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Treatment A Mafioso has gotten incredibly drunk in a bar and is waving his gun around in the open, which has already scared everyone else off so the bar is completely deserted. The barman calls the number of a friend that the drunken gangster has given him. He asks the person on the opposite end of the line to come pick his friend up and explains the situation. The Mafioso is irked but reluctantly agrees to come to pick his friend up, telling the barman to cut him off until he gets there. The barman explains that he will try but his friend certainly won’t like that situation. Upon arriving at the bar the new Mafioso enters and closes the door behind him. The barman starts to lock up while the Mafioso goes over to his friend and convinces him that it’s time to leave. The drunken man, angry over this slams his fist down on the table, accidentally setting his gun off. The barman who was in its line of fire collapses dead. The sober gangster, angry and shocked, reluctantly agrees to hide the body. He calls a friend to come pick them up, specifying that he must arrive in a large vehicle. The third mobster, not being burdened with an overabundance of schooling arrives in a small hatchback. They cannot fit the body in the trunk and so stuff him in the back seat. On their way to a forest their car breaks down. A man offers assistance. The drunken Mafioso awakes from a haze and notices a police badge on the man’s belt. In shock he shoots this man. An argument again breaks out and they stuff this man into the back. They arrive at the forest and find that the friend has only brought a small hand shovel. They begin digging but are soon interrupted by unexpected headlights/torchlight of a park ranger who asks them what they are doing. They make up an elaborate story which the ranger buys. He is leaving and so the drunken mobster relaxes, throwing the gun he was holding behind his back on the ground. The gun goes off killing the park ranger. In disbelief the other two look on as he stumbles and collapses into the hole they have dug. After an argument they finish their business and leave. Thinking he will finally is able to get some sleep, the second mobster introduced goes home but before he can sleep someone bursts into his house pleading for his help to hide them from the cops who are right behind him. The story finishes with our second mobster’s less than happy thoughts on this matter.


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SCENE 1 HOUSE INT. A room is very dimly lit. In its center in what appears to be the only lit area of the room sits a character-VITO. In one hand he holds a glass, seemingly filled with alcohol and in the other he holds a cigarette. VITO (THROUGH VOICE OVER NARRATION) The nights hotter than hell, and still i cant sleep, sitting here trying to drown myself in the hopes that maybe ill pass out. wouldn't be the first time either. I'm finding it harder and harder to sleep . I've lost all track of time. what day is it?, Hell what month is it? A phone rings, startling VITO. He slowly picks the phone up, bringing it to his ear hello?

VITO PERSON ON OTHER END OF LINE hello, Vito Donatello? VITO Depends who's asking. Does he owe you money? no

UNIDENTIFIED VOICE VITO then yes, this is him. UNIDENTIFIED VOICE Mr Donatello, I'm the bartender over here at Mario's on fourth street. I'm calling on behalf of a friend of yours, one Mr Scarletti? VITO Joe? sure i know him. What's that moron got himself into now? BARTENDER well Mr Donatello, he's become a little restless over here at the bar, he's driven off all the other customers, and dare i say it, i think he's had a little too much too drink Mr Donatello.


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VITO And this is my concern why? BARTENDER well sir, he's been waving a deadly weapon around and making all kinds of threats. When i asked if there was anyone i could call for him he gave me your number. I was just about to lock up sir, could you please come and get him. VITO sigh. yea fine, ill be right over, cut him off till i get there BARTENDER ill try Mr Donatello but i don't think hell be too keen on that suggestion, VITO you better cut him off or I'm gonna cut you off VITO hangs up the phone, visibly irked at the low standard of his threat. He picks up car keys from a table. SCENE 2 BAR INTERIOR there is a knock on the Bar's main door. the bartender opens it to find Vito waiting BARTENDER Thanks again Mr Donatello, hes just over there Vito sees Joe in the corner and walks up to him steadily, noticing the gun in his hand. VITO what the hell are you doing Joe, getting yourself into this state and calling me to come pick your sorry ass up? just gather yourself and lets go. JOE not yet i want another round VITO don't be stupid, lets go JOE


