AZA

AZA AZA

Status: Finished

Genre: Other

Details

Status: Finished

Genre: Other

Summary

AZA

Summary

AZA

Content

Submitted: September 10, 2012

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Content

Submitted: September 10, 2012

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AZA

Suddenly there is nothing but blaring T.V. static. Followed by all black. There is no sound. The screen cuts to a grey biology textbook, a slide. The slide is a diagram of a male penis, half of it, the other half missing, dissected, to show all of the internal parts of the organ. This became an animated picture that moved. The picture moved like in an old educational biology film shown to students in 1950s classrooms.

The testicles cycle their sperm count. The seaman floods from the testicles, up into the urethra tract, holds itself in a single column. This looks like a simple white line. Then the seaman releases from the urethra tract and floods out and drops off screen.

There is now, on screen, an animated diagram of a sperm cell. This scientific diagram could almost be World War 2 propaganda. There is the head of the sperm, shaped like a torpedo, and there is a squiggly line jutting from the rear of the head. This line moves slightly.

Three measurement lines appear, notched with ruler marks. Two at the tip. One at the back of the line. Three words appear. One at the center. One at the end. One at the top. The one at the top reads: Acrosome. At the line: Nucleus. At the end: Tail.

Above the sperm cell another measurement line appears. Above that, the measurement reads: 0.05 MM

Now an X-Ray is on screen. It is of the inside of a womb in photo negative. It is actual footage of sperm darting around. All of the sperm are bright white little dots with tails swimming and darting around.

Then a close up of a sperm cells. They almost appeared like bright bulbs with squiggling tails. All of them were darting and swimming around spastically in the liquid. They passed each other. They darted about. All of them like strange lights in a grey goo.

The screen cut to a bright red colored X-Ray of the inside of a woman’s womb. The baby was in very early development. A few weeks old. He was curled up. There was a synthesizer sound, a throbbing. It throbbed once.

The screen then cut to the same bright red shot, but with half of the stomach and vagina dissected out, as in a scientific diagram. The child inside is fully intact, placed neatly within the place containing it. Everything was bright red.

The synthesizer throbbed. Now a constant, faint bubbling sounded.

There were still the bubbling sounds as the screen cut to the image of the same kind of diagram, bright red, the baby now 5 months in development. The bubbles still sounded.

The synthesizer throbbed.

Another bright red shot, the diagram much the same, the baby 6 months old.

The synthesizer throbbed.

The bubbles are going.

On screen then the child in the dissected diagram of the stomach and vagina, 7 months in development. The bubbles sound.

The synthesizer throbbed.

Now the boy was in 8 months development, the bubbles sounds still were going.

The child then 9 months in development.

For a brief instant all was black. Then black and white footage of the birth. There was the close up of the baby boy who writhed out. A bloodied hand gripped tight to the bloody skull of the baby boy. The other hand of the same man gripped tight to the lower regions. The baby boy, bloody and shriveled, squirmed out, his bare belly exposed to the open air, the umbilical cord being pulled out along with him.

Again all is black for an instant, no picture. Then we see the bloodied hand, gripped tight to the skull of the boy. Then a close up of the fingers, wet with blood, gripped very tight around the boy’s skull, pressing in.

The screen then cuts fast to a huge wall scroll, the words upon it visible. At the top of the scroll was the word: LAW, written in kanji. The kanji were almost microscopic, as if written to fill the space on the back of a stamp, covering in a solid block of text the entirety of this huge scroll. The camera moved down the scroll, and there was law after law after law, or so it would seem.

The dictionary definition like lettering of the term: PUNISHMENT appeared on screen.

Then there is all black. The black slowly fades into an outside prison grounds, in Japan, in 1620. The day is damp and grey. There is a figure hung up on a cross. He is the child whose birth carried out on screen. There are there are other crosses by him, filling the field that is walled in by stone.

There is, then, a close up of his face. It is a fresh young face. He has long black hair.

He is naked. He is barely moving. Footsteps sound, approach closer and closer, creaking against the gravel with strides to make the footsteps imposing. Gradually, in this same frame, two samurai approach the nailed man. They wore headbands and their hair was bald at the pate and pulled into top-knots lain down the crown. Both samurai held a spear. They each stand on both sides of the prisoner and raise their weapons.

