metal slug gear

let's start in the middle, because where else would you want to begin? all good stuff starts in the middle right? dreams don't have a beginning, you just pop into them with a full history and personality.

i am pulling a bullet the size of a shot glass out of my arm. the slurp of blood and flesh. ouch. it's rather big isn't it, i think to myself. there's some writing on the side i can't read. there are a few more in my leg too. i can see a bulge or two from where they are lodged.

people are looking for me. they find me, and want to know "the truth". the truth is very simple, or, what i know is very simple: the senator is a crook, and he gave the order. i don't know what order. but the people looking for me aren't satisfied and they want me to tell them everything. but i don't know everything - i don't even know any more. they pump more bullets into the rest of my limbs, so that it hurts but i won't die. ow ow owch. they ask more questions. i am concentrating on the mutliple bulges in both my arms where the huge slugs have lodged themselves. after a little more torture, a very helpful girl assists me in making an escape.

i don't get far. the pain in my limbs is quite intense. i get caught by a completely different group of people looking for me, but wanting to know the same thing, and using the same methods. they grab my arm and are about to put more giant bullets in me but i tell them to stop, sob, i'll tell you everything. so i guess they must be just like the other group and i string a long tale about what i know and how i know it and a whole lot of other shit and somewhere in the midst of everything mention that the senator is a crook and he gave the order.

satisfied that they have learnt the extent of my knowledge and that it is harmless, they spare me more bulges in my limbs. Now i try to walk away, but it's too painful because there is just too much metal in my limbs, grating against bone and rubbing under my skin and just weighing me down. can't... hardly... move... eventually i sit down next to a stainless steel sink and begin yanking out the rounds, one by one. clink clink clink. the excruciating feel of digging fairly large cylinders out of my arms and looking at the holes they leave.

whew. the sink is full of these slugs, there's no more space. what am i going to do? i still have all of those in my legs (and it's too painful to walk to another sink).
perhaps i should have removed those in my leg first? but i needed to remove those in my arms to free them. oh dear.

TFR

1. The studio. int. day.

a. The man in the suit plays chess with himself.

b. looking at camera, he makes the hand action of a bull's horns.

2. the car. ext. twilight (if possible).

a. the man stands outside the house (front porch) looking off-camera L or R. a black car pulls up. he opens the door and gets inside.

close up
b. the driver looks over. he is wearing a bull mask. the man in the suit is frightened
immediately a bag or hood comes from the back of the car and covers his head and the car drives off.

wider
c. the black car driving off.

3. the house . int. night.

a. a door from the inside of a house. the suited man comes in through the door as if he is being pursued. he regains composure and starts walking off to camera R.

b. he picks up things in a hallway on tables, looking at them, and then putting them back. he walks off camera R.

c. a tall flights of stairs in profile L to R. he walks up this flight of steps.

d. he comes to the top of the stairs, the crosses over to camera L.

e. he comes to a window. his back is to the camera. he opens the window to see the night sky. he suddenly turns to his left.

f. the man in the bull mask is standing there, carrying a sword.

g. return shot to the suited man.

h. the man in the bull mask starts charging.

i. the suited man bellows.

j. the man in the bull mask stops in his tracks.

k. same shot as e. the suited man leaps out of the window.

4. the lights, the night. ext. night.

a. the suited man stands outside the house on the ground beneath the open window. he begins to walk away camera R slowly, and the house lights switch off one by one.

close up

b. the suited man turns around to look at the now dark house.

wider

c. the suited man walks round to the back of the house and enters.

d. the house lights all come on.

TFR White Move

(TFR 2 - white move)

scene 1

a. man in suit plays chess with nobody.

b. man in suit looks at camera and deliberately makes the other hand movement

(index fingers touch temples).

scene 2

a. man standing at foot of stairs. he sees something and runs up.

he is running up the stairs endlessly:

b. he is running up the stairs to the landing.

c. he is running up the stairs from the landing.

d. he is running up the stairs to the landing.

repeat.

scene 3

a. man holds up an apple for the camera. he takes a long bite out of it. after a while, he finds something strange. he turns around.

b. there on the table behind him, is another apple. he picks it up and turns back the other way.

c. he takes a bite out of the apple, then finds something strange again. he turns around.

d. there on the table behind him, is another apple. he drops the apple he is holding, picks it up and turns back.

e. he holds the apple, then spins around.

f. there on the table behind him, is another apple. he drops the apple he is holding, grabs it and turns back.

g. the floor at his feet is full of apples with a bite taken out of them.

scene 4

a. the car from TFR 1. the passenger door is open.

b. the man in the suit stands next to the open door. he puts one hand on the frame, the other on the door.

c. close up of hand on the frame.

d. he slams the door shut on his hand, doubling up in pain.

e. he is rolling on the ground in agony, hand cupped in hand.

scene 5

a. he gets up from the ground, hurt hand now bandaged.

b. he removes the bandage to reveal an undamaged hand with a queen inside.