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Screenplay for a live-action Attack on Titan film.
Citation preview
AGE OF THE TITANS: The Battle of Trost
By Arden Taylor.
Table of Contents
Synopsis, Character and Setting Information ........... ii - vi
ACT I - BROKEN
Scene 1 - The Fall of Maria ............................ 1
Scene 2 You Have to Live ............................. 16
Scene 3 - You Are Weak ................................. 22
Scene 4 - The Armored Titan ............................ 27
Scene 5 - The Promise .................................. 30
Scene 6 - Without Even Hope ............................ 32
Scene 7 - The Survey Corps ............................. 34
Scene 8 - They Died For Nothing ........................ 37
Scene 9 - The Needs of the Many ........................ 40
ACT II - A LIGHT CUTTING THROUGH THE DARKNESS
Scene 1 - Lights of Humanitys Hope ................... 48
Scene 2 - To Live Without Regrets ...................... 56
Scene 3 - Why Are You Here? ............................ 59
Scene 4 - To Each His Own .............................. 68
Scene 5 - The Chosen Few ............................... 72
Scene 6 - Best of the 104th ............................ 76
Scene 7 - The Bitter Truth ............................. 81
ACT III - THE BATTLE OF TROST
Scene 1 - Worst Nightmare .............................. 86
Scene 2 - Were Not Going to Die Today ................. 94
Scene 3 - Dream of Something Better .................... 101
Scene 4 - Left Behind .................................. 109
Scene 5 - Move ......................................... 112
Scene 6 - Keep Him Alive .............................. 123
Scene 7 - Titan-Killing Freak .......................... 128
ACT IV - COUNTERATTACK
Scene 1 - The Power of the Mind ........................ 134
Scene 2 - Our Only Weapon Against Them ................. 140
Scene 3 - Seven Titans ................................. 143
Scene 4 - She Hears a Heartbeat ........................ 150
AGE OF THE TITANS ii
Synopsis
This is a live-action film version of the manga and anime series
Shingeki no Kyojin (Attack on Titan) by Isayama Hajime. It is
a post-apocalyptic story of the last of humanity, trapped inside
three concentric stone walls to protect them from titans,
freakish giants driven by a desire to eat human beings alive.
The situation is so desperate that even after a hundred years of
fighting them, every time a group of soldiers leaves the walls
to explore the outside world, the majority never return. In the
first scene, one of the three walls is broken and titans invade,
consuming in one fell swoop 10,000 people and taking over one
third of humanitys land. The main character, a 12-year-old boy
named EREN JAEGER, witnesses his mother being violently killed
by a titan and vows to exterminate them all. In his first actual
battle, however, EREN is eaten himself while trying to save his
friend, after already losing a leg to the titans. But ERENs
mysterious father gave him a gift before he disappeared from his
life, a gift of which EREN himself is unaware: the ability to
turn into a titan (titan-shifter). EREN is the first human
ever to be victorious against the titans. It is an underdog
story, a story of hope and humanity, and a deep look at what
human beings most fear: each other.
Setting
Costumes and architecture resemble medieval Europe, but
technology is early industrial. As an example: they still use
horse and carts to transport large items, but for moving quickly
over rough ground, carts possess sophisticated steel spring
suspension. The Aerial Combat Gear used to fight the titans
(explained on Page ii) is also highly advanced and requires
dedicated steel, gas and other industrial fabrication. The
technology available to this society is strictly monitored and
controlled; those who invent new things have occasionally been
kidnapped, tortured and killed by the Feldjger (the most elite
of three divisions of the army, lit., Military Police).
Titans
The most terrifying feature about the titans, apart from their
regenerative capabilities (all non-fatal injuries heal in under
two minutes), is undoubtedly their variation in appearance and
tendency to have expressions of sadistic pleasure, like children
playing with bugs. Though most resemble humans, some have
distended stomachs, unnatural methods of locomotion, or
AGE OF THE TITANS iii
disproportionately sized limbs or facial features. Effort should
be made to vary their appearance and make them as freakish and
yet freakishly human as possible, toeing the line between human
and monstrous. They are meant to represent the thing that humans
ultimately fear more than anything else - our great power
subtracted of compassion and turned against ourselves.
Music
Music is also of great importance, enough to be considered a key
player of the ensemble. Themes from Sawano Hiroyukis original
award-winning soundtrack should be revived during key moments,
but the whole score should be new in every sense. The music must
be emotive, chilling and always beautiful. Can be a blend of
orchestral and modern instruments as appropriate, but should be
almost entirely choral-driven. Human voices singing produce a
particular affective quality, which can be joyful and can be
horrific, but which suits series perfectly. All musical themes
should be inspired by medieval madrigals. Like the themes of the
series itself, the music should touch deep and delicate parts of
the human psyche and should never be dull, predictable or half-
hearted.
Lighting
One key artistic choice of the anime director, Araki Tetsur,
was to surround characters in clear black lines, almost as if
they are 2-dimensional puppets being moved across the screen.
This has the effect of both metaphorically emphasizing the
characters (as opposed to the action or plot) and darkening the
whole image, a calculated injection of character importance and
a subtle way to reinforce the constant fear and despair of their
world. Though this is not possible in live action, it is
necessary to differentiate the lighting and effects from that of
other films; it is important that the audience not feel quite
able to relax. All lines should be both soft and stark, all
images should be slightly darkened. Colors should be saturated
but not emphasized, giving the effect of a nightmare.
Aerial Combat Gear (ACG)
One of the most heroic elements of the story is the method
Isayama Hajime designed to give the human race a chance against
creatures ten times their size. In the original series it is
simply translated literally as, 3-Dimensional Mobility Gear
(not as effective or concise as the original Japanese rittai
AGE OF THE TITANS iv
kid (
)). It consists of the following components: 1) two
grappling hooks which fire from a belt worn around the user's
waist and pull the user along between high structures to
facilitate flight, 2) support belts all over body to distribute
weight evenly during 3-dimensional maneuvers, 3) gas for
propulsion in midair, 4) two hand triggers which control
grappling hooks and gas, 5) disposable blades, strong enough to
cut through thick titan skin but which dull quickly, inserted
into the hand triggers, and 6) a holster for spare blades
strapped to each leg (six spares on each side). The aerial
combat techniques make skilled users look like they are indeed
flying, like agile birds in comparison to the hulking titans. 3-
dimensional combat requires immense strength, especially in the
legs, good balance and superior instincts for being able to
comprehend movement in three dimensions, rather than two.
Interestingly, upper body strength is not critical, thus women
actually have a slight advantage (roughly 40% of soldiers are
women).
Characters
EREN JAEGER
EREN is a young boy (12 y.o. in ACT I, 16 from ACT II-end) with
the anger and intensity of a cornered animal. In the first act,
he wears clothes that are too big as if to reflect his
overreaching ambition. EREN represents the savagery of
humanitys last surge of hope on the brink of destruction, and
thus is driven and hopeful yet also easily carried away by anger,
fear, despair and hate. Despite his zealous nature and the fact
that most of his peers dislike him personally, he has an elusive
quality which draws people to him and inspires them to keep
fighting. EREN should be European in appearance, slight of frame
and possessing an intense stare. Large, fierce eyes preferable.
Non-name actor preferred, Robert Sheehan type but more fragile,
less controlled, more animal than human.
MIKASA ACKERMAN
ERENs best friend and protector, whom he rescued from
kidnappers as a child. MIKASA is a girl of ERENs age, utterly
uncompromising and emotionless in most situations. She is
fiercely protective of EREN as well as naturally strong and
skilled at fighting. This is mostly due to a lack of empathy for
anyone but EREN and ARMIN. At times she can reveal how twisted
she really is, but in general she is a blank slate. MIKASA is
AGE OF THE TITANS v
the one character who must be Japanese, as this is a significant
plot point. She must also be incredibly athletic - six pack abs
preferable - yet soft in expression and tone of voice. Okamoto
Tao type (but obviously much more muscular).
ARMIN ARLERT
EREN and MIKASAs best friend. As a contrast to the other two,
ARMIN is fragile both physically and emotionally, prone to being
enveloped by his own fear. Intelligent and sensitive, he is also
driven by a desire to be equal to his friends and not be a
burden on them. ARMIN must be small-bodied and vulnerable, also
more likable than the other two. ARMIN is male, but can be
played by convincing female, as in anime, to enhance sense of
vulnerability and also likability. Male: if played by male, must
be small, delicate and young-looking (young Christopher Walkin
or Macaulay Culkin type). Female: must be androgynous and
capable of sustaining male physicality and at least somewhat
convincing voice (young Dakota Fanning type).
LEVI ACKERMAN
LEVI is the most prolific titan-killer alive, second in command
of the Survey Corps. Although absent through most of the first
half of the original series, this character remains the most
popular (even more so than EREN). LEVIs physical appearance is
crucial: he must be very short and thin, surprisingly so. He
should also have dark but delicate facial features. This
contrast of his small body compared to his immense prowess at
killing titans is a main feature of his character and an
overarching theme of the series: the underdog victory. Other
features of his personality are a sullen attitude (as if lacking
sleep), great care for subordinates despite a lack of social
grace, and obsessive cleanliness. He should also speak softly
and lowly like a displeased cat and rarely use any particular
emotional tone in his voice. Possible name actors: Reeve Carney
(would need to be shortened with camera angles and possibly CGI),
or Mizushima Hiro type. Note: Levis age is never stated by
Isayama Hajime, only that he is surprisingly old and at least
twice ERENs age, so most likely mid-thirties or older.
ERWIN SMITH
Commander of the Survey Corps. It is fair to say that, apart
from EREN, this character is the linchpin that will determine
the quality of the film. He will be very difficult to play,
AGE OF THE TITANS vi
particularly for Westerners. The dire situation of the human
race requires ruthless decision-making, and ERWIN is the only
person intelligent, cold and yet altruistic enough to do so.
Though he is monstrous on the inside, he must never (or hardly
ever) show how merciless he can be. His thoughts must be a
complete mystery, even to those closest to him such as LEVI. He
is also loosely based on the historical figure, Erwin Rommel,
and thus should have a nobility and quiet grace about his
bearing. Michael Fassbender or Christoph Waltz type but slightly
more refined and controlled than either, early thirties.
JEAN KIRSTEIN
JEAN is ERENs foil among the training cadets: self-serving,
cowardly, never serious, though just as quick to anger. JEANs
portrayal is meant as a representation of natural human self-
preservation in the face of almost certain death and crushing
despair. Without him, ERENs character is completely un-
relatable. ERENs intensity and hope for the human race
eventually rub off on JEAN, but he never stops openly disliking
EREN. Even as he changes into a more noble and compassionate
person, he must remain flawed. He must never lose his fear,
self-doubt, or instinct to prioritize his own life.
