Sample Create a Sequel Assignment

1

Sample Create a Sequel Assignment

(written by a former student in a previous class)

HUM 110: Introduction to American Film

JC Clapp, North Seattle College

This should give you an idea of what is expected. Notice the extensive annotations at the end.

Original Film: Blade Runner (1982), Directed by Ridley Scott

Sequel Title:Blade Runner: Life for Death

(Non-diegetic engine sound from a factory starts playing)

Superimposed white text scrolls up on a black background: “With the death of Dr. Eldon Tyrell, the TYRELL CORPORATION ceased to create anymore Replicants. All NEXUS 6 Replicants are believed to be retired thanks to the actions of a particular Blade Runner.”1

Slide with the same font and background: “NEAR LOS ANGELES, 2025”

Fade out and in to extreme long shot of the nighttime outdoors; top of the frame has a gloomy sky with fires coming from the city in the distance on the left, rest of the frame is filled by bare trees.2

(Non-diegetic organ plays futuristic tune and diegetic sounds of rain can be heard).3

Move into long shot, bare trees fill the frame and a cabin made of rock can be seen in the middle.

Cut to a close up of the gray cabin, a green neon light appears from the two windows. An oldflying car is situated on the right. Light rain hits everything in the frame.4

Cut to a medium long shot of thesmall living room, a single green neon light illuminates the room5, there’s atable in the middle, couch on the left facing the table, leather chairs on the right, a brown windowless door in the back, the rest of the frame is filled with empty boxes indicating recently moved.6

Cut to a medium shot, shallow focus, of Deckard, in a brown overcoat with a dark blue long sleeved and red tie inside and dark brown pants, sitting on the couch. He’s holding a half-filled bottle of alcohol.7He’s deep in thought and has a smug look8 on his face as he begins to narrate.

Deckard (voiceover)

“It’s been six years since I retired the NEXUS 6 Replicants and left LA with Rachel.She may be a Replicant, but she’s special to me. I don’t know what I’d do without her.”9

(Clacking of heels on the floor comes from off-screen)

Cut to a medium long shot of the room.

Rachel, in a blue and white patterned blouse and matching pencil skirt, enters the frame from the right.10

Cut toa close up of her face, her diluted red pupils can be seen11 as she begins to speak.

Close up shot / reverse shots12

Rachel

“What’s on your mind?”

Deckard

“Nothing.”

Rachel (expressionless)

“You like it?”

Deckard (looks up)

“Yeah I do, you look perfect.” (a smile forms on his face)

Cut to a medium close up of him standing up, placing the bottle on the table, and approaching the camera.

Cut to him walking towards Rachel with his back to the camera for a match on action.13

He goes in for a hug and she’s receptive placing her arms around him.

Cut to the glass window and an owl14 on a branch peering in. It looks side to side until square with the camera. Its diluted red pupils are in stark contrast to the surroundings behind.

Close up of the couples’ faces

Deckard (looking into her eyes)

“Say, ‘I want you’”.15

Rachel (looking back)

“I want you.”

Deckard

“Kiss me.”

Rachel

“Kiss me.”

He closes his eyes going for a kiss, their lips make contact, but she keeps her eyes open.16

(Sounds of footsteps outside, off-screen)17

They stop their embrace and look to the left.

Cut to a shot of the door for an eyeline match. Red and blue lights come from the space on the bottom of the door.

UNIDENTIFIED (offscreen sound coming from the door)

“Blow it open.”

Cut to Deckard and Rachel, he opens his coat and tries to reach for his gun, but it isn’t there.

Cut to the door, there’s an explosion and it falls down with white smoke coming in.

(Non-diegetic ominous electro music plays)18

Police officers with guns scurry in and surround the room. A figure of a short, wide man walks in. Bryant, smoking a cigar19 and wearing a wet, black overcoat and matching hat, looks at the couple with a smirk. A blue light20 possibly from the police cars outside illuminates his back.

Medium close up shot / reverse shots

Bryant (sucks in and exhales a smoke)

“Well, well, look at what we have here; a rogue cop and a skinjob21. Hello Deckard, thought you’d never see me again, huh?”

Deckard (looks intently at Bryant, pulls Rachel behind him)

“..”

Bryant

“Well you thought wrong buddy. (raises his voice) You’re little people; you can’t run away from me. To think you would give everything up for a skinjob is funny.”22

Deckard

“Leave us alone, I did the job, I’m quit now.”23

Bryant

“Oh, you’re done alright. (chuckles) Unfortunately for you, I’m going to finish the job you were not man enough to do. Grab her!”

Bryant beckons and his officers walk towards the camera.

Cut to a medium long shot of the couple being surrounded by officers. They try to reach for Rachel, but Deckard throws punches trying to stop them.

Cut to a medium shot of an officer grabbing Deckard from behind. Deckard struggles to be free and another officer enters the shot and punches him in the stomach repeatedly to weaken him.

Cut to a medium shot of Rachel trying to push an officer away, but he slaps her hard and she falls.24

Cut to a close up reaction shot on Deckard.

