The Treatment

1. Fade from black, title screen fades in with 'Buy Product' in the middle of the shot.

2. Establishing shot set in supermarket. Using rhythmic editing to emphasize the fast-paced environment
of the supermarket there is a jump cut to the entrance and a trolley enters from the right, the camera is
put in the trolley, starting a dolly shot. The camera moves forward with the trolley showing scenery from
the vegetable isle and products on shelves. The trolley stops moving suddenly, in a static shot, lemons
are placed in the cart, the trolley continues to move entering a new isle. The camera pans to show
products in the fresh produce isle, mimicking a customer browsing the shelves, the camera pans left (still
using a dolly shot) and focuses in on the freshly made bakery section, presenting that there that there is
a bakery in the store. The supermarket has a section where customers can observe products being made
in store, the camera pans right showing products being prepared and baked. The main character is
introduced into the shot, the camera becomes static when the character is in the center of the frame.
The camera remains static whilst the trolley leaves from the right indicating a new scene.

3. Fast editing is stopped to show the comparison between the hectic supermarket and the
disconnected main character, separating him from the store. The camera slowly zooms into the main
character who is leaning on a stall that says 'personalized cakes' looking bored. There is a clock behind
him that keeps ticking. The camera slowly zooms in on the character more, he taps his finger on the stall
every time that the clock ticks, this shows the monotony that the character is feeling. The clock is
juxtaposed to the main character establishing a relationship between the two. The character is willing
the clock to tick faster so his shift will end quicker. The camera frames the characters eyes and becomes
static, a rhythmic edit is made to show a disturbance (the non-diegetic sound is acting as a diegetic
sound.) His eyes look to the left quickly and an eye line match is made. There is an over the shoulder
shot, establishing the characters surroundings to his left. To the left of him is the chilled section, the
culprit of the alarming noise is a coworker who has spilt milk on the isle floors. The camera pans left,
tracks a new character (the manager) who is visibly extremely short to the right and returns to a static
shot in the original frame. The manager is visibly angry that his freshly cleaned floors have been made
dirty. He uses his manager status to lord over those beneath him to make up for his short height, this is
shown when the camera shows his face close-up but using a low angle. This is to establish his superiority
over the co-worker. The shot used is another eye-line match, this time from the manager's perspective
at a high angle where he watches the co-worker trying to clean up the spilt milk. The co-worker swishes
a mop back and forth on the floor but just makes the mess bigger. This infuriates the manager even
more. The camera moves back to a close-up shot of the manager who transforms into a monster
physically embodying his rage. Using a mid-shot the manager flails his arms back and forth in the shot
and bares his teeth, with his frantic movements static sounds are made in replacement for foul
language. Returning to a previous frame of the over the shoulder shot/ establishing shot, the camera
now shows the co-worker and the boss who is now visibly bigger in his monster form. In the frame, the
manager is now higher up than the main character to further push the narrative of the manager being
superior. Still using a static long shot, the boss turns to the camera suddenly, shocking the main
character out of his imagination. The camera goes to an extreme close-up of the main character's face,
visibly shocked and worried as he has been caught, he's wondering what he's done wrong. The camera
returns to a long/ over the shoulder shot showing the boss who has returned to his original state
although still angry. This is to show viewers that the boss being a monster was the main characters
imagination. Using a long shot the manager walks up to the personalized cake stand. The manager can
barely see over the counter. Once reaching the counter the camera backs up imitating the act of
recoiling from the situation. The camera uses a static long shot framing both manager and main
character showing the manager pointing his finger aggressively at the main character. The camera then
pans with the main characters head, revealing the background setting and a long queue of customers.
the camera goes to an extreme close-up of the main characters face, his eyes look right to signify a new
scene.

4. There is an establishing shot showing a long queue of customers. Using a mid-shot, a customer is
shown extending his arm and handing over a 'list of orders.' There is a close-up shot of the main
characters face nodding as if listening to the customers' demands. The camera is static trapping the
character in the frame whilst he gets to work on fulfilling the order, he works quickly and efficiently.
whilst working the main characters face is emotionless, he takes no pride in his work. The camera shows
a close-up of the finished cake reading 'Happy Birthday Nathan.' The camera returns to a shot of the
main character, now in an extreme close-up showing his eyes drooped, he's bored of his job. the camera
returns to him making his cakes and repeating the process again, this time the cake says, 'Happy
Birthday Greg.' The camera returns to the main characters face again, still in a static extreme close-up
shot, his face gaining more distain. This action is then repeated all over again, showing the monotony of
the job, the cake this time reads 'Happy Birthday Bob.' The camera returns to an extreme close-up
showing nothing but his face and goes into a slow zoom with the frame blurring signifying entering an
imagination sequence that will happen in his head.

5. There is an extreme close-up of the characters eyes, his eyes dart to the left. The camera enters an
eyeline match shot showing a cardboard cutout of a pilot and a bag of ice which says, 'Frozen Ice, flown
in fresh.' There is a static shot showing the main character jumping over the counter, throwing the ice
out of the plane and jumping in in its place. The camera pans right and down to a low angle shot,
realizing the plane as a 3D object. The low angle is to signify a lift of sequence, the plane then shoots fire
out of its tail as if it were a rocket, emulating the main characters imagination is that of a child's. The
plane then shoots forward upwards into the distance, the camera then slingshots forward (quick dolly)
breaking through the roof of the supermarket. Using a dolly shot, the plane levels out there is a cut to
the front of the plane showing the main character enjoying themself for the first time. The camera holds
on a close-up of the main character being content until a red light begins to flash and his face drops.
using a static shot the main character drops out of the bottom of the plane. There is a long shot of the
plane spinning and plummeting to the ground. The camera then zooms out and shows that we are
leaving the imagination sequence. The plane crash lands to earth in a huge explosion.

6. In a static shot, the frame is filled with smoke. The main characters hand comes in and bats away the
smoke revealing a close-up shot of the 'angry Karen' character. The camera pans down with Karen's
hand as she points revealing the cake that the main character had made whilst he was daydreaming. The
cake says 'we are all going to die' with a plane crash on it. There is a close-up of the main characters face
looking up and down showing that he is shocked at what he had done. Karen exclaims and flails her
arms in a mid-shot. She then grabs the cake and smashes it on the counter in front of the main
character. There is a close-up of the smashed-up cake on the counter. The camera shows a close-up of
the main character in shock with his head in his hands. He then looks to his far left, seeing his manager
stomping towards him angrily. The main character looks right to show Karen still exclaiming. He then
looks central at the camera in a fourth wall break, begging viewers for help. the camera zooms out as
the main character begins to grab pieces of cake, the more he tries to work with the cake the more the
camera pans out, eventually the main character stops in his tracks. He brings the cake up to his face to
reveal it to the viewers. In an over the shoulder shot, the main character presents the cake to Karen's
child, as he presents the cake the child returns to their normal state. There is a mid-shot of the child
holding the cake becoming excited. There is a backwards dolly as the kid runs towards the screen.

7. There is a jump cut to a new scene. There is a long establishing shot of a shop front that says 'Papa J's
Cakey's.' The camera continues to dolly outwards as the child from the previous scene runs out of the
entrance. Through the window the viewers can see the main character working in the shop. The kid and
Karen (who are holding the cake' walk out of the shot and the screen fades to black.