ANNIE LEONHARDT, BERTOLT HOOVER and REINIER BRAUN
All three of these characters are secretly titan-shifters
(which is to say that, like EREN, they can become titans at
will), but that plot point will not be revealed in this film.
Instead, all three must display cracks in the facade they try to
maintain. ANNIE is harsh and rarely speaks, a woman of small
body but superior martial arts ability. BERTOLT is tall, gloomy
and shy, seeming to lack a compass or drive in life, as well as
any hint of self-confidence. REINER is the second most skilled
trainee after MIKASA, large and sturdy of frame, and since he is
quite friendly and selfless by nature, his mask is the most
difficult to maintain. ANNIE and REINER should look German if
possible.
HANGE ZOE
HANGE is the overly enthusiastic chief scientist of the Survey
Corps and indeed seems almost sexually excited by seeing titans.
Though lacking much screen time in this film, it is important to
note that this character is meant to be gender-neutral. If
possible, an androgynous actor is preferred, and all gender-
AGE OF THE TITANS vii
specific forms of address should be avoided or changed to
gender-non-specific they.
ACT I: Scene 1 1
ACT I - BROKEN
Scene 1 - The Fall of Maria
OPEN ON BLACK
YOUNG EREN
(barely audible, echoing, O.S.)
Dadstop! Ever since Mom died, youre crazy!
GRISHA (ERENs father)s voice gradually becomes audible.
GRISHA
(sobbing, indistinct, O.S.)
can't I explain now, you wont remember anyway.
ABRUPT CUT TO:
EXT. FOREST INSIDE WALL ROSE - DAY
CLOSE-UP, BLURRY SHOT GRISHAs shaking hand, ERENs POV. He
clenches a key on a leather necklace. Key flashes in the light.
CUT TO BLACK
GRISHA
(O.S., echoing)
Their memories will show you how to use
itthe basement, Eren Remember! (suddenly distinct sound)
Give me your arm!
ABRUPT CUT TO:
CLOSE-UP of GRISHA, ERENS POV, crying and grabbing ERENs arm (reaching toward camera, EREN O.S. beyond camera), image
flashing in and out. EREN cries out in panic.
CUT TO BLACK
Cry fades to silence. Sounds of someone whistling So Ist Es
Immer by Sawano Hiroyuki. Song fades after a few bars, then
returns over images.
ABRUPT CUT TO:
EXT. WALL MARIA INTERIOR - DAY
MONTAGE flashing images of the following four shots: WIDE, HIGH-
ANGLE SHOT pastoral scene of farmland inside Wall Maria, TIME
CUT to SAME WIDE HIGH-ANGLE SHOT but now with three titans in
field. (Titans in this sequence should be clearly wrong-looking
and upsetting, but images of them should not be distinct.)
ACT I: Scene 1 2
WIDE SHOT of a roof inside the city of Shiganshina, TIME CUT to
SAME WIDE SHOT of roof but now with large splatter of blood and
a single womans shoe lonely on top of roof.
WIDE SHOT of a peaceful street in Shiganshina with several
people walking, TIME CUT to SAME WIDE SHOT but street is now
empty but for blood stains (no bodies or titans). Each time cut
should have a lighting change, high contrast and sad.
WIDE, BLURRY SHOT from RANDOM TITANs POV as it picks up a human
as if to eat it.
CUT TO BLACK
Whistling song finally fades to silence. Beat. Sounds of wind
gradually growing louder.
ABRUPT OPENING ON:
EXT. HILL INSIDE WALL MARIA - DAY
Though not visible in the initial shot, the characters sit on a
grassy hill inside the outermost of the three walls, Wall Maria.
They are here to gather wood from the nearby forest, as there is
no such thing in their home town of Shiganshina, which is a
totally isolated section (titan bait city) of Wall Maria.
HIGH-ANGLE CLOSE-UP of YOUNG EREN JAEGER sleeping fitfully in
grass. EREN is a 12-year-old boy with fierce expression, dressed
in simple clothes at least two sizes too big. A tear drips down
his face and EREN gasps awake.
WIDE PROFILE SHOT of EREN and YOUNG MIKASA ACKERMAN, also 12,
Japanese girl who shows almost no emotion, sitting nearby as if
guarding. She turns at the noise.
YOUNG MIKASA
Eren. What were you dreaming about?
EREN sits up.
YOUNG EREN
I don't knowit's gone already.
CLOSE-UP MIKASA.
YOUNG MIKASA
Why are you crying?
CLOSE-UP EREN. He blinks with surprise and touches his cheek.
YOUNG EREN
(bitterly)
Its nothing.
ACT I: Scene 1 3
CLOSE-UP MIKASA. She seems doubtful but says nothing. She looks
up to check the time by the sun.
WIDE PROFILE SHOT of both, hill, forest and Wall Maria distantly
visible in background. MIKASA picks up a bundle of wood and
gestures for EREN to do the same.
YOUNG MIKASA
We should be heading back. Your parents
will be worried.
EREN sighs but obeys, picking up his own bundle of wood (much
smaller than MIKASAs). PAN RIGHT to follow as the two start to
walk down the hill. As camera follows them, the vastness of Wall
Maria becomes visible in background, though not yet emphasized.
MONTAGE of wide shots of the two walking to the gate, past
Garrison soldiers slacking off, into the city.
ESTABLISHING SHOT of the city of Shiganshina, subtly showing its
size by the distance to the next side of the wall in background,
ominous but not yet emphasized (the city is entirely surrounded
by the wall).
SUBTITLE
(over)
Shiganshina
(Titan Bait City)
Southernmost Point of Wall Maria
Year 845
MONTAGE WIDE SHOTS of life inside the city: a crowded
marketplace with food and essentials, a teacher showing children
how to pollinate plants, a Wall Priest preaching noisily at
passersby about the sin of touching the walls, two Feldjger
harassing someone for supposedly stealing, one shot of the
massive steel mills for making anti-titan blades. At least one
clear shot of soldiers wearing Aerial Combat Gear (ACG).
DISSOLVE TO:
INT. ERENS HOME - CONTINUOUS
WIDE SHOT of kitchen, ERENs home. It is a three-room house made
of wood, only kitchen/entrance shown. Kitchen is very bare with
a dining table and four chairs, bench at rear, water pump and
sink. MIKASA and ERENs mother, CARLA, are washing dishes in
right edge of frame as ERENs father, GRISHA, reads a newspaper
at table in center. EREN sits beside, watching all. CARLA is a
confident and fierce woman who strikingly resembles EREN. GRISHA
ACT I: Scene 1 4
is slightly older, has a beard and glasses and shows very little
of his thoughts.
ARMIN
(V.O.)
Wed been caged for so long, humanity
had forgotten.
MEDIUM REAR SHOT MIKASA and CARLA, mood between them is blissful.
ARMIN (CONT.)
(V.O.)
Forgotten the terror that took our land
from us.
CLOSE-UP EREN as he watches with obvious discontent, though he
himself may not be sure why.
ARMIN (CONT.)
(V.O.)
Forgotten the need for freedom,
forgotten even the hope.
EREN looks at GRISHA.
CLOSE-UP GRISHA, who notices his gaze and smiles unreadably,
foreshadowing GRISHAs role in turning EREN into a titan-shifter.
DISSOLVE TO:
EXT. CITY OF SHIGANSHINA - CONTINUOUS
WIDE SHOT of whole city pushing up to VERY HIGH-ANGLE SHOT, this
time Wall Maria emphasized. This is the first truly impressive
shot of the vast size of Wall Maria in comparison to the city
and the soldiers patrolling it (150+ feet high).
MONTAGE WIDE SHOTS of daily life in Shiganshina over V.O.,
showing the overall poverty and simplicity of life there. One
shot of woman hanging laundry on a line outside, one shot of
stray dog barking, one shot of someone being victimized by
thieves (to which no one pays any attention), one shot of
soldiers on top of the wall.
ARMIN (CONT.)
(V.O.)
One hundred years of peace had robbed us
of our ambition, our curiosity, our
desire to improve. It was a docile
existence within our high walls. Very
ACT I: Scene 1 5
few of us ever saw what the walls kept
out.
WIDE TRACKING SHOT, birds eye view, out over top of the wall to
show vast expanse of greenery outside (no titans yet).
CUT TO:
EXT. RIVER BANK, CENTER OF SHIGANSHINA - CONTINUOUS
WIDE PROFILE SHOT of YOUNG ARMIN ARLERT, weak and fragile-
looking blond boy of 12. He is reading alone, sitting on steps
above the bank. ARMIN looks happy but should show marks of being
beaten up. EREN enters in background, claps him on the shoulder
and sits beside him. MIKASA also sits some distance away.
YOUNG EREN
Nice face. Talking heresy in front of
those bigger kids again? I told you to
call out for someone or run away.
CLOSE-UP ARMIN, grinning, EREN's POV.
YOUNG ARMIN
Never mind that. Look what I found!
Grandfather was hiding it.
CLOSE-UP book as ARMIN displays it to the others. An abstract
cover design should indicate that the book concerns geography.
MEDIUM SHOT of EREN and MIKASA looking on dubiously.
CLOSE-UP ARMIN.
YOUNG ARMIN (CONT.)
Its a book about the outside world!
MEDIUM SHOT EREN and MIKASA, both alarmed.
YOUNG EREN
Oh my g-...listen to yourself, Armin.
You know what the Feldjger will do if
they catch you with that?
YOUNG ARMIN
(O.S.)
Come on, just look!
CLOSE-UP of book as ARMIN flips through pages of artistic
drawings of natural wonders. ZOOM IN through dialogue.
YOUNG ARMIN (CONT.)
ACT I: Scene 1 6
(O.S.)
Fire-spitting mountainswhole continents
made of iceburning sands stretching for
miles and milesit must be much bigger
than we ever imagined!
MEDIUM SHOT EREN and MIKASA. EREN looks concerned, then sighs.
YOUNG EREN
Just dont get caught. Sometimes I think
you have a death wish.
CLOSE-UP PROFILE MIKASA, looking away with mild bitterness.
YOUNG MIKASA
I dont think you have any room to
criticize.
MEDIUM SHOT of EREN as he turns to glare at her angrily.
WIDE SHOT to include ARMIN.
YOUNG ARMIN
Did Eren do something?
YOUNG EREN
Why is it always me?
CLOSE-UP PROFILE MIKASA. Beat.
YOUNG MIKASA
Eren told his parents today about
joining the Survey Corps.
CLOSE-UP PROFILE EREN, angry. He turns to face MIKASA (and
camera).
YOUNG EREN
I didnt tell them anything, but thanks
again for ratting me out. Does my mother
pay you?
