Challenge: Create a trailer for an AH film!

[Whumbly]

Swarm on the Somme: TV Spot 1 - 'More Dakka'

A group of engineers look over a plan for a new weapon that cannot be seen by the camera, a British officer walks up behind them.

Officer: Excellent job chaps, but Mister Churchill requests one little change in the design.

Senior Engineer: What's that?

Cut to a WWI battlefield. The same British Officer, much more ragged and dirtier, is cowering in a trench while Grex spines whiz overhead clutching a radio set.

Officer (Shouting into a radio): More Dakka!

Cue a sample of Invaders Must Die - The Prodi.

Cut to a montage of British and French land dreadnaughts firing there arsenal of cannons, machine guns, flamethrowers and in the French case revving the chainsaws attached to the tanks towards the camera.

As the flames engulf the camera cut to the flames pouring out of the back of a German bi-plane as the mounted flamethrower burns the flying roach attempting to tear the plane apart. The remains of the roach fall towards the camera.

The roach remains cut the camera to Russia. An armoured train ploughs through a crowd of roaches guns blazing, kicking up snow as it goes.

Snow turns to dust and we kick to an young American private cradling what appears to six barrelled shotgun and staring ahead of him.

Private: That's the coolest thing I've ever seen.

The scene flips to show Charles De Gaulle cleaning his rifle in the trenches.

De Gaulle: You haven't seen anything yet American.

At this De Gaulle points his gun at the camera. The scene switches to Erwin Rommel throwing his rifle away as he jumps from the roof of a burning building and just grabs the end of a rope attached to a rapidly ascending zeppelin. Almost immediately afterwards the building is demolished by a barrage of German heavy artillery.

A chunk of masonry hits the camera with 'Swarm on the Somme' written in what appears to Grex Blood. The glass of the camera appears to crack into the words 'Coming Soon'.

OCC: If anyone is seriously intrested in this I can do a few more Swarm on the Somme TV Spots.

 

[Tom Veil]

>BLACK SCREEN<
*Whispering and rifles cocking*

*Artillery fire; marching*
>BLACK SCREEN<

*"AHHHHHHHHHHHH!"*
>BLACK SCREEN<
*"War's very object is victory, not prolonged indecision. In war there is no substitute for victory."

>BLACK SCREEN<

COMING TO THEATERS THIS FALL
CROSSING THE YALU

 

[Whumbly]

Teaser Trailer

Start:

Black Background. 'The Tanks That Broken The Ranks Out In Picardy' begins to play.

Text [Bold, White]: In 1917 the situation was bleak on the western front for Germany. With the Americans entering the war, all the Entente had to do was to sit and wait for fresh troops.

Fade in of British troops in muddy uniforms inspecting their artillery for a bombardment. Behind them a cloud of dust blocks the view of the trenches and no-man's land.

Text [Bold, White]: The German High Command risked much on a plan by Erich Ludendoff to smash the British and French armies before the American troops could arrive.

Several British Tanks roll past, with their supportive infantry as the text appears below.

Text [Bold, White]: However, it failed and the German Nation appeared to be heading towards the hangman's noose.

The music abruptly stops, as from the dust several shells hit the tanks destroying them utterly. The sound of machine gun fire as British troops rout, some even throwing away their equipment, a terrified look on their faces. The men at the artillery station maneuver their gun quickly to point down. 'Victoria - Marsch' begins to play.

Text [Bold, White]: However, the Germans had one last ace up their sleeves. Which would forever haunt the men of the Western front.

The artielly station is destroyed in a fireball, and a single Kanobil runs over what's left of it. It rumbles towards the camera the grey iron cross on the front standing out as it apparently runs into the camera. Black Screen.

The music volume increases. The German imperial flag flies in an unseen wind on a black background.

Text [Bold, Same colour of the iron cross]:

A Shift in Priorities​

The title fades out, and the slogan fades in. The music now blearing out.

Text [Bold, Same colour of the iron cross]:

Ideas are Dangerous Things​

 

[Patukov]

A group of engineers look over a plan for a new weapon that cannot be seen by the camera, a British officer walks up behind them.

Officer: Excellent job chaps, but Mister Churchill requests one little change in the design.

Senior Engineer: What's that?

Cut to a WWI battlefield. The same British Officer, much more ragged and dirtier, is cowering in a trench while Grex spines whiz overhead clutching a radio set.

