script

THE WHITE ROOM

BY

JACOB WYLDE, JOSHUA GRAY & FRAZER MCLEAN

INT. THE BEDROOM OF A HOUSE IN SHEFFIELD – DAY (EARLY MORNING)

The film starts with a pan up of twenty-year-old Christopher Bates putting on his trousers ready for a busy day at work.

CUT TO

A pan down of Aaron King from waist to feet as he ties his shoelaces, stands up and walks into his bathroom.

CUT TO

A figure walking across the landing into a bathroom. The figure is revealed to be Christopher Bates and not Aaron King (like the viewer might initially assume) when he looks into the mirror in order to comb his hair. Christopher then turns around and opens a draw.

CUT TO

An open draw showing a pair of gloves and a balaclava, this then tilts up to a nervous looking Aaron King who then picks up the items which covers the camera lens.

CUT TO

Christopher Bates stood by his front door, looking into a mirror whilst buttoning up his jacket. He then turns to leave

ZOOM TO

A hand turning the handle on the front door of a house, the camera remains at the same zoom scale as the character opens the door, leaves the house, and shuts the door

FADE TO BLACK

(Film Title)

EXT: A MAIN ROAD IN THE PROTAGONISTS LOCAL VILLAGE

Christopher bates is waiting by a bus stop to catch a bus to a café where he plans on meeting his friend. He feels his phone vibrate in his pocket; he then pulls it out and sees he has a text from his friend Andrew.

CUT TO

Insert shot of Christopher looking down at his phone, the text from Andrew says that he is going to be late. Christopher then looks up to see his bus is coming down the road.

FADE TO BLACK

The camera is placed inside a fridge, the fridge door then opens to reveal Aaron who then rummages around looking for something to eat, he looks frustrated and then slams the fridge door shut.

CUT TO

Aaron walking out of the kitchen and into the hallway.

Aaron: There’s nothing to eat in this house!

Wayne: Cos we don’t have any fucking money!

CUT TO

Aaron walking into the living room where Wayne is smoking a cigarette

Aaron: That’ll all change soon though won’t it eh.

Wayne: Yeah if you don’t fuck it up you mug

Aaron: And why would I do that?

Wayne: Aaron, how many people have you kidnapped?

Aaron: None

Wayne: (interrupting Aaron) None, exactly

Aaron: So why am I the one doing the kidnapping then.

Wayne: Because the boss wants you to prove yourself. Plus, you’re not allowed to know the location until you have the target. Now, do you know where the hit will take place?

Aaron: Yeah yeah I know where to be, chill out.

Wayne: We can’t afford to chill out Aaron, there’s too much at stake.

Aaron: Right, yeah, sorry.

Wayne: Don’t worry about it, I’m gonna go make sure the location is secure.

The camera pans to the right as Wayne gets up to leave the room.

FADE TO BLACK

CUT TO

Christopher sat on a bus, on his phone, looking sad.

CUT TO

Christopher swiping through photos of him and his ex-girlfriend. He closes the photo browser and returns to her Facebook page where it is revealed that her relationship status is set to “single”.

CUT TO

Christopher, who locks his phone, takes a deep breath and looks out the window. He realises his bus stop is next so he presses the stop button and gets up from his seat.

CUT TO

A bus pulling into a bus stop, Christopher gets off the bus, zips up his coat,  and walks towards the camera.

The camera pans backwards, focusing on Christopher face. His phone rings, he pulls it out of his pocket and answers it

Christopher: Hello

Andrew (on the phone): Alright mate, you at the caf yet?

Christopher: Nearly mate I’ve just got off the bus

Andrew (on the phone): Alright well I’ve just left the house so I’ll be there in 10, get a table in the back will ya

Christopher: Yeah mate sure, see you in a bit

Andrew (on the phone): In a bit

CUT TO

Christopher walking round a corner towards the camera, he stops outside a house.