There is a close up of the crucified man, from the waist to his nailed hands. The two spears were raised in front of his face. His face is stoic, calm, unaffected. The spears lower. The man’s face remains unaffected.

The guard on the left, standing in profile, his legs in a stance, readied his spear for the forward lunge.

The guard on the right, in the same type of stance, did the same.

The spear on the left is stabbed deep into the man’s naked side. There came the sound of flesh braking open. Blood, in a fountain, began to burst out, and the man shrieked out in agony.

The nailed man screams. The blade stabs out his shoulder diagonally.

The solider on the right stabbed upward.

The spear stabbed into the man’s other thigh, his flesh broke and bled, and his screams became louder. He screamed and screamed. Blood spurted out in a stream as more blood ran down his naked leg. He did not stop screaming.

The solider on the left, having already retracted, stabbed into the man again.

In a close up of the head of the man, his eyes closed, his mouth open in a constant scream, we see his face contort in extreme pain.

The solider on the left stabbed into the man again and twisted the spear, and as he twisted, the screams grew louder.

The naked side of the man sprayed blood. His body began to convulse in violent spasms and he jerked his head all around, screaming, sobbing, choking. Blood is running in a heavy stream out his mouth. He began to choke more.

The solider on the right stabbed the naked man in the side again, there is a loud crunching sound

Cut to the soldier on the left, in the same stance, his spear held out behind him, and he stabs again into the man’s side. We hear again the cries of the man as they reach almost inaudible and inhuman proportions.

On the screen, there is now a pulled back frame, the crucified and naked man in the center, the two soldiers on either side of him. They each stab, the soldier on the left stabs, the soldier on the right retracts, the solider on the right stabs, the soldier on the left retracts. The naked man screamed and choked and screamed.

The solider on the left stabs. The soldier on the right retracts.

The soldier on the right stabs. The soldier on the left retracts.

The solider on the left stabs. The soldier on the right retracts.

The soldier on the right stabs. The soldier on the left retracts.

The screen cuts to a shot of the man’s naked legs spread apart. He screamed and choked and screamed. His legs are slicked in blood. Blood pours from his groin. There is a loud sound of bone breaking open as his pelvis comes disassembled and his upper body hangs down as his legs split wide open and clear bile falls out heavily between them.

The solider on the left stabs. The soldier on the right retracts.

The soldier on the right stabs. The soldier on the left retracts.

The man screamed and began to gurgle. He threw his head back in a silent scream as he choked on his own blood.

Suddenly the screen flashed with old WWII footage of the Hiroshima bomb exploding. An entire WWII montage begins. A very sad anti-war folk song begins to play. The WWII footage is compiled of exploding planes crashing from the skies, jungle combat, sinking battle ships, kamikaze pilots soaring straight down, Hitler at his podium in uniform wailing to the masses. There are Soviet tanks parading down the street in tremendous number, the Soviet army marching down the street in legion, and there are fast clips of Stalin, Churchill, Patton. Japanese fighter pilots wave goodbye as they get into the cock-pits of their planes for a kamikaze. Americans shoot down countless Japanese planes from their warships.

All black again. A heartbeat sounded. A scraggily ragman gradually woke up in a dark alleyway, modern day. It was night. It had just rained. The ragman was sprawled against wadded up newspapers, cups, black plastic trash bags, and the gritty, rain slicked street. The synthesizer sounded, along with the heartbeat, and it did not stop. All black again. Then picture, as the ragman slowly got up. Again all black. Then back to the man laying in the alleyway, as he slowly rises. Again, all black. Then, with the picture on, the ragman raised himself all the way up. All black. Then a cut to the ally mouth, a glimpse of the nighttime city lights and pedestrians. All black. Then the screen showed the man’s, rather the boy’s, face. It was the boy who was executed, and then the screen went all black. Then it showed the man’s two hands ripping apart a black trash bag and then went all black.

Then the picture showed the man, facing the screen directly, seen from the knees up, and he had black trash bags wrapped around his head, to his shoulders, exactly like a black executioner mask. All black. Then, a close up of the man’s left eye, that gazed out through a small triangle in the trash bags which are layered and wrapped tight around his head. In his eye is reflected the lights of the city. Then the screen is all black. The synthesizer stopped.