Officer (Shouting into a radio): More Dakka!

Cue a sample of Invaders Must Die - The Prodi.

Cut to a montage of British and French land dreadnaughts firing there arsenal of cannons, machine guns, flamethrowers and in the French case revving the chainsaws attached to the tanks towards the camera.

As the flames engulf the camera cut to the flames pouring out of the back of a German bi-plane as the mounted flamethrower burns the flying roach attempting to tear the plane apart. The remains of the roach fall towards the camera.

The roach remains cut the camera to Russia. An armoured train ploughs through a crowd of roaches guns blazing, kicking up snow as it goes.

Snow turns to dust and we kick to an young American private cradling what appears to six barrelled shotgun and staring ahead of him.

Private: That's the coolest thing I've ever seen.

The scene flips to show Charles De Gaulle cleaning his rifle in the trenches.

De Gaulle: You haven't seen anything yet American.

At this De Gaulle points his gun at the camera. The scene switches to Erwin Rommel throwing his rifle away as he jumps from the roof of a burning building and just grabs the end of a rope attached to a rapidly ascending zeppelin. Almost immediately afterwards the building is demolished by a barrage of German heavy artillery.

A chunk of masonry hits the camera with 'Swarm on the Somme' written in what appears to Grex Blood. The glass of the camera appears to crack into the words 'Coming Soon'.

OCC: If anyone is seriously intrested in this I can do a few more Swarm on the Somme TV Spots.

OOC:I would be glad

 

[Petike]

Officer (Shouting into a radio): More Dakka!

Cue a sample of Invaders Must Die - The Prodi.

Very good and possibly the funniest yet.

I was toying with the idea of combining clips from several movies into a real fake trailer for SotS, but honestly, I don't think there will be enough appropriate footage for that. I'm still open to possible suggestions though.

 

[BlackWave]

Ooh--I like the idea of that. Perhaps you could splice in WW1 clips with maybe quick flashes of Dawn of War or Starship Troopers? With a map? Could be just teaser length, that'd be easier to handle?

 

[Petike]

Ooh--I like the idea of that. Perhaps you could splice in WW1 clips with maybe quick flashes of Dawn of War or Starship Troopers? With a map? Could be just teaser length, that'd be easier to handle?

Yes, in that fashion. I agree teaser-lenghth would be generally easier to make. Hm, I'll search for footage in my free time and see what I can do.

 

[statichaos]

INT. PADDED CELL

A man in a straitjacket sits and stares vacantly at nothing. Softly, he sings.

MAN: (singing) It's a world of laughter. . .

(Young Mouseketeers, smiling and laughing, line up outside a church, taking picket signs)

MAN: (voiceover, cont'd) . . .a world of tears. . .

(A white mob descends on Ernest Green, he opens his mouth in a silent scream right as the camera mercifully cuts away)

MAN: (voiceover, cont'd). . .it's a world of hopes. . .

(Orson Welles swigs from a bottle of Paul Masson and shakes hands with Elvis Presley, the Eiffel Tower in the background)

MAN: (voiceover, cont'd). . .it's a world of fears. . .

(Armed, weary-looking soldiers take down an Israeli flag and run up a red and yellow Communist version)

MAN: (voiceover, cont'd). . .there's so much that we share. . .

(A black man grimly watches as policemen hold a crowd at bay with submachine guns, guarding the workmen putting up a concrete wall in the middle of a street)

MAN: (voiceover, cont'd). . .that it's time we're aware. . .

(George Lincoln Rockwell walks into the Capitol, puffing his pipe, a copy of Mein Kampf tucked inconspicuously under his arm)

MAN: (voiceover, cont'd). . .it's a small word after all.

(US Marines corner a man on a war-torn Cuban street. He is dirty and injured, but his beard and hard stare makes him instantly recognizable as Fidel Castro)

SMASH CUT TO BLACK

MC: (voiceover) Ladies and gentlemen, please welcome the President of the United States. . .

SMASH CUT TO CROWDED EVENT

MC: Walter Elias Disney!

(Disney walks out on stage, flanked by Cohn and Dodd)

TITLE: A WORLD OF LAUGHTER, A WORLD OF TEARS

(At a downtown police station, a young nervous black man edges closer to the desk sergeant. When a cop looks up at him, he flings open his coat, revealing a dynamite vest)

SUICIDE BOMBER: Allahu akbar!

