Transcript for Density.
Part one: Prologue Edit
Roll opening credits.
OPEN ON: A road in a desert at nighttime. Crickets are heard chirping in the background. A car pasess by.
CUT: The interior of the car, as seen from the back seat facing forward. We see a man in a blue suit in the driver's seat. A woman wearing a purple dress is in the passenger's seat, sleeping against the window.
CUT: Close-up on the man's face. He is visibly exhausted and tired. He smiles faintly at something offscreen.
CUT: The road, from the perspective of the car. We see a nearby city in the distance, glowing with activity. We pass by a sign saying FRANKLIN, 5 MILES AHEAD.
CUT: The car driving into the distance as seen from off the road.
CUT: The interior of the car again. We see the same people in the same positions. Suddenly, the entire car lurches, and the man briefly loses control of the car. The driver suddenly slams on the brakes.
CUT: The sleeping woman waking up.
Whoa! What happened?
CUT: The man.
I think I hit something!
CUT: A view of the car from the front. The man and woman pant in shock.
What do you think it was?
CUT: The man again.
I think I'll check it out to make sure.
The man gets out of the car.
CUT: The man looking around the front and undercarriage of the car, inspecting it for damage. We see this from an angle on top of the car. The camera teeters around, and we hear growling noises. Something is watching him.
CUT: The man in front of the car. He hears one of the growls and stops still.
What in the...
CUT: Behind the man. We hear something getting up and starting to move. The man turns to face the camera and a look of horror appears on his face as a shadow starts to cover him.
CUT: A very fake looking, disgusting, slobbering cyclops.
CUT: The woman in the car. She hears the screams and looks around, alarmed. She gets out of the car.
CUT: A shot from the side of the car. The woman gets out of the car, and walks around to where the man was attacked. As she approaches, we zoom in on her face, as she discovers what has become of the man.
CUT: The man who is covered in blood and is missing his eyes.
CUT: The woman with tears in her eyes, starts shaking the corpse of the man.
No, no! You're not dead, you're not dead!
CUT: Behind the woman. The cyclops's shadow begins to cover her, and she turns to face the shadow's source.
She screams again.
CUT: The cyclops lunging at the woman, as she tries to fight back. We slowly zoom out of what is revealed to be a cinema screen, the whole sequence up to this point having been a film within the film. We turn away from the screen to focus on the theater's audience, eventually coming to a rest on two people.
One is a male, one MELVIN DIAC. He's wearing a brown suit, with matching trilby hat, and has orange hair, and a stubble beard. He's smoking a cigarette, clearly dissatisfied with the film.
The other is a woman with black hair wearing a red-purple patterned dress who would seem to be MELVIN'S GIRLFRIEND. She's getting a lot more out of the movie than him. She turns to face Melvin.
What do you think of it?
...quite fake, not very good. What's to expect with these crappy movies?
CUT: From behind Melvin. Melvin's girlfriend shrugs.
They must've at least had fun making it, wouldn't you say?
They're definitely enjoying the profits.
Melvin puts his cigarette out on the arm on his chair.
CUT: The two walking out of the theater. It is nighttime. According to the theater marquee, the movie they were watching was called The Beast Of The Now!.
The camera follows Melvin and his girlfriend as they walk across the street to a parked red convertible.
Well, the monster was quite scary...
Melvin takes out a cigarette, lights it and starts smoking it.
CUT: Melvin approaching the car, seen from behind his girlfriend.
Y'know, next date, how about I pick the movie?
CUT: Close up. Melvin takes out a pair of keys and unlocks the car.
CUT: Wide shot of the parking lot. The two get in.
CUT: The city streets. the convertible passes by, splashing through a puddle of water.
CUT: The buildings of the city passing by. It is bright and colorful, although the people walking its streets seem drab and gray in contrast.
CUT: Melvin, still with the same cigarette in his mouth as he drives.
CUT: The car's windshield, seen from the inside. Rain starts to come down on it.
CUT: Melvin, who looks irritated about this.
Melvin turns on the windscreen wipers.
CUT: Melvin's girlfriend, looking at him and stretching.
Hey, I feel like taking a nap, is that fine?
Yeah. I'll carry you into the house.
CUT: Melvin's girlfriends lays her head by the door and closes her eyes.
CUT: Melvin, front on. He looks back at his girlfriend and smiles, before refocusing on the road.
