM -- SURVEILLANCE VIEW -- NIGHT
A
replay of the action on surveillance camera view. The surveillance camera tries to get a complete field of
view, PANNING L and R and ZOOMING IN, but it becomes impossible to see the man
and the woman both in full view.
Either one or the other ends up being on the edge or outside the frame.
It also appears as though they were changing places. A PAN R reveals the man to be on the north side of the room,
and a subsequent PAN L reveals him to be on the south side of the room. The surveillance track gives the
appearance of continuity but clearly there are gaps. Or rather, the surveillance is indeed continuous and the man
and the woman are positioned as a symbolic network, spaceless and timeless.
CUT TO:
INT.
MYSTERIOUS EMPTY ROOM -- NIGHT
The
man and the woman freeze and try to hold their positions, as if trying to
become photographs.
CUT TO:
INT.
MYSTERIOUS EMPTY ROOM -- MODELLING PROGRAM -- NIGHT
The
room is modeled with a computer program tries to MODEL FUTURE SCENARIOS. Unlike surveillance, which documents
what happened earlier, this program tries to predict what WILL happen.
CUT TO:
INT.
MYSTERIOUS EMPTY ROOM -- NIGHT
CLOSE
UP on the ambiguous blurred object, which the woman brandished earlier. We see her hand holding it, and so we recognize the object,
even though we still cannot discern it.
We are back at the moment of the earlier FUNDAMENTAL GAP.
CUT TO:
INT.
MYSTERIOUS EMPTY ROOM -- NIGHT
The
man and the woman continue circling around each other from afar.
CUT TO:
INT.
MYSTERIOUS EMPTY ROOM -- MODELLING PROGRAM -- NIGHT
The
computer program is "ahead" of the action, as if trying to predict what the man
and the woman will do.
CUT TO:
INT.
MYSTERIOUS EMPTY ROOM -- NIGHT
The
man and the woman continue circling around each other from afar.
CUT TO:
INT.
MYSTERIOUS EMPTY ROOM -- MODELLING PROGRAM -- NIGHT