Our scene would initially begin with an establishing shot of a decomposing, run down neighborhood with dirty, dingy building, connoting a lack of stability, and danger. From there it’d cut to a mid-shot of a particular establishment, highlighting the more detailed features of building, while it’d be panning across the house looking at the cracked windows, damaged walls, all of which would convey a sense of how deserted the building is. Form there we’d cut inside the building, with the camera facing the door; the door would have light seeping in from the bottom of it, and then we’d slowly begin to pan away form the door.
At this point the lighting would be extremely low, meaning you barely be able to see anything aside the places that the light creeping in would highlight. While the camera would be panning you’d be hearing sounds of sharpening tools, screaming, whips, and other spine chilling noise, all amplified by folly. After that a greater amount of light would be peering from a high corner of the room, which the camera would be viewing at a high angle, and as the camera slowly moved down we’d see the silhouette of a large object in the other side of the room, and we’d transition from a high angle of the window to a low angle on the crate (some level of containment). The camera would then be moved in front of the box, and would slowly move in through a crack in the object. We’d then appear inside of the crate, and on the other side of it, and fragile, limp, weak, and motionless figure would be slouched against one of the sides.
The camera would be viewing her from a mid-shot so the audience would be looking at her from above the knees, and her clothes, and hair would be in tatters. In addition light would be emerging from the crack that the camera move form, once again highlighting certain key features of her face, yet not enough to get a full visual; this is to retain the mystery yet allow the audience to empathize with her. We’d then cut to another side of the box were our victim would be looking through another hole, and you’d clearly see her eye, and it would pan away form the box, while everything else besides the box would be in depth of field, and there would be a greater amount of light in comparison to the other side of the room. The camera would’ve panned for at least six seconds until it’s got to a point where a table, and some sort of dish with sharp tools would emerge form the corner of the shot, and at this point everything else would become depth of field except the table, and the dish (During all the panning form the wall with the crack up to the table there would also be other characters walking past, in depth of field), and someone would be about to pick something up out of the dish. As the unknown character put his hand in the dish, the camera would cut back to the victim but we’d be looking from a POV perspective with the victim’s eyes blinking.
The camera would be looking at a group of people dressed in operating costumes, with blood on their hands, all circled around a table. In addition you’d see sections of a person on the table, such as their legs, should, hand etc. The shot would be slightly blurred due to the large amount of light over the operating table. Someone would them walk past, and camera would swivel around them looking at a different part of the room, and the camera would move towards them, while the corner would appear dingy, tramp, a little flicker of light would be in the corner above them. We’d then cut to that characters perspective and we’d see him sharpening some tools, and from there would open and then begin to reach inside a draw, the camera would then cut inside the draw as his hand would be coming towards the camera. The screen would go black, and appear at an angle where you’d only see a man, which dark, solid boots walking, and the camera would be tracking him through another unknown section up towards the box. From there the camera cross cut to the victims perspective as the light seeping into the box would disappear due to the figure outside of it. Then the camera would again cross cut to the other character, and he’d take a key out of his pocket, and pick up a lock on top of the box.
The camera would again cut to the victims’ perspective, and she’d retreat away to one side of the box as see could hear unlocking sounds (which would be amplified by folly). In addition the camera would then cross cut back to the outside character for the last time, and he’s be removing the lock, and slowly begin to open the box. Then it’d cut back inside the box still from a POV, and the box would open and light would flood the box, as well as the scene, and the scene would end with the title of the film emerging form the light “One Look”. (Furthermore throughout the entire cross cutting segment the soundtrack would gradually build up until the end of the scene, and it’d die down as the title came up.)
At this point the lighting would be extremely low, meaning you barely be able to see anything aside the places that the light creeping in would highlight. While the camera would be panning you’d be hearing sounds of sharpening tools, screaming, whips, and other spine chilling noise, all amplified by folly. After that a greater amount of light would be peering from a high corner of the room, which the camera would be viewing at a high angle, and as the camera slowly moved down we’d see the silhouette of a large object in the other side of the room, and we’d transition from a high angle of the window to a low angle on the crate (some level of containment). The camera would then be moved in front of the box, and would slowly move in through a crack in the object. We’d then appear inside of the crate, and on the other side of it, and fragile, limp, weak, and motionless figure would be slouched against one of the sides.
The camera would be viewing her from a mid-shot so the audience would be looking at her from above the knees, and her clothes, and hair would be in tatters. In addition light would be emerging from the crack that the camera move form, once again highlighting certain key features of her face, yet not enough to get a full visual; this is to retain the mystery yet allow the audience to empathize with her. We’d then cut to another side of the box were our victim would be looking through another hole, and you’d clearly see her eye, and it would pan away form the box, while everything else besides the box would be in depth of field, and there would be a greater amount of light in comparison to the other side of the room. The camera would’ve panned for at least six seconds until it’s got to a point where a table, and some sort of dish with sharp tools would emerge form the corner of the shot, and at this point everything else would become depth of field except the table, and the dish (During all the panning form the wall with the crack up to the table there would also be other characters walking past, in depth of field), and someone would be about to pick something up out of the dish. As the unknown character put his hand in the dish, the camera would cut back to the victim but we’d be looking from a POV perspective with the victim’s eyes blinking.
The camera would be looking at a group of people dressed in operating costumes, with blood on their hands, all circled around a table. In addition you’d see sections of a person on the table, such as their legs, should, hand etc. The shot would be slightly blurred due to the large amount of light over the operating table. Someone would them walk past, and camera would swivel around them looking at a different part of the room, and the camera would move towards them, while the corner would appear dingy, tramp, a little flicker of light would be in the corner above them. We’d then cut to that characters perspective and we’d see him sharpening some tools, and from there would open and then begin to reach inside a draw, the camera would then cut inside the draw as his hand would be coming towards the camera. The screen would go black, and appear at an angle where you’d only see a man, which dark, solid boots walking, and the camera would be tracking him through another unknown section up towards the box. From there the camera cross cut to the victims perspective as the light seeping into the box would disappear due to the figure outside of it. Then the camera would again cross cut to the other character, and he’d take a key out of his pocket, and pick up a lock on top of the box.
The camera would again cut to the victims’ perspective, and she’d retreat away to one side of the box as see could hear unlocking sounds (which would be amplified by folly). In addition the camera would then cross cut back to the outside character for the last time, and he’s be removing the lock, and slowly begin to open the box. Then it’d cut back inside the box still from a POV, and the box would open and light would flood the box, as well as the scene, and the scene would end with the title of the film emerging form the light “One Look”. (Furthermore throughout the entire cross cutting segment the soundtrack would gradually build up until the end of the scene, and it’d die down as the title came up.)
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