(Exterior view of the windows of the police station blowing out)

SMASH CUT TO BLACK

TITLE: COMING THIS SUMMER

I am so sorry that I didn't see this when it was first posted, but I've been indisposed due to health issues for some months. I love this so much, and I'm both flattered and gratified by the effort.

 

[Strategos' Risk]

Someone who's familiar with his work please please please make a trailer for Doug Hoff's Empty America.

 

[Trent01]

Start:

(Show worldmap.)

Text: 5th January, 1915.

Narrator: It is the second year of the Great War. Europe is within the throes of war. Thousands have died as a harbinger of the millions to follow. But this war will soon take a course noone could have forseen.

(Black marks begin to spread from France, Russia, and Australia. Camera zoom in on Europe.)

(Scene change to a trench line, camera following a British soldier marching along the trench, artillery is firing in the distance with both loud and muffled explosions.)

(Soldier grabs the collar of a passing French soldier.)

Soldier: Rouse up the line! We're going up!

(Scene change to a line of soldiers loading their guns and putting ladders on the trench wall. A barrage of shells impact softly and hissing is heard.)

Officer: Masks!

(The soldiers put on gas masks and check their weapons.)

Officer: Spec Weapons! Up!

(A set of soldiers wearing armor and with chainsaws march to the ladders.)

Officer: Ready! Go! Go! GO!

Soldier: For humanity! Fuck YEAH!!!

(A roar resounds among the soldiers as they charge up the ladders. Camera zoom out to show a long trench line as thousands of soldiers charge.)

(Switch to a pair of flamethrower troopers. Suddenly, they are both barraged by spikes.)

Soldier: Incoming! Keep moving!

(Rumbling is heard, land dreadnauts roll forward, sending streams of machinegun fire and cannon shot out. One of them explodes and is tossed aside. Camera turns left, showing only a shadow of what caused it.)

Officer: Forward! For King and- (Death by spikes)

(The charge of men and tanks soon reaches another trench line. The soldiers jump into the trench, and begin close-quarters battle with mutated men.)

(Cut to soldiers throwing grenades into the trench.)

(Cut to a chainsaw soldier grinding through a mutant, leaving it spurting purple ichor.)

(Cut to a flamethrower torching a section of trench while riflemen begin shooting corpses.)

(Cut to soldier wielding a club against a mutant, only to be stabbed by a claw from its third arm.)

(Cut to giant bombardier beetle tearing apart a land dreadnought while the other two hose it with machine-gun fire.)

(Cut to soldiers in the trench being swarmed and covered by tiny golden beetles.)

(Cut to soldiers fleeing, only to be hit by acid flames and spikes.)

(Cut to a chainsaw trooper, with a lewis gunner, a rifleman, a lone flamethrower trooper, and a sniper. Camera turns to the bombadieer beetle, which stomps in front of them.)

(Chainsaw soldier pulls ripcord one, twice, on the third try the chainsaw revs.)

Chainsaw soldier: Lets teach these bugs how real men fight!

(Soldier charges toward bombadieer yelling. Cut to black.)

Title card: SWARM ON THE SOMME. (Swarm is written in purple blood and titlecard is on a arillery shell case.)

(Pan across a ruined battlefield to a lone soldier with a kilt playing bagpipes on a dead pile of bugs. Soldier stops and looks up, revealing hes black and with a eyepatch.)

Soldier: Nehehe. Don't think they saw that one coming.

(Switch camera to behind soldier, showing a massive explsoion in the distance in front of him. Fade to black.)

COMING DECEMBER 4, 2012

OOC: I think I might do a series.

 

[LordVetinari]

Bit of self-promotion to some I think, so if people think I'm not doing this right, please let me know. Its based off my Lion of Washington Thread.

Open on scene of the Capitol Building in Washington D.C., late 19th century. It shows a scene of the Presidential Inauguration in motion.

Voice: I..

Cut to scene of men nearby, under some temporary stands, four have guns, one is near a couple of barrels, obviously gunpowder.

Voice: do solemnly swear...

Cut to Show soldiers running through the crowd, guns at the ready.

Voice: that I will faithfully execute...

cut to show men under stands readying to light the powder

Voice: the office of the President...

show soldiers reaching the stands, start to head under them,

Voice: of the United States, and will to...

men under stands react, ones with guns fire at the soldiers, officer and private go down.