CUT TO

Christopher looking emptily at the house, the camera is placed behind, and is focused on, his head.

CUT TO

The camera looking at the front of Christopher’s face. He sighs, looks at the ground, and walks off in the direction of the café.

CUT TO

Christopher walking up the high-street towards the camera.

CUT TO

Christopher walking into the café. The camera is placed on the opposite side of the road.

CUT TO

INT, CAFÉ CRÈME, DAY

Café pans from the door that Christopher is walking through to the counter where a café worker is stood.

Café Worker: Morning!

CUT TO

Mid-shot, camera aimed at Christopher’s face, over the shoulder of the café worker.

Christopher: Morning, is there a table in the back?

Café Worker: Yeah there’s a few empty ones, just sit anywhere and ill take your order in a minute.

Christopher: Thanks

Christopher walks through to the back room

CUT TO

Mid-shot of Christopher walking into the room, the camera then pans left as he walks to a table, pulls out a chair and sits down

CUT TO

The camera lens is being covered by a menu, Christopher then picks up the menu (the camera is at a 45⁰ angle to Christopher’s face) to reveal himself, he then studies the menu.

Café worker (from the front of the shop): Morning!

Andrew (from the front of the shop (sounding nervous)): Hi, I’m supposed to be meeting a friend here?

Café Worker (from the front of the shop): Yeah he’s sat in the back.

Andrew (from the front of the shop (sounding nervous)): Thanks.

Christopher looks up from his menu as Andrew walks into the room.

Christopher: Alright mate.

Andrew (sounding nervous): Alright Chris.

Andrew walks towards the table

CUT TO

Establishing shot, Andrew sits down at the table.

CUT TO

Medium close-up of Christopher

Christopher: You alright pal? You don’t look yourself.

CUT TO

Medium close-up of Andrew, over the shoulder of Christopher

Andrew: Ah its nothing mate.

CUT TO

Medium close-up of Christopher, the camera is facing him at a 45⁰ angle.

Christopher: Go on mate, you look like you’ve seen a ghost.

The camera then pans from Christopher to Andrew as he starts to explain why he looks so worried.

Andrew: Well, and this is gonna sound daft, but I think I was being followed this morning. There was a van parked across the road from my house when I left, it set off at the same time as I did which I didn’t think anything of until I saw it parked on Baker Street. After I’d walked about 20 meters past the van I heard the door slam this kinda sketchy looking guy got out and he followed me all the way to the café.

(FLASHBACK)

CUT BACK TO MEDIUM CLOSE-UP OF ANDREW

Andrew: When I walked through the door I turned round to see if he would follow me in but he never walked past.

CUT BACK TO CHRISTOPHER

Christopher: Why would someone be following you? Have you been making enemies (jokingly)?

CUT BACK TO ANDREW

Andrew: (laughs) Nah, I guess I’m just being paranoid.

CUT BACK TO CHRISTOPHER

Christopher: Famous last words, someone’ll be kidnapping you next

BOTH LAUGH, CUT TO MID SHOT OF BOTH CHARACTERS AS THEY DRINK TEA

CUT TO ANDREW

Andrew: So, how’s things with you?

CUT TO MEDIUM CLOSE-UP OF CHRISTOPHER OVER ANDREWS SHOULDER

CHRISTOPHER: Pretty shit to be honest mate. Er. Me and Jess Broke up the other day.

CUT BACK TO ANDREW

Andrew: A shit man, sorry to hear that.

CUT BACK TO CHRISTOPHER

Christopher: It’s the only thing I’ve been thinking about for the past few weeks, I cant get her out of my head.

CUT TO ANDREW

Of course it’s not impacting well on my degree either.

Andrew: How so

CUT BACK TO CHRISTOPHER

Christopher: You try writing a dissertation about weather patterns when the girl you thought you’d spend the rest of your life with suddenly decides she “doesn’t love you anymore”.