The screen showed a behind shot of the man who is in the black mask, from the small of his back up. He stood at the end of the alleyway, the nighttime city before him showing with signs and neon and lights and passersby. A heavy bass sound began to beat, like a hard, heavy pulse. The man walked forward, moving fast. He walked out of the alleyway, and the camera follows him from behind, somewhat shaky, and he makes his way forward, out of the alley.

Now the camera follows him in a steady way as he walks fast into the city. Almost like a public stunt on camera, we see him from his back as he goes, the bags swaddled tight over his head to the shoulders. He makes his way through the sea of neon colors. People pass by. The bass beat plays low. As the man walks, just beneath his shoulders, the title card of the film flashes. It is in bright red.

AZA. It disappeared as he walks forward, and the camera followed. The title flashed: AZA. We are able to mark the shape of the city. AZA. Gone. A cyberpunk night world, a neon ghetto, lights and signs and people going by, streets and parked cars and neon lit convenient stores with foggy freezers full of sodas and beverages. The city looked like a giant living entity created by many interweaving organisms. To the rhythm of the city’s pulsing, all parts of it flicker and flare. The man is our point of focus as he walks. He makes his way through the cyberpunk city. The red title flashes on then off. AZA. Then gone. AZA. Then gone. AZA. Gone. AZA. Gone. He walks on. Teenage girls with transparent blue micro-mini skirts. Dark-suited men racing across the cross-walks. He kept walking.

All black.

Fade to a temple, 1620, Japan. There is a Zen priest on a pedestal. He is wearing robes. He wears a wide shouldered vest, beneath which is a black robe. He has a grey beard. Above him hang thousands of very, very small slices of paper with writing on them.

Outside the temple there are many steps leading up to it. Aza is walking up the steps and he tears off his black mask of trash bags.

Cut to another scene. On screen there are two wooden doors, seen from the inside the temple. They are both pushed open, and Aza stood behind them, having just shoved them open. He screamed in pain and rage, and stepped forward while screaming thusly.

We then see the inside of the temple, the entrance room, from a pulled back view. Aza is in the center, toward the fall wall, walking fast and screaming in pain and rage. Before him are three knelt figures. They are in robes. Behind them is a Japanese paper screen, with just white light coming through, so that the figures are slightly silhouetted. There are two bronzed lions on pedestals at either wall of the room. Hung from the ceiling are several small white flags. On each of these flags are green triangles within circles. Aza stops before the figures, stops screaming, and then lets out one loud scream filled with pain and rage.

Cut to the robed figure on the far left, sitting on the floor. He looks up at Aza.

Monk 1: What is the meaning of this? You must seek your inner peace. You must tear down all belief systems you were brought up with, and free yourself, and then…release.

On screen Aza stands facing us, the flags with the triangles within the circles hanging from the ceiling behind him. His face flashes with sudden recognition.

Aza: Oh!

He slaps his stomach.

Aza: My bowels!

He reaches inside his kimono and removes his genitals. He begins to urinate on the floor.

Cut to another monk sitting on the floor, the one in the center. The urine is streaming down just in front of him and splashing all over the floor. He abruptly pushes himself up then back, and raises some white beads before him and waves them around. The urine keeps streaming down.

Another monk closes his eyes and lowers his head. The monk on the far right speaks.

Monk 2: Devastating.

Cut to a pulled back shot, all of the figures somewhat in silhouette against the white window. Aza is standing in the center. He shouts in rage, pain, and confusion. He begins to cry. He turns around, with his back to them, and puts back his genitals.

The monk on the far left stands.

Monk 1: Stop it! Be tranquil! Think of blue-bell flowers!

The screen flashes to a shot of blue-bell flowers, swaying in the breeze, the clear blue sky behind them, filled with billowing white clouds. The flowers sway.

Cut back to Aza’s face, facing us, the monks to his back. His face is in shock, as if suddenly offended. Suddenly he opens his mouth, as if in deep offense. He screams in extreme rage. He turns sharply around.

He draws his sword. He slashes twice, screaming. Blood splatters all over the white window, like a bucket of red paint is tossed across it. Aza keeps screaming. He turns and decapitates another monk while still screaming.

Blood sprays out in front of the screen, with Aza still screaming. He lifts up the third monk and, screaming, stabs him repeatedly in the stomach, screaming as he does.

Cut to a close up shot of two wooden doors. They are opened and we see a close up of Aza’s face. His eyes are heavily blood shot. Blood has splattered his face. Tears have dried on his cheeks.

