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Version 1.1 - The 'complete' script, Part 1.
This version incorporates many minor corrections and revisions. It also
introduces possible songs for 'Etiquette'. 'Despair' has been replaced by a
new version 'Faith and Love'. 'Salvation' has been written and added after
the end credits. The way in which a main character is introduced has been
considerably revised.
Written by:
Chris Boyce, Summer of 1996.
Mayfield, Newport Road, Godshill, Ventnor, Isle of Wight, UK. PO38 3HR
Comments to: [email protected]
Based on and with acknowledgements to Disney's The Lion King.
All original characters, situations, plot and dialogue (C) Chris Boyce.
To Sala and Tana, two Golden Lost Souls killed for a crime they did not
commit, and to Mary and Eleanor, who may never know they were once to have
been Nyala and Zenani.
*** Introduction ***
________This document is in two parts. The first is in the form of a film
script, or an approximation to one, the second is a set of notes and character
sketches. Much of these notes concern the plot development and similar
background information and are meant to be read in conjunction with the
script itself. Much visual stylisation is contained in these notes and when
read with the script, will hopefully allow the Pridelands to come alive.
All of this was written with no reference to any other official or unofficial
sources of any kind, it is just a pure extension to The Lion King and so
characters here will have different names to those others may have used for
similar characters before, with one exception: I have taken up Ahadi as
Mufasa and Scar's father. I had called him Simba the elder though he is never
referred to by name. Thus here our Simba's son is called Thembi though he
plays a very small role - we've had all that prince stuff before. So what is
The Pridelands? Well, firstly let me state what it is not. It is NOT The Lion
King reworked. It is however perhaps a more adult story, that's to say its for
adults from 3 to 103 just as TLK was for kids of all ages from 3 to 103. Simba
is now a 'responsible' father, he and Nala are the parents of three cubs, who
can never be replacements for young Simba. Indeed in The Pridelands Simba is
still very much the lead. The 'adult' content comes in the issues addressed
and in some of the events that unfold, though 'adult' here implies a degree of
maturity rather than violence or sexuality, this is suitable for general
release and can be watched by all ages safely, though the occasional awkward
question could be raised from the under tens which could probably be answered
in some non-embarrassing way due to ambiguity. The central theme is the ebb
and flow of the relationship between Simba and Nala and how fate influences
them. This is observed both directly and through their cubs, the less 'adult'
adults will, hopefully, identify with them and see that adult relationships
are not always easy, and certainly not 'happy ever after' and have to be
worked at. While Simba and Nala love each other deeply, this is not enough to
keep them together. They are eventually reunited, but not under the
circumstances we all expect. Nala has to decide to love a lion, not a Lion
King. Against this serious background are set the cubs and, of course Pumbaa
and Timon, though one of the more serious plot turns results in the apparent
loss of Timon, indeed it is, in part, this event that sets the main plotline
in motion. Meerkats can't last forever, but he eventually returns, though
leaving trouble in his wake. Other events unfold in a most unexpected way
that allow Simba to be at peace with himself at last. Along that way we gain
a couple of lionesses, Sala and Tana, a double act and no mistake - Tana is a
'mane chaser'... All this would have given a few technical difficulties, later
compounded by the dramatic and uplifting spectacle of three generations of
Priderock lion side by side, as they must all be instantly recognisable. The
Circle of Life is now seen from a different angle to be, perhaps more of a
spiral. The sun still rises and sets as before but now on a changed pride of
lion; the scars of the past literally and metaphorically wiped clean.
Ok, so all this sounds so very serious; but it is not really and through it
all runs the lightness of touch, inherent to Simba, which was so loved about
The Lion King, this leads to bitter-sweet moments that are interpretable in
many ways at the same time. All this is of course played out against the
breathtaking backdrop of the pridelands, and its surrounding region which we
find does have a human presence, indeed it is this presence that allows the
most magical plot turns, though the humans are anonymous and are on for as
little time as possible, their presence is felt almost throughout. A lot of
time is spent in the notes explaining the reasoning behind this presence,
they have a purpose.... The musical tone would have been less heroic, but
richer and more intimate, but still with moments of pure fun. The opening
song sets this tone as Simba, the king, declares his love for Nala the
huntress while we see the lionesses hunt for their supper, to support the
pride, to ensure the continuing survival of The Pridelands....
*** Prologue ***
{ It is late afternoon, The grassland shimmer in the diminishing heat of the
day. Zebra, Wildebeest and other antelope graze peacefully in the middle
distance forming patches of gentle movement over the savannah. Occasional
flashes of movement flare up and die down as quickly as minor disputes and
frustrations show amongst the herds. Another day is ending much like any
other, yet the end of the day does not bring peace and quiet, it never does.