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i said i want another round!! JOE slams his fist on the table and the gun he is carrying in his hand goes off, to the surprise of both VITO and JOE VITO Dammit JOE!!!!! there is a strange noise behind VITO and he turns to see that the barman, who was locking up, has collapsed on the floor. After overcoming the initial shock and disbelief, VITO races over and checks his pulse but unfortunately does not find any. VITO starts to panick VITO He's dead, you killed him!! JOE i didn't mean to...... VITO HE'S dead!!!, and for what!. what are we going to do!. VITO paces back and forward considering his predicament, finally coming to a conclusion. VITO right, ill call EDDIE, and get him to come pick us up. We'll bury this schmuck in the woods and we move on VITO dials a number and puts a phone to his ear, walking off. SCENE 3 BAR INTERIOR VITO answers a knock at the back door and lets a new character, EDDIE, in. VITO thanks for coming Eddie.grab the guy's legs, lets get this over with EDDIE and VITO clumsily lift the bartender outside between them, bringing him to where EDDIE claims he has parked. They are bent over,trying to be discreet. Upon arriving at the car VITO notices that it is a small hatchback, and drops the body in anger and surprise VITO What the hell's this?! EDDIE


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an inconspicuous mode of transportation just like you asked for boss. VITO and where the hell are we supposed to put our friend here?! theres no way he'll fit in that trunk you idiot! but....

EDDIE VITO Shut up!!! go in and get Joe while i stuff him in the back EDDIE goes back inside the bar and collects JOE while VITO tries, with much difficulty, to stuff the body into the back seat. JOE is put into the passenger seat while VITO drives and EDDIE sits in the back, beside the body. fade out SCENE 4 ROAD EXTERIOR fade in. EDDIE and VITO are standing around the car which has evidently broken down on a stretch of road. they are arguing VITO ..........so Eddie not only did you bring a car that had too small a trunk but apparently you scoured the entire country and found chitty chitty Goddamn bang bang!!!!!!!!! EDDIE but i....... shut up

VITO a car pulls up behind them on the same stretch of road. A man emerges and walks up to the mafioso's and offers assistance. He is conversing with the gangsters as to the problems with the car, when Joe wakes up from a drunken haze in the passenger seat. looking round he spots a police badge on the strangers belt. he panics and scrambles for his gun, shooting the stranger in the middle of his conversation with the other gangsters. VITO is shocked and stares in disbelief. VITO what just happened. WHAT JUST HAPPENED?!!. you just shot a


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complete stranger. JOE he was a cop, i thought we'd been made. VITO What? you shot a cop?! vito inspects the body, finding the badge. he sighs, wondering how he got himself into this mess. he stands up and turns to the others VITO well we've come this far, its too far to turn back now. stuff him in the back with the others VITO and EDDIE stuff the body into the back seat, jamming EDDIE between the two dead bodies. Upon the first turn of the key the car starts. fade out SCENE 5 FOREST fade in.the car pulls up in a forest. the gangsters get out of the car and start to pull the bodies out VITO EDDIE, did you bring the stuff i asked for? EDDIE yeah, its in the trunk VITO moves to the rear of the car and opens the trunk. he scans it thoroughly. VITO hey Eddie? wheres the stuff? EDDIE its in the trunk there vito VITO Eddie, in this trunk there is a kitchen knife and a bag of fertilizer. EDDIE just like you said boss, bring a blade VITO stares coldly at EDDIE anger is rising and he struggles to keep it out of his voice


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VITO i said bring a spade Eddie, a spade. how are we gonna dig a hole for the bodies IF WE AINT GOT NO GODDAMN SPADE EDDIE i was sure you said........ VITO SHUT IT. just be quiet, not a single word. you have a lot of work ahead of you, digging a grave with your hands EDDIE has a look of disbelief but suspends it in resignation, wandering off to begin work. JOE begins to pace, trying to regain clarity while VITO supervises the work. some while later a cars headlights appear and a car pulls up PARK RANGER whats going on here? VITO struggles to answer VITO absolutely nothing sir. in fact...................we're from the national horticultural society sent here to dig new beds for flowers At 3a.m?

PARK RANGER VITO ..............yes? while this brief conversation is taking place, JOE cocks his gun behind his back, sensing the park rangers suspicion. in boredom he simply shoots the ranger. VITO watches in disbelief as the ranger staggers between them and falls into the newly dug grave.fade out SCENE 6 HOUSE INTERIOR fade in. his keys his eyes when the

VITO staggers into his house exhausted. he throws on the table and collapses into a chair. he rubs and yawns. he stands up and turns to leave the room phone rings.


