OPENING ONE - THE BUST

BLACK SCREEN

BACKGROUND SOUNDS: STEREOTYPICAL CITY SOUNDS; CARS DRIVING AROUND ETC.

CREDITS FADE IN AND OUT THROUGHOUT THE SEQUENCE, FONT TO BE DECIDED;

LOCKED PRODUCTIONS PRESENTS, DEKEN GILLARD, PATRICK FULTON,
WRITTEN AND DIRECTED BY PATRICK FULTON, ART DIRECTION BY DEKEN
GILLARD, CINEMATOGRAPHY BY DIMITRIS POTUSA, EDITED BY MAGGIE GUO,
ETC.

OPEN TO:

EXT. HOTEL/BUILDING ENTRANCE - NIGHT OR EARLY EVENING/MORNING

CAR DRIVING PAST, INCREASED SOUND VOLUME AND CLARITY, REVEALING A MAN
STANDING, WITH HIS BACK TO THE CAMERA, IN FRONT OF A GRAND HOTEL/BUILDING
ENTRANCE.
(NOTE: WILL TEST WHETHER WALKING OR STANDING IN FRONT OF THE ENTRANCE
LOOKS BETTER)

QUICK CUT TO:

INT. - ELEVATOR, VIEW FROM FLOOR.

CUE MUSIC - SAY I WANNA KNOW BY NICK WATERHOUSE, 6-8 SECONDS STILL ON
SAME SHOT. THE MUSIC WILL PLAY THROUGHOUT THE DURATION OF THE SEQUENCE.

CUT TO:

FRAME UP FROM THE LOWER SHOULDER AREA TO THE TOP OF THE MANS HEAD, FOCUS
ON HIM AS THE DOORS OPEN. IN SHOT, TWO GUARDS TALKING WITH EACH OTHER
FACING THE WINDOWS, TURN TO SEE WHO HAS COME INTO THE ROOM, SHOW THEM
TURNING THEIR HEADS. BATONS IN HAND.

CUT TO:

FRONT VIEW, THE MAN WALKS OUT OF THE ELEVATOR INTO THE ROOM CLAD IN A
BLACK TIE SUIT OR THE SAME OUTFIT HE WAS WEARING FOR TIMBERLAND, WITH A
CONFUSED BUT DETERMINED LOOK ON HIS FACE AS HE SEES THE TWO GUARDS, WHO
ARE OBVIOUSLY NOT WHO HE WAS EXPECTING.

THE FIRST GUARD BEGINS TO MOVE ON HIM, ALESSANDRO DISARMING AND KNOCKING
HIM OUT. THE SECOND GUARD FOLLOWS SUIT AND RECEIVES THE SAME TREATMENT.
THE MAN TURNS TO FIND AN OPEN DOOR TO THE STAIRWELL, AND DECIDES TO MOVE
FURTHER UP THE BUILDING.

THERE ARE 4-6 BODYGUARDS STATIONED THROUGHOUT THE STAIRWELL, WITH THE
DOOR TO THE ROOF BEING UNGUARDED. AS THE MAN APPROACHES, 2 OF THEM BEGIN
TO CHARGE DOWN THE STAIRS AT THE MAN, REACHING INTO THEIR JACKETS FOR
WEAPONS. THE MAN DISARMS AND KNOCKS OUT THE PAIR WITH EASE
(NOTE: ACTIONS TO BE DRAFTED AND FINALISED ON THE DAY)
INTERCHANGING CUTS FROM BEHIND/OVER THE SHOULDER VIEW AND FRONT ON AS HE
FIGHTS HIS WAY UP THE STAIRS. DEPENDENT ON THE NATURE OF THE STAIRWELL,
THIS ENTIRE SEQUENCE MAY BE FROM A SIDE-ON ANGLE, AND COMPLETELY HANDHELD
SO WE CAN WEAVE THROUGH THE ACTION.

SHOT: OVER THE MANS RIGHT SHOULDER

WITH ONLY 2 GUARDS REMAINING, ONE SUCCESSFULLY UNHOLSTERS THEIR GUN,

HOWEVER THE MAN SNATCHES THE GUN OUT OF HIS HANDS AND SHOOTS HIM AND THE
LAST GUARD IN THE HEAD.