For predators are more active by night, none more so than the Pride of the
Pridelands who have been quiet lately, allowing others, particularly the
hyenas to roam and hunt more freely. But the feeling is that this is the lull
before the storm, every prey animal knows it may be their time soon. This does
not generate fear, just tension and heightened alertness to the rustle of long
grass and the flicker of black close to the edges of the herds. Something is
happening, it could happen to any, this is the price of living on the lush
grasslands of the Pridelands. However on Priderock this tension is
totally lacking. The pride sleeps easily and securely in the shady open area
of the protrusion of the rock; the cave is too stuffy. The hyenas have been
getting sloppy recently and have provided easy pickings, the lionesses have
not had to hunt seriously for a week. But now most of the pride have not eaten
for a day or two. It is time for the Queens of the Pridelands to show their
skill. To the northern side of the rock a single lioness is awake and sits,
sniffing the faint breeze for traces of the herds on the plain below. She is
in shade and is not visible from below. After a few moments as we wonder what
is about to happen she breaks the silence, calling to a nearby companion... }
Sarabi: Sarafina? {no response, except a movement and a low growl off camera,
she tries again more forcefully, but still trying not to wake everyone}
Sarafina, are you awake?
{ the camera zooms out a little to reveal the source of the growl, a sleepy
lioness who opens an eye, lifts her head slightly from her front paws, tries
to look at the source of her name. She yawns to stress that she has been woken
prematurely and is not best pleased. }
Sarabi: Are you awake?
Sarafina: {in a slightly annoyed fashion} No, Sarabi, I'm not.
{ she lets her eyes close again and her head falls back on to her front legs. }
Sarabi: Come on, get up. We've got work to do, I'm hungry.
Sarafina: Good, go and catch something then. {she pauses, still only half
awake and still trying not to open her eyes. For a moment she succeeds, then
realising what Sarabi has said, opens both eyes suddenly, quickly realising
this to be a mistake} Sarabi! What's this we thing?
{ As Sarafina rises stiffly to her feet and stretches her forelegs slowly out
in front of her, her forequarters and head dropping down to follow. The
stretch follows through to her front paws as she splays her toes, momentarily
extending her claws. }
Sarabi: I see everything's in working order, now where's that daughter of
yours?
{ Sarafina is just getting back on to all fours, she shakes her tail in an
involuntary twitch. }
Sarafina: Oh, she's with the KING again.
Sarabi: Go and get her then, I'll wait here.
{ Sarafina dislikes Sarabi's presumption and she says so in a way no other
lioness, or lion even, would get away with. }
Sarafina: You go and get her yourself! {yawning toothily} I'm still not
entirely awake!
{ Sarabi, muttering quietly, moves off picking her way carefully and precisely
around and through the still sleeping mass of the pride. }
Sarabi: {to herself} She's your daughter, she's only my daughter in law, it was
never like this when Mufasa was king...
{ the daughter is sleeping lightly by her mates side, her paws and tail twitch
rapidly, she makes slight noises - totally unintelligible - under her breath.
She momentarily becomes still. Sarabi takes this as her cue and pushes her
head gently with her nose. }
Nala: {brought partially out of sleep, calls out} I'll catch you next time,
Pumbaa!
{ Sarabi recoils anxiously, moments later Nala fully wakes and looks sleepily
at Sarabi, reminiscent of the way in which Timon looked at Nala when she woke
him. }
Sarabi: Time to go to work, Nala.
{ Nala looks round to her still sleeping mate, who is on his side, legs away
from her. She turns back to reply to Sarabi but she has already moved off. She
shakes her head, eyes closed and struggles to her paws. Her mate makes no move
and sleeps on, probably she thinks, for some time. She moves away with little
of the accuracy of Sarabi and treads on a young dozing lioness who wakes and,
seeing Nala on the move, gets up and follows. The three, following a practised
routine, gather at the back of the overhang and, without a word move off down
the rocks and off onto the plain. They are followed by the fourth lioness who
falls in beside Nala, herself between and slightly behind Sarabi and Sarafina.
They walk purposefully and single-mindedly through the grasses towards the
distant herds. There is no hint of malice, no hint even of real feeling. They
are doing a job, making a living, they are true professionals - this is what
they do - they kill for a living. Meanwhile, on Priderock, the king is stirring
not much but just a little. He, missing the comforting warmth of Nala at his
back, rolls over; legs in the air in an ungraceful, slightly undignified
manner; expecting to fall on Nala. Instead his paws hit the rock heavily. He
starts, jumps up and blinking looks around. His mate has gone, Where? He looks
toward the tip of Priderock and sees the herds beyond, blinking a second time
he stares at the few pride members lying in front of him and following a
couple of paces clears them in a single bound, running on to the end of the
rock. He stops there and scans the plain below impatiently. For a few moments
he (and we) sees nothing but grass and bushes then a glimpse of black moving
away, then another and a third, all moving steadily towards the unsuspecting
herds. He sits back relieved, for there she must be out on the plain -
shopping... The camera follows his gaze out over the parched plain to
the north east where the lionesses are positioning themselves for first
contact with the herds now only 50m-100m distant. They spread out down wind
(i.e. the Priderock side) all four slinking, low to the ground, painfully
slowly forward through the long grass, which makes almost ideal cover. The
camera switches from a rear to a low level forward viewpoint from the other
side of the herd, with Priderock and the sun in the background. }
Text version of The Pridelands Intro & Prologue.
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