Cut to a pulled back shot of the Zen priest. He sits on a pedestal. Above him hang thousands of very, very small slices of paper with writing on them. There are sliding screen doors pulled apart just before him, and then some floor, and then two more sliding screen doors pulled apart. The camera speeds up to a close up of his face.

Zen Priest: What is this? Who are you? I am the conduit of infinity on the male side.

Cut to Aza, already screaming and running forward. He stops before the priest. He stabs him with his sword.

Zen Priest: Female.

The priest groans in pain and leans forward. Aza withdraws his sword. The priest falls down to his face on the floor, and begins to crawl forward. To the left there is a green fold out veil. He is crawling toward that, bleeding. He turns over on his back, makes begging noises, then crawls behind the veil. Aza follows him behind the veil. Both of them are now off screen, behind the veil.

The camera stays focused on the veil. There are now sound effects. We hear the sound of the blade slamming down into flesh. We hear the high pitched screams of the priest. They are twice as loud as normal. The sword hacks down. The screams sound. The sword hacks down. Over and again. The sounds of the agony of the tortured. Violent pain, wrenching shrieks. Loud, searing cries of torment exploded, rippling the speakers. The screams sound. There is the sound of bone being cut, of meat falling apart, of blood running and trickling. There are more screams. More sounds of the blade slashing, hacking. The screams are still very, very loud. They go on and on. Then more screams. Now we hear the screams in short bursts. They are very, very loud, high pitched, and then they stop. Another one. Another one. This scene, hidden by the veil, with just the sound effects, goes on for maybe a full minute. And then the agony of death at long last.

Aza steps out from behind the veil, covered in the blood of the murdered. He steps to the pedestal, and throws the chair away. Beneath the chair is a cushion on stone blocks. He removes the cushion. The stone blocks are in fact a well that goes hundreds of feet into the earth, and the priest was sitting on it, without any support, the entire time. Cut to the camera falling fast down the well as Aza looks down at it screaming, the thousands of pieces of paper above him.

Flash.

The landscape is charred and war torn and everywhere the dying groan. This child survived. He stands on the bloody earth, utterly alone, dying men screaming in the rubble around him. The landscape of his mind is more horrible than the destroyed and burning world around him.

The door to his tortured memory is in darkness and the darkness is in his mind’s center and it has a gate that can be opened with only a push. Inside there are chambers and quarters, there are shrines of memories and other memories in a strange geometry.

Yet in the very center of this palace is where the self of Aza dwells, and this very thing is what motivates all of his actions since resurrection, an inescapable machine where there is no explanation and there is no help.

This machine is completely black and it is vast and it turns with cogs and with wheels. He is in the center, and he recognizes the three people and screams their names.

Aza: Mother! Katsu! My love! Why!?

and his arm has been severed at the elbow by three dark figures from his past and his arm has been replaced with a white doll arm and sowed onto him. He screams in fear, in pain, in sickness and in sadness and he is unable to comprehend why. Another figure, seeming to dance amid the darkness, severs his leg at the knee, and replaces it with a white doll part and sows it on. They speak to him as they work.

Mother: I always do what the government tells me to. If they tell me my child is wrong, I will do what they tell me to. I am a good citizen. I always obey the law.

Lover: I am taking your parts and replacing them so you lose all hope. There is no God. The emptiness that you feel in your body is replaced with fake parts. You were in pain your whole life, and it will only get worse. I am only being objective. You will never get better, you will get worse. There is no God and there is only fake comfort.

Best Friend: I always put myself first. I am the best person there is. I love myself more than anyone. I just use you to get what I need done. I am only concerned with what helps me. I am better than anyone. This means nothing to me compared to what I will gain from it. This is just the way it is.

Aza, on the black floor, sobs in agony, and his other arm is cut away and replaced with the part of a white doll. The screen flashes black. When it comes back again all of his, save parts of his head, his throat, and his chest, are white doll parts, and he is in a black box that is rotating. As it rotates, there are other figures in the same predicament, all in black boxes that form a kind of tower, each part of the tower segmented to fit in one person on all fours. The cogs rotate and the people turn, and finally are locked together, so that they all are facing one another, looking at each other from their tortured confinement.

Lover: Aza. There were always others. You were never the most important person to me. The world is full of people. This is what is best for me, and so what is best for you.