Deckard

“Rachel!”

He grows infuriated and kicks the punching officer towards the camera. He almost breaks the hold, but Bryant enters the frame from bottom right walking towards him. Bryant pistol whips Deckard into unconsciousness.

(Loud thud)25

Cut to a long shot of the outdoors with the cabin in the middle. It’s still cloudy and raining, but not as dark as before.

Cut to a close up26 of Deckard’s face with a purple bruise on his forehead. He slowly wakes up.

Deckard (mutters to himself)

“Rachel..”

Cut toa medium shot, shallowfocus27 of him getting up groggily. The messy room in the background is blurry. He places his hand to his forehead to assess the damage.

Deckard (voiceover)28

“Bryanttook Rachel, but he won’t get away with it. Knowing him, he’s probably going to keep her in his old station.”

He looks to the left. Cut to a close up of the couch, his gun rests near the middle.29

He enters the frame, his back to the camera, and reaches for his weapon.

Cut to a long shot of the cabin, a figure leaves and enters the car.

(Non-diegetic grand organ music plays)

Fade in to an extreme long shot of Los Angeles. The sky is gray and the city is full of black factory like buildings with spires shooting fire from the top.30 A flying car, assuming Deckard, comes from the bottom right towards the middle left.

Cut toa crane shot of the police station, the flying car enters from the right heading towards the roof. Rain can be heard in the background. A bluish light emits from the ground next to the building.31

Dissolve to a crane shot inside the police station. Desks in rows fill the space.32 There is no artificial lighting, just white light coming from the windows on the right. A lot of the space is unlit.33

Cut to a medium long shot, shallow focus of Deckard entering the space gun drawn.

(Non-diegetic mysterious piano sound plays)34

Deckard walks slowly towards the camera passing by the desks. He looks left and right to ensureno one tries to jump him from the desks. There seems to be no one else in the room as his footsteps can only be heard. He looks forward.

Cut to a medium long shot of a door on the other side. It’s closed, but there’s blue light coming through the white blinds on the door window. The rest of the space is just white wall and nothing else.

Deckard enters the frame, his back to the camera, and approaches the door cautiously.

Cut to a close up of his face.He looks apprehensive and alert at the same time.35

Cut back to the medium long shot. His left hand opens the door halfway while his other hand holds the gun in front of him.

Cut to a medium long shot inside the office. The door opens completely. A single blue neon light illuminates the room in the middle of the frame. Cabinets surround the walls and a desk is on the right.A glass paneleans against a cabinet on the left.36

Cut to a medium shot of Deckard walking in towards the desk.

Cut to a medium shot, shallow focus of the desk. Stacks of papers sit on top. A leather chair with its back facing the camera is behind the desk. The boxes against the wall are blurry.

Cut back to the medium shot on Deckard. The door slams behind him and a cane taps him on the shoulder.37 He turns to look.

Cut to a close up of Gaff. His piercing blue eyes match the lighting. He is wearing a gray hat and matching overcoat.

Gaff (raspy voice)

“Remember me?” (Smirks)

Cut to a medium shot of Gaff, using both black gloved hands,38he swings his cane. Deckard tries to block by making an X with his arms to no avail.

Cut to a medium close up of Deckard falling hard on the hardwood floor. His gun slips from his hand falling a few feet behind him. He gets up intently and there’sfrustration on his face.

Cut to a medium shot of both men standing a few feet away from each other. The blue neon light hits their faces. Gaff stands erect and confident, holding his cane on his shoulder. Deckard looks fazed and fists up ready for a fight.

Close up shot/reverse shots39

Deckard (demanding)

“Where’s Rachel?”

Gaff (smiling)

(Cityspeak, no translation)40 “She’s not here...”

Deckard

“Tell me where she is!”

Gaff (annoyed)

“You’re in no position to ask for anything.” (Cityspeak, no translation, he’s possibly cursing)

Cut back to the medium shot of both men. Gaff swings his cane again.

(Loud thud)41

(Non-diegetic steady ominous music plays)

Cut to a long shot of the Tyrell Corporation. The sky is yellow and is reflected off the pyramid like structure.42

Cut to a medium long shot of the top. The camera slowly zooms in on a room.

Cut to a close up of Rachel’s face. Her hair is down and she looks depressed.

(Off-screen sound of footsteps on tile floor)

Cut to a long shot of the space. Large pillars are on the left and right of the frame. The floor is made of black tiles. At the top of the frame is a long table with chairs surrounding it. Beyond the table is a large windowless view of the outside. The sun can be seen in the background; its yellow light illuminates the entire room.43

Cut to a medium close up of the middle of the table. Bryant, facing the camera, standsbehind and is on a computer on the table. To the right of the frame, Rachel sits handcuffed to a chair.

Cut to a close up of Bryant looking down annoyed.

Cut to a close up of the computer screen’s blue error message44: “Access denied.”

Bryant (mutters to himself)

“What could that old fool’s password be?”

Close up shot/reverse shots45

Bryant (looking at Rachel)

“You know what it is, tell me!”

Rachel (puzzled)

“..”