YOUNG ARMIN
(O.S.)
Ohsohow did it go?
YOUNG EREN
Mom freaked out.
CLOSE-UP EREN. SLOW ZOOM IN.
YOUNG EREN (CONT.)
ACT I: Scene 1 7
Dad was surprisingly okay with it.
GRADUAL FADE TO FLASHBACK
YOUNG ARMIN
(O.S.)
Really? I assumed Dr. Jaeger would be
more level-headed
YOUNG MIKASA
(O.S.)
Too level-headed. Hes not thinking. No
one in their right mind would let their
child go outside the walls.
Sound and image slowly fade over MIKASA and ARMINs dialogue,
last to fade is ERENs intense stare.
MIXED DISSOLVE TO:
INT. ERENS HOME - DAY
WIDE, HIGH-ANGLE SHOT of GRISHA, facing EREN while both sit at
the table, EREN facing rear. CARLA stands over ERENs right in
foreground, one hand resting on the table as if she has just
been chastising EREN. MIKASA is at the sink, O.S.
CLOSE-UP GRISHA, SLIGHTLY LOW-ANGLE, ERENs POV.
GRISHA
Eren. Why do you want to leave the
walls?
CLOSE-UP EREN as he frowns as if surprised by the question.
YOUNG EREN
Someone has to. If no one keeps up the
fight against those things, and keeps
exploring the world outside,
CLOSER ANGLE GRISHA.
YOUNG EREN (CONT.)
(O.S.)
then all the people who died trying to
make progress will have given their
lives for nothing.
CLOSE-UP PROFILE EREN as he casts his eyes down with the bitter
frustration of youth.
YOUNG EREN (CONT.)
ACT I: Scene 1 8
And well never escape.
CLOSE-UP GRISHA, ERENs POV. He gives another inscrutable smile,
hint of sadness.
GRISHA
I see. Good for you.
CARLA
(O.S., exasperated)
Grisha, for Gods sake! Talk him out of
it!
WIDE SHOT of all. EREN turns to address his mother.
YOUNG EREN
I dont need your permission! Im
joining the Survey Corps!
CLOSE-UP CARLA, ERENs POV.
CARLA
Ha! This from the kid who doesnt even
make his own breakfast. You can talk
about saving the world when you can boil
an egg.
CLOSE-UP EREN as he hisses with anger.
YOUNG EREN
Im not a little kid! And I don't need
your help!
WIDE SHOT of whole room as EREN runs out of the house. In
background, MIKASA puts down a dish after drying it.
CARLA
Mikasakeep him out of trouble?
Mikasa nods and follows EREN.
MIXED DISSOLVE BACK TO:
EXT. CENTRAL SHIGANSHINA, RIVER BANK - DAY
CLOSE-UP EREN. ERENs expression grows determined.
YOUNG EREN
Someone has to go outside. We cant stay
trapped like this forever.
CLOSE-UP MIKASA.
ACT I: Scene 1 9
YOUNG MIKASA
(soft anger)
Eren.
YOUNG ARMIN
(O.S.)
Actually, I agree with Eren.
WIDE SHOT of MIKASA and EREN as they glance at ARMIN in surprise.
CLOSE-UP PROFILE ARMIN, frightened by his own words.
YOUNG ARMIN (CONT.)
Its only logical. A species cant be
sustained indefinitely inside a confined
space, let alone further separated by
three walls.
MIXED DISSOLVE TO:
EXT. AERIAL SHOT OF ALL THREE WALLS - DAY
Show rough size and shape of human settlement inside Wall Maria,
Wall Rose and Wall Sina.
YOUNG ARMIN (CONT.)
(O.S.)
Someday we will run out of farmland to
cultivate.
MIXED DISSOLVE BACK TO:
EXT. CENTRAL SHIGANSHINA, RIVER BANK - DAY
CLOSE-UP PROFILE ARMIN.
YOUNG ARMIN (CONT.)
Even the nobles in the interior will
starve when that happens. And
TIGHT CLOSE-UP as ARMIN is briefly overcome with emotion. To
emulate the manga, even peaceful scenes like this one should
contain darkness and fear: ARMINs face may be poorly lit or at
a disturbingly low angle.
YOUNG ARMIN (CONT.)
before I lost my mom and dad, I used to
think that everything would be all right
as long as we stayed inside the walls,
but
CLOSER ANGLE yet as fear intensifies.
ACT I: Scene 1 10
YOUNG ARMIN (CONT.)
we werent meant to be caged. The truth
ishumanity cant survive like this.
MEDIUM SHOT EREN and MIKASA as both show unease.
MEDIUM SHOT ARMIN, shy. He speaks to break the tension.
YOUNG ARMIN (CONT.)
Still, there are other ways to help
without leaving the walls. Theres
always the Garrison.
MEDIUM SHOT all three. EREN clenches fists in anger.
YOUNG EREN
Id sooner jump in a titans mouth right
now.
CLOSE-UP EREN.
YOUNG EREN (CONT.)
Their job is protecting the wall, isnt
it? All Ive ever seen them do is drink
and tell bad jokes. You know what that
old wino Hannes said to me the other
day?
MIXED DISSOLVE TO FLASHBACK:
EXT. GATE BETWEEN SHIGANSHINA AND THE REST OF WALL MARIA
INTERIOR - DAY
WIDE, SLIGHTLY LOW-ANGLE SHOT of soldiers at the gate, EREN and
MIKASAs POV with EREN and MIKASA facing rear in foreground.
They stand, carrying wood on their backs, before HANNES(thin
blond older man dressed in Garrison uniform, cheeks pink, a
bottle in one hand), center. Several other Garrison soldiers
sitting on crates and drinking in background. Though EREN and
MIKASA are wearing the same clothes, the light should suggest
that this is a previous day.
YOUNG EREN
(O.S., shocked)
Are you seriously drinking? Arent you
on duty, loser?
CLOSE-UP HANNES, ERENS POV, gives self-deprecating laugh.
HANNES
ACT I: Scene 1 11
Easy tiger. I am indeed. Weve all got
gate duty today actually. Which means
sitting around all day,
WIDE SHOT of other Garrison soldiers cavorting, ERENs POV.
HANNES (CONT.)
(O.S.)
so naturally we get hungry. We also get
thirsty.
CLOSE-UP HANNES.
HANNES (CONT.)
You wouldnt want us to go without
refreshment, would you?
MEDIUM SHOT EREN fuming with anger, MIKASA watching blankly.
YOUNG EREN
And what are you going to do if
something happens?
CLOSE-UP HANNES, showing genuine surprise.
HANNES
Something? Like what?
WIDE SHOT all. ERENs next statement should be shockingly loud,
a direct attack on the relaxed atmosphere.
YOUNG EREN
Like the titans breaking through the
walls!
CLOSE-UPS of MIKASA, HANNES and the Garrison soldiers, all
staring at EREN in shocked silence.
CLOSE-UP PROFILE EREN, trembling like a scared cat.
YOUNG EREN (CONT.)
You act like its natural. To be trapped
and forced to live like this.
WIDE SHOT, ERENs POV, panning right from HANNES into the city,
showing people bustling through busy market street.
YOUNG EREN (CONT.)
(O.S.)
Yeah, we can eat and sleep and stay
alive as long as we want. Inside a cage.
ACT I: Scene 1 12
But if we never try to leave, then
doesnt that make us just like
CLOSE-UP PROFILE EREN, starting to get emotional.
YOUNG EREN (CONT.)
livestock?
WIDE SHOT of Garrison soldiers with HANNES in foreground,
staring at EREN. HANNES is genuinely frightened. Suddenly,
Garrison soldiers burst out laughing.
MEDIUM SHOT SOLDIER 1.
SOLDIER 1
Hannes, where did you find this kid?
Hes a riot!
MEDIUM PROFILE EREN and MIKASA.
YOUNG EREN
Youve got a lot of nerve calling
yourselves soldiers! Just change your
name to wall flowers and be done with
it!
SOLDIER 1
(O.S., laughs)
"Wall flowers"? I like it!
SOLDIER 2
(O.S.)
What a crazy kid!
ERENs anger rises.
MEDIUM PROFILE HANNES, still recovering from ERENs words.
HANNES
Okay, Eren. Fair enough, were mostly
decorative these days. But thats what
you want, you know?
WIDE SHOT of soldiers laughing, HANNES slightly in foreground.
HANNES (CONT.)
(O.S.)
Peace makes idle soldiers.
CLOSE-UP EREN, doubtful.
HANNES (CONT.)
ACT I: Scene 1 13
(O.S.)
So, idle soldiers means everyone is
living peacefully as they should,
nothing wrong with that.
CLOSE-UP HANNES as he smiles disarmingly.
HANNES (CONT.)
Here, come on over, relax and have a
drink on me. Yeah?
MIXED DISSOLVE BACK TO:
EXT. CENTRAL SHIGANSHINA, RIVER BANK - DAY
CLOSE-UP EREN, very tight and unflattering angle to show how
zealous and unpleasant he really is, especially as a child.
YOUNG EREN
I nearly punched him.
MEDIUM SHOT ARMIN looking uncomfortable.
YOUNG ARMIN
You cant help that. No one ever expects
the walls to be breached.
WIDE SHOT ARMINs POV of people walking on opposite bank. SLOW
ZOOM IN toward a mother and child walking together happily.
YOUNG ARMIN (CONT.)
(O.S.)
Did you know its been 107 years since
they were built?
YOUNG EREN
(O.S.)
Everyone knows that.
YOUNG ARMIN
(O.S.)
Exactly. And in all that time, not a
single one of those things has ever
gotten in. Why should they be afraid?
CLOSE-UP ARMIN, frightening angle.
YOUNG ARMIN (CONT.)
But this kind of peace is poison. If
something should ever happen, wed all
just
ACT I: Scene 1 14
Sounds of lighting and flashes of green in the sky, but stay
tight to ARMIN, no shot yet of what he is seeing. ARMINs eyes
grow immense with fear as they slowly flick up toward the top of
the wall.
CLOSE-UP EREN, MIKASA in background also looking up. EREN looks
from ARMIN to MIKASA.
CLOSE-UP PROFILE MIKASA, showing emotion for the first time.
CLOSE-UP of EREN growing more fearful. EREN slowly looks around
at the whole town.
MONTAGE WIDE SHOTS from ERENs POV of city, which has come to a
complete standstill as everyone looks toward the top of the wall.
CLOSE-UP PROFILE EREN. Finally, EREN looks up too.
CUT TO:
EXT. HILL ABOVE SHIGANSHINA - CONTINUOUS
WIDE SHOT of two geese taking flight from the undergrowth.