The scene pulls out rapidly, and the camera zooms out of the pupil of Aza’s left eye. As the camera zooms out, he is standing on the battle field, screaming with hate.

Cut to a Japanese classroom, modern day. It is a fourth grade classroom, of all little girls. The teacher is a middle aged Japanese woman in a suit, with short hair. Behind her is a chalk-board, and to her side is a TV, and a map of Japan. Hung on the chalk are different sizes of triangle rulers. She is speaking in fluent Spanish. We see the backs of the Japanese school girls at their desks in profile. The teacher asks the class a question. A student, a young Japanese girl, says “Si,” and rises and begins to answer the question in Spanish.

Cut to outside the classroom, in the hallway. Aza falls through the ceiling, which is rippling in liquid like waves, then resumes solidity. To the right of him, and to the left of him, the hallway is packed to the walls with teenage Japanese girls. They are looking at him angrily. The group on the right all open their mouths, and start making an “O” noise. The group on the left all do the same, making an “O” noise. As all of the girls are making this continuous “O” noise, they start walking toward Aza, who is in between them, with intention of smothering him with their bodies.

Aza turns sharply to the left, the right. He stands in the center and looks down. The girls are almost a foot away from him on either side. Suddenly he looks back to the left, draws his sword, and slices down one girl, who falls face down. He turns immediately to the right, and slices down another girl, who falls. He turns back to the left, slices down a girl, turns to the right, slices down a girl, and repeats this.

Cut back to inside the classroom. The Japanese teacher is speaking in fluent Spanish to the Japanese children. The school bell sounds. The teacher bows. The young girls rise from their seats and bow.

Cut back to outside, in the hallway. Aza his knelt down, holding a convulsing teenage girl tight by her hair, his bloodied sword stabbed through her and she is convulsing with her mouth open. Aza’s mouth is open in confusion. Every single teenage girl lies dead and stabbed and bleeding on the floor. There are puddles of dark blood all over the floor. The girl who Aza holds is moaning in pain as he retracts his sword. Her eyes bulge and there is the sound of blood spraying out in a mist then easing into a trickle. Aza, covered in blood now too, sets her down by the hair and breaths heavily and stands.

He looks slowly to the side, his eyes heavily blood shot. At the far end of the hallway, past the dozens of dead teenage girls, are two completely naked toddlers, male and female, holding hands and standing in a puddle of blood with each other. The camera cuts to a closer shot of them.

Aza falls down to his knees, gasps, and begins to crawl away. He crawls over the limp body of a teenage girl, pressing hard on her, and then crawls away on another. The Spanish teacher has just now stepped out into the hallway, and she screams and presses herself against the wall. Aza stands and begins to walk away, looks at her briefly, bows his head once, then continues to try to get away. He exists. After he is gone, the Spanish teacher straightens herself, fixes her hair, and walks calm and collected down the hallway, her heels clicking through the blood, her footsteps nimbly avoiding the bodies of the dead girls.

Cut to Aza running franticly down the modern day street until he disappears in white light, like a warp.

Cut to 1620 Japan, a small wooden village. An old woman is progressing slowly with a cane across the way. She is surrounded by wooden homes and walls, all connected. There is the sound of breaking wood from above. Suddenly Aza falls down from the sky and crashes to the dirt. The old woman, dressed in a blue flowered kimono, with her hair done up in the style of the period, turns around and faces him. As he begins to stand she turns and scurries away.

Cut to a shot of the alley between the wooden homes. One young woman is running away toward the camera, and another woman, and older one, holds the hand of a little boy. She stares at the camera, at Aza, for a moment, then turns and leads the little boy off screen.

The screen cuts fast to a modern day Japanese S.W.A.T. team. They are in all black suits, with knee pads and elbow pads and black helmets with visors on the top of them. They each carry MP5s, sub machine guns. They are standing around, confused, in the middle of ancient Japan.

S.W.A.T.1: Where are we? Did we time travel? Some kind of science experiment?

S.W.A.T.2: I don’t know. One minute we were…AZAAAAA!

Aza, having just being yelled at, turns to face the camera.

The entire S.W.A.T. team is marching in slow motion, with guns raised, toward him.

S.W.A.T.1: AZAAAAAAAA!