Voice: the best of my ability...

soldiers gun down two of the men.

Voice: preserve...

soldiers get into fight with the last two armed guards, the unarmed man tries to light the powder.

Voice: protect...

cut to shot of crowd

Voice: and defend...

the man is shot in the back, just as the powder is lit.

Voice: the Constitution...

cue to crowd cheering.

Voice: of the United States.

explosion errupts under stands and next to the capitol building.

Word appears:

LION

the explosion rips out more into the crowd

Word Appears:

OF

fire spreads to part of the Capitol building

Word Appears:

Washington

the dome of the Capitol collapses, to the sound of a crowd cheering.


What do people think?

 

[mattep74]

*Voicover* In a world were the atombombtest failed

*picture of the atombombtest from OTL with a red X

*Voiceover* Japan refuses to surrender and have decided to fight to the death

*Picture of japanese troops shouting Banzaii and long live the emperor*

*Voiceover* The allies now have to invade.

*Picture of MacArthur, Nimiz, Halsey, Patton and Eisenhover discussing plans. *

*Voiceover* Witness war as you never seen it before. From the air

*Suicidebombers attacking ships, suicideplanes ramming B29-bombers, fighters duelling in the sky*

*Voiceover* From water

*Suicideboats, suicidedivers, submarines, battleships bombarding, smaller ships duelling

*Voiceover* And on land
*Massive infanteryattacks, hand to hand combat, suicideattacks


DEATH IS LIGHTER THAN A FEATHER

 

[Wendell]

Is this based on a TL?

 

[von kressenstein]

FIRST TRAILER DURING SUPERBOWL 46: DETROIT LIONS VS KANSAS CITY CHIEFS
(hey its my fantasy...)

<slow pan down from star field to zoom in on Galactica panning over the ship>
<voice over>5 years in space... 5 years with out hope... searching.. praying .. for EARTH.

<Pan down over cylon centurion>

<Voice Over>"The Cylons were created by man. They evolved. They rebelled. There are many copies. And they have a plan."

<Cylon Raider cuts through the screen in an explosion>
<fade to black>
<fade in Cylon Centurion talking with Number 6>

The trap is set, the plan is in motion.. soon the humans will be ours.

<Fade out>
<Fade in earth .. zooming in till it fills the screen>

<William Adama Speaking>

We made it.. earth.. finally.. all these years.. all those lives.. <Adama turns his face misty eyed and hugs his son Apollo>

<Fade Out>
<Sound of Cylon whooshing eye over black screen.. slowly fading in, the sliding red eye filling the screen .. begin zoom out from eye to reveal a Black 1982 Trans Am>
<a middle aged Germanic sounding human with black sunglasses sitting in the front seat looks to the screen, his right eye glowing a subtle red>

<t1000>I'm Back...
<KITT> BY YOUR COMMAND

<camera zooms into the eye then fades>

THE WAR CONTINUES

FALL 2012

GALACTICA 1982

​

 

[Sicarius]

From the Jimmy Hendrix meets Ron Paul thread...

I thought the idea wasn't good for an AH timeline but it was fucking great for a buddy comedy.

I mean come on, Hendrix and Paul, just add a plot that in itself is mildly humorous and you've got comedy gold.

EXT. A HIGHWAY. DAY.

A massively pregnant woman stands on the roadside, in front of a smoking, broken down car. She waves offscreen.

WOMAN: Ek het hulp nodig! Asseblief!

Slowly, a hulking tour bus pulls into frame, stopping in front of the woman. The door hisses open.

JIMI: Hi. I'm Jimi Hendrix.

CUT. INT. A DOCTOR'S OFFICE. DAY.

JIMI and a roadie is wheeling the huffing woman into the office on top of a rolling speaker.

JIMI: Hey! We need a doctor out here!

A doctor sticks his head out from a room.

DOCTOR: I'm a doctor. Doctor Ron Paul.

JIMI: Are you experienced?

CUT. INT. DAY. RON PAUL'S OFFICE.

RON: Your friend is fine, but she was very difficult to calm down. Mr. Hendrix, how well do you know this woman?

JIMI: I just met her, man.

RON: And would you happen to know what these are?

RON opens his hand, revealing several large gold coins.

RON: She handed them to me before the delivery. She was quite insistant.

JIMI: Are those gold?!