TRACKING SHOT as they gradually fly higher. They fly over the
wall between Marias interior and Shiganshina, then over the
city in total silence but for the sound of the wind. They fly
closer to the wall, shocked soldiers standing on it just visible
in the background. Finally, their flight crosses the eye line of
the COLOSSAL TITAN.
WIDE PROFILE SHOT of COLOSSAL TITAN, most of his face visible
over the wall and one hand placed upon it. Titan takes in a deep
breath and steam rises from his body.
EXTREMELY WIDE PROFILE of the wall, showing COLOSSAL TITANs
size in comparison to city in right half of frame.
CUT TO:
EXT. CENTRAL SHIGANSHINA, RIVER BANK - CONTINUOUS
WIDE SHOT EREN, MIKASA and ARMIN.
YOUNG ARMIN
Itsnot possible. The wall is ahundred
and fifty feet
MONTAGE of HIGH-ANGLE shots of people in the city (as if from a
titans perspective) in total silence as everyone inside stares
up at the COLOSSAL TITAN and he stares back at them. One WIDE,
HIGH-ANGLE SHOT of titans shadow on the street.
ACT I: Scene 1 15
ARMIN
(V.O.)
We had been caged so long, humanity had
forgotten. But on that day, we
remembered: the monsters that had driven
us from our home, the unspeakable fear
they brought
VERY WIDE LOW-ANGLE SHOT of Wall Maria and COLOSSAL TITAN from
near ERENs POV. SLOW ZOOM OUT to include EREN in foreground.
ARMIN (CONT.)
(V.O.)
and the humiliation of our captivity.
To hint at his true identity as BERTOLT HOOVER, the titans
expression should be very human, showing fear, sadness and
uncertainty over what he is about to do. Ultimately, though,
BERTOLTs motivation is based on a zealous - if tortured -
belief that humanity truly deserves to be exterminated, so that
will be paramount among his emotions.
WIDE, LOW-ANGLE PROFILE from outside the wall of COLOSSAL
TITANs lower half as he slowly shifts his immense weight and
lifts one leg backwards into the air, ready to kick down the
gate. (Except close-ups, all shots of COLOSSAL TITAN should be
from a WIDE, LOW-ANGLE, human observers point of view, to
increase terror and sense of vastness.)
During terrible tension as titans leg is raised, cut to VERY
WIDE SHOT from roughly a kilometer away, COLOSSAL TITAN in
background. ZOOM OUT further. Within this shot, other much
smaller titans start to turn and move toward the wall, but
should not be focused on yet. The audience should have a moment
of shock at seeing them, but not be able to clearly identify
them as human or otherwise.
WIDE, HIGH-ANGLE REAR SHOT of COLOSSAL TITANs lower half with
Wall Marias gate in background, heel of his foot filling half
of frame in foreground, hanging still for an instant.
WIDE, LOW-ANGLE SHOT of the gate between Shiganshina and the
outside world. Finally, with an explosion of noise and wind and
the first horrific cacophony of music, the titan kicks through
Wall Maria at the gate (weakest point).
WIDE PROFILE SHOT of the street in front of the gate. The
explosion blows many people off their feet, while others and
even whole houses are crushed by pieces of rock from the wall.
ACT I: Scene 1 16
MONTAGE WIDE SHOTS to show damage to city. (Any violence should
be neither emphasized nor avoided with framing, but presented
naturally in a flurry of action as it would be to an observer.)
WIDE, LOW-ANGLE SHOT of Wall Maria from peoples perspective.
COLOSSAL TITANs face starts to lower and is hidden from view.
During this time, though not visible from inside the walls, he
disappears, leaving no trace.
MONTAGE WIDE SHOTS around city, showing damage and people crying
and trying to gather loved ones.
WIDE, LOW-ANGLE SHOT of the massive hole left in the wall.
Screaming and crying gradually ceases and silence, but for
terrifying music, falls over the city again.
MONTAGE of WIDE, HIGH-ANGLE SHOTS as all eyes turn to the hole.
Tension gathers as all know what is about to happen.
WIDE, LOW-ANGLE SHOT of hole, light pouring through. ZOOM IN.
WIDE PROFILE SHOT OF THE HOLE, crescendo of music as the first
titan steps through.
MONTAGE WIDE SHOTS people slowly going mad, running and
screaming.
MEDIUM, SLIGHTLY HIGH-ANGLE PROFILE EREN, MIKASA and ARMIN
watching in horror.
CLOSE-UP PROFILE ARMINs eyes.
YOUNG ARMIN
Its overwere alldead
CLOSE-UP EREN.
YOUNG EREN
The house Mom!
WIDE SHOT of all three as EREN takes off running toward his
house. MIKASA follows.
CUT, END SCENE
ACT I: Scene 2 17
ACT I
Scene 2 You Have to Live
ABRUPT OPEN ON:
EXT. CENTRAL SHIGANSHINA, STREET NEAR ERENS HOME - CONTINUOUS
WIDE, HIGH-ANGLE TRACKING SHOT following EREN and MIKASA running
down alleys between houses.
YOUNG EREN (CONT.)
I think I saw a piece of the wall fall
over here, come on!
CLOSE-UP EREN.
YOUNG EREN (CONT.)
Its fineIm going to go around this
corner, and the house will be there like
it always is. And Mom
WIDE SHOT as EREN turns a corner and skids to a stop, his face
slowly overtaken by horror. ZOOM OUT as MIKASA comes to a stop
behind him and looks like she might cry.
WIDE SHOT ERENs POV. ERENs home has been crushed by a massive
boulder. Tighten shot slightly as some debris shifts and CARLA
coughs as she emerges from debris up to the waist. However, she
cannot get free as her legs are trapped under a ceiling beam,
part of which is taking the weight of the boulder.
CLOSE-UP CARLA. She sees the two children and pales with horror.
CARLA
Eren Mikasa
YOUNG EREN
(O.S.)
Mom!
WIDE PROFILE of CARLA as EREN and MIKASA run to her side.
CLOSE-UP EREN, trying to figure out how she is trapped.
YOUNG EREN (CONT.)
Mom, come on, we have to run!
CLOSE-UP CARLA, trembling.
CARLA
ACT I: Scene 2 18
No, sweetheart My legs are broken. Even
if you got me out, I couldnt run.
MEDIUM SHOT EREN, crying, as he turns to look at her.
YOUNG EREN
Then Ill carry you! Come on, Mikasa!
MEDIUM SHOT MIKASA. She sobs as she tries to lift the beam.
CLOSE-UP ERENs hands as he keeps trying until hands are raw and
bleeding with splinters.
CLOSE-UP EREN.
YOUNG EREN (CONT.)
Lift or were all going to die here,
come on!
MEDIUM SHOT CARLA.
CARLA
Eren, listen to me. You and Mikasa have
to go now.
CLOSE-UP EREN. He sobs but pretends not to hear her.
YOUNG EREN
Keep trying!
CLOSE-UP CARLA, who suddenly erupts in anger, just like EREN.
CARLA
For Gods sake, Eren, would you ever
just do as I say?! Mikasa, take him and
go!
MEDIUM SHOT MIKASA. She is shaking and seems to have given up,
but even as she cries, she slowly shakes her head and tries to
lift the beam again.
YOUNG MIKASA
No.
CLOSE-UP CARLA.
CARLA
Mikasa.
MEDIUM SHOT MIKASA. Reluctantly, MIKASA turns to look at her.
CLOSE-UP CARLA.
ACT I: Scene 2 19
CARLA (CONT.)
Please. Keep him safe for me. He wont
make it on his own.
MEDIUM SHOT of MIKASA, unsure but sobbing.
WIDE SHOT as HANNES enters into left foreground, emphasis on the
Aerial Combat Gear on his hips.
HANNES
(O.S.)
Well, now. Looks like I got here just in
time.
CLOSE-UP EREN, immense relief.
YOUNG EREN
Hannes!
WIDE SHOT of all.
CARLA
Hannes! Thank God. Take the children and
go, please! You can still make it to the
boats in time!
MEDIUM SHOT HANNES as he considers, sighing. In a leisurely way,
he pulls out his hand triggers from their holsters, inside
jacket under arms, and loads his blades to them.
HANNES
Id love to, but leaving his lady wife
in the lurch would be a hell of a thank-
you for the guy who saved my life. So
for what Dr. Jaeger did for me
CLOSE-UP as Hannes grins.
HANNES (CONT.)
Im going to fight. And then Ill save
all three of you. Sound good, Carla?
CLOSE-UP PROFILE CARLA. Again, her anger deeply resembles ERENs.
CARLA
No! You cant fight them!
WIDE SHOT as HANNES turns and starts to jog off.
CARLA (CONT.)
Hannes! Come back here, goddamn you!
ACT I: Scene 2 20
HANNES smirks and heads toward the nearest titans.
MEDIUM SHOT HANNES. A tremor shakes the ground, he falters.
CLOSE-UP PROFILE HANNES, very tight. Slowly, he looks up.
WIDE SHOT HANNES POV with HANNES in foreground of the SMILING
TITAN, two houses away but staring right down at him.
(Everything about the appearance of the SMILING TITAN, camera
angle, light and effects, must be more terrifying than any titan
shown so far. The audience must experience this moment
viscerally from HANNES perspective to understand the fear he
feels at seeing a titan up close for the first time.)
CLOSE-UP HANNES eyes.
CLOSE-UP of HANNES waist as he shoves his blades back in their
holsters.
WIDE SHOT as he turns around and runs to EREN and MIKASA.
TWO BRIEF CLOSE-UPS EREN and MIKASA as HANNES puts EREN over his
shoulder and tucks MIKASA under his arm.
WIDE SHOT as he runs away from CARLA without looking back.
MEDIUM SHOT CARLA, relief tinged with despair.
CARLA (CONT.)
Thank you
CLOSE-UP PROFILE HANNES.
HANNES
(softly)
Im sorry.
MEDIUM SHOT EREN on HANNES shoulder, starting to struggle.
YOUNG EREN
Waitwhat are you doing?! We have to
save Mom! Put me down, you coward!
(looks back up in horror and
reaches out)
Mom!
WIDE SHOT ERENs POV as SMILING TITAN slowly approaches the
house.
CLOSE-UP PROFILE CARLA, slowly losing her composure.
CARLA
ACT I: Scene 2 21
Eren! Mikasa! Stay alive! You hear me?
No matter what happens
CLOSE-UP PROFILE EREN.
CARLA (CONT.)
(O.S.)
I know, it'll be hard
CLOSE-UP PROFILE MIKASA.
CARLA (CONT.)
(O.S.)
but you have to live!
MEDIUM SHOT EREN reaching out to her, toward camera.
YOUNG EREN
MOM!
CLOSE-UP PROFILE MIKASA under HANNES arm, eyes now dead.