Cut to their jumble of boots all walking forward. Then we see the leader raise his MP5 and fire it. The bullets rattle off. Aza jumps fast to the side, as the gun smoke fills the air, and he crashes into a wooden home. He falls through the paper screen and stands and runs. Outside the home, the S.W.A.T. team have raised their weapons and they are firing again, the shells ejecting, the smoke drifting through the air. Back inside the home, a Japanese family of husband, wife, and child, are sitting down in a triangle over a meal. Aza, having already crashed in, is standing, and beginning to run. The bullets tear through the house, and murder the family dead, their blood splattering out against the walls and paper screen.

Aza rises from cover and jumps through the paper screen. The S.W.A.T. team bursts in from the other side and rushes toward the torn paper screen. We cut fast to outside again, as the paper screen is pulled fast open and one S.W.A.T. man jumps out and fires blindly, madly. Close up of the sword coming from the side and stabbing through his Kevlar and into him. Aza stands and pulls him off his blade and summersaults forward, where there are two more S.W.A.T. members firing their weapons. He rolls toward them and stands and hacks them both down fast, going from one to the other, from one to the other, until they both fall dead, the gun smoke still not having cleared from the room.

Outside this room, from the other side, in a wooden alley, more S.WA.T. members are about to pull open the screen door when it bursts apart and Aza jumps out at them, screaming in rage. He immediately stabs one man through the Kevlar armor in the stomach and pushes forward, the man with his MP5 aimed down and holding down on the trigger, causing the muzzle to flash and the shower bullets to shoot all over the ground in a half circle as Aza turns him. The other S.WA.T. team members have taken several steps back down the alley.

Aza pulls this man by the back of his helmeted head off his sword and, still screaming, runs forward. He slices two men fast and they begin to stagger back up to their feet. One man sticks his MP5 at Aza’s head and Aza grabs the man’s arm and pulls it to the side as the gun fires on fully automatic. Aza beings to turn the man’s arm and the man slightly pivots as the gun blasts rapidly.

Then the leader of the S.W.A.T. team, the man who had screamed, grabs Aza with both arms and throws him hard against a wood post. He then throws him against it again and then throws him to the ground. The other S.W.A.T. members rush forward with their guns aimed straight ahead and lay down on the triggers. Smoke wafts through the air.

Aza has immediately fallen down on his side behind some dead S.W.A.T. team members and taken one of their MP5s and fires it. He lays down on the trigger, then stops and glances at the gun in his hand in disbelief. Right then two gunshots from a automatic glock fire at him and he stands and runs to the side. The commander steps forward and fires his glock with both hands, his arms fully extended. He fires twice more, then turns to his two remaining men and signals to them with his arm. They nod and run off in the opposite direction.

The commander runs forward, presses himself against a wooden wall by some hay and a barrel, then turns sharply and aims his gun down an alleyway where two more ancient wooden homes are built. As he steps quickly into this alley space, the other two S.W.A.T. team members, with their machine guns aimed, step into it from the other end. The commander flattens himself against the wall, his gun aimed down, and the two other S.W.A.T. members flatten themselves against the opposite wall.

The commander runs ahead and flattens himself against the other wall, ahead of the two others, and the two others run forward and flatten themselves against the wall where the commander was. The screen door beside them slides open and Aza charges out while screaming, and he slices at one man’s waist deep and the man falls, spraying gun fire in a semi-circle before he falls and shoots at the sky then at the side of the home before the clip and chamber click on empty. Aza has already ran away.

The two men follow him into another home. A Japanese woman is holding her infant tight to her in there, and she looks down and is afraid as the two men burst in.

S.W.A.T. 1: To the back!

Immediately Aza stands from where he has hid himself and slices down the last man who is not the commander. When the man falls Aza repeatedly hacks into his Kevlar.

The commander has pressed himself against the wall outside. The sword stabs through right by his face. He steps fast to the side and Aza bursts out and stabs the man in the gut and presses forward. The commander grabs Aza’s head and head butts him with his helmeted head. He does this again. Aza withdraws his sword and steps back. The commander raises both of his arms, his glock in his right hand.

S.WA.T.1: C’mon! C’mon!

Aza rushes forward and stabs into him again, and the man, with his arms still raised, shoots Aza in the back with his gun. Aza hunches down and stabs in deeper. The man shoots him again in the back. Aza withdraws his sword and steps back. The commander limps forward, once, twice, three times. He then sticks his face into Aza’s with an imposing grimace then falls dead.

