1) PP
Close up of a child’s face. He is biting his pen, thoughtfully.
2) Over the child’s shoulders shot.
A desk, a square exercise book is open, big letters writing on it:
MY CARNIVAL.
3) Detail
The writing hand, we follow the pen leaving the ink trail behind.
Fade.
4) Camera car, tracking back
In a Moscow suburb a blackVolga plods amidst the snow.
5) Camera car, close up
There are two persons in the black Volga.
6) Side shot (right).
We’re inside the car, worn out interiors, waste paper on the rear window. The man who is not driving, wears a pair of Okley specs and a shiny black leather coat. He has a tattoo on his neck, and a macho expression. He keeps sniffing and sucking a lolly-pop, insistently. His hands are fumbling with something that this shot won’t show.
In the b.g. the second man is driving: at times he turns toward his mate and looks at him with dislike. The second man wears a sporty jacket and and a pinstripe suit, over a long-sleeved dark T-shirt. He is almost elegant.
7) ) Side shot (left).
From the other side of the car we’re now able to see that the first man is holding a gun: he keeps slipping the magazine in and out. The driver hits him hard on the shoulder, to make him stop.
8) Close up, PAN to follow gestures.
The other man looks back at him, with a bothered expression, then looks toward the floor, like a child who got a scold. Suddenly, he challenges his mate with a firm look and flings the jacket open.
10) Side shot, Driver P.O.V.
Inside the jacket there’s a badly sawn pocket, custom-made to contain the gun. The man scurrilously moves the gun into and out of the pocket, three or four times. At the same time he shakes his pelvis in a most allusive way, watching his mate with a scornful air.
11) Reverse angle shot
The other watches him like he’d watch a poor idiot.
12) Ext
The black Volga parks in front af an anonymous building. The two get off the car, reach the door-bells, the young one is about to ring: the other stops him, pushes him aside and looks at him with a STAND BACK, NOW IT’S MY JOB air.
13) Steady-cam, following
On the staircase, we follow the two. We’re in front of a door now.
11) PP long lens facing us, doutch anti-clockwise
Door-bell.
12) extreme wide angle shot, side view doutch clockwise
Door-bell.
13) extreme wide angle shot, side view doutch anti clockwise
Door-bell.
14) Wide shot
The door slowly opens.
15) Over the old killer’s sholders shot.
A frightened face, two eyes with a heavy make-up peep. The old killer shoves the door with his shoulder, very hard. The door slams onto the peeping face, he enters.
16) Wide shot, from the landing.
The opened door is in front the young killer, he’s still on the landing. Inside, a transvestite with a heavy make-up lays on the corridor’s floor, watching him.
In the b.g. a feminine man in a dressing gown, scared to death, is standing in the corridor: he trembles with fear.
The frame is momentarily covered by the young killer’s shiny coat: he enters, gun in hand, then slams the door closed, in front of the camera.
Black.
17) Large view.
From a kitsch parlor we frame the corridor. The man in the dressing gown is backing, the transvestite crawls on the floor, tries to stand on his feet but he is kicked back on the floor from behind. The two killer appear from from the corridor, gun in hand.
18) From behind the young killer shoulders.
The older killer looks at ease, as if he was in a most quiet place. He sits in the arm-chair, in front of the two victims, stretches his arms on the arm-rests, gun in hand.
The young killer sends the two on their knees, with a kick
20) Reverse angle, over the old killer shoulders.
The two are astonished and frightened.
21) Reverse angle, From behind the young killer shoulders.
The two, on their knees, watch the old killer, who starts to speak.
22) Close up
The two tremble.
23) Close up
The old killer goes on speaking.
24) Middle plan
The two desperately deny.
25) Side shot. Wide angle lens.
The old killer start doing the count
26) Gun’s POV
Alternatively, the two victims faces. The count goes on.
27) Macro
The counting killer’s mouth, pan on the eyes and face.
28) Over the two victims shoulders. The gun in foreground, in the b.g. the killer, out of focus.
The gun moves slowly now, as if to decide. With a final snap it points straight toward the transvestite.
29) Hand-held camera. Following the action, close up.
A hand rips away his blonde wig, then grabs his ear and points a second gun at his head.
30 Hand-held camera. Detail.
Insulating tape.
31) Hand-held camera. Detail.
The young killer wraps the insulating tape over the transvestite’s mouth.
32) Hand-held camera. Detail.
Cutting knife. |
33) Hand-held camera. From above, wide angle lens watching a table’s legs and a carpet.