YOUNG MIKASA
Nonot again
WIDE SHOT ERENs POV as SMILING TITAN approaches the house. The
shots of SMILING TITAN from ERENs POV should be distant and
unsteady, possibly shot with handheld camera. It is obvious what
is happening to CARLA without seeing detail, more important is
keeping the audience in ERENs perspective.
CLOSE-UP PROFILE EREN in panic.
YOUNG EREN
MOM!
MEDIUM SHOT CARLA. She is now shaking and sobbing with fear, but
watching as they go. With a tremor, part of the SMILING TITANs
leg comes into shot. Slowly, CARLA raises a hand to cover her
mouth, as if to stop the words from coming out.
CLOSER ANGLE CARLA.
CARLA
(whimpering)
Wait
(beat, almost inaudible)
Dont leave me
WIDE SHOT ERENs POV as SMILING TITAN picks up CARLA.
CLOSE-UP PROFILE EREN in shock.
ACT I: Scene 2 22
WIDE SHOT of SMILING TITAN as he lifts her up in one hand. CARLA
hits the hand several times.
CLOSE-UP PROFILE EREN.
YOUNG EREN
(screaming)
No!
MEDIUM PROFILE MIKASA as she briefly looks up with eyes wide.
She forces herself to look away.
CLOSE-UP EREN, still watching.
WIDE SHOT ERENs POV as the titan reaches over and breaks
CARLAs back, then puts her in his mouth and bites down.
CLOSE-UP PROFILE EREN. The light fades from ERENs eyes as shock
descends.
FADE TO BLACK, END SCENE
ACT I: Scene 3 23
ACT I
Scene 3 - You Are Weak
FADE IN:
EXT. RUNNING FROM ERENS HOME - CONTINUOUS
WIDE, HIGH-ANGLE REAR SHOT of HANNES running silently through
the streets, EREN still in shock over his shoulder. Little sound
apart from distant screaming and HANNES footsteps.
CLOSE-UP PROFILE EREN. Eventually, EREN blinks as if returning
to reality. His pain and frustration turn to rage. He reaches up
and strikes HANNES as hard as he can on the head.
YOUNG EREN
Youbastard! Murderer! We could have
saved her if you helped!
WIDE, LOW-ANGLE SHOT HANNES as he growls and throws EREN hard
into the foreground.
YOUNG MIKASA
Eren!
MIKASA struggles to get free and runs to ERENs side.
WIDE, HIGH-ANGLE PROFILE SHOT all as HANNES slowly walks toward
them and kneels down to speak.
MEDIUM, LOW-ANGLE SHOT HANNES, ERENs POV, HANNES eyes are just
out of frame above.
HANNES
Listen. The reason you couldnt save
your mother is because you were weak.
CLOSE-UP PROFILE EREN. He briefly goes from shock to rage and
tries to hit HANNES again.
CLOSE-UP of both their hands as HANNES grabs his wrist.
HANNES (CONT.)
(O.S.)
She died because you werent strong
enough to save her.
MEDIUM SHOT EREN and MIKASA, both in rage. First MIKASAs, then
ERENs rage gradually turns to shock as they watch.
HANNES (CONT.)
(O.S.)
ACT I: Scene 3 24
And I didnt fight to protect her
because
CLOSE-UP EREN as his eyes widen.
CLOSE-UP HANNES to show he is breaking down, starting to cry.
HANNES (CONT.)
because I was scared!
MEDIUM PROFILE EREN and MIKASA looking on in shock as he sobs
again, but starts to regain control.
CLOSE-UP both their hands as HANNES lets ERENs wrist go.
CLOSE-UP PROFILE HANNES.
HANNES (CONT.)
When the moment finally came, I couldnt
fight them. It was like youve always
said, Eren.
CLOSE-UP of HANNES shaking hands, resting on his knees.
HANNES (CONT.)
(O.S.)
Got too soft, got too drunk. And the
courage I used to have
CLOSE-UP PROFILE HANNES.
HANNES (CONT.)
No. Ive never had as much courage as
you, you screwed up little monster.
CLOSE-UP HANNES, ERENs POV as HANNES looks down at him sternly.
HANNES (CONT.)
But courage wont save you now.
MEDIUM PROFILE EREN and MIKASA. ERENs head lowers in acceptance
and he starts to cry in earnest.
HANNES (CONT.)
(O.S.)
Your mothers dead but youre not.
MEDIUM SHOT HANNES, ERENs POV.
HANNES (CONT.)
Now Im taking you to the ships so you
can do as she said and stay alive.
ACT I: Scene 3 25
CLOSE-UP HANNES.
HANNES (CONT.)
Are you going to fight me all the way?
MEDIUM PROFILE EREN and MIKASA. EREN merely sobs, but accepts
HANNES hand as he holds it out toward him into shot.
WIDE SHOT as HANNES takes both by the hands to walk away.
CLOSE-UP PROFILE HANNES. Glances down at sobbing EREN, sighs.
HANNES (CONT.)
(EREN sobs O.S.)
Go ahead and cry. Thats all you can do.
DISSOLVE TO:
EXT. TWO EVACUATION SHIPS ON RIVER BANK - CONTINUOUS
WIDE, HIGH-ANGLE SHOT of two ferries. Hundreds of people are
already on board each ferry, but Garrison soldiers are trying to
organize them to fit more people. ARMIN and GRANDFATHER should
be just visible on the second of the ships.
ARMIN
(V.O.)
Each of the three walls - Maria, Rose
and Sina - had bait cities, like
Shiganshina, placed at strategic points.
ZOOM OUT AND TILT UP to show barrier between Shiganshina and the
rest of Wall Maria. ZOOM OUT further until size of whole city
(totally surrounded by wall) is visible.
ARMIN (CONT.)
(V.O.)
Designed to reduce expenses and manpower
necessary for defense,
CUT TO:
IMAGE DRAWN FROM MANGA, SIMPLE MAP OF ALL THREE WALLS
Simple map of entirety of human territory, artistic drawings of
titans, trees and hills outside Wall Maria. Over V.O., animation
highlights the titan bait city locations on each wall (total of
twelve, four per wall, placed at north, south, east and west,
equidistant spacing, connected by rivers).
ARMIN (CONT.)
ACT I: Scene 3 26
(V.O.)
their function was to attract titans to
a place where they would be easy to
isolate. This strategy, however
CUT BACK TO:
EXT. RIVER BANK - CONTINUOUS
WIDE HIGH-ANGLE SHOT of two ships, evacuation route along the
river visible in background. SLOW ZOOM IN toward escape route.
ARMIN (CONT.)
(V.O.)
meant that the thousands of inhabitants
of the city of Shiganshinahad but a
single port through which to escape.
CLOSE-UP SOLDIER 1.
SOLDIER 1
If you have valuables, get rid of them!
We want to fit as many people on as
possible!
WIDE, HIGH-ANGLE SHOT of people trying to push forward.
SOLDIER 2
(O.S.)
Move it! You want to be titan food?!
MEDIUM PROFILE ARMIN. He looks out over the side, worriedly.
ARMIN
I dont see Eren or Mikasa
MEDIUM SHOT GRANDFATHER. He glances up, but soon closes his eyes
sadly.
ARMIN (CONT.)
(O.S.)
Wait! I see them!
WIDE SHOT ARMINs POV to show EREN and MIKASA on the shore.
MEDIUM SHOT EREN and MIKASA as they approach in the line of
people slowly boarding the ship. They are both still in shock,
HANNES is nowhere to be seen.
MEDIUM PROFILE ARMIN.
ARMIN (CONT.)
Eren! Mi-
ACT I: Scene 3 27
(falters as he sees their
expressions)
GRANDFATHER
(O.S.)
Dont trouble them.
ARMIN slowly looks down toward GRANDFATHER.
CLOSE-UP PROFILE GRANDFATHER.
GRANDFATHER (CONT.)
You can see it on their faces what must
have happened. Pity them.
CLOSE-UP ARMIN. He slowly turns to look in sadness and horror.
FADE TO BLACK, END SCENE
ACT I: Scene 4 28
ACT I
Scene 4 - The Armored Titan
FADE IN:
EXT. GATE BETWEEN SHIGANSHINA AND WALL MARIA INTERIOR -
CONTINUOUS
WIDE, LOW-ANGLE SHOT of gate, some civilians and deserting
soldiers running through.
WIDE REAR SHOT of ten Garrison soldiers, protecting the open
gate behind them with a row of cannons. Titans of varying sizes
approach in background, cannons fail to hit any of them.
WIDE SHOT Garrison soldiers, OFFICER 1 in center.
OFFICER 1
Where are you looking?! Just hit one
already!
SOLDIER 3
Sir, you cant hit shit with these! A
moving target is impossible!
OFFICER 1
I dont want to hear it! Just keep
firing!
WIDE PROFILE approaching titan as a cannon shot manages to hit
titan in the eye, blowing off part of its head.
WIDE PROFILE of Garrison soldiers as the men briefly cheer, then
their cheers fade.
WIDE SHOT of same titan as it simply shakes it off and starts
moving toward them again, smoke pouring from where its head is
already starting to regenerate.
CLOSE-UP OFFICER 1.
OFFICER 1 (CONT.)
Just keep shooting! Dont stop! We have
to hold them off here!
WIDE, LOW-ANGLE SHOT of gate, soldiers in foreground.
CLOSE-UP gears of the gate as they begin to turn.
MEDIUM PROFILE OFFICER 1.
SOLDIER 4
ACT I: Scene 4 29
(O.S.)
Oh my godthe gate is closing! Theyre
going to leave us behind!
OFFICER 1
Oh hell with this What are they
thinking?!
CLOSE-UP SOLDIER 3, shaking.
SOLDIER 3
Sir
CLOSE-UP PROFILE OFFICER 1. OFFICER 1 looks up in direction
SOLDIER 3 is pointing. He pales with shock.
WIDE PROFILE of ARMORED TITANs legs as he walks into view of
Garrison. TILT UP and ZOOM OUT to TRACKING SHOT as he walks
straight past one of the smaller titans to illustrate difference
in size, musculature and armor-plating over his body (looks like
cartilage or bone).
MEDIUM SHOT ARMORED TITAN as he stops and stares at them,
inhaling. Titan releases steam from his nose in exhale.
EXTREME LOW-ANGLE WIDE SHOT ARMORED TITAN, human POV. VERY FAST
ROLL BACK the quarter of a mile from ARMORED TITAN to Garrison
soldiers, Garrison soldiers now in foreground.
CLOSE-UP OFFICER 1.
OFFICER 1
Sh-shoot it! Hurry!
WIDE PROFILE Garrison soldiers as they fire off two shots.
WIDE PROFILE ARMORED TITAN as one ball bursts harmlessly against
the armor plating, then the titan easily dodges the other as it
flies past his head.