Melvin seems to realize something, and looks at his rear view mirror.
CUT: The rear view mirror, we see a black car that seems to be tailing Melvin's.
CUT: Melvin, who's starting to get uneasy.
BACK TO: The rear view mirror. The car is getting even closer. It then drives to the right, out of the mirror's sight, passing Melvin's car.
CUT: Melvin, looking at the mirror with a even more uneasy expression. He looks back to the road, Then suddenly appears to be startled by something ahead on him. He stops his car, the tires are heard screeching.
CUT: Front view of the car's windshield, the same black car is seen in front of Melvin's. His car comes to a halt.
CUT: Side shot of the two cars in the city. Melvin is seen getting out of his, although he makes sure to stay close.
CUT: Front shot of Melvin. He's shaken, and somewhat exasperated.
Hey! What's wrong with you?!
CUT: The black car, from behind. The door of it opens and a MASKED ASSAILANT wearing a black hat and gray trench coat exits.
CUT: Melvin, who looks unsure about what's going on.
BACK TO: The assailant, who draws out a revolver, and points it at Melvin.
BACK TO: Melvin whose eyes suddenly widen. He tries to get out of the way.
BACK TO: The assailant, who fires off a couple of shots.
CUT: The shots hitting Melvin's windshield, cracking it.
CUT: The assailant, starting to run away from his car.
CUT: Melvin leans out from behind his car, and sees the assailant fleeing. He runs after him.
CUT: From behind the assailant's car. Melvin pursues the assailant into the night.
CUT: A crowded city street, looking down the sidewalk.. Many different people are seen walking around in either direction. The assailant rounds a corner and enters the shot, running towards the camera whilst pushing through the crowd. Melvin enters the shot, running through the spaces the assailant pushes through, catching up fast.
CUT: A blue car comes to a stop at a red light.
CUT: The interior of the car. An OLD MAN looks at the road in front of him, before a noise causes him to turn to the right. We pan to see the assailant attempting to carjack the man through the passenger side window. He's pointing the gun at the man, and motions for him to exit the car.
CUT: The old man puts his hands in the air, fear in his eyes.
Please, don't kill me!
BACK TO: The assailant, still pointing the gun at him. Suddenly, he turns to the left just in time to see Melvin charging onscreen and striking him in the face, pushing the both of them off-screen.
CUT: The assailant dropping to the road, as seen from behind Melvin.
CUT: Melvin raising his fist, intent on continuing to beat the assailant.
BACK TO: The assailant, who retaliates by kicking Melvin in the leg.
BACK TO: Melvin, who yells in pain, letting go of the assailant and clutching his leg.
BACK TO: The assailant, who gets up and runs down the street.
BACK TO: Melvin, who convulses in pain, panting, but soon notices the assailant continuing to run, and stumbles to his feet after him, running off-screen.
CUT: A subway station entrance, the assailant runs onscreen and down the stairs.
CUT: Interior of the subway. The area is quite grimy and has a green hue. The assailant enters into the station down the stairs and we track him as he runs through the tunnels, towards the platform.
CUT: The train platform. Pedestrians are seen waiting for the next train. The assailant runs into the shot. He's come to a dead end. He's frantically looking around for somewhere to run to.
Melvin runs into the shot from the same direction as the assailant. He tackles him to the ground.
CUT: The assailant, struggling to get out of Melvin's grip as he holds him down. He looks towards the platform.
CUT: Sideways shot, from the assailant's point of view. A train has pulled in to the station and people are getting on it.
BACK TO: Melvin and the assailant, continuing to struggle. Melvin reaches down and tries to remove the mask and hat of the assailant. We pan to the assailant's arm, which is pulling out a hunting knife from a holster on his hip.
CUT: Melvin's arm. The assailant pulls the knife down Melvin's arm from his hand down to his upper arm.
CUT: Melvin, screaming in pain and grasping his arm tightly, letting go of the assailant. He runs off-screen
CUT: The train, which is about to leave as the assailant approaches it. The doors begin to close but the assailant moves quickly, pushing them open before they can close completely and getting onto the train. The train begins to depart.
CUT: Close-up on Melvin, watching the train pull away into the tunnel
CUT: The train picking up speed as it leaves the station, focusing on the assailant in one of the windows, staring back at Melvin as the train speeds away into the tunnel and is gone.