Close up of Aza’s face. He spits up blood. Then we see his back as he screams and raises his sword and runs forward as fast as he can. He crashes through a wall.

Next he is running down the brightly lit street of modern day Tokyo. It is nighttime. There are citizens and nightlights and stores and traffic. He screams as he runs down the street with his sword raised and people stop to stare.

Cut now to several Japanese citizens running franticly down the street. They are screaming in horror.

Cut to a squad of samurai from 1620, in full dress, holding glowing lanterns on poles, running down the street. The citizens flee horrified.

Citizen 1: Why is this happening? This cannot be happening!

Citizen 2: Not here! Not now! Hoooooow?

Citizen 3: O-samurai-sama! O-samurai-sama!

Cut to two samurai, , shaved pates with top-knots, in kimonos and katanas and short swords and headbands, standing firmly on the street, their arms crossed. Their faces are stoic. As they stand firm, a huge semi truck appears behind them and honks twice then in one long blare. The samurai stand with their back to it and remain unaffected, as if they do not notice. The truck swerves fast to the side falls on its side and skids across the street making sparks. There is a gas-station just across the way and the truck barrels into the pumps, breaking them over, and then the truck explodes and the gas station explodes as well.

Cut to the squad of samurai, standing in the street, looking at the explosion and the fire.

Samurai Leader: What is this strange place? Perhaps some kind of magic? Another world, a--AZAAAAAAAAA!

The gang screams in rage and runs forward, toward Aza. Aza turns to see them and runs.

He runs down an alleyway, and some of the gang run at him from the other side of it, swords drawn and raised. Aza screams and begins to hack them down before they can slash at him. He slices down three, then runs into a smaller alley way ahead of him. More samurai pour in from the other end, and they begin to dash into the small alley way.

Aza is running through the hallway of a modern Japanese home. A samurai jumps up in front of him. He slices the samurai down. More pour in.

Samurai: Kill him! He is a useless maggot! Don’t let him get away!

Aza runs back outside, into the street, surrounded still by samurai. He turns franticly in all directions, evading strokes, and slashing. A modern day man and woman have pressed themselves in horror against the brick wall of the building. Aza is screaming as he slashes around, and he turns to face this man and woman and he screams at them, then turns and resumes slashing. He kills two and they fall dead.

The samurai then form a ring around him. Aza steadies himself. One samurai charges forward and is stabbed in the chest and cries out. Aza withdraws his sword and they all attack him as a group. He slices down two more. The camera is in a steady motion, serpent like, as it follows Aza running back and forth, killing the charging samurai, and it covers, too, the samurai as they flow past. Then the camera cuts to an above angle. Two more samurai remain, plus the leader. There is a moment of no movement. Then the two men charge. Aza slices in front and behind him, then remains in his finished stance. The two men, dead on their feet, stay still a moment, then fall to the street in the same instant.

Aza is crouched down, his sword held out, his mouth open and his tongue out. The leader of the samurai steps forward.

Samurai Leader: What skill!

He begins to undo his outer robe.

Samurai Leader: I, like my father before me, am a master swo--

Aza slices into the man’s head. We see him do this as he faces us. Then the camera cuts to the man, the sword stuck in his face, through his nose, to his ear. One eye is below the blade, and one eye is above the blade.

Samurai Leader: Fucking maggot.

Cut back to Aza, who stands as before, and we see the back of the samurai with the sword in through his head. Aza cuts fast and turns his body to the right and the camera follows him, and we hear the exact sound effect of the man’s head snapping off then clocking to the ground. Aza turns around and runs.

Cut to the interior of a modern Japanese home, this same night. There is an elderly woman, an elderly man, a middle aged woman, and a middle aged man, and two teenage children, a boy and a girl. They are sitting around a small table except the middle aged woman. The middle aged woman is the only one standing, and she is placing the bowels on the table for them to begin their meal. They begin to eat. She sits. They eat silently. This goes on. Suddenly Aza crashes through the back door and storms over the table crashing everything over and goes forward into the next room.

He steps into the kitchen, stares for a moment at the metal pan that is at a boil, then runs forward. As he runs he falls through the floor, which ripples like liquid then becomes solid again.

Cut to a large green tree, with long leaves hanging down like ropes. The day is damp and grey and there is a murky and dark pond where mist rolls like steam.