MEDIUM SHOT of ARMORED TITANs feet as he places one behind the
other, resting on ball of his foot as if preparing to run.
WIDE PROFILE ARMORED TITAN, crouching with arms up to prepare to
run.
CLOSE-UP OFFICER 1.
OFFICER 1
Close close the close the gate!
ACT I: Scene 4 30
MEDIUM PROFILE of soldiers, SLOW-MOTION as they turn and run,
abandoning their posts toward the slowly lowering gate.
WIDE SHOT soldiers POV as the ARMORED TITAN crouches lower.
WIDE, LOW-ANGLE REAR SHOT ARMORED TITAN as he pushes off in a
cloud of debris and begins his run for the gate.
WIDE SHOT soldiers running toward gate, OFFICER 1 center.
OFFICER 1 (CONT.)
(screaming)
Close the gate! Close the gate!
CLOSE-UP PROFILE OFFICER 1.
OFFICER 1 (CONT.)
Dont let it in!
WIDE PROFILE GATE, SLOW-MOTION, as some soldiers pass through,
but it is clear gate will not lower in time to stop the titan.
WIDE SHOT GATE from other side as ARMORED TITAN crashes through.
SLOW-MOTION as rock, cannons, and soldiers are blown away by the
impact.
WIDE PROFILE TRACKING SHOT ARMORED TITAN, normal speed, as he
skids to a stop, kneeling with one fist on the ground.
VERY WIDE SHOT ARMORED TITAN, showing size of Wall Maria in
comparison to him and size of hole behind him, light pouring
through and making him slightly backlit. He stands.
CLOSE-UP PROFILE ARMORED TITAN as his jaw opens and he breathes
out another breath of steam.
CUT, END SCENE
ACT I: Scene 5 31
ACT I
Scene 5 - The Promise
ABRUPT CUT TO:
EXT. EVACUATION FERRY - CONTINUOUS
MEDIUM REAR SHOT EREN, ARMIN and MIKASA all standing near side
of ferry in foreground, Wall Maria, ARMORED TITAN and the broken
gate in background. By now they are a safe distance away, but
still able to see the gate being broken.
CLOSE-UP PROFILE EREN.
EREN
Why is this happening?
MEDIUM PROFILE all three, EREN foreground. MIKASA and ARMIN look
up in surprise.
EREN (CONT.)
BecauseIm weak. Because human beings
are weak.
CLOSE-UP PROFILE EREN.
EREN (CONT.)
So if youre weak, all you can do is
cry? The titans can take everything from
us, just like that? Just like they
always have?!
CLOSE-UP ERENs raw and bloody hands as he clenches them.
EREN (CONT.)
(O.S., mutters)
Everysingle one
CLOSE-UP ARMIN, MIKASA in background (MIKASA is less worried).
ARMIN
(frightened)
Eren
CLOSE-UP PROFILE EREN.
EREN
Ill kill them all. Ill wipe them all
out, piece by piece. Ill tear each one
ACT I: Scene 5 32
of them apart until there isnt a single
titan left alive in this world!
MEDIUM SHOT MIKASA and ARMIN as they exchange a glance.
VERY WIDE, HIGH-ANGLE SHOT of ferries departing with the broken
gate in background.
DISSOLVE TO:
EXT. CITY OF SHIGANSHINA - CONTINUOUS
WIDE, HIGH-ANGLE SHOT of whole city to illustrate the number of
titans and destruction of town, ferries visible on river in
distant background. SLOW ZOOM OUT.
ARMIN
(V.O.)
There was no way to stop the advance. By
the time the evacuation was over,
MIXED DISSOLVE TO:
EXT. CITY OF SHIGANSHINA - CONTINUOUS
AERIAL SHOT with Shiganshina now occupying less than half the
frame. SLOW ZOOM OUT.
ARMIN (CONT.)
(V.O.)
ten thousand people had already fallen
prey to the titans. With no way to seal
the barrier, Wall Maria had to be
abandoned.
MIXED DISSOLVE TO:
EXT. CITY OF SHIGANSHINA - CONTINUOUS
AERIAL SHOT of interior of Wall Maria, Shiganshina now occupying
less than one tenth the frame. SLOW ZOOM OUT.
ARMIN (CONT.)
(V.O.)
In a single day, the human race lost one
third of its territory; one more defeat
in a war in which the human race had
never won a single victory. Still they
fought, without even hope.
FADE TO BLACK
ACT I: Scene 5 33
TITLE:
(over)
VANGUARD
The Battle of Trost
Title fades out.
END SCENE
ACT I: Scene 6 34
ACT I
Scene 6 - Without Even Hope
FADE IN:
EXT. CITY OF TROST, WALL ROSE SOUTHERN GATE - DAY
CLOSE-UP PROFILE horses hooves as they clop down the street.
WIDE, HIGH-ANGLE shot of street in city of Trost, Survey Corps
proceeding down it on horseback, one horse-drawn wagon center.
Right flank is led by ERWIN SMITH, early 30s, tall and Nordic
with piercing blue eyes and recognizable blond hair.
MONTAGE of civilians to reveal mixed reactions to the Survey
Corps.
MEDIUM SHOT MERCHANT 1, watching from crowd beside an older lady,
DAVIDS MOTHER.
MERCHANT 1
There they go again, wasting good money.
CLOSE-UP PROFILE DAVIDS MOTHER as she turns in anger.
DAVIDS MOTHER
What was that?
CLOSE-UP MERCHANT 1 as he sighs.
MERCHANT 1
What a farce. Were starving here since
the Fall. And for some reason still
paying taxes so these adrenaline junkies
can get themselves eaten.
MERCHANT 1s POV of Survey Corps, some looking over bitterly
since he is speaking loud enough for them to hear.
MERCHANT 1 (CONT.)
(O.S.)
Telling me my hard-earned taxes are
going to fattening up titans? Pretty
sour taste in the mouth.
CLOSE-UP DAVIDS MOTHER, MERCHANT 1 in foreground as DAVIDS
MOTHER hisses with rage and raises a hand to strike him. The
merchant recoils out of frame. Eventually, DAVIDS MOTHER
controls her anger and simply walks away.
ACT I: Scene 6 35
WIDE, HIGH-ANGLE SHOT of Survey Corps with ERWIN down front as
they stop before the gate.
WIDE, LOW-ANGLE SHOT, Survey Corps POV, as a soldier at the top
of the wall waves a hand down at the Survey Corps.
CLOSE-UP KEITH SHARDIS, Commander of Survey Corps, an older,
gaunt man with sad eyes. SHARDIS notices the signal and nods.
SHARDIS
Open the gate!
WIDE REAR SHOT of Survey Corps as gate begins to open.
CLOSE-UP ERWIN.
SHARDIS (CONT.)
(O.S.)
We now begin the 21st expedition into
titan territory!
MONTAGE CLOSE-UPs of other Survey Corps soldiers from varying
angles, though none of them will be seen again in this film.
SHARDIS (CONT.)
(O.S.)
Remember, your only duty is to observe,
to ascertain the state outside since
Marias fall. Do not engage unless
necessary.
WIDE SHOT of gate as it finishes opening.
CLOSE-UP SHARDIS.
SHARDIS (CONT.)
Advance!
WIDE, LOW-ANGLE REAR SHOT of Survey Corps as they ride out at
good speed beyond the wall.
FADE TO BLACK, END SCENE
ACT I: Scene 7 36
ACT I
Scene 7 - The Survey Corps
FADE IN:
EXT. OUTSIDE WALL ROSE - DAY
WIDE, HIGH-ANGLE TRACKING SHOT of Survey Corps riding through a
forest.
CLOSE-UP ERWIN as something catches his eye.
ERWIN
30-foot-class, three oclock!
WIDE SHOT ERWINs POV, ERWIN and two others in foreground, as
fat, angry-looking titan emerges from the forest.
SHARDIS
Switch to ACG to engage!
MONTAGE CLOSE-UPS of ACG of various Survey Corps as they produce
their hand triggers from holsters under arms.
WIDE SHOT of one flank as they begin to fire their grappling
hooks and fly off into the trees, O.S.
EXTENDED TRACKING REAR SHOT of Survey Corps flying through
forest. As this is the first time ACG is featured, the sequence
of flying should be long, involve complex aerobatics and several
CLOSE-UPS of equipment as it works.
WIDE PROFILE TRACKING SHOT DAVID (young, confident man), as he
grins and flies from foreground to background, closer toward the
back of the titans neck.
LOW-ANGLE CLOSE-UP DAVID, arching his blades over his shoulder.
DAVID
With love from the human race, monster!
He starts to spin in midair and his blades flash across the
camera to end the shot.
CUT TO BLACK
FADE IN:
EXT. FOREST OUTSIDE WALL MARIA - LATER DAY
ACT I: Scene 7 37
CLOSE-UP, LOW-ANGLE shot of ERWIN, eyes distant and lowered. The
sky behind him has gone overcast. Though half ERWINs face is
splattered with human blood, his expression remains calm.
WIDE SHOT ERWIN, only forest behind him, as he flicks rapidly
dissolving titan blood off one of his blades and replaces it in
its holster, then calmly hooks his hand triggers into their
normal places near his ribs under jacket and walks O.S.
WIDE, HIGH-ANGLE SHOT of whole battlefield, ERWIN recognizable
walking down right, decomposing titan corpse in center.
WIDE, PANNING SHOT through the Survey Corps troops. Almost all
injured in some way. Several moan in pain as others carry the
wounded and dead into a wagon. Only a fraction are still alive.
CLOSE-UP ERWIN as approaches SHARDIS.
HIGH-ANGLE CLOSE-UP SHARDIS, ERWINs POV. ERWIN enters slightly
into foreground. SHARDIS is kneeling on the ground, unhurt but
also sporting some splatters of blood. He seems in shock,
holding a bundle in his lap (DAVIDs arm wrapped in burlap).
ERWIN
(O.S.)
Commander. Its time to go.
SHARDIS has no reaction.
LOW-ANGLE CLOSE-UP ERWIN. His face should show a trace of a
complex mix of anger and sadness, though controlled.
CLOSE-UP SHARDIS as ERWINs hand comes into frame and rests on
his shoulder. SHARDIS looks up at ERWIN numbly.
ERWIN (CONT.)
(O.S.)
Shall I take that for you, sir?
SHARDIS does not seem to understand. Gradually his gaze turns to
the bundle in his lap, then back to ERWIN.
SHARDIS
Erwinhave I killed them all again?
WIDE SHOT of battlefield, ERWINs POV. Several soldiers in
background look up in shock.
CLOSE-UP ERWIN. His eyes flick toward soldiers and then back to
SHARDIS, still revealing no significant emotion.
