MAKE A WISH YOU BASTARD!

1. INT. ANGIES HOUSE. ANGIE. DAY

A squared digital clock at 5:30 p.m. fits the most part o the frame and we hear the sound
of falling coins at the rhythm of the clock, which lies on a little table. The camera tilts up
and opens the frame so we now can see Angie, a fat forty-year-old lady. She is sitting on
a couch counting money, coin by coin. She stops with a reflexive expression, stands up
from the couch and leaves the frame.
2. INT. ANGIES HOUSE KITCHEN. DAY
Angie enters the kitchen and starts to search for money inside drawers, bottles and in
some jars. She stares at a red jar which is a little far from the others and goes to it.
3. INT. BEANS JAR CLOSE-UP. DAY
From the top side of the red jar, we see Angie coming closer and finally, opens it without
moving it and takes out some coins, puts them in her stock market, takes out her keys
which has house form key ring and finally, leaves.
4. INT. TAXI. DAY
From the back seat of a taxi, we see Angie standing on the sidewalk, outside her house,
raising her hand so the taxi stops and she gets into. A kitsch object is hanged on the
rear view mirror. When she closes the door, a hard sound appears and the frame goes to
black.
5. EXT. PASTRY SHOP ENTRANCE. DAY
The taxi stops outside a pastry shop. Angie gets down and shakes her hand on clumsy
movements as the taxi leaves the place. She walks to enter the store; the camera follows
her movements until she gets the entrance door.
6. INT. PASTRY SHOP. DAY
Angie enters the pastry shop and stands beside the display cabinet. She waits a few
seconds, rings a bell and immediately a seller takes care of her. She puts all the coins on
the display cabinet and the seller shakes his head like saying yes. On the display cabinet,
there are two boxes that Angie stares at. One says Candles and the other says Magic
Candles. When the seller goes down the display cabinet, Angie robs two Magic
Candles, a 4 and a 2. The seller didnt notice and gives Angie a modest cake. She pays
for it and walks away with a mysterious smile. She gets out and we see her raising her
hand calling for a taxi.

7. INT. ANGIES HOUSE. DAY

Angie arrives her home, leaves the cake and the candles in the table and goes to her room
8. INT. ANGIES ROOM. DAY
On her bed lays a red dress, earrings, shoes and makeup tools. She enters wearing a towel
and sits on the bed.
9. INT. ANGIES HOUSE. DAY
She appears looking good, fixed. Puts the cake in the middle of the table, fits the candles
on the cake, sighs, smiles and sits on the couch to wait her husband.
10. INT. CLOCK AND ANGIE. DAY
We see the digital clock advancing quickly, frame by frame until 9:30 pm. Then Angie
picks up the phone and calls.
11. INT. OFFICE, DESK. ALEX. DAY
Alex, a forty-two year old man, medium weight, and not so good looking either. He
wears a little happy birthday hat at his office. He seems to be enjoying of having a
good time with a young woman who sits on his legs; we cannot see her face. When his
cell phone rings, he notices in the screens cell phone that it is his wife, calling from his
house, so he decides to turn it off. We hear a beep.
12. INT. ANGIES HOUSE. DAY
Angie is sitting on the couch with a bad posture and sad face. Then his husband arrives
and her expression changes. Alex arrives not in a very good mood. Angie happily runs to
hug him, but he refuses her. The moment was very short, but while she was trying to hug
him, she can notice red lipstick in his necks shirt and womans perfume. She doesnt
cares about it and goes to a turntable to put a birthday song.
13. INT. ANGIES HOUSE, TABLE. DAY.
From the corner of the table we see them sit near the cake. Angie lights the candles. Alex
is about to blow the candles, but he stops himself and decides to make a wish. He thinks
hard, closes his eyes and blows. From a second to another, they appear on a new house, a
pretty one. Alex goes out the house.
14. EXT. GARAGE. DAY
Alex goes out the house into the garage to find two sport cars. He returns inside.

15. INT. ANGIES HOUSE. DAY

He returns a little bit suffocated by the emotion and sits again with Angie. He stares at the
cake, closes his eyes and blows the second candle. From a second to another, Angie
disappears and instead of her, there is a young lady, who sees him and goes to sit on his
legs.
16. INT. FROM THE CAKE VIEW. DAY
We see the second candle on a close-up, the depth field is short so we only hear laughing
and see the blurred image of Alex and the young lady on joy. Suddenly, the candle starts
lighting again by itself til it has the little flame again. The image gets clear from a
second to another and we are now focusing at Alex and Angie who has appeared with
the second candle lighted again.
17. INT. ANGIES HOUSE. DAY
From another angle, Angies face looks Alex with anger. She moves fast towards the cake
and blows the second candle. When she does that, a young boy appears instead of Alex.
She looks at him and smiles for herself.
18. INT. FROM THE CAKE VIEW. DAY
We see the second candle again, on a close-up, the background is out of focus but we still
see that there is Angie and the young boy. Suddenly, the candle starts lightning again
Fade to black (Credits)

TREATMENT
Overall treatment.
Acting/Casting
Camera
The colors for the objects and characters must be the primary colors. Saturation plays an
important role due to the importance of Red, Blue and Yellow colors. Mid tones or
secondary tones shall be avoided on principal objects in order to give image a more vivid
but also unnatural combination of colors. Although some accents on the image will come
by putting objects or costumes and color Green and Mexican Pink.

Production Design
Sound Design
The short film is non-dialogue. The situations on the story get us to a magic atmosphere,
hence, a not common treatment of the natural sounds. Natural sound will appear each
time it is required from the image, if not, mute. The other sounds will be set in post
edition, from sound databases.
Music
Incidental music on scene 12: Happy birthday song or Las maanitas
Music on credits: Frank Sinatra; I wished on the moon

STORYBOARD
SHOT LIST
SHOOTING SCHEDULE
VISUAL PORTFOLIO
LOCATION LIST
PRODUCERS STATEMENT