CUT BACK TO ANDREW

Andrew: (pauses for thought) Shouldn’t have chosen to do a geography degree then should ya

CUT TO MID-SHOT OF BOTH CHARACTERS AS THEY LAUGH

Christopher: I’m really glad you came you know, I really needed someone to talk to

CUT TO ANDREW

Andrew: Don’t worry about it mate, you know I’m always here if you need me.

ANDREW SIPS TEA

Andrew: Did you see the match yesterday?

CUT TO MID SHOT OF BOTH CHARACTERS

Christopher: Yeah, didn’t see that coming.

Andrew: I told you Bournemouth ‘d stay up this season didn’t I.

Christopher: Aah, I can’t see it lasting.

Andrew: Honestly mate I’ve got inside sources

CHRISTOPHER PICKS UP A BOTTLE OF KETCHUP

Christopher: What, Ketchup or Hp!

BOTH LAUGH, ANDREW’S PHONE VIBRATES, ONSCREEN OVERLAY OF TEXT MESSAGE FROM JACK, ANDREWS YOUNGER BROTHER, “WHERE ARE YOU”

Andrew: Ah shit.

CUT TO MEDIUM CLOSE UP OF ANDREW

Andrew: I was supposed to pick my little brother up from football training. Mate I’m really sorry I’ve gotta go. Here’s some money for my brew.

CUT TO CHRISTOPHER

Christopher: don’t worry about it mate, I’ll see you later yeah.

CUT TO MID SHOT, CAMERA PLACE IN THE DOORWAY TO THE FRONT OF THE CAFÉ, ANDREW IS GETTING UP TO LEAVE

Andrew: Yeah mate, look after yourself.

Christopher: You too, (jokingly) make sure no ones following you this time, wouldn’t want you getting kidnapped or something

ANDREW LOOKS BACK AND LAUGHS, THEN CONTINUES TO WALK PAST THE CAMERA AT OUT OF THE SHOP (THIS IS NOT SHOWN)

THE CAMERA PAUSES ON CHRISTOPHER THEN CUTS TO A CLOSE UP. CHRISTOPHER PICKS UP HIS MUG AND THEN DOWNS THE REST OF HIS COFFEE. HE THEN STAND UP AND WALKS TO THE FRONT OF THE CAFÉ, THE CAMERA STAYS FOCUSED ON WHERE HE WAS SAT FOR A COUPLE OF SECONDS AND THEN CUTS TO THE FRONT OF THE CAFÉ. THE CAMERA PANS FROM LEFT TO RIGHT AS CHRISTOPHER WALKS THROUGH THE DOOR AND TO THE TILL

Café Worker: Hi, table 6 was it?

Christopher: Yeah, how much do I owe you?

Café Worker: £4.60 please

CHRISTOPHER HANDS THE CAFÉ WORKER A £5 NOTE

Christopher: Keep the change

Café Worker: Thanks a lot, see you later

Christopher: Bye

THE CAMERA PANS FROM RIGHT TO LEFT AS CHRISTOPHER WALS TOWARDS THE DOOR.

CUT TO ESTABLISHING SHOT, THE CAMERA IS PLACED ACROSS THE ROAD FROM THE CAFÉ AS CHRISTOPHER OPENS THE DOOR AND LEAVES.

CUT TO THE CAMERA FOLLOWING CHRISTOPHER FROM BEHIND AS HE WALKS DOWN THE ROAD AND PLUGS HIS EARPHONES IN. MUSIC CAN BE HEARD FAINTLY.

CHRISTOPHER THEN TURN A CORNER, CAMERA CUTS TO FOLLOW CHRISTOPHER FRONT ON, CHRISTOPHER WALKS A FEW MORE STEPS FORWARD WHEN HE IS GRABBED FROM BEHIND BY A BALACLAVA CLAD AARON.

CUT TO BLACK. THE MUFFLED MUSIC FROM AARONS HEADPHONES IS NOW PLAYED AT A NORMAL VOLUME. ROLL CREDITS.