ACT I: Scene 7 38
CLOSER ANGLE ERWIN.
ERWIN
As is a leaders duty. Yes, you killed
them.
HIGH-ANGLE CLOSE-UP SHARDIS, sheds single tear.
SHARDIS
Am I finished, Erwin?
CLOSE-UP ERWIN. His eyes harden minimally, even more starkly
blue than usual in the gray light.
ERWIN
Yes, sir.
WIDE REAR SHOT both as ERWIN takes SHARDIS by elbow and helps
him to his feet.
CLOSE-UP the space between their faces as ERWIN leans in and
whispers softly, almost angrily in SHARDISs ear.
ERWIN (CONT.)
But not until your soldiers cant see
you.
CLOSE-UP SHARDIS.
WIDE SHOT of both as ERWIN moves away, gesturing toward horses
as subordinates bring them over.
ERWIN (CONT.)
Now lets go home, sir.
CLOSE-UP SHARDIS as he glances at ERWIN again for guidance.
CLOSE-UP ERWIN, SHARDISs POV, as he gives a subtle nod at the
closest soldiers in background.
WIDE SHOT of two of those soldiers from SHARDISs POV, both of
whom watch their leaders anxiously.
CLOSE-UP SHARDIS as he blinks. Slowly, he regains his controlled
expression from earlier.
WIDE REAR SHOT SHARDIS as he hands the bundle to ERWIN, who
walks away and entrusts it to one of his own subordinates.
FADE TO BLACK, END SCENE
ACT I: Scene 8 39
ACT I
Scene 8 - They Died for Nothing
FADE IN:
EXT. TROST, WALL ROSE SOUTHERN GATE - DAY
WIDE, HIGH-ANGLE SHOT of street as Survey Corps returns through
the gate, now many more horses than soldiers.
MONTAGE CLOSE-UPs of horrific injuries of survivors and brief
MEDIUM shot of the pile of corpses in the wagon.
CLOSE-UP MERCHANT 1.
MERCHANT 1
Not so cocky now.
MEDIUM SHOT of ERWIN riding as he glances toward the merchant.
WIDE SHOT of both.
MERCHANT 1 (CONT.)
I seem to remember there were a lot more
of you this morning!
CLOSE-UP SHARDIS.
DAVIDS MOTHER
(O.S.)
David?
WIDE SHOT of crowd, Survey Corps POV, DAVIDS MOTHER moving
through to follow the Survey Corps down the street.
DAVIDS MOTHER (CONT.)
Excuse meI dont see my son. Where is
David?
WIDE LOW-ANGLE PROFILE SHOT of SHARDIS as he stops his horse. He
should be starkly lit.
CLOSE-UP ERWIN as he glances at SHARDIS in surprise and raises a
hand to stop the procession.
MEDIUM SHOT SHARDIS as he dismounts.
CLOSE-UP SHARDIS. SHARDIS turns his head slightly to address
subordinate who had been walking beside his horse.
SHARDIS
This is Davids mother. Get it.
ACT I: Scene 8 40
CLOSE-UP DAVIDS MOTHER disbelieving. Maintain CLOSE-UP as
Survey Corps soldier crosses in front of her from left
foreground, hands her something O.S. DAVIDS MOTHER looks down.
SHARDIS (CONT.)
(O.S.)
This is all we were able to retrieve.
CLOSE-UP, LOW-ANGLE DAVIDS MOTHER as she unwraps the bundle.
CLOSE-UP the bundle in her shaking hands. DAVIDS MOTHER stops
and screams when the fingers are revealed and immediately wraps
it again.
MEDIUM SHOT DAVIDs MOTHER, clutching the arm to her chest as
she wails.
WIDE, HIGH-ANGLE SHOT of whole neighborhood in silence.
WIDE, LOW-ANGLE PROFILE shot of DAVIDS MOTHER, left, and
SHARDIS, right, as DAVIDS MOTHER falls to her knees.
DAVIDS MOTHER
(softly)
My son
CLOSE-UP PROFILE SHARDIS.
CLOSE-UP PROFILE DAVIDS MOTHER as she speaks again.
DAVIDS MOTHER (CONT.)
didnt die for nothing, did he?!
(almost screaming)
He helped the human race, didnt he?!
WIDE, LOW-ANGLE PROFILE of both. SHARDIS is frozen in silence.
CLOSE-UP of SHARDISs shaking hand as he places it on his knee
to kneel down.
WIDE, LOW-ANGLE PROFILE of both. SLOW ZOOM OUT. Long silence.
SHARDIS
Of courseof course he helped. He
fulfilled his duty to the human race and
died with honor. Your son was
CLOSE-UP ERWIN, watching.
CLOSE-UP SHARDIS as he starts to unravel.
SHARDIS (CONT.)
ACT I: Scene 8 41
Nohe died for nothing.
CLOSE-UP DAVIDS MOTHER, looking up in shock.
WIDE, LOW-ANGLE PROFILE of both.
SHARDIS (CONT.)
They all died for nothing. Weve been
outside the walls 21 times and each time
gained nothing! Learned nothing!
CLOSE-UP SHARDIS.
SHARDIS (CONT.)
Just like always, they eat us alive and
were helpless to fight!
CLOSE-UP ERWIN. His eyes slowly harden.
WIDE, HIGH-ANGLE SHOT of street, SHARDIS in center. DAVIDS
MOTHER cries as image fades.
FADE TO BLACK, END SCENE
ACT I: Scene 9 42
ACT I
Scene 9 - The Needs of the Many
FADE IN:
EXT. REFUGEE AREA, WALL ROSE - DAY
WIDE SHOT of a public square, stone-paved, filled with refugees.
Soldiers are handing out single, small loaves of bread to people
waiting, EREN, MIKASA, ARMIN and GRANDFATHER among them.
ARMIN
(V.O.)
Though most of the inhabitants of Wall
Maria had survived the Fall, the fields
and livestock they had relied upon for
food were lost.
MONTAGE of faces of hungry refugees. A fight breaks out over
rations. Feldjger break it up brutally, using rifle butts and
kicking those who fall.
ARMIN (CONT.)
(V.O.)
The famine struck quicklythe riots and
deaths followed soon after.
MIXED DISSOLVE TO:
EXT. NORTHERN WASTELANDS - DAY
WIDE SHOT of large groups of people trying to farm frozen earth,
EREN, MIKASA, ARMIN and GRANDFATHER among them.
ARMIN (CONT.)
(V.O.)
At first, refugees were sent to farm the
Northern Wastelands, land that had never
been fertile.
MEDIUM SHOT EREN, MIKASA, ARMIN and GRANDFATHER. All should look
thin and pale by now.
ARMIN (CONT.)
(V.O.)
They were unsuccessful.
MIXED DISSOLVE TO:
EXT. CITY OF STOHESS - DAY
ACT I: Scene 9 43
WIDE, HIGH-ANGLE SHOT of the city of Stohess, inside the
interior and safest of the three walls, Wall Sina. All buildings
should be stone, all roads paved, gardens visible.
ARMIN (CONT.)
(V.O.)
With no relief from starvation inside
the fatally over-crowded Wall Rose, the
human race approached breaking point.
DISSOLVE TO:
EXT. CITY INSIDE WALL ROSE - DAY
WIDE SHOT of a paved road, crowded with refugees looking shocked.
SLOW PAN RIGHT to reveal an official at a podium, making an
announcement.
ARMIN (CONT.)
(V.O.)
That winter, the government announced a
plan to retake Wall Maria
CLOSE-UP the following people, present in the crowd: YOUNG ANNIE,
YOUNG BERTOLT and YOUNG REINER.
ARMIN (CONT.)
(V.O.)
using civilian refugees.
DISSOLVE TO:
EXT. CITY AT SOUTHERN GATE OF WALL ROSE - DAY
WIDE, HIGH-ANGLE SHOT of despairing, thin refugees (mostly adult
men) walking in a massive line toward Wall Rose gate, soldiers
on horseback guiding them.
WIDE REAR SHOT GRANDFATHER, at end of line, standing before
ARMIN. GRANDFATHER removes his hat, puts it on ARMINs head.
CLOSE-UP ARMIN as a tear streaks down his cheek.
ARMIN (CONT.)
(V.O.)
The plan was never meant to succeed.
DISSOLVE TO:
EXT. FIELD INSIDE WALL MARIA - EVENING
ACT I: Scene 9 44
CLOSE-UP a Survey Corps flag, the crossed Wings of Freedom,
fluttering pitifully, stuck in the mud.
SLOW ZOOM OUT and TILT UP to reveal remains of a battle for an
abandoned town. The ground is strewn with blood, corpses and
remains of military equipment. A rider-less horse is eating
grass in center, but spooks and moves on out of the way of a
titan as it crosses into shot. Titans roam about in the
background, some still eating soldiers and civilians.
ARMIN (CONT.)
(V.O.)
Of the 200,000 sent to retake Wall Maria,
one fifth of the human population,
little more than 100 returned alive.
DISSOLVE TO:
EXT. AERIAL SHOT OF HUMAN TERRITORY
ARMIN (CONT.)
(V.O.)
But thanks to their sacrifice, the rest
of humanity was able to put off
starvation for a little longer.
FADE TO BLACK
FADE IN:
EXT. CITY IN WALL ROSE - EVENING
WIDE PROFILE EREN, MIKASA and ARMIN in a dark alley. EREN and
MIKASA are standing over ARMIN as he sobs, sitting against the
nearest wall, face covered by his grandfathers hat.
CLOSE-UP PROFILE EREN.
EREN
Its the titans fault.
CLOSE-UP ARMIN, still sobbing into GRANDFATHERs hat.
EREN (CONT.)
(O.S.)
They take everything.
CLOSER ANGLE PROFILE EREN.
EREN (CONT.)
ACT I: Scene 9 45
Because were weak. Because we know
nothing about them.
Violent determination rolls over ERENs face.
EREN (CONT.)
But thats not good enough. I wont stay
weak and ignorant.
CLOSE-UP ERENs hand as he clenches it.
WIDE PROFILE all.
EREN (CONT.)
In a year, Ill be old enough to enlist.
LOW-ANGLE CLOSE-UP EREN, ARMINs POV.
EREN (CONT.)
Im joining the Survey Corps, and Im
going to kill every last titan until we
can take back our home and live freely
again.
CLOSE-UP PROFILE ARMIN. Slowly, ARMIN lifts his head.
ARMIN
Me too.
MEDIUM SHOT all three as EREN and MIKASA balk in shock.
EREN
What? Youre so smart, Armin, you should
use that and try to live a good life.
CLOSE-UP ARMIN, eyes hidden by his hair from this angle.
ARMIN
Id rather die than become a burden.
