Current A level student and budding filmmaker hoping to pursue my passion.
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Stanley Kubrick research project.
A first draft marked by my teacher( featuring minions sticker.)
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Three wise men.
A treatment by Sinan Kinch
The story of a seemingly innocent man‘s escape from the imprisonment of a gang is told through 3 very different recollections from his captors, but what is the truth..
We begin with a close up tracking a large man’s feet as he walks down a dark and dingy corridor until he stops and sits slothfully on a wooden chair, the sounds that he makes are enhanced to accentuate the emptiness of the setting. A cut to a pan shot from behind the man reveals that he is sat facing a cell (or simply a dark, unattractive room) with a detained man who is clearly his prisoner in it (preferably he is tied “spread eagle” to posts in this room alone). The detained man begins to talk to the guard, pleading with him for his freedom unsuccessfully until he finally exclaims he will “tell him and only him” where the money is as “the rest of those guys will kill him straight after” and convinces him on the appeal of his greed to let him out (a whole conversation will take place with the detained man’s desperation coming across as well as the large man’s greed and a certain confidence/power). The large man slowly opens the cell and a cut to a high angle shot of the cell looking directly on the room with the prisoner in the dead centre of it as the man walks around him releasing him from the ropes he is tied up with. When the prisoner is completely released he collapses to the ground and the large man laughs heartily at him and as he does the prisoner grabs the very obvious knife from the large man’s belt (the large man has been introduced as a very loose stupid man before hand) and slices his neck however it cuts to the same low angle shot that opens the film and you see the prisoners bare feet followed by the large man’s dead body fall on the floor as a pool of blood gathers. The camera follows the prisoner’s feet as he runs (knocking over the wooden chair as he does so) down the opposite way the large man entered straight through a door to the outside world as we see the light envelope him and transition into the next scene.
The next scene opens with a man shouting about “how true it is” to a darkened figure ahead of him(possibly shot with an over the shoulder low angle shot from this man’s perspective) as the audience sees that the scene we had just seen was this man, “Samuel’s” retelling of the event. Samuel is the man who is supposed to be in charge of the prisoners with his role becoming clear as the overseer of the “operation”. Samuel is shown to be very sure of himself and what he saw as it becomes obvious he is the type of person who does nothing wrong usually and always looks to impress the boss however he seems to have been caught off duty and he may be lying about the situation (that is part of the mystery the audience has to figure out). The darkened figure decides he has heard enough and sends Samuel away.
Next, a man with a sack over his head reluctantly is pushed into the room and sat down facing the darkened figure just as Samuel was, we may cut to a POV shot of the bag being taken off the man as we are exposed once again to Samuels previous point of view and are “put in the hot seat” once again. This man’s first response is to spit in the direction of the darkened man; he is hit by the person who escorted him in. This man’s name is “Dante” and is illustrated as a very rebellious and aggressive character. After some resistance and complaining from Dante a loud authoritative voice simply says “TALK”. The camera zooms in towards Dante’s face as it fades to the next scene. This scene opens with the same tracking shot of a man’s feet walking down the corridor although these are different person’s feet as they walk much more hastily and appear differently. The next shot is a medium shot that reveals it to be Dante holding a knife, it then cuts to a shot from Dante’s POV as he heads straight for a sleeping Tony. Dante slices Tony’s neck just as the prisoner did in Samuel’s retelling then races to unlock the prisoner’s cell. We see Dante release the prisoner, untying his ropes as he yells profanities about the organisation we assume are in charge of all of this. The prisoner drops as he did previously but Dante helps him to his feet and quickly and exclaims to him that the door to his freedom is just there. The prisoner stumbles quickly but nervously through the door as Dante looks on at him and a transition mirroring the prisoner’s first escape to freedom happens and introduces the next scene. This scene opens with Dante furiously saying that that man was a good man with a family, etc and that the things that they did to him they should be hung for. Dante is shown to be absolutely opposed to this organisation that he was clearly apart of until that event. He finally tells them to “just kill him already; he can’t live with the things he’s done here anymore!” Two men take him away with only the scrape of his clothes being heard and we hear a gunshot from outside the room then silence feels the air once again.
A loud knock fills the room as the scene changes and a young man (younger than the previous two men who had told their story) is wheeled in on a wheelchair by someone slowly. He has a blanket wrapped around him and there are tears in his eyes which stare longingly and are unblinking. This man’s name is “Paco” and he looks traumatized. He is clutching the chair as it is wheeled up to the same position the previous two were and he slightly jumps as the wheelchair is stopped all of a sudden. We see the darkened figured once again from the POV shot that had been used previously as we hear Paco’s fast, acute breathing. The man who wheeled him in offers Paco some water or anything and Paco stares in silence until that same booming voice from before tells Paco to “tell him what happened, the truth!”. The camera transitions to the next scene. A close up shot of a man’s feet fills the screen again. Notably this man has colourful trainers on and is just strolling. The camera ascends the man’s body, travelling up a baggy track suited physique to reveal a rather chipper Paco who has headphones on and we hear the music as though we were Paco- it is an upbeat song which contrasts the visuals of the scene. Paco is the most visually colourful “thing” to be on screen so far. Paco approaches Tony friendlily as they both smile to each other and Paco nods to him. All of a sudden the music begins to turn to white noise and Paco looks puzzled and stands just a few meters down from Tony. We cut to Tony who sees the prisoner shaking intensely and Tony reacts quickly and opens the door(knocking the chair as he does so) as we cut to a long shot of further down the corridor of Paco now in a jog towards the cell as he sees the panic. From Paco’s POV now we see Tony thrusted out of the doorway as if supernaturally. We hear a click of fingers out of shot (in the cell) and a rattle of Tony’s knife on the floor followed by the prisoner walking out triumphantly of the cell with the knife in his hand. With the camera still in Paco’s POV we see the prisoner walk slowly towards Tony, not even glancing at Paco (who is frozen with fear) and all in one motion, bend down and “elegantly” slice Tony’s neck. The prisoner then turns and faces Paco directly, puts down the knife and kicks it to him, Paco, with tears in his eyes now, in turn slowly reaches down and grabs the knife. With that the Prisoner turns, walks powerfully towards the door and waves his hand at it as it flies open. Paco, still crouched on the ground holding the knife in terror just watches the prisoner, for the final time, be enveloped but the light of freedom as he walks through the door.
A cut back to the room in which Paco has been telling this shows it to be silent again apart from his breathing. The darkened figure leans forward, out of the shadows and stares at Paco for a long moment. He finally asks “Well... where is it Paco?” Paco reveals under his arm a glistening, bloodied knife and places it in the figure’s hands ahead of him. The screen cuts to black.
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Capricious.
This film breifly explores the duatilty of the mind of a young woman living suburbia.
Note: The choice of song is to reflect the feel found in the scene of “The Night of the Hunter” in which the music is from; a relentless being tormenting and trapping an innocent woman mentally and physically. Appropriate.
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