SWITCH TO FRONT VIEW AS, HE NOW AT TOP OF THE STAIRWELL, CONTINUES

STROLLING TOWARDS HIS DESTINATION. THE MAN SHOULD BE LOOKING INTO THE
CAMERA, OR JUST ABOVE THE LENS. FROM CHEST UP, WITH THE BODYGUARDS LYING
ON THE GROUND IN THE BACKGROUND {MAN IS CENTRE STAGE, THE GUARDS LINE THE
SIDES OF THE HALLWAY}

CUT TO VIEW BEHIND THE MAN AS HE WALKS TO A DOOR AT THE END OF THE
HALLWAY. MOBILE CAMERA, FOLLOWING THE MAN AND ZOOMING INTO SHOW THE MANS
PROFILE, AND THE DOOR. CLOSE UP OF HIS HEAD AND THE DOOR IN FRAME. THE
MUSIC STOPS.

HE KICKS OPEN THE DOOR, A SEQUENCE OF SHOTS PLAYING OUT IN THE ORDER OF:

1. STILL IN THE HALLWAY, THE MAN INITIALLY LIFTS HIS LEG TO KICK
2. SWITCH TO INSIDE THE ROOM OF THE DOOR BEING KICKED OPEN
3. CUT TO REACTION SHOT OF THE OFFICIALS
4. CUT BACK TO THE MAN, GUN POINTED AT ONE MEMBER, THE MAIN MAN, HIS
FIGURE SHADOWED IN THE DOOR FRAME
5. FINAL SHOT IS THE REACTION

THE MAIN MAN IS ENZO STIVALI, THE RULER OF THE CRIMINAL UNDERGROUND IN
THIS COUNTRY, SURROUNDED BY 2 OR 3 OTHER NAMELESS CRIME-LORDS. THEYRE IN
THE MIDDLE OF SOME SORT OF DEAL, A MEET UP, WITH ENZO SHOWING THEM ALL AN
UNKNOWN OBJECT IN A BRIEFCASE ON A TABLE IN THE CENTRE OF THE ROOM. THE
ROOM IS UNDER-CONSTRUCTION, AND CIRCULAR IN ITS NATURE. LARGE WINDOWS.
DIMLY LIT. EXAGGERATING THE APPEARANCE OF THE CONCRETE WALLS AND FLOOR.

ENZO: WELL, THAT WAS DRAMATIC.

THE MAN, ALESSANDRO, BEGINS TO WALK FORWARD SLOWLY, HIS STARE

INTENSIFYING. THE OTHER BOSSES ARE CONFUSED AND SCARED, LOOKING AROUND AT
EACH OTHER AS IF TO SILENTLY SAY WHAT THE HELL IS GOING ON HERE?

ENZO TURNS TO THE OTHER BOSSES, CLOSING THE SUITCASE IN FRONT OF HIM AT
THE SAME TIME

ENZO: GENTLEMEN, SORRY ABOUT THIS, UH, INTERRUPTION. WOULD YOU MIND
GIVING US THE ROOM FOR A SECOND?
HE GESTURES TO ANOTHER DOOR, THE BOSSES CONTINUE TO LOOK AT EACH OTHER
CONFUSED, BUT STAY IN THEIR PLACES

ANGRILY,

ENZO: GET THE FUCK OUTTA HERE!

TURNING TO FACE THEM NOW AND POINTING TOWARDS THE DOOR. THE GROUP NOW
HURRIEDLY SHUFFLE OFF TO THE OTHER ROOM. ENZO WATCHES THEM LEAVE AND THEN
TURNS TO FACE ALESSANDRO AGAIN, WITH A FRIENDLY ENOUGH LOOK ON HIS FACE,
AND BEGINS WALKING SLOWLY AROUND THE TABLE.

ENZO: You took longer than I had expected.

ALESSANDRO: Tired.

ENZO: You? Tired? Huh, the times sure are a changin, arent they?

ALESSANDROS grip on the gun tightens, and his stare more intense.

ENZO: So, whats the nature of this visit? You here to kill me, or are
you here as friend?

ALESSANDRO: Our friendship died after what you did to her.

ENZO: So, youre here to kill me then. Im charmed. What do you gain from
doing that, though? Killing me aint gonna bring her back.

ALESSANDRO moves closer towards ENZO, and points the gun directly between
ENZOS eyes.

ALESSANDRO: You shut up. Youre in no position to do any of that shit

right now. Im not here to kill you, as easy as it would be, Im here for
answers. I wanna know everything.

ENZO: Well, where do you wanna start?

TITLES + MUSIC STARTS AGAIN