HIGH-ANGLE MEDIUM SHOT ARMIN, ERENs POV. ARMIN looks up.
ARMIN (CONT.)
I want to take back our home too. For my
mother and father and grandfatherand
everyone else whos died trying to fight
them.
MEDIUM PROFILE EREN and MIKASA. EREN watches ARMIN, moved.
MIKASA closes her eyes and sighs.
MIKASA
ACT I: Scene 9 46
Im going too.
EREN
Youre the one whos always telling me
living is whats important!
CLOSE-UP MIKASA.
MIKASA
It is. Im going so I can keep you alive.
You cant survive if Im not there.
CLOSE-UP PROFILE EREN. Though perturbed, he eventually nods.
EREN
All right. All together, then.
WIDE PROFILE all three, SLOW ZOOM OUT.
EREN (CONT.)
Well all join the military, and when
were trained, well wipe them out.
Well take back everything they took.
FADE TO BLACK, END SCENE
ACT II: Scene 1 47
ACT II - A LIGHT CUTTING THROUGH THE DARKNESS
Scene 1 - Lights of Humanitys Hope
FADE IN:
EXT. GREENERY IN WALL MARIA INTERIOR - DAY
WIDE, HIGH-ANGLE SHOT of forest and wide expanse of green
meadows beyond, an idyllic scene.
SUBTITLE:
(over)
One year later.
CLOSE-UP ERWINs back, SLOW-MOTION of the Wings of Freedom
flying on his cape.
WIDE, HIGH-ANGLE SHOT of meadow. Hoof beats become audible. SLOW
TILT DOWN to reveal battalion of Survey Corps riding in
formation over the field, wagon in center, ERWIN leading.
CLOSE-UP PROFILE ERWIN.
ERWIN
Mik. How many have we lost so far?
WIDE, SLIGHTLY HIGH-ANGLE SHOT MIK ZACHARIUS (tall, lazy eyes,
goatee), ERWIN riding in right foreground nearby.
MIK
Forty-eight.
CLOSE-UP ERWIN. He glances toward soldiers on opposite side.
MIK (CONT.)
(O.S.)
But we have orders to advance another
mile from here. We can keep going.
WIDE REAR SHOT ERWIN and MIK. Beat.
ERWIN
(O.S.)
We can. But we wont. Weve learned
enough this time.
LEVI
(O.S.)
Oh. Enough to pay for forty-eight lives?
WIDE SHOT ERWIN and MIK as they both turn. ZOOM OUT and PAN
RIGHT to reveal LEVI riding near ERWIN, looking bitter. LEVI is
ACT II: Scene 1 48
very small, the size of a child compared to ERWIN, dark hair,
sullen expression and difficult-to-discern age. He wears a
starched white shirt and white cravat under his uniform.
CLOSE-UP LEVI. He notices gossip behind but controls anger.
SOLDIER 1
(O.S.)
There he goes again Levi.
SOLDIER 2
(O.S.)
A month ago he was just another piece of
trash from the Underground. Who does he
think he is, questioning the Commander?
CLOSE-UP ERWIN, no change in expression.
ERWIN
Lives they spent willingly to save more
lives. You disagree?
CLOSE-UP LEVI, ERWINs POV, as his eyes flick over to ERWIN.
LEVI
No. Im asking.
WIDE SHOT LEVI, ERWINs POV.
LEVI (CONT.)
You learned something. Good. Im asking
if it was worth forty-eight lives.
CLOSE-UP ERWIN, LEVIs POV. He looks surprised, then nods.
ERWIN
Then, yes. I believe so.
CLOSE-UP LEVI. He considers, then nods and looks ahead again.
WIDE, HIGH-ANGLE SHOT Survey Corps, ERWIN down front. He raises
an arm out to the left to direct the battalion.
ERWIN (CONT.)
Mission complete! Fall back to the Trost
gate!
VERY WIDE, NEARLY VERTICAL HIGH-ANGLE SHOT as Survey Corps
slowly turns left to follow ERWINs direction.
MONTAGE of tense WIDE SHOTS of Survey Corps and horses as they
begin the return trip. There should be no music.
ACT II: Scene 1 49
WIDE, REAR, HIGH-ANGLE SHOT of Survey Corps, ERWINs blond hair
visible at head of battalion. SLOW TILT UP to focus on path
ahead as they start to pass by an abandoned village.
WIDE TRACKING PROFILE SHOT SOLDIER 1 and SOLDIER 2 riding past
dilapidated wooden buildings. They pass by two gaps in obstacles,
and when they pass by the third, a titans face leans over to
the gap to grin at them. They scream.
WIDE TRACKING SHOT of Survey Corps, ERWIN and MIK front,
turning to look as titan runs into the formation, swats down on
the wagon carrying the wounded and dead, then eats the driver.
The horses try to run but the titan catches the wagon again.
MEDIUM PROFILE ERWIN, MIK in foreground.
MIK
The woundedwhat do we do, Erwin?
CLOSE-UP PROFILE ERWIN. He sighs, opens his mouth to answer.
MIK (CONT.)
(O.S.)
Hey! Ackerman!
ERWIN gasps and turns.
WIDE PROFILE LEVI as he yanks his reins to turn around.
WIDE TRACKING SHOT ERWIN, LEVI in background.
ERWIN
Levi, stop! We can outrun it!
LEVI
(O.S., distant)
So run.
CLOSE-UP PROFILE ERWIN as he stares after LEVI. He sighs.
ERWIN
Mik.
MEDIUM PROFILE ERWIN, MIK in background. MIK nods, ERWIN and
MIK both pull their reins to turn and follow LEVI.
WIDE TRACKING PROFILE ERWIN.
ERWIN (CONT.)
(authoritative roar)
Hange! Do not stop the retreat for
anything! Force-march to the Trost gate!
ACT II: Scene 1 50
MEDIUM TRACKING SHOT HANGE ZOE (long brown hair in messy
ponytail, strapped-on glasses). HANGE nods with an indecent grin.
HANGE
Not home yet, my pretties! Yah!
WIDE, REAR TRACKING SHOT LEVI. ERWIN and MIK enter foreground
to ride alongside, TILT UP to focus on titan in background as it
slowly chews on a wounded soldier.
CLOSE-UP TRACKING PROFILE SHOT ERWIN.
ERWIN (CONT.)
The success rates for fighting on open
ground are extremely low. And of course,
any injury will heal in under two
minutes. We need to create an opening, a
clear shot at the back of the neck.
WIDE, REAR TRACKING SHOT LEVI, ERWIN and MIK, SLOW ZOOM IN
toward titan in background.
ERWIN (CONT.)
(O.S., aside)
Three feet long from the base of the
skull, four inches wide. The area any
animal instinctively protects.
CLOSE-UP TRACKING SHOT ERWIN in silence. ZOOM IN. Beat.
ERWIN (CONT.)
Wait until it grabs another soldier.
MEDIUM PROFILE LEVI and MIK as both look up in shock.
WIDE TRACKING SHOT ERWIN, LEVIs POV, LEVI and MIK in
foreground. ERWIN prepares his hand triggers, watching titan.
ERWIN (CONT.)
Mik, take the legs. Ill attract its
attention, then Levi, you kill it.
CLOSE-UP LEVI. Beat.
LEVI
Id rather not.
WIDE TRACKING SHOT MIK and ERWIN, LEVIs POV.
MIK
What did you say, trash?
ACT II: Scene 1 51
HIGH-ANGLE TRACKING CLOSE-UP LEVI, enraged.
LEVI
Call me trash one more time, sniffer
dog.
WIDE TRACKING SHOT MIK and ERWIN, LEVIs POV. MIK sniffs.
ERWIN
Levi, whats wrong?
CLOSE-UP TRACKING SHOT LEVI as he slowly controls his anger.
LEVI
You saw it stop the wagon as well as I
did. Its a safe bet, youre too big and
too slow to distract this handsome fella.
WIDE SHOT REAR TRACKING SHOT LEVI, MIK and ERWIN, titan
prominent in background.
LEVI (CONT.)
(O.S.)
Youd distract itfor about a half a
second.
CLOSE-UP TRACKING PROFILE LEVI.
LEVI (CONT.)
Its up to you if you want to die today.
Just saying I dont like your plan.
CLOSE-UP TRACKING SHOT ERWIN. He smirks.
ERWIN
In that case Ill take the legs. Is Mik
fast enough to satisfy you?
CLOSE-UP TRACKING SHOT LEVI as he considers.
LEVI
(deadpan)
Sure. Ill be real torn up if he dies,
though. I felt like we were just
starting to connect.
WIDE TRACKING SHOT MIK and ERWIN, LEVIs POV. MIK scowls in
anger while ERWIN hides a smile.
CLOSE-UP PROFILE ERWIN as he looks up.
ERWIN
ACT II: Scene 1 52
Now!
WIDE SHOT of titan, ERWINs POV, ERWIN, MIK and LEVI in
foreground, as all fire their grappling hooks and fly off out of
frame - ERWIN fires into the ground beside titans feet, MIK
directly into torso, LEVI into ground opposite side.
WIDE, HIGH-ANGLE SHOT of titan, holding a screaming soldier up
as if to drop him in its mouth. MIK flies into frame facing
titan in foreground. Titan numbly looks up at him. It cocks its
head. In background, ERWIN and LEVI can be seen flying around
ankles toward rear.
CLOSE-UP MIKs hand as he clicks one of his hand triggers.
WIDE, HIGH-ANGLE SHOT of titan, MIK rear in foreground, as he
manages to dodge by reeling in his line just as titan instantly
swats the air where MIK was.
CLOSE-UP PROFILE MIK hissing in exertion.
MIK
Its fast
WIDE PROFILE TITANs leg as ERWIN swings into frame, rear.
MEDIUM TRACKING SHOT ERWIN, murderous intensity, as he slices
deeply into Achilles tendon, removing a sizable piece.
WIDE, HIGH-ANGLE SHOT titan as it yells, drops soldier it was
holding and falls to one knee.
CLOSE-UP PROFILE MIK in midair as he smirks.
WIDE PROFILE titan as it suddenly grabs MIK out of air by legs.
CLOSE-UP PROFILE LEVI as eyes widen.
CLOSE-UP PROFILE ERWIN, gritting his teeth.
MEDIUM SHOT MIK, hissing in pain as titans grip tightens. MIK
raises one of his blades with a shaking hand.
WIDE SHOT LEVI from titans back, his grappling hook already
laid into back. LEVI flies into foreground, his feet just below
frame, to land on titans back. He raises one blade high above
his head, demonic expression.
WIDE PROFILE LEVI on titans back as he stabs whole blade into
titans spine and detaches it there.
WIDE PROFILE titan as it howls in pain.
ACT II: Scene 1 53
WIDE