Good Boy.
INT. A SHOP – DAY.
A young BOY is standing in the pharmacy isle of a brightly lit shop, looking around nervously. He slips a few packets of condoms into his pocket, and begins walking quickly towards the exit. We hear a shop assistant start to shout in the distance, and he begins to run. A SECURITY GUARD cuts him off at the door, but the boy dodges him and smashes through a large sheet glass window. The footage slows down as the glass sprays into the street, and a soundtrack of rising heart-beats begins. The young boy runs as fast as he can with the security guard in pursuit. He knocks past an OLD LADY as he turns into a fruit and veg market. A STALL OWNER sees the boy bash into his display, and grapples unsuccessfully with oranges and other fruit as they spill onto the floor. The security guard and the stall owner chase the boy as he flies over a busy junction, knocking coffee out of the hands of a passing BUSINESS WOMAN. A POLICEMAN sees the chase out of his car window. All three chase the boy as he scrambles over a wall, through some bushes and onto a railway track. He dives in front of an oncoming train, and the pursuers are left standing non-plussed on the other side of the tracks. The footage begins to speed up again as his heart rate slows. The boy pushes through some more bushes, ducks under a motorway overpass, and through a shortcut littered with rubbish and graffiti. He lowers himself from a wall, and drops down into a shabby industrial estate. He approaches a haggard looking young woman, who sits on a crate in a very short skirt.
MOTHER
You get ‘em?
BOY
Yeah, mum.
He chucks the packets to her.
MOTHER
(Muttering)
Good boy.
Penny Chew.
INT. A SHOP – DAY.
A young GIRL of around six or seven puts a penny chew in her pocket, and begins to run mischievously out of the shop. The SHOPKEEPER and the girl’s MOTHER shout in concern as the footage slows down. The girl bashes into a MAN on the pavement who drops his heavy shopping bags. She knocks an ice cream out of an older BOY’s hand. She trips a BALLOON SELLER who falls over backwards and lets go of his bunch.
The young girl rushes into the road and is obscured by a speeding car. Her mother and the shopkeeper stand distraught and speechless. We see a close up as the car pulls away and the little girl giggles on the other side of the road, chewing her sweet.
The Dogs.
EXT. OUTSIDE THE DESERTED FACTORY – DAY.
A YOUNG GIRL stands examining the entrance to a deserted building. She is filthy and dishevelled. From inside the building we can hear the sound of vicious barking and yelps. The girl looks cautious but determined. The girl enters the broken door of the building.
INT FLASHBACK. THE SHACK – NIGHT.
The young GIRL cowers with her MOTHER in a simple wooden shack as the FATHER stands at the door, fighting to close it. We hear savage barking. As he closes the door he leans his forehead against it.
FATHER
Those dogs. Something needs to be done.
Blow them all to hell.
INT. INSIDE THE DESERTED FACTORY – DAY.
Light shines through filthy and broken windows as the GIRL tiptoes through the corridors. The barking and whining grows louder and fainter. She rounds corner after corner, going deeper into the building. Suddenly the sounds fade, and the girl stands rooted to the spot, terrified. The footage slows down as the pack of wild DOGS round the corner. She runs as fast as she can, with the pack snapping at her heels. The girl skids through the disintegrating corridors, blindly running as fast as she can. She comes to a metal industrial ladder, which leads up to a walkway above. She scrambles up just in time, while the pack of dogs pace and bark at the bottom.
INT FLASHBACK. THE SHACK – DAY.
The GIRL stands with her MOTHER at the window, as they look out the window. We see their P.O.V. – Slow footage of the father running through the fields towards their shack, with the wild DOGS at his heels. The mother puts her hand over the girl’s eyes as they catch up with him.
The mother clenches her jaw as she put on her coat.
GIRL
Where are you going?
MOTHER
To make us safe. The building where they live – It was a munitions factory in the old days. Perhaps if I can get in...
She gathers the girl to her in a tight embrace.
MOTHER
Then you’ll be safe.
INT. THE FACTORY – NIGHT.
The GIRL climbs down the ladder slowly and carefully, trying not to wake the pack of sleeping DOGS. As she reaches the lowest rungs, however, her foot slips and she has to start running as the dogs jump up, alert. We follow another slow-speed chase through the interior of the munitions factory, the dogs breath steaming in the cold air and the girl skidding on broken glass as she whips round corners. Finally she comes to an old door on which some writing is just discernable – ‘Munitions store’. She struggles with the heavy, rusted hinges, and manages to slam the door shut just in time.
INT FLASHBACK. THE SHACK – DAY.
The GIRL sits in the corner with her hands over her ears as we hear a woman scream, and the sound of dogs fighting over food.
INT. INSIDE THE MUNITIONS STORE – NIGHT.
The GIRL stands breathing heavily. She walks out of frame with a purposeful stride.
INT. OUTSIDE THE MUNITIONS STORE- NIGHT.
The DOGS stand quietly, panting heavily.
EXT. OUTSIDE THE SHACK – NIGHT.
We see the simple shack and the big factory building in the distance. The wooden planks of the dwelling shake and fall as the building erupts with a violent explosion.
The Wallet.
INT. A CROWDED BUS – DAY.
A young BOY stands on a swaying bus, picking the pocket of a wealthy-looking businessman. The man notices and tries to catch his arm, but the boy wriggles free and barges past the other passengers.
EXT. A ROAD – DAY.
The footage slows down as the boy jumps from the moving vehicle. He runs down a crowded high street, knocking pedestrians in his rush. He runs through a department store, clipping a large stand of coloured sweets that spills onto the floor behind him. He exits the store on the other side, and knocks into a man carrying wholesale food crates, which tumble from his grip.
EXT. AN ALLEY – DAY.
The footage slows down as the boy enters a quiet back-street alley, and realises he is safe and alone. Looking around furtively he hides behind a wheelie bin and takes out the wallet. He stuffs a five pound note and some change in his pocket before a piece of paper catches his eye. He opens a letter, which reads ‘Dear Simon, I know it has been so many years since we spoke, but I realised that no matter how angry I am you deserved to hear how your son is doing…’
We see a close up of the boys eyes as he unfolds the paper to read more, and comes across a photograph folded inside. It is a photo of himself.
These are some scripts written by Silas that incorporate narrative with the use of slow motion cinematography.
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