Viator, a screenplay written by Angelina Fluehler, begins with the protagonist’s birthday anniversary. This immediately compels us to encounter the narrative’s central theme: the question of birth, of being born. From the outset, the script is structured around the simultaneous progression of events, using various flashbacks to weave different aspects of the story together. The protagonist, Tory, is introduced subtly and skillfully through dialogue, rather than direct exposition. His character is shaped through his interactions with Deborah, his father, his colleagues, Dave, and others—we come to know him through his reactions to those around him. This approach proves effective in the script, and by the time we reach Tory’s birthday early in the film, we already have a clear sense of what kind of a character we’re dealing with.
Tory is a character with a good social standing, and he’s relatively wealthy, yet he feels that something in his life is out of place; he seems lost in this world. His sense of loneliness is a key element that introduces him to us. Despite living among others, he appears more authentic in his moments of solitude. This is why, even when exercising in the park, he talks to himself, as if his thoughts create a barrier between him and the world around him. His conversations with others also reflect his sense of detachment. For instance, his discussion with Dave about the concept of time is hardly a typical response to a simple question. When Dave asks why Tory wears his watch on his right wrist, Tory’s answer is far from what one would expect in an ordinary conversation. Through such unusual responses to simple inquiries, the writer effectively reveals that Tory is not an ordinary person—his thoughts prevent him from forming deep connections with the world. He has long been preoccupied with existential questions about his own being.
While the screenplay employs flashbacks to explore different aspects of the story, it also moves constantly between locations and characters. This movement injects a unique rhythm into the narrative, one that is carefully maintained throughout. Preserving this rhythm is one of the screenplay’s key strengths. Through relatively short scenes and well-crafted dialogue, it achieves a strong sense of cohesion—one that is sustained until the very end. Within this cohesive structure, several pivotal moments are seamlessly embedded into the narrative: Tory’s decision to end his romantic relationship with Deborah, Frank’s death, and the events at the nuclear power plant. For the writer, all these moments—which are symbolic of the protagonist’s development—serve as tools to articulate Tory’s gradual change. It is also worth noting that, despite Tory being the central character, the supporting characters are not mere accessories; they each have distinct identities and significance within the story.
Apart from the flashbacks that occur within the main storyline—such as the jump back to three days earlier—the screenplay also utilizes its science fiction elements to reveal Tory’s past lives. In this regard, the writer demonstrates a strong understanding of the genre’s potential, skillfully structuring the foundation of the work around these elements. Exploring the protagonist’s past lives adds a compelling layer to the narrative, enhancing its intrigue.
One of Tory’s past lives is as a ninja in a Japanese village. In this existence, he goes by a different name: Yasu. The writer’s character development aligns seamlessly with the historical and geographical setting, successfully creating believable figures who feel organically connected to their environments. The screenplay does not confine itself merely to the theme of reincarnation; it expands beyond that, delving into profound questions such as the meaning of creation, human solitude on Earth, the nature of identity, and the existential wandering of mankind. Angelina Fluehler masterfully weaves these themes into the fabric of her work while maintaining a strong focus on engaging storytelling. The result is a screenplay that is both captivating and thought-provoking, offering ample opportunities for discussion and interpretation.
Viator is a visual screenplay that combines various genres, such as action, science fiction and drama, and its premise and its unique protagonist make it possible for its writer to create a brilliant blend of action, drama and ontological questions. The ideas of free will, reaincarnation and the concepts good vs. evil make it a project that is extremely relevant to our times. While it can be challenging to find visual techniques and approaches to fully capture the narrative’s complexities and adapt it for the big screen, one can only hope that this script is adapted into a cinematic work worthy of its potential.
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