Early fall. It's morning, and the sky is overcast. A winding asphalt road. Long grasses blow about in the wind.
A car speeds past, going maybe a bit faster than it should. Soon it's just a bit of movement on the horizon.
Cut to:
(Tracking shot) We follow along behind the car as the opening credits roll.
Cut to:
A gas station, the side of a pump, facing the store.
The car pulls up to the right of the pump and a MAN gets out. He is wearing fairly heavy clothing: long pants, large bulky shoes, and a light hooded coat with an abundance of pockets. The shot remains stationary, and we stay focused on the car as he moves in an out of the frame, pumping gas.
Cut to:
The interior of the car, front seat, from behind.
The man enters and shuts the door, putting his wallet into his pocket and he sits down. He looks around outside, but doesn't see anyone. He pulls a small bag from his left breast and examines the contents, then opens it and digs a pinkie finger inside. He leans forwards and snorts the substance off of his pinkie, careful not to spill any, and repeats the process for the other nostril. He sits up straight, looks around, and rubs his nose, sniffling. He seals the bag and puts in back in his pocket. He adjusts the rearview mirror, examining himself, and we see his eyes reflected there for a moment.
Cut to black.
Fade up from black.
A different part of town, facing the street. The edge of a lawn and the concrete road are all that are visible.
The sound of a car approaching. the car pulls up on our left and parks. The man gets out, walks around the front of the car, towards the camera, and heads along the sidewalk to our right.
Cut to:
Down the street, opposite side, Long Shot. The sidewalk is visible in the lower part of the frame, but no houses.
The man steps into the frame from our right , lighting a cigarette as he does. He stares past the camera, smoking.
Cut to:
Point-of View Shot (man's POV). An apartment with a red door and windows facing the street.
The blinds are drawn. Nothing moves.
Cut to:
Long Shot. Dolly forward to Medium Shot, losing focus gradually. When we get to the medium shot,
The man takes a drag off of his cigarette, and as he does, we pedestal up, following the trail of smoke and rapidly losing focus.
(This will be interspersed with the POV shot just before the Long Shot, Medium Long Shot, and Medium Shot camera positions, each time the POV remaining on the screen for a little longer.)
Dissolve to white.
Dissolve to:
(Flashback, high contrast. There is no sound, but any sounds from the present street scene continue in the background.) The man and a WOMAN are in an all-white room, on a bed next to the window, covered in white sheets. The blinds are drawn, but bright light is leaking in through the edges and the cracks, illuminating the scene. The two are playfully flirting and making out. The woman seems to hear something, frowns, and turns quizically towards the window. She bends one of the blinds down with two fingers, peering through the opening and squnting against the light. The blinds make sudden noise when bent, but the two don't seem to take much notice. The woman stares out through the slit she has created, craning her neck to see if anyone's at the door.
Quick cut to:
Close-up Shot of the man, in focus now, shaken from his reverie by the sound of the blinds.
He stares intently towards the apartment window and takes a purposeful drag off of his cigarette.
Cut to:
POV shot.
There's a slit in the blinds where someone is looking out.
Cut to:
The man again, LS.
He stares, waiting, the cigarette hanging at his side. He flicks it idly.
Cut to:
Inside the apartment, Over-the-shoulder shot.
The woman lets go of the blinds and lets out a sigh, turning away from the window as she does and disappearing into the darkened apartment.
Cut to:
Exterior, LS
The man stares at the apartment.
Cut to:
POV shot.
The chink in the blinds disappears.
Cut to:
Long Shot.
The man stares at the apartment, smoking.
Cut to:
POV shot.
The apartment stares back, faceless and immobile once more.
Cut to:
LS.
The man takes a last drag and flicks the cigarette into the street, exhaling. He walks back towards the car. We tilt up, following the exhaled smoke as is dissipates, slowly losing focus until we're perpendicular to the ground, staring at the clouds. The car door closes as we
Cut to black.
Submission Name: Making Love to Doors (Treatment)
