age of the titans: the battle of trost

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.



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?



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.


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.


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


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.


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.


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.


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


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:


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:


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:


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.


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.


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.


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.


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.


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

age of the titans: the battle of trost

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