RON: Not just any gold. Krugerrands. Purestrain gold Krugerrands.

CUT. INT. DAY. THE ENTRY HALLWAY TO THE CLINIC.

A team of masked men burst in, yelling and firing AK-47s. They kick in doors until they find the room they're looking for. Seconds later, several of the men come out, wheeling the frantic woman.

CUT. INT. DAY. RON PAUL'S OFFICE.

One of the masked men bursts in the door, instantly training his gun on RON, who raises his hands in fear. Suddenly, JIMI steps out from behind the door, leading with a guitar which smashes into the man's face.

CUT. INT. DAY. RON PAUL'S OFFICE.

RON and JIMI are hunched over the groaning man.

MAN: You ... soon your kind will be in their place.

CUT. EXT. DAY. TEXAS DESERT.

RON and JIMI cower behind a cactus.

JIMI: Do you hear me man?! These motherfuckers are building a time machine!

RON: What!?

A man pops up from behind a boulder, firing at our heros, who take off down a dune.

CUT. EXT. A DESERT CLIFF.

JIMI lies bloodied on the ground, precariously close to the cliff's edge, as the EVIL RINGLEADER paces in front of him. The prone body of RON lies in the background.

EVIL RINGLEADER: Yes, Mr. Hendrix. Soon we shall return to the days of your Civil War, and provide the Confederacy with these.

The man hefts an AK-47.

EVIL RINGLEADER: Where will you and your band of gypsies be then?

RON: Hey pal!

The Evil Ringleader whirls around in shock.

EVIL RINGLEADER: How?!

RON holds up a pocket constitution. Inside it is lodged a single bullet.

RON: Guns don't kill people. I do.

RON delivers a roundhouse kick to the face of the EVIL RINGLEADER, who plummets to his death off the cliff.

EXT. DAY. A MILITARY AIRFIELD.

RON: Look! We'll take that!

He is pointing to a blimp.

JIMI: I'm getting too old for this shit.

To the strains of VOODOO CHILD, a stream of quick action-packed cuts.

TERRORISTS drive in jeeps underneath the blimp, firing in the air and yelling in Afrikaans.

JIMI HENDRIX

JIMI wails on a guitar as TERRORISTS writhe in agony in front of enormous speakers.

DOCTOR RON PAUL

RON dives sideways, firing a pistol in each hand. Doves fly in the background.

THIS SUMMER

RON and JIMI stand back to back, surrounded by a band of TERRORIST NINJAS.

IN

RON and JIMI walk slowly towards the camera as the blimp crashes into the ground in a fiery explosion behind them.

CROSSTIME TRAFFIC

EXT. DAY. THE DESERT.

RON: No, see, the butterfly flaps its wings in China, and it causes a hurricane in Louisiana. So if you change the timeline -

JIMI: Man, I don't care about some Mothra-ass hurricane butterfly! We got time-traveling motherfuckers with machine guns here! They will fuck that butterfly up!

COMING SOON

 

[Strathmore_and_Kinghorne]

Jacobite

Black screen
Single bagpipe: Highland Cathedral
Pipes and drums join in.
Shots of Jacobite Soldiers fade in and out
Text: Fight for Freedom
Shot of the Duke of Cumberland, shouting.
: For Honour
Lone Scotsman fighting.
Overlay sound of a bellow
: For Scotland
Scotsman dies, as more pour into view.
As music ends: final shot of Bonnie Prince Charlie being crowned.
Overlay sound of Musket fire
: Jacobite
: 8.5.14

 

[Whumbly]

[1917: British and French troops struggle on the Western Front against the German Empire. On both sides of the wire, the men in the trenches are doubtful of not only their commanders, but of their politicians]​

A Black and white slideshow of British, French and German troops huddled in their trenches. Gloomy music plays.​

[In a small dugout in France, four British soldiers gather]​

A group in tan uniformed soldiers in a dugout. A nervous staff officer, a fresh faced young Lieutenant, a dirty and bedraggled private with a large wart, and a beady-eyed Captain with a thin moustache.​

The Captain (reedy, petulant voice): Alright boys, through a joke of God we seem to have come through unscathed this time. Nonetheless, it is still several hundred miles to Berlin, and there are still several hundred thousand angry Germans with machine guns that are going to try to stop us from getting there, and above all there are quite a few trenches to charge before the whole bloody mess is over. All of which brings me to my point: unless something is done soon, we are, as they say, 'doomed'​

