Mistaken incarceration draft script 2
- 1. “MISTAKEN INCARCERATION” By Lucas McKenna-Wait 23 Shearsbrook Close Bransgore, BH23 8HF 07957151461 mckennawaitl@ringwood.hants.sch.uk
- 2. 2 FADE IN: SCENE 1 – SERIES OF SHOTS. A) MICHAEL, a male in his early 20s and a trained martial artist and attends classes every week. Decent social class as well. MICHAEL appears just out of the house and then starts to walk over to the pub to meet up with his best friend THEO. MICHAEL makes sure that he hasn’t forgotten his wallet and valuables before he closes the door. B) MICHAEL is seen walking past his local shops on his way to the pub. C) MICHAEL is waiting by a main road stop and then advances across the road safely once he has looked both ways. D) MICHAEL is seen walking into the pub to meet his friend THEO. SCENE 2 - INT. LOCAL PUB. DAY. MICHAEL walks into the pub, the pub is old-fashioned, 17th century to be precise, with low hanging ceilings that only mean that his head can just fit in without him having to duck. He enters through the main entrance and then sees the bar, with a wide selection of ales and bitters that he can choose from. MICHAEL walks through the main entrance and straight ahead is THEO. THEO, a male in his 20s and quite well kept with nice clothes and is of a decent social class. MICHAEL walks up to the bar and takes a seat next to THEO. MICHAEL (Sits down) You just finished work? THEO Yeah. Got busy today. Couldn’t sit on my arse all day. (To the Bartender) Can I get another pint? One for Michael.
- 3. 3 BARTENDER Sure. MICHAEL Cheers. THEO (Sips his drink) How’s the martial arts going? MICHAEL Alright. I just feel like they’re teaching me the same things over and over. THEO (Confused) Why don’t you just go to another dojo? (The bartender places the pint on the bar.) MICHAEL No good ones near. I’d have to drive about 40 minutes in order to get to a decent one. I’m nearly black belt, and I haven’t learnt anything of use since I was a yellow belt… just enhancing my old skills. THEO Yeah don’t bother transferring to a new one. You have basically got all the skills you need. MICHAEL True. (They hear the faint sounds of police sirens in the background and see the red and blue light faintly in the
- 4. 4 window.) THEO Wait, why is there police in the car park? And there is a lot of them as well. MICHAEL I’m confused too, they can’t be here for us. (Comically) Unless you’ve robbed a bank or something. (laughs) THEO Shut up. This could be serious. MICHAEL Alright way to ruin the mood. (Police storm through the door of the pub.) POLICEMAN (Shouting) Put your hands up in the air where I can see them! (Michael, Theo and the Bartender all put their hands in the air, confused as to what is going on.) MICHAEL (Worried) Who are you speaking to? POLICEMAN (Shouting) You. Now keep your hands in the air!
- 5. 5 MICHAEL I haven’t done anything wrong, so what’s the point of me putting my hands in the air. POLICEMAN Right then. Looks like we are going to have to do it the hard way. MICHAEL and the group of policemen start to have a fight, fending off a group of four policeman. They start throwing punches at him. MICHAEL uses his reflexes and what he has learnt in martial arts to defend himself. MICHAEL manages to get one guy into a headlock and bang his head against the bar, knocking him out. MICHAEL starts to get tired but the adrenaline kicks in. The thought that he doesn’t want to go to jail for something he didn’t do races through his mind. MICHAEL manages to knock out another police officer with a swift punch and then in a split-second, ducks another hook. MICHAEL then uppercuts the police officer attempting the hook and kicks him relentlessly until he goes unconscious. Staggering back, MICHAEL shouts as he charges into the final policeman, shoving him against the wall. MICHAEL runs out of the door worried just in case something happens. THEO looks at all of the policeman knocked out and lying on the floor shocked and perplexed. THEO (Looking at the bodies) Well that was interesting. BARTENDER Just another day at the office. THEO So, a load of people knocked out on your pub floor is a normal thing? BARTENDER Oh, you won’t believe the number of drunks we get.
- 6. 6 SCENE 3 - SERIES OF SHOTS: A) MICHAEL starts running back home and there is a series of shots of him running back to his home after the incident with the police. B) MICHAEL is starting to get really exhausted after all the fighting that has just occurred and we can see that with his facial expression. C) MICHAEL continues to run across the road not paying attention to any of the cars. Luckily it ends up being safe. D) Then MICHAEL takes the more secret route back to his home through a private estate so that he doesn’t get caught by extra police that could have been sent out. E) MICHAEL storms down his house road and then puts the keys in his lock as quick as possible. SCENE 4 - INT. MICHAEL’S LOUNGE. DAY. MICHAEL rushes into the house then to see his parents sat on the couch worried to why he has come back so abruptly. MOTHER, a woman of her mid-40s wearing typically comfortable clothes and dressing gowns since she always likes to stay cozy. FATHER, also in his 40s and is of a high social class and is the typical dad. He usually wears a shirt with jumper over it, boots and then a pair of boot-cut jeans. MOTHER (Worried) Is everything okay? MICHAEL No, it’s not Mum, the police just tried to arrest me. FATHER For what? What did you do? MICHAEL Nothing! MOTHER Something must be wrong. Come and sit down. You are safe here.