CUT: Wide shot of Melvin, still grasping his bleeding arm, breathing erratically. He looks defeated.
CUT: A woman walks up to him.
Are you okay?! I'll get help!
BACK TO: Melvin.
I'm not okay...I lost that guy...
At that moment, Melvin realizes something that alarms him.
CUT: Melvin, as seen from behind the woman. He turns to her.
I... need to get going, alright?
CUT: Melvin gets up and runs out of the station. Blood dripping from his arm.
CUT: Melvin's convertible, still with bullet holes in it. Several pedestrians are observing it, with shocked and upset expressions. The rain has picked up now. Melvin runs into the shot.
CUT: Interior of the car, facing the driver seat door. Melvin runs into frame, panting and trying to recover from the running he just did. Casually, he looks over at the passenger side, and a horrified expression slowly appears on his face.
CUT: The body of Melvin's girlfriend in the passenger seat, still in a sleeping position. She looks very calm for a dead person. Blood is seen coming out of her mouth.
CUT: Back shot of Melvin, facing his girlfriend's body. He gets on his knees and takes his hat off, keeping it in his hands. He leans into the car's door, covering his face with his hands.
CUT: Crane shot of the convertible, many pedestrians now looking at Melvin as he grieves. We slowly pan away, then fade to black.
The main title fades in.
Part two: Melvin's new neighbor/ Day at the office Edit
OPEN ON: Bottom shot of a bed. A pair of feet enter the shot and move to the floor.
We pan up, to reveal that this is Melvin. He looks a bit tired.
He gets up from the bed and exits the shot.
CUT: Exterior of a window in Melvin's apartment. The walls of the exterior are made of red bricks.
Melvin is seen in the window, which he opens.
CUT: Hallway of Melvin's home. The walls are painted light blue. There is a mirror close to the door in the hallway.
Melvin enters the shot in the same outfit as seen in the prologue, he goes to the mirror and starts to neaten his hair.
CUT: Front shot of Melvin fiddling with his hair in the mirror, constantly turning his head. While turning his head, he moves slightly away from the mirror and we see Melvin's girlfriend in the reflection. Melvin sees this and immediately turns and looks behind him.
CUT: Melvin, with a confused look. He shakes his head.
CUT: Front shot of the door to Melvin's apartment in a hallway. We see Melvin approaching and passing the camera. We follow him until we get to the door next to his apartment.
A young man with black hair exits this door, he is wearing a blue t-shirt and beige pants. This is HOWARD. He spots Melvin and gives a friendly smile.
Hello! You must be the new neighbor, then.
CUT: Melvin. He looks behind himself.
Uh, yeah. You just started moving in? Haven't seen you around.
CUT: Howard. He nods his head.
It's a rough part of town, but the place is nice.
CUT: Melvin, looking around. He nods in agreement.
Yep, not bad, not bad at all.
He then turns back to Howard.
I gotta get going to work, I'll talk to you later though, alright?
Melvin walks out of shot.
CUT: Looking ahead from behind Howard, we see Melvin walking away from him.
CUT: Ahead of Melvin, looking behind him. Almost immediately, Howard runs towards Melvin, grabbing him by the shoulder.
CUT: Melvin from Howard's POV, who turns around, looking quite agitated.
Watcha work as?
Melvin rolls his eyes in annoyance.
Detective at the station. Now can I ge--
Ooh, I know a detective! Got any stories of your detective ventures? I mean, maybe you know this guy, I mean, he's a real big shot. Once, he told me that...
BACK TO: Melvin, with an even more agitated expression. As Howard's ramblings fade away, he proceeds to walk away from him.
CUT: Wide shot of the apartment hallway. Melvin walks down the hall past the camera, getting back on his way to work. Howard is seen in the background still rambling, eventually grinding to a halt, upon realizing Melvin is gone, looking around confused.
CUT: Melvin in his convertible, driving around the city, heading towards the station.
CUT: Crane shot of Melvin pulling up at the police station. He turns off the car, opens the door, and gets out.
CUT: Interior of an office in the station. The walls are painted in a cream color, and there is a corkboard hung up on one side of them plastered with pictures of seedy looking individuals. In the middle is a door, which we see Melvin enter the room though.