Shot list Scene 1 Shot number 1

Shot type LS

2

MS

3

CU

4

MS

5 6 7

CU MS CU

8 9

MS CU

Shot description Of central character positioned in a chair Character taking a drink from a glass Character bringing a cigarette to his lips Character setting cigarette down Phone which is ringing Character picking up phone Phone held to characters ear as conversation ensues, alternating angles Character rising from chair Car keys on a table, lifted by a characters hand

Scene 2 Shot number 1 2

Shot type LS MS Over the shoulder

3

MS

4 5

LS LS

6

MS shot reverse shot

7

CU

8

MS deep focus

9

LS

10

MS Over the shoulder

11

MS shot reverse shot

Shot description Barman walking to door Barman opening door revealing the gangster outside. Barman invites him in Barman pointing out drunken gangster Of drunken gangster Sober mobster approaching drunken Mafioso Conversation between sober and drunken gangsters Hand slamming down on table, setting gun off Mafioso recoiling in shock. Barman stumbling and falling in background Mafioso’s turning to look at fallen body. Sober gangster walking to him Mafioso checking barman’s pulse Mafioso’s discussing what they are going to do


12

LS

Sober gangster putting a phone to his ear and walking off

Shot number 1

Shot type MS Over the shoulder

2

LS

3

MS

4 5 6

LS MS shot reverse shot MS

7

LS

Shot description Mafioso letting new gangster in Mafioso’s pick up body, carrying it outside Mafioso’s reaction as he sees car Of car Mafioso’s arguing Mafioso struggling to put body in back seat All Mafioso’s and dead body in car driving off

Scene 3

Scene 4 Shot number 1

Shot type MS

2 3

LS MS

4

LS

5

CU

6

CU

7

MS

8 9

MS LS

10

MS Over the shoulder

11

MS shot reverse shot

12

LS

13

MS

Shot description Gangsters hunched over engine, car hood up. Gangsters arguing Car pulling up Gangster in a drunken haze in passenger seat Stranger emerging from car and approaching arguing gangsters Drunken gangster regaining a moment of consciousness Stranger’s belt. A police badge Drunken Mafioso pulling out a gun and firing Stranger collapsing Sober Mafioso’s running to the fallen body Sober Mafioso finding the person deceased Sober and drunken Mafioso arguing Sober Mafioso stuffing body into back seat All Mafioso’s and two dead bodies in the car setting off


Scene 5 Shot number 1

Shot type LS

2

MS

3 4

LS MS

5

MS shot reverse shot

6

MS

7

MS shot reverse shot

8

LS

9

MS shot reverse shot

10

CU

11 12

LS MS over the shoulder

Shot description Mafioso’s exiting car at forest Two sober Mafioso’s exchanging words Gangster walking to trunk Gangster opening trunk. Puzzled expression Of other gangster as gangster at trunk calls out to him Gangster extracting knife from trunk Anger expressed by Mafioso and orders are given Second car pulling up. Park ranger exiting it Conversation ensues between park ranger and head gangster While conversation is happening gun being cocked behind drunken Mafioso’s back Drunken Mafioso fires Ranger stumbles between the two, and falls

Scene 6 Shot number 1

Shot type LS

2 3

CU CU

4 5

MS LS

6

CU

Shot description Door opening, Mafioso walking in Mafioso rubbing eyes Mafioso chucking car keys on table Mafioso collapsing into chair Mafioso rising, in the process of leaving room Phone, ringing


Visual workbook Chris Breen Location photographs-

Pictured above and below is the bar that I have used to film my second scene in. It is one of the most prominent locations in my final film. Above left it is shown as it normally looks and beside it is the same shot after it has been desaturated and colour corrected to show how I have attempted to achieve a film noir look to this sequence.


Below is the forest that I used to shoot the final scene of my film, as well as the living room that was used to shoot the opening and ending sequences

Inspiration- while attempting to achieve a film noir lighting style and feel to my film I also wished to integrate comedy and black humour into my film. My primary inspiration for this was the film ‘Kiss Kiss Bang Bang’ starring Robert Downey Jr. and Val Kilmer. Directed by Shane Black this film utilises many noir elements such as chiaroscuro lighting and morally ambiguous characters but approaches them in a light-hearted, comedic fashion. The general synopsis that this film uses, of the primary characters being engulfed in a devious and dangerous situation and struggling to overcome it while being far out of their depth was a big inspiration when writing the plot for my final film.


