127 Hours Page #2
CUT TO:
INT. ARON'S TRUCK. DAY.
The doors smash open to reveal a glorious day and Aron's
bike careers into it.
CUT TO:
EXT. DESERT. VARIOUS.
It's still like a wild road movie, but now on a bicycle.
Having parked his motorized transport he ploughs into the
land like an ad for extreme sports. Past bikers, he vanishes
temporarily in their dust cloud, he wears a bandana across
his face as the bikers pass by... a final telephone box, past
remnants of those who tried to settle or work this
unforgiving land; Aborigines, frontier settlers, ranchers...
all driven away from a heartland he ploughs into.......
CUT TO:
5.
EXT. DESERT. CU on ARON.
Wearing a pair of beat-up running shoes and thick wool-blend
socks, Lycra biking shorts and a Phish tee shirt he has a
back pack with equipment but hydrates through a gallon of
water stored in an insulated three litre CamelBak hydration
pouch which he sucks on without stopping.
CUT TO:
EXT. DESERT. DAY.
His bike pummels the canyon landscape and you get a sense of
the exhilaration this man gets from pitting himself alone
against what nature can offer. He's clearly a fit and daring
young man and these are his kicks.
CUT TO:
EXT. DESERT. DAY.
Even uphill he hammers his way up the sandstone. Gasping for
oxygen, his legs screaming for rest, he pushes and pushes
until the crest and then down, down, instant speed and he can
suck on his water again. Part of a massive clan who define
themselves not by what they are, but by what they do. In a
way, he's an action movie personified and the opening should
be shot and cut to provide adrenaline in spadefuls.
Until...
CUT TO:
EXT. DESERT. DAY.
Suddenly, he hits a sand trap and hurtles forward over the
handle bars, face first into the sand, his toe clips and
momentum brings the bike with him. The bike has him trapped
on the desert floor like a takedown in wrestling. He submits,
landing nose deep in the sand. He sits up, looks around
quickly to see if anyone saw. Pulls out his camera from his
bag and takes a a self-portrait snap of the mess.
CUT TO:
EXT. DESERT. DAY.
At what seems like the only tree for miles he U-locks his
bike in the shade, pockets the keys, scoffs a muffin and
heads off into the desert.
CUT TO:
6.
EXT. GULLEY CREST. DAY.
He approaches the crest of a sand gulley and sees below him,
just 30 yards down the canyon, 2 fellow hikers. He looks
around. All of them in the middle of nowhere it seems.
CUT TO:
EXT. APPROACH TO BLUE JOHN CANYON. DAY.
He can see now it's 2 girls passing a map back and forth
between them. He rushes towards them, initially above them as
he walks along side. They're aware of him before he arrives:
ARON:
Hey. Are you doing the east pike?
Can I come along with you for a
while?
The girls don't reply, just look at each other.
ARON (CONT'D)
I'm on my own. I'm Aron.
CUT TO:
EXT. APPROACH TO BLUE JOHN CANYON. DAY. A VAST ARROYO.
He slides/surfs down so he's on the same level as them,
arriving in a haze of dust, holding out his hand for the
shake. Big smile.
KRISTI:
(looking at Megan)
Sure, I'm Kristi.
MEGAN:
Megan.
ARON:
Nice to meet you. What a day.
KRISTI:
It's beautiful.
ARON:
Did you bike or come straight from
the trail head?
KRISTI:
We left the car there. Pretty
quiet.
ARON:
I left mine at the Horseshoe Canyon
and biked here.
7.
MEGAN:
You biked from Horseshoe? That's
20 miles or more.
ARON:
17 and windy.
ARON (CONT'D)
I do this a lot.
They laugh. He's crazy, but harmless.
ARON (CONT'D)
Wasn't expecting to see anyone in
the canyon today.
MEGAN:
Yeah, you surprised us, sneaking up
like that.
ARON:
Sorry.
MEGAN:
It's kind of nervy seeing a lone
guy walking up to you in the middle
of the desert.
ARON:
Yeah, I know, I mean there's no one
around for 50 miles.
KRISTI:
... and suddenly there's a guy
right behind you and `wait a
minute, why is he wearing a HOCKEY
MASK!'
They all laugh.
ARON:
Let me guess... You're here for
the paintings or the Cathedral?
KRISTI:
The Cathedral? We've got a bit
disorientated and the map isn't
great. Where is it?
ARON:
The climb's a little tricky but
it's worth it.
KRISTI / MEGAN
We climb.
8.
They all laugh.
CUT TO:
INT. CAVE. APPARENTLY SMOOTH DOME. DAY
Translation
Translate and read this script in other languages:
Select another language:
- - Select -
- 简体中文 (Chinese - Simplified)
- 繁體中文 (Chinese - Traditional)
- Español (Spanish)
- Esperanto (Esperanto)
- 日本語 (Japanese)
- Português (Portuguese)
- Deutsch (German)
- العربية (Arabic)
- Français (French)
- Русский (Russian)
- ಕನ್ನಡ (Kannada)
- 한국어 (Korean)
- עברית (Hebrew)
- Gaeilge (Irish)
- Українська (Ukrainian)
- اردو (Urdu)
- Magyar (Hungarian)
- मानक हिन्दी (Hindi)
- Indonesia (Indonesian)
- Italiano (Italian)
- தமிழ் (Tamil)
- Türkçe (Turkish)
- తెలుగు (Telugu)
- ภาษาไทย (Thai)
- Tiếng Việt (Vietnamese)
- Čeština (Czech)
- Polski (Polish)
- Bahasa Indonesia (Indonesian)
- Românește (Romanian)
- Nederlands (Dutch)
- Ελληνικά (Greek)
- Latinum (Latin)
- Svenska (Swedish)
- Dansk (Danish)
- Suomi (Finnish)
- فارسی (Persian)
- ייִדיש (Yiddish)
- հայերեն (Armenian)
- Norsk (Norwegian)
- English (English)
Citation
Use the citation below to add this screenplay to your bibliography:
Style:MLAChicagoAPA
"127 Hours" Scripts.com. STANDS4 LLC, 2024. Web. 2 Nov. 2024. <https://www.scripts.com/script/127_hours_1466>.
Discuss this script with the community:
Report Comment
We're doing our best to make sure our content is useful, accurate and safe.
If by any chance you spot an inappropriate comment while navigating through our website please use this form to let us know, and we'll take care of it shortly.
Attachment
You need to be logged in to favorite.
Log In