CUT: We see another man on the other side of the room. This is HARVEY FARSON. He is a white, middle aged male wearing similar attire to Melvin, although his suit is a bit more purple. He also has brown hair which seems to be in the process of greying and going bald. Harvey is making coffee, looking past the camera at an offscreen Melvin.
You're in early.
CUT: Melvin. He looks around the room, a tad confused.
Where are the others?
BACK TO: Harvey, now with a cup of coffee in his hands. He shrugs and takes a sip from the cup.
Probably wasted on grain alcohol or something. You know Nathaniel's brother recently got married, right?
BACK TO: Melvin, who shakes his head, somewhat surprised.
They'll be here soon, I think.
Alright then. So, we got any cases worth looking into?
BACK TO: Harvey, he thinks for a moment. He walks to the cork-board and removes a picture of a woman from it. He shows it to Harvey.
Well, we got some reports about a woman at a local nightclub who's apparently been seducing men and murder them, typical black widow affair. Goes by the name of Miltonson, from what we've gathered.
BACK TO: Melvin, he is nodding to this. He takes the photo and examines it.
I'll see what comes of it. Anything else?
BACK TO: Harvey, shaking his head.
Well, nothing of your paygrade.
BACK TO: Melvin, looking rather unsatisfied. He proceeds to turn around and walk off shot, out of the room.
INT: MELVIN'S BEDROOM
The walls the room are painted white, and two paintings with their subjects in silhouette are seen on the wall. Melvin is lying on his bed, wearing a white shirt. At the foot of the bed is a television, sitting on top of a small dresser, which he is watching.
CUT: The television. What seems to be a news program is playing. A newswoman is seen with some papers in her hands.
...And that about wraps it up for the WTKS nightly news, and this broadcast day. Be sure to check back into this station at 8am tomorrow for the morning news. This is Daria Rupert, bidding you a good night.
The television fades to the title card of the news, before abruptly cutting to a Please Stand By bumper.
CUT: Melvin, who begins to search his bed for the remote. Eventually, he finds it and proceeds to turn off the television. Placing it on a table, he lays down on his bed and then closes his eyes.
CUT: Close up side shot of Melvin sleeping, everything is quiet and peaceful.
Melvin slowly opens his eyes and they move downwards. He suddenly springs to life and sits upwards, with a horrified expression.
CUT: The character we just heard. It's Melvin's girlfriend, albeit looking a little more disheveled since when we last saw her. We can clearly see the bullet holes she had in her at the end of the prologue, although she doesn't seem bothered by this. She slowly approaches Melvin, limping.
MELVIN'S GIRLFRIEND (cont'd):
What are you doing in there without me?
CUT: Melvin, confused and petrified. He feels around the bottom of the other side of his bed, looking for something to try and attack her with.
MELVIN'S GIRLFRIEND (O.S)
Mel, calm down. It's just me.
CUT: Floor shot of Melvin feeling around the floor for an object. Eventually, he feels a whiskey bottle, and grabs hold of it. It comes off the floor.
CUT: Melvin, bottle in hand. He swings it towards the camera at the offscreen girlfriend.
CUT: Melvin's girlfriend, as the bottle strikes. It hits her head, shattering into pieces. Shards of glass and liquid fly all over the place, leaving her doused and covered in glass. However, she seems unfazed by this.
She falls to the ground, back to being dead.
CUT: Wide shot of the bedroom, Melvin crawls to to the side of the bed to look down at the body.
CUT: Close up of Melvin, looking puzzled and panicked.
Suddenly, the assailant from the prologue reaches from off screen and grabs Melvin by the neck. Melvin reacts violently to this.
CUT: The bed, Melvin is slammed onto it by the assailant and is held down with the assailant's hand over his mouth. Melvin intensely struggles to escape the assailant's grip.
CUT: The assailant's leg, he's still wearing the same holster holding the knife Melvin's arm was slashed with. The assailant's hand comes on screen and unholsters it.
BACK TO: Melvin, squirming around and trying to remove the assailant's hand. The assailant's other hand, the one with the knife, moves into the shot, pointed towards Melvin's neck. He takes his hand off Melvin's mouth, giving him just enough time to notice the knife and gasp.
Then, with no hesitation, they slice through Melvin's neck. Blood pours from the wound.
CUT: Melvin in bed. He abruptly wakes up, panting, panicked and frightened. It was just a nightmare. Melvin calms down, relieved about this.
More coming soon.