Treatment

As two visionary directors on the edge of breakthrough success, we both find it difficult at times to compromise on our ideas of what exactly we want to do, although we are both keen on the overall idea.
What follows is a rough sketching we each gave as to how we see our opening sequence playing out.

Hal:
1. Black screen, one line of v.o
2. Fade up on ext. graveyard. LS of 4 graves in a row, with the camera position slightly to one side implying space for a 5th grave.
3. Tilt up directly to the sun, match cut straight to...
4. Int. bedroom of a child, - lamp. Cue music. Camera at pillow level, and begins to ascend upwards slowly but firmly, approx 10 secs.
5. Cut to: camera - practically on ceiling, looking down on new bedroom, from same position in room, yet continuing to move. repeat this step 3 more times, each with a distinctively different style.
6. The final bedroom features an actual person in bed. Camera still continuing to move for 4 more seconds, then stops as man rolls out of bed and exits room.
7. Cue titles on sound of closed door.

Max:
1. Black screen, one line of v.o
2. Fade up on ext. graveyard. LS of 4 graves in a row, with the camera position slightly to one side implying space for a 5th grave.
3. Int. shot - School hall. Camera is at the doors of the room moving slowly forward into it smoothly. It rolls all the way down the middle while ever so slightly panning to the left where we see a schoolboy sat at a grand piano. The camera stops directly facing him and he begins to play. This plays throughout.
4. Int. shot - bedroom. We see our first character, Mrs Kay. She applies lipstick, pouts her lips and says 'Another day. Another day.' Smiles at the camera. Cut straight to:
5. Ext. shot - park. A grouchy old man picks up litter wearing a green reflecting jacket. From the ground, we see him kick a can and it rolls off screen straight to:
6. Ext. shot - hospital grounds. The wheel of a car, which rolls into the car park of the hospital. We see a young man switch off the engine, look at the passenger, then leave the car. The camera here is attached to the car door, slamming back at the passenger.
7. Int. shot - bedroom. From a bedside cabinet we see a girl turn in bed look at her clock and then hide herself back under the covers. Then a ceiling BIV of her room, a la Garden State.
8. Int. shot - School hall. Boy plays final chord, tilts his head back and looks directly up at the ceiling.
9. TITLES

Deciding not to take into account the plausibility/filmability of all these ideas - most of which were ad-libbed while typing - as rather ambitious workers, we know no limits. Yet...