Planning - First Thoughts:
Our concept for our film is, in essence, a five minute walk, from one friend’s house to another’s, seen in real time. The idea here is to give the film a sense of randomness, realism and spontaneity. The idea is also about trying to mix reality with the weird/bizarre, and the mundane with the extraordinary. Some things just happen – they cannot be explained or justified, they simply are.
The film begins with an arresting and intriguing extreme close up of a pair of hands, which are both dripping with blood. This immediately catches the viewer’s attention, and makes them want to continue to watch the film, possibly confusing them and alarming them, but nonetheless, grabbing their attention almost immediately.
There is then a shot of a person, presumably the very same person whose hands we have just seen, walking away, into the distance. The camera than pans back to reveal a pair of legs, presumably a person’s body, lying dead on the floor. In mid pan, we cut to the title card of the film.
We are then introduced to a young man who is seen talking to his friend on the phone. His friend has asked him to come over to his house and he has accepted. We are then given brief flashes of the young man getting dressed and ready to go. His getting ready is shown in a sort of music video type fashion, possibly to highlight the fashions and styles of today’s youth, and to create a sense of verisimilitude.
The young man is then shown leaving his flat and beginning his walk. As he does, his interior monologue begins. The idea here is to create a very internalised film, almost a “documentary of the mind,” in that we follow the character, gaining an insight into their way of thinking, and learning a thing or two about them throughout the course of the film.
The young man than passes another young man, dressed in a long black coat, who is walking very rapidly, almost in a sacred, frenzied, paranoid panic. The two young men bump into each other, and the young man in the coat drops his wallet, but continues to walk. The young man bends down to pick it up and, as he does, it flips open and he sees that the inside of the wallet is stained with bloody finger prints. The other young man suddenly returns, snatching the wallet out of his hands, and thanking him very much for picking it up. He then walks away.
The young man continues his walk to his friend’s house. As he does, he begins to question whether the young man he just bumped into had done something wrong/committed a murder. He then brushes this off, thinking of his idea as stupid and nonsensical and not possible.
The young man than spots, from across the road, a couple having a very loud argument in the middle of the street, with the young woman’s dialogue along the lines of “I can’t believe you did that! How could you be so stupid? Do you know how much money I’ve saved up for that thing? Urgh, I hate you!”
The young man, unable to stop himself, yells “A bit of a strange place to have a domestic, don’t you think, mate?” The boyfriend from across the street yells an obscenity at him but he just laughs it off and continues walking.
The boyfriend from across the street is then seen crossing to the other side of the street, seemingly in an enraged rush. The young man then becomes more and more unnerved and fearful, possibly thinking that this boyfriend is going to hurt him for what he said, or there is going to be a confrontation of some sort. This is told through continuous close-ups and quick cuts back and forth between the two men.
The boyfriend is then seen striding past him, and off into the distance, as the young man is seen turning a corner, into a secluded road, which presumably is where his friend’s house is.
We are then shown the exterior of a jeweller’s. This shot confuses us, as we do not know why we are seeing this and have no idea what use this is to the plot. We then see a static long shot of pedestrians walking outside the area of the shop. We then see a very familiar figure appearing in the distance, but we have no idea who it is exactly.
We then cut to the secluded road, where the young man is seen walking towards his friends house. Everything is very quiet, and the tension here is extreme. Out of nowhere, the young man’s phone rings. He picks it up, and has a very quick conversation with his friend, telling him that he is almost there. He then hangs up. When he does, he sees a figure, walking towards him in the distance.
FROM THIS POINT ON, WE CUT BACK AND FORTH BETWEEN THE STATIC SHOT OF OUTSIDE THE JEWELLER’S AND A P.O.V. SHOT OF THE YOUNG MAN, WALKING CLOSER AND CLOSER TOWARDS THE FIGURE IN THE DISTANCE, UNTIL BOTH FIGURES MERGE INTO ONE, ALMOST.
The figure that is walking towards the young man is the other young man with the bloody wallet. He is seen holding something in his hands. We cannot tell what it is at first, but it is then revealed to be a knife.
The other young man, in a frenzy, lunges for the young man, and strikes him in the stomach. A close up of the young man’s face reveals his shock and pain. His hands suddenly grip for his stomach and we see that his hands are covered in blood. These are the same hands we saw at the start of the film.
There is then a brief exchange of dialogue between both young men: “Why?” “I’m so sorry.” The young man than falls, presumably to his death. This is interrupted by a shot of the boyfriend walking into the jeweller’s shop and choosing a ring almost at random from behind the counter.
We are then presented with the same shot of the killer walking into the distance, and the pan towards the young man, lying dead in the street. The image of the blood and the shot of the figure walking away from the body implies that the shot of the victim falling and dying has been deliberately cut out in order to confuse and shock the audience, and to manipulate them into thinking one thing when something completely different has taken place.
The boyfriend who was just in the jeweller’s returns to his girlfriend and, slapping the ring in her hand, shouts “There’s your bloody ring!” and walks off into the distance.
The film ends with a close up of the young man’s dead, serene face, before a white-out and credits.
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