There is a pause.​

The Lieutenant (high, upper-class accent): I say when you put it like that, sir, it makes it seem like we have less chance then a smoked sausage in Frankfurt.​

The Captain: It isn't me putting it like that, George, it's the world. And as the world will only change on its own when new, dynamic, fully sane people are brought in to run it, we haven't a cinnamon bun's chance in a tea shop unless we do something ourselves.​

The Staff Officer (nervous, shaky voice): What do you suggest we do?​

The Captain: That's why I've brought you here, I exhausted every possible plan of my own before we went over the top, and so I want to hear any plans of yours. Except for Baldric, motions hand to the private who I brought for comic relief.​

Another longer pause, only to be broken by the Lieutenant, George.​

George: I say, Captain, you know a bit about politics and such, and you damn sure seem to know how to turn a phrase. Why don't you run for PM?​

The Captain: George, if I had wanted a vaguely amusing plan that couldn't work if the Great Bat God tried it, I would have asked Baldric for his thoughts. We are never, ever...​

Scene cuts to outside the door of Number. 10 Downing Street, the four (now dressed in suits) stand with a bunch of other people in suits. An orchestra version familiar tune plays.​

[1933: The new Prime Minster's introduces the cabinet]​

George (whispering to the Captain): Back in the trench sir.​

The Captain (deadpan tone): Don't speak George, you'll ruin the moment.​

A number of off screen shouts are heard.​

Journalists: Prime Minister! Prime Minister!​

The Captain (smiling) speaking to the reporters with a charismatic tongue: No time for questions, we have a lot of work to do and one hell of a mess to clean up. But, I say this, at long last after years of those who lead us to the great madness that is war, sanity enters these doors. Read my lips, the winds of change are being blown across the land. Now that Edmund Blackadder is at the helm of this great ship of Britannia and I plan for us and our empire to sail to glory.​

Scene fades to black.​

Title: Blackadder: One Cynical Coward Can Make a Difference.​

OCC: Link to story.

 

[Macragge1]

Open w/ footage of Protect and Survive ep.1, 'Nuclear Explosions Explained'

PATRICK ALLEN (V/O) 'Nuclear explosions are caused by weapons such as H-Bombs or Atom Bombs. They are like ordinary explosions only many times more powerful'

We pan out to reveal that we are watching the episode on a big, old '80s television, in a dark room.

PATRICK ALLEN (V/O Contd.) 'They cause great heat and blast.'

We are in a living room, anyone's front room. It is badly damaged, though. The wallpaper is burnt, the flowers are dead, the furniture is scorched.

PATRICK ALLEN (V/O Contd.) 'They also make a cloud of deadly dust, which falls slowly to the ground.'

We pan further out, seeing more of the shattered room. We can see now that the only light is coming from a smashed window to the left of the screen. The remains of curtains are blowing lazily into the house, along with the suggestion of something else.

PATRICK ALLEN (V/O Contd.) 'This is what is called fallout.'

At this point, that horrible staticy 'fallout' sound effect is high in the mix, almost overwhelming. We pan further back out. There is now a highbacked armchair taking up most of the right foreground.

We reveal on the left armrest a skeleton's arm, its bony hand still holding a copy of the 'Protect and Survive' leaflet. Hold for a couple of seconds, increase 'fallout' sound effect and then fade to blinding white.

MUSIC - 'Two Tribes, Frankie Goes to Hollywood'.

As the Piano/Orchestral introduction to the song starts, we are treated to archive footage that suggests a confrontation between the superpowers - think footage of the '80s REFORGERS; big long lines of tanks and trucks; Soviet parades w/ missile launchers etc. This goes on for about twenty seconds; as the orchestral sweeps during the last few seconds of the intro hit, we quick cut between various shots of UK preparations for war - we see a line of ambulances, we see armed troops on a very clearly British street (red phone-boxes etcetera), we see Bloodhound missiles aiming up at a stormy sky.

The music now gets mixed down; where the vocals would start in the song, we just get that bassline providing a tempo for the following events.

Shot to the Constable, sitting in the back of a dimly lit, moving transit van, at night (amongst other policemen). He is very visibly, and audibly, nervous.

THE CONSTABLE (V/O) 'I can't say I agree with everything that's...going on at the moment...'