A voice: Aza…Aza…

The camera glides past the leaves of the tree in a close up. Behind the leaves is a figure. The figure is in a woman’s kimono, and his skin is painted completely white. He is bald at the top of its head, and long black hair hangs down the sides of his head. The head of the figure is painted completely white, with two long red streaks, in points at the top of the head, and these run down along the face and come to a triangle at the chin, then run down the chest in a single line. The camera stops when it comes to this man.

Man: Aza, I am womankind. I am all woman. You once loved me, Aza. Once…

The man stands by the stream. The camera has pulled out and Aza stands looking at the murky grey pond with his back to us.

Man: Aza, once we were soul mates. It was natural. Since the beginning.

Cut to he man’s white legs below the waist. He has spread his legs and his kimono has parted. His legs are painted all white. The man reaches into his vagina, first with one finger, then with two. Then most of the top part of the hand. There is a slimy sound.

Cut to his painted white face with the two red lines down it. His face is strained and in pain, and there is still the slimy sound.

Cut back to his parted legs, and we see now that a red, phallic like piece is being pulled out. It is very, very long. As he pulls it out the red phallic piece turns into a double edged knife. He pulls it completely out. Cut back to his head.

Man: Now there is this in me. Why? Why?

He drops the knife and steps toward Aza’s back. The extended leaves of the tree begin to sway slightly in the wind.

Now Aza faces the camera in profile, and the man is behind him, slightly higher. Aza, without looking back, grabs the man by the arm, bends down, and flips him into the pond.

The man splashes into the grey water. It is shallow. He gets on his hands and knees in the water, looking down at it, his back to Aza who is on the shore. As the man turns around slowly, the camera cuts to a close up of him. The man turns around, now submerged in the grey water to his shoulders. He begins to sink in a spiral.

Man: This is our origin. This is how it all began. What malice.

He sinks lower and lower, his black hair now in floating strands. He begins to cry.

Man: Why can’t you love me Aza? Why?

He sinks more, his voice more frantic.

Man: This is how we were made. What cruelty.

He sinks in to his jaw and turns his head sideways, though now his shoulders are slightly out of the water. He makes bubbles with his mouth.

Cut to a large rock on the grass. Aza’s hands reach down and pick it up. Cut then to a elevated, pulled back shot, the man submerged in the grey muck, seen from the back, and Aza standing on shore holding a large rock with both hands. He raises it above his head, steps forward, and throws it at the man’s head. Before the scene cuts quickly away, we see the large rock land right on top of the man’s bald head, and we hear the exact sound of the skull and brain crunching. The bottom of the rock has just landed on the man’s head and the exact sound effect has been made. Then the scene cuts away.

Cut to clips from the Vietnam war. Another sad anti-war folk song begins to play. We see footage of jungle fighting, of huey helicopters lifting off, of soldiers waving, of streaks of napalm being dropped, of jungles burning, of soldiers smoking, of Vietnamese villagers. We see LBJ talking in the white house, we see anti-war demonstrators marching, we see Nixon speaking, we see him giving his final double peace symbols as he boards Air-Force One. We see TV news footage, headlines of papers, more jungle combat, and the folk song goes on until it ends.

Cut to wall street, daytime. There are many men in business suits walking down the street. Some are checking their watches and some are hurrying along. Cut then to the inside of the upper floor of an office building, divided into cubicles by carpeted walls. There are men and woman at their desks inside the cubicles, typing at their computers and answering their phones. We then cut to Aza, seen from behind, from the shoulders up, walking fast through the hallways. The camera is shaky as it follows him. Men see him and get out of his way while looking at him strangely.

Cut back to outside, on wall street. Now the business men are running away, screaming for their lives. The camera follows Aza in a steady, serpent like stream, as he screams in rage and runs through the mass of suited men and hacks them down with his sword. He runs fast as they run past him or away, and he kills at least a dozen. Some men are taking off their watches and throwing them at Aza or holding up their wallets, begging for their lives. He does not, or simply can not hear them, and continues to kill them.

There are now dozens of dead business men on the ground in a pool of their communal blood. Aza is walking through the blood, toward a building. He walks up to the building and puts one foot against it flat, and then proceeds to walk straight up the side of it. As he walks up the side of the building, the camera follows him. He walks up the entire building, then across the roof, then begins to walk down the other side of the building, going downward.


© Copyright 2018 JChurchwell. All rights reserved.

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