- 7. 7 MICHAEL, the MOTHER and the FATHER start to watch the news and then they notice that the story that comes on is based of the town that they live in, so they continue to watch. The TV is focused on in the shot and then there is a zoom in to a cut of the new studio. SCENE 5 - INT. NEWS STUDIO. DAY. NEWS SPOKESPERSON News just in about a recent bank robbery and a criminal on the run, here we have some footage of the man from the police just as he ran away from the bank to a local pub only to fight policemen and run away. Other police have reported to stay aware of the criminal out there before he does anything else and if you see him be sure to report his whereabouts. SCENE 6 - INT. MICHAEL’S HOUSE. DAY. Cut to MICHAEL’s house where he appears to be shocked and surprised about how he has been mistaken for a criminal and the police have got something wrong for once all along. MICHAEL (shocked) No way. (pauses) They have mistaken me for someone else. And now I’m going to jail. MOTHER You are not going to go to jail. They won’t get you! MICHAEL Well what if they do find me? They are not going to consider that they have got the wrong guy. Police are always right in their eyes.
- 8. 8 MOTHER Just relax in your room with the blinds closed and chill out. We’ll look out. (He walks up the stairs to his bedroom.) SCENE 7 - INT. BEDROOM. DAY. MICHAEL enters his bedroom, he immediately shuts the door. MICHAEL’s room is relatively big, with a matching colour desk and wardrobe to the right when opening the door. MICHAEL’s bed is placed to the left wall directly next to his window and he has a TV directly in front of it along with his chest of drawers and his light. MICHAEL then also has a bedside table as well off to the right of his bed. MICHAEL immediately goes over and closes his blinds. SCENE 8 - INT. POLICE STATION. DAY. Inside the police meeting room, they bring in one of their criminals, A kidnapper that has been imprisoned for kidnapping over 30 people throughout his life time. The CRIMINAL has learnt that what he has done is wrong and want to escape as soon as possible. The MAIN POLICE OFFICER sits CRIMINAL down with his handcuffs on and then try to make an agreement with him. MAIN POLICE OFFICER You know why I have bought you here today? CRIMINAL (Aggressively) I don’t know. You tell me. MAIN POLICE OFFICER We seriously need your help. CRIMINAL Fuck off, not helping you. Nothing is init for me.
- 9. 9 MAIN POLICE OFFICER How about you let us explain it first before you get aggy. CRIMINAL What then? MAIN POLICE OFFICER We are looking for a criminal. Someone who escaped and knocked out four of our best officers and we can’t see to track him down. We lack the skills. CRIMINAL And you are asking a criminal about this. SECOND POLICE OFFICER He’s not going to listen to us. He’ll just try to bribe us. CRIMINAL (Angrily) Course I will, I’m not fucking stupid. MAIN POLICE OFFICER (shouting) Enough! (silence falls across the room for a few seconds.) (quietly) Right. I’ll cut you a deal. You bring our guys, we’ll set you free. Doesn’t matter how you do it, just bring him back in one piece. Deal? CRIMINAL Fine!
- 10. 10 MAIN POLICE OFFICER You can leave now. (He is freed from his handcuffs and then escorted out of the room.) SCENE 9 - EXT. THEO’S HOUSE. NIGHT. Outside THEO’s house. CRIMINAL looks around for some keys to see if he can get into the door. CRIMINAL checks all of the crevices and secret areas of the drive to find that THEO has left the key placed in the lavender plant. As quiet as possible, CRIMINAL places the key in the lock and then turns the lock. CRIMINAL then quietly opens the door trying not to make a noise and then steps inside. SCENE 10 - INT. THEO’S HOUSE. NIGHT. SERIES OF SHOTS: A) CRIMINAL walks through the front entrance and then checks around all of the places that THEO could be. CRIMINAL checks the bathroom by the front entrance first and then checks the room to the left. B) THEO is stood in the bathroom getting ready for bed doing his nightly routine. THEO is dressed in his nightwear and he is brushing his teeth. C) CRIMINAL walks through to the kitchen and checks around there and then proceeds to walk to the stairs. D) CRIMINAL takes his first step up the stairs and then the stairs creak loudly meaning that he could be heard throughout the house. E) THEO hears this gets confused and stops brushing his teeth. THEO then exits the bathroom and walks down the stairs. F) THEO reaches the bottom of the stairs to be greeted by the CRIMINAL who knocks him out and then ties him up in a black bag. FADE TO BLACK: FADE IN: SCENE 11 - INT. THEO’S GARAGE. DAY. THEO has been tied up in his own garage and is worried and scared about what is going to happen to him. The CRIMINAL is about to interrogate him.