Bryant

“I’m not going to risk anymore skinjobs popping up on my street. Tell me the password so I can wipe the system with a virus!”

Rachel

“I don’t know what it is.”

Cut to a medium shot of the two. He walks menacingly from the left of the frame towards her. She tries to get away expecting something. He slaps her with the back of his right hand.

Cut to a medium long shot of Deckard and Gaff. Deckard moves out of the way and the cane hits the floor. Deckard throws a punch, but Gaff blocks with his left forearm. Gaff swings his cane and hits Deckard’s side.

Cut to a medium shot of Deckard falling on the floor. Gaff gets on top of him and tries to choke him with the cane. Deckard, with both hands, tries to push it away from his throat. They struggle back and forth. Deckard, using his knees, shoves him off.

Cut to a medium shot of Gaff falling backwards and dropping his cane. He slowly gets back up.46

Cut to a close up of Deckard’s gun on the floor. It’s on the bottom of the frame. Deckard scrambles to reach it, moving towards the camera. He gets his hands on it, turns around, and shoots.

Cut to a medium shot of Gaff getting hit in the stomach for a match on action.47 He flies back a feet and hits the thick glass pane. The glass cracks, but does not break as he slides down on it to the floor.48

Cut to a medium close up of Deckard walking towards him, towards the camera, and kneeling.

Cut to a medium shot of Gaff lying on the ground, blood starting to pour out of his stomach. He applies pressure to it with his hands hoping to stop the bleeding. He looks bewildered.

Close up shot/reverse shots

Gaff

“How can you shoot an unarmed opponent? I thought you were supposed to be good. Aren’t you the good guy?”49

Deckard (does not reply)

“Where’s Rachel?”

Gaff (chuckles)

Cut back to Gaff lying on the ground. Deckard enters the frame, his back to the camera, and chokes Gaff.

Deckard

“Where is she?”

Gaff (blurts out slowly)

“She’s with Bryant at the Tyrell Corporation.”

Deckard lets go and gets up.

Cut to a close up of his face. He looks down and has a sad look.

Deckard (voiceover)

“I didn’t want to kill Gaff. He stood between Rachel and me. It still didn’t make me feel any better about what I did. I thought my Blade Runner years would desensitize me to feelings... but I guess not.”50

Cut to a close up of Gaff’s face. His blue eyes look towards the top left of the frame.

(Sounds of voices and footsteps from the other room)

Cut back to Deckard looking up and leaving the frame.

(Non-diegetic ominous electro music plays)

Cut to an extreme long shot of the Tyrell Corporation. The sun is still up; its yellow light illuminates the frame. A flying car enters the frame from the middle left headed towards the large pyramid.

Cut to a long shot of the car landing near the top.

Cut to a medium close up of an elevator going up the pyramid. Up close, it can be seen that the pyramid is made entirely of metal and sophisticatedly crafted. The camera pans up following the elevator all the way to the top.

Cut to a medium long shot of Bryant and Rachel. Rachel, defeated, is slumped on the chair. Bryant with a frustrated look is on the computer.

UNIDENTIFIED (off-screenecho sound)

“Bryant!”

Bryant looks up towards the sound.

Cut to a medium long shot, shallow focus of the other side. Large pillars are on the left and right of the frame. Deckard slowly approaches from the middle, gun in hand.

Cut to a medium close up, he is walking towards the camera and staring intently at his former boss.

Cut back to the medium long shot with Bryant and Rachel. Deckard enters the frame, his back to the camera.

Close up shot reverse/shots

Rachel

“Deckard!”

Bryant

“I see you’ve found us. Not that I wasn’t expecting it. How are you Deckard?” (Grins)

Deckard

“You are going to pay for what you’ve done.”

Bryant

“And to think I thought we were actually friends after all I’ve done for you.”

Deckard

“..”

Bryant

“You’re just like everyone else; ungrateful for everything I’ve done. It’s no wonder you will always be little people.”

Deckard

“Let her go.”

Bryant

“You mean the skinjob? Never. I’m going to make sure there’s no more skinjobs on my street, starting with this one.”

Cut to the Bryant going behind Rachel and taking out a gun from his pocket.

Cut to Deckard walking forward in response and pointing his gun towards the camera.

Cut to Bryant and Rachel. He places his left hand on her left shoulder and points the gun with his other hand towards Rachel’s head. She’s clearly frightened and tears form in her eyes.51

Close up shot/reverse shots

Bryant (smug)

“Wrong move pal.”

Deckard (gulps)

“Stop, just don’t shoot..”

Bryant

“You have a choice here, either point that gun towards your head and kill yourself or she’s done for.”52

Rachel

“No, Deckard don’t do it!”

Deckard (has a look of acceptance)

Bryant

“Your choice, you die and she lives or you live and she dies.”

Deckard

“I love you Rachel.”

Rachel

“No, I won’t let you.”

Cut to a medium close up of Deckard. He starts to point the gun towards his head.

Cut to a medium shot of Bryant and Rachel. She bites his hand on her shoulder. Bryant, startled, screams in pain.