Act One: Introduce Problem
Ext. Los Feliz Blvd – Night,
Opening Shot| a shaded figure - protagonist - appears under a streetlamp. The surrounding environment is 60% in darkness as the camera goes to a close-up of our protagonist lighting a cigar. The light from the cigar bounces off his face as he stares outwards – first look at Dorian Daye. (Sounds of heels against concrete can be heard) The protagonist turns away from camera. As it switches to a lady walking down the street in between two streetlamps. As she reaches the next streetlamp the camera goes to a close-up of female character Mave (slow motion imagery as the scene transition). The clip transition via white noise and you see an image of a slightly blooded room. Again white noise portrays the transition.
Int. Cafe – Midday,
After Transition, the camera focuses on Dorian reading the paper in a barely light cafe. The window is complete white from the light outside and makes the environment completely invisible to anyone inside the cafe. (The sound of high heels again can be head) as Mave walks past the window. The camera goes to a close of Dorian as he stares in bewilderment and his head follows her across the window. The camera goes to an overshot of Dorian as he watches Mave go out of sight of the window. Clip transitions with white noise and shows a shadow figure in a door entrance of a house and white noise make a final transition to next scene.
Ext. Los Feliz Blvd – Night
Transition ends, camera has overshot of Dorian’s silhouette under street lamp as a car pulls into shot. Dorian walks forward and sticks his thumb up in a request for the Taxi to pull over. The camera jumps to an over the shoulder shot of Dorian as the car pulls into shot and stops at the back window in view. As soon as the vehicle came to a complete stop, the window rolls down and Mave appears in the car. Camera goes to interior view of the taxi as Mave looks out of the car as Dorian’s face lean into shot of the cars window. Mave and Dorian converse quickly before Mave offers Dorian a ride. Camera goes back to pan shot of the car and Dorian as he walks around the back of the car and Mave winds up the window. As Dorian opens the car door on the other side the transition is initiated by white noise then an image of blood trickling across the floor is seen followed by another standard transition.
Int. Taxi – Late Night
Camera is focused on the pair as their position in a intimate way whilst as they converse with each other. The camera goes to outside shot of cab as it comes to a harsh stop. Returning to inside the cab we see the two characters lean forward due to force of the stop. Camera goes to a behind the head shot of Dorian as he peers into the front cabin of the car and goes to converse with the driver. The shadowed figure present in the front of the taxi turns and hits Dorian in the temple with what appears to be the handle of a revolver. We see Dorian fall out of picture (the contact of his body on the floor can be heard) the scene fades out as the shadow figure points the gun into the back (Mave’s screams can be heard)
Int. Taxi – Morning
Camera focus on a mid-body shot of Dorian as he stirs awake. The camera goes to the left as he leans up giving a mid body side shot of Dorian as he looks around the empty cab. The light outside again blind viewer to environment as Dorian goes to open the light shines on his face showing him with a stern expression (hear him grunting) as he leans out of shot.
Ext. Alley – Late Night
Dorian is in a tussle with Sammy. They’re both holding each other in an army lock, swinging periodically a few punches. Camera switches to different shots as they stumble through the alley as they going to trash cans and rubbish bags alike. Camera goes to behind Dorian as he finally pins Sammy to the wall and gives him a right hook and send him falling. Camera goes to a floor shot as he tumbles to the ground as he falls through trash cans towards the camera. The camera transition, to a silhouette on a door which is has the crimson tag on it. The camera catches a leg from the bottom left smash through door before fading out.
Int. Gang Hideout – Late Night
Fade in, as camera left pans dingy basement the lights appear red and smoke is visible over an ash tray in a rounded alcove surrounded by gang members along the wall coming to a darkened stairway. Camera fades out and fades in to a shot over a figure right shoulder walking through the stairway to the red light room. The camera remains in this position as he pulls out of the stairwell and we see it’s Dorian. As he turns left he raises his Revolver and points at towards a stage. In result, gangs members stand up in different section of the room with weapons raised. The figure of a women tied to a chair is slightly visible due to the red light bouncing of her body. The action holds for a second as the woman lift her head an looks towards camera (Mave cries Dorian names) The images is cut finally by white noise.
Int. Living Room – Late night
The camera begins to track back from the white noise. It appears to pass through glass and begins to see a border around the edge. As the camera continues retreating we see that the border is a TV and as the camera pans further back we see a framed poster of a woman above the TV – Mave in another movie. (We hear a phone ring and be picked up as two blokes converse) The camera now tracks back to show the room littered with rubbish, such as takeaway boxes and DVD on the floor. As we pan further out the camera begins to ascend as it hit the roof we see a figure sat in an armchair putting the phone down on the table beside him. Then seeing his head drop. Finally the camera goes towards the posters and as it closes in there a flash (a gunshot is heard). The poster is covered in a spray of blood and the camera track back to a different room with a body on the floor and at the bottom of the shot a shadow turns and walks away. Fades out finally to title sequence.
This is a rough draft. I followed Jono's script but I edited it in some place not much however. Just liek to see how my vizulation panned up and may compare for a better story.