Cut to footage of police kicking down a door in the middle of the night, cut to unarmed, fairly innocuous people getting dragged out amid blue lights.

THE CONSTABLE (V/O contd.)'...but it's not really like I've got a choice'.

Cut to image of a soldier, amongst the rubble, pointing a revolver at a scruffy, exhausted, terrified policeman.

THE CONSTABLE (V/O contd.)' It's all got a little...cowboys and indians these days...'

Shots of heavily armed, dirty soldiers and policemen scowling at the camera from several overloaded lorries that pass by, revealing several unarmed civilians on their knees or standing with their hands on their heads, under armed guard. We get a brief glimpse of the Officer, smoking a cigarrette; the nature of the shot suggests impending conflict.

Cut back to the Constable in the back of the van. We reveal that he is loading a revolver with shaking hands.

THE CONSTABLE (to the camera) 'and for better or worse, you've got to choose the fucking cowboys.'

Music cuts to silence as we are cut into a shot of the mushroom cloud viewed from the Monument, Central Newcastle. We see the backs of the Old Man and his Wife. He turns, in slow motion, to shield her, as in the street we are looking down, the glass in the windows smashes closer and closer towards them. As this happens, we fade in from the 44th second of Craig Armstrong's 'Escape' (as the vocals start.) It is as the vocals shift up a key that we see the smashing glass and the blast wave approach the pair. Cut to black.

As the music returns, softly, we have a montage of the destruction; buildings burn, cars are overturned, a single child's hand sticks up from out of the rubble.

As the vocals get stronger, we see footage of soldiers in gas masks, and rescue services with improvised protective equipment, moving in towards the burning city. It is a picture of Hell itself as the music reaches a crescendo. The following voiceover comes as the music gets lower at around two minutes forty-three.

THE CONTROLLER (V/O) 'We did what we had to do...'

Shot of people up against a wall, bullets crashing into them. They fall in slow-mo.

THE CONTROLLER (V/O, contd.) 'to protect what we had left...'

Shot of wounded policemen bombing up SLR magazines in a destroyed shop front.

THE CONTROLLER (V/O, contd.) '...just to survive.'

Shot of queue of wounded, shattered survivors outside a feeding centre or hospital.

Cut to frontal shot of The Controller stepping outside the Freeman Hospital.

THE CONTROLLER (V/O, contd.) 'These are desperate times...'

We zoom in on the Controller, revealing the stress and premature aging in his face.

THE CONTROLLER (V/O contd.) '....and you can guarantee there will be desperate measures.'

As this line is delivered, we swoop to behind the Controller. Just as we are taking in the landscape shot of destruction that is revealed, there is a slam-cut to black with the sound of a single rifle's shot, loud.

We are now onto the final section of Craig Armstrong's 'Escape' (which starts at four minutes and seventeen seconds into the song) in which drums are added and the tempo kicked up. Each cut now is a slam, faster and faster, various brief glimpses of the action.

THE OFFICER (V/O) 'There's blood on your hands, Controller. Oceans of it.'

Shot of soldiers running, under fire, through the Battle of Felton. Shot of violent, pre-war rioting, shot of fighter aircraft flying low over the countryside.

THE OFFICER (V/O, contd.) 'I've nothing left now but a mission. I am going to find you...'

Shot of a helicopter's searchlight. Troops kicking down a door. The Controller in an argument in the Civic Centre bunker.

THE OFFICER (V/O, contd.) '...I am going to stop you...'

Shot of the Officer kicking a suspect tied to a chair. Shot of policemen hastily carrying the Controller into a waiting van.

THE OFFICER (V/O, contd.) '...and than, I am going to kill you'

Quick shot of the airport blast rising into the sky.

Silence. Cut to title 'PROTECT AND SURVIVE'.

Cut to black.

THE OFFICER (unseen) 'Of course...'

He inhales on a cigarrette, illuminating, in sickly orange, himself and his rifle.

THE OFFICER (direct to camera, humourless) '...it's not the end of the world.'

End trailer.

 

[jkarr]

do all the tralers have to be based of books cos noticed a few that are from threads or that..got a futre timelime one ive being developing in my head for a while

 

[Petike]

do all the tralers have to be based of books cos noticed a few that are from threads or that..got a futre timelime one ive being developing in my head for a while

If you have a long-running and well developed scenario and a great idea for a trailer, feel free to post.