- 11. 11 The garage is quite messy and unorganized with things lying around everywhere, however it is quite spacious so you are able to be productive in the space that there is. CRIMINAL Where is he? THEO Where is who? CRIMINAL You know who… THEO No I seriously don’t. CRIMINAL Your little friend. Sounds like he has been up to no good, hasn’t he. THEO What Michael? He didn’t do anything. CRIMINAL Well the police think differently clearly. I’ve been sent out to find him and I thought the best way to do it, was through you… his best friend through thick and thin. Because, you will know where he is. Won’t you. THEO I’m not going to tell you anything. CRIMINAL Maybe you will when I show you this. (He pulls out a gun and points it at Theo’s head.) THEO Right. I’ll bring him to you. Let me message him real quick.
- 12. 12 CRIMINAL Good. (Theo messages him to tell him to come to his house.) THEO He will be here in about 5 seconds. CRIMINAL Don’t you think that is a bit too – (Michael storms through the door of the garage.) Jesus, how did you get here so quick. THEO Not important. MICHAEL (Annoyed) Cause I care about my friend that’s why. Why have you tied him up? CRIMINAL Because I wanted you… so I thought of the best way… to kidnap your best friend you wouldn’t want anything to happen to. MICHAEL (Annoyed) But why do you want me? I don’t understand. CRIMINAL The police are after you. You robbed a bank so I’m taking you to the prison. If I do, I’ll be free from prison.
- 13. 13 MICHAEL (Shouting) I didn’t fucking rob the bank. I was mistaken for someone else. CRIMINAL Maybe you will if it means your friend stays alive. (He points his gun at Theo.) MICHAEL (Shouting) No. THEO Just go Michael, we have lost either way. CRIMINAL Well, if you don’t go then your little friend will have his brain get blown out, his life gone in the flash of an eye and no one will know what is going o- MICHAEL knocks the gun on the floor and then MICHAEL and the CRIMINAL have a fight. First, MICHAEL lands a few punches swiftly and then proceed to knock the CRIMINAL down for a couple of seconds. The CRIMINAL manages to dodge a punch aimed at him on the floor and then MICHAEL injures his hand. The CRIMINAL then lands a few hits and dazes MICHAEL in the process, meaning that he is growing weaker and weaker. MICHAEL is clearly losing in the fight, but THEO in the process is trying to escape the chair to which goes unnoticed by the CRIMINAL. The CRIMINAL has MICHAEL up in the corner now ready to finish him off. CRIMINAL You are coming with me. THEO finally escapes and then hits the CRIMINAL round the back of the head with a metal item and then knocks him
- 14. 14 unconscious. MICHAEL and THEO both get up and dust themselves off. MICHAEL Thanks. For covering me. THEO No problem. You helped me out, so I’ll help you. (They open the garage door by the switch and then walks out.) SCENE 12 - EXT. OUTSIDE THEO’S HOUSE. DAY. MICHAEL and THEO exit the garage and then they walk down the driveway talking. As MICHAEL and THEO walk out of the driveway, they notice someone like MICHAEL walking down the opposite side of the pavement. MICHAEL and THEO take a minute and examine. THEO Do you think that he is the actual criminal? (The ominous man turns his head to find that it is the criminal that was in the news report for robbing the bank.) MICHAEL Holy shit. That’s the guy. THEO Well then… lets catch him and take him to the police. MICHAEL and THEO go up behind him and then ambush the actual criminal so that he gets injured and taken to the police station. FADE OUT: FADE IN: SCENE 14 - INT. POLICE STATION. DAY.
- 15. 15 MICHAEL and THEO walk into the station escorting the injured criminal and they take him to the main police officer. MAIN POLICE OFFICER (Annoyed) What, how did you escape our best criminal? MICHAEL I fought him. Besides, this is the guy you were looking for not me. (He shoves the actual criminal over to the police officer.) The MAIN POLICE OFFICER goes over to his computer to compare him to the database and then walks back up to MICHAEL. MAIN POLICE OFFICER Well, I do apologize, we seem to have messed up. Well you are in the clear now, go off and continue whatever you were doing and then we will take care of the rest. MICHAEL AND THEO Alright, cheers. SCENE 15 - EXT. OUTSIDE POLICE STATION. DAY. MICHAEL and THEO both proceed out of the door and walk away from the police station. THEO Fancy another pint? MICHAEL Alright. Go on then. MICHAEL and THEO continue to walk down to the pub and the police stop bothering them as they live their normal lives.