127 Hours Page #10

32.

CUT TO:

INT. CANYON. DAY. VIDEO FOOTAGE.

We see his reaction to this sound through the video message.

CUT TO:

INT. CANYON. DAY. REALTIME.

He puts the camera down and listens. People descending at

the S log! He can hear them. He screams and screams and

screams and then he stops. He listens again.

CUT TO:

INT. CANYON. DAY. ARON'S POV BACK UP THE CANYON.

The noise is there still. Again he screams and screams.

CUT TO:

INT. CANYON. DAY.

Breathing hard, heart racing he listens again. The noise is

still there unchanged. He knows now it's not people. They

would have heard him.

CUT TO:

INT. CANYON. DAY. ARON'S POV.

He looks above and behind and sees a kangaroo rat

disappearing, scuffling, behind a chockstone.

CUT TO:

INT. CANYON. DAY.

He stops, staring at the camera still recording. He picks it

up, rewinds and ...

CUT TO:

INT. CANYON. DAY. VIDEO FOOTAGE.

... re-runs the sound of him screaming for help.

33.

ARON:

(SCREAMING)

HELP!!! HELP!!!! OVER HERE!!!

HEEELLLPP!!!

Freaky. We just see an arbitrary view of the rock and sky on

the video camera, maybe with a bit of elbow, but we hear his

desperation, screaming at no one, distorting on the tiny

speaker.

CUT TO:

INT. CANYON. DAY. REALTIME.

He stops it. The sound of his absolute helplessness and need

freaks him out and threatens absolute despair. Snorts.

ARON:

No one's coming Aron.

He rewinds to the end of the message and erases his futile

calls for help.

CUT TO:

EXT. ARON'S TRUCK. DAY.

Aron's Truck. We sense him in the cab but we're not inside

with him yet. Music loud and pulsing as we travel towards

the inflatable Scooby Doo. It's 12ft tall, powered by a mini-

generator.

CUT TO:

INT. ARON'S TRUCK. DAY.

Aron swerves to affect the figure which buckles and flaps in

his after-draft.

CUT TO:

EXT. ROAD. DAY.

We stay with the dancing figure as his truck drives away into

the landscape. The generator fan rattles on as the booming

bass of the truck fades.

CUT TO:

INT. CANYON. DAY.

You can see him thinking. Will the girls go to the party?

34.

EXT. GOOGLE-EARTH SATELLITE SHOT OF WILDERNESS. DUSK.

We're now high above the desert, and in the time-lapse we see

the soft, grey, endless line of darkness cross right to left

BRINGING -

CUT TO:

TITLE:

" NIGHT TWO ":

CUT TO:

INT. CANYON. NIGHT.

A flashing, strobe-ing light - Aron's head-lamp bouncing back

and forth off the canyon walls - but also, as he continues to

chip away...

INTERCUT WITH:

INT. CANYON. NIGHT.

...jump-cutting, strobe-lit as though by flash, of Aron madly

dressing for the night.

INTERCUT WITH:

C/U:
WATCH

We see the thermometer on his watch falling down and down

from 70 => below 50.

CUT TO:

INT. CANYON. NIGHT.

The whole thing is almost like stop-frame animation. He

cannibalizes everything he can, using his knife, his teeth,

he tears holes in a cloth camera bag, he's frantically paced

to occupy himself, to pass time, to create heat from energy,

but he has to be careful not to stab himself in the eye. He

thrusts his left arm into the newly fashioned sleeve, pulling

it up with his teeth.

Purple webbing around his right arm, the insulated Camelbak

protects his upper arm from the chilling canyon wall. Yellow

webbing wraps a grocery bag (that held the burritos) round

his upper right bicep.

35.

The dirty green and yellow ropes are curled round his legs

like pythons. Finally he puts his head inside the rope bag.

CUT TO:

INT. ROPE BAG. BLACK.

It's plastic inside and although it's black the light from

his head-lamp suddenly lights him up alarmingly as we go

inside with him.

CUT TO:

EXT. ROPE BAG. NIGHT.

He looks like a multi-coloured version of the Michelin Man,

only much thinner.

CUT TO:

INT. ROPE BAG. NIGHT.

He laughs, as though he can see how ludicrous he looks.

We return to normal speed as he turns the light off.

CUT TO:

INT. ROPE BAG. NIGHT.

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