Directed by Robert Rodriquez and Frank Miller and with special guest director Quentin Tarantino, sin city also served as a big inspiration for the look of my final film. Frank miller based the cinematography of the film on the source material, the sin city graphic novels, which give the film a low key, high contrast chiaroscuro lighting that is mostly an extreme of blacks and whites. High and low angle shots are utilised, a common noir device which draws the audience’s attention to a shot and gives the audience an idea of the status a character holds. Certain objects are picked out in the black and white sequences to portray them as significant or give them a symbolic meaning and give the film a stylistic flare. Voice over narration allows us to understand the characters mindset. These are all aspects of sin city I wish to include in my final film

Here you can see my early attempts at some of these techniques

A shot of mine against a similar inspirational photograph The mise en scene of my final film is mainly composed of suits/shirts and ties for the main characters. This particular aspect of mise en scene is used frequently in film noirs, as the characters attempt to gain some delusion of importance or grandeur to disguise the reality of their morbid, petty lives. Pictured right is an example of this as Humphrey Bogart wears a suit as a private eye in film noir classic the Maltese falcon.


Inspirational photos and shots-

These paintings by Rembrandt and Gerrit van honthorst aptly demonstrate chiaroscuro lighting, which influenced the look of film noir and of my final film Dutch angles are often employed in crime films that utilise film noir elements. They give a feeling of apprehension or signify as shot as particularly significant in the story. Pictured left is a Dutch angle in the departed which served as an inspiration to use Dutch angles in my own film, to bring variety and a stylistic flare to my film and to also point out shot that are particularly significant.


PRODUCTION DIARY DAY NO. 1-08/03/2011 TIME: 10:00pm LOCATION- the residence of my main actor SHOOTING SCHEDULE – SCENE NOS. 10:00-11:00- scene 1 ACTORS Mark McMullen COSTUMES White shirt, purple tie, black trousers PROPS Phone, wine bottle and glass EQUIPMENT Tripod Camera 500w halogen work light COMMENTS As we are shooting inside for this scene, this allows us to rely on our own lighting instead of the weather, giving us more control over the lighting. The main problem was focusing such a powerful light, as the heat emitted from such a light is intense and has a tendency to burn any objects put over it. To overcome this we made our own barn doors (mechanisms that help focus the light) by inserting aluminium sheets, coated in heat resistant spray paint, into the frame of the light. This allowed us to obtain all of the shots needed for my first scene


DAY NO 2 30/03/2011 TIME- 7:00pm LOCATION- Chowder House restaurant, Newcastle SHOOTING SCHEDULE – SCENE NOS. 7:00pm-10:00pm Scene 2 and scene 3 ACTORS Mark McMullen Zack Parks James Murray O’Brien COSTUMES All actors wearing white shirts, ties, and black trousers PROPS Replica pistol Bottle of Alcohol Golf club EQUIPMENT Camera Tripod COMMENTS Getting everyone organised, to meet at a time and place that was convenient for myself and the actors was a problem as they all have different schedules and are all only free on certain days. However we agreed on a mutually acceptable time to film. When shooting scene 2 and the start of scene 3, in the interior of the bar we had to use the lighting that the bar had available and so certain shots will not have the extreme contrast of black and whites that I had hoped to achieve. When shooting outside the bar, it was night time and thus there was a low amount of light. We overcame this by shooting reasonably close to street lights, and we managed to achieve all the shots needed to successfully complete these scenes in the editing suite.


DAY NO 4 2/04/2011 TIME 9:00pm LOCATION Drumkeeragh Forest Clanvaraghan road SHOOTING SCHEDULE- SCENE NO’S 9:00-11:00PM scene’s 4 and 5 ACTORS Mark McMullen Zack Parks James Murray O’Brien COSTUMES All wearing formal shirts, ties and black trousers PROPS Knife Replica pistol EQUIPMENT Camera Tripod COMMENTS The main problem came when we had to shoot in Drumkeeragh forest as we were shooting at night time and there we no street lights in the vicinity so there was concern as to how we could manage to light scene 5. We overcame this problem by lighting shots in the interior of the car with the car light and by lighting the shots outside of the car, in the undergrowth, with the car’s headlights


DAY NO 5 10/04/2011 TIME- 10:00pm LOCATION- residence of my main actor SHOOTING SCHEDULE 10:00-10:30pm- scene 6 ACTORS Mark McMullen COSTUMES Shirt, tie, black trousers PROPS Phone EQUIPMENT Camera Tripod 500w halogen work light COMMENTS As we are using the halogen work light to light this scene there were problems again getting the light to focus on the position we wished to light. We again overcame this by creating our mechanism for focusing the light. As this scene was shot inside there was no need to rely on the weather

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