Two hands , with enamelled fake nails, are tied to a table’s legs, with the tape.
30 Hand-held camera. Close up.
Insulating tape.
35) Hand-held camera. Wide angle lens, low view.
Two feet wearing high-heels golden shoes, they’re tied as well.
36) Hand-held camera. Wide angle lens, high view.
Now the transvestite is on his back, muzzled, legs and arms wide opened and tied to the four legs of the table. The opened negligè now shows a lace bra, tanga and guepiere.
The young killer sits on the table next to him, legs down, he holds the lollypop in one hand, a lit cigarette in the other.
He’s playing the fool with it: puffs a smoke ring and whirls his tongue in the air, with satisfaction.
The old killer is still sitting in the arm-chair, pointing the gun toward the kneeled one.
37) Macro
The cigarette being sucked, the point turns incandescent red. (ref Bad Santa).
38 Hand-held camera. Wide angle lens, low side view from unerneath the table,
The young killer now holds the cigarette with the fingers, watching the transvestite underneath him. He bring the cigarette close to the lace bra.
39) Tele lens, following.
The cigarette’s butt is moved closer to the lace bra.
40) Hand-held camera, high angle.
The transvestite face picks up an horrible expression, the eyes open wide, he breaths with his nose, shouts.
41) Still shot, over the old killer shoulders.
We see the transvestite’s room-mate, he is gasping: in the b.g. the transvestite shakes his body on the table. In the meantime, the young killer is sucking a newly lit cigarette to order to inflame it.
42) High angle view.
A smoke ring rising in the air: underneath, the travestite upset face: he’s sweating, make-up has melted on his face, his eyes are red. The tape binding his mouth is partly destroyed with bites.
43) Reverse angle, transvestite POV
A ceiling, a lamp, the dissolvine smoke ring. The young killer gives a bad look at him, then slowly flips the cigarette in his hand and with a grin brings it closer: the subjective view wobbles, like drunk, then zooms toward the ceiling and goes out of focus.
Black.
44) Close up
Cut on the transvestite face, eyes shut, the head jiggles like in a nervous break-down.
45) From behind the old killer armchair.
The transvestite’s friend, speaking.
46) Hand held camera
A knife ripping some pillows open.
47) Hand held camera, low angle view.
The young killer is ripping the sofa, looks for something. He shoves a hand inside and pulls it back with a bag containing white powder.
48) PP
The gun’s barrel in inserted in the kneeled man’s mouth, he is crying.
49) From behind the transvestite head.
The young killer point the gun on his forehead, then kisses his free hand’s finger and blows the kiss at his victim.
50) Close up of the old killer’s gun-trigger.
He shoots.
51) PP tele lens, low angle view.
The young killer’s gun, from underneath, facing us. He shoots as well. A couple of little drops of blood lands on his face, he removes it with the hand, in disgust.
52) Total view of the room, from the corridor.
It’s a slaughter: the two exit the frame, running.
53) From behind Robocop’s mask.
The two are running down the stairs, breathlessly. The young killer’s coat flutters in the air. The two watch toward us, surprised.
54) From behind the killer’s shoulders
In front of them, a child is standing next to a flat’s door, watching them.
He wears a Robocop costume.
55) From behind the child’s shoulders
The old killer passes in front of the child, running like hell. The young one skips the last three steps with a jump.
56) Close up. Slow motion.
The gun falls from the coat.
57) Reverse angle, from the floor. Slow motion.
We follow the gun slipping on the floor.
58) Close up. Slow motion.
The face of the young killer running down the stairs, he turns and watches the gun, astonished, while decelerating. He starts climbing back up the stairs.
59) From behind the child’s legs, wide angle lens. Slow motion.
The gun lands among his feet.
60) Close up. Slow motion.
The child’s hand, picking up the gun. The MDP follows him lifting the gun to his face and watching it, exstatic.
61) PP. Slow motion.
The young killer face, astonished. There’s a red dot on his forehead.
62) Wide angle lens, low view.
The child is catapulted backward by the shoot.
63) From behing the young killer shoulders
The killer flies off on his back, toward the camera, in the b.g. the child stands in the corridor, gun in both hands.
64) Piano medio
Half way on the stairs, the old killer watches the scene, horrorfully, then faces ahead to escape.
65) From behind Robocop’s mask.
The child point the gun toward him and shoots. The recoil makes the weapon fly off.
66) top shot
Total of the scene with the two bodies on the floor.
67) Close up
A police car’s flashlight. Closing credits. |
