| CREATIVE SCRIPT |
Carlos, our character, narrates his story from his birth in a favela in São Paulo. With a straightforward narrative, he recounts his childhood amidst the poverty and drug trafficking common in his neighborhood, until at age 13, his father is killed by a stray bullet, his family goes through a difficult time, and he faces the first major decision of his life:
INITIAL CHOICE OF AUDIENCE 1:
Option "a": Give in to the pressure from the drug traffickers and join them in crime.
Option "b": Continue your mediocre life working and studying to try to help your mother and younger brother, with the dream of one day leaving the favela.
Carlos chose to enter the world of crime: His temporal narrative continues, now working for organized crime in the favela. At the cost of much blood and pain, he becomes the head of drug trafficking in his neighborhood, respected and feared by everyone there. Until, at the height of his power and maturity, he discovers the betrayal of his younger brother and faces another important decision in his life: to forgive or execute his brother. At this moment, it is not up to the audience to choose, but rather to the character, who, in the narrative, intervenes and asks for permission, as it is a family matter and he must make this choice alone. Under pressure from other drug traffickers and driven by anger, he chooses to execute his brother. With his brother's death, Carlos remains in power in the favela, but his psychological state begins to weigh on him, and he starts having visions of his brother and falls into depression, especially after the death of his mother, who dies blaming him for the loss of her son. With the police closing in and with serious psychological problems, Carlos finds himself in another predicament in life.
| CREATIVE SCRIPT |
FINAL CHOICE OF THE PUBLIC 1:
Option “a”: commit suicide
Option "b": turn yourself in to the police and be arrested.
Here, the audience chooses the ending, but not really. The only thing we can't change is death. When our day comes, the choice is no longer ours. When the audience chooses any of the options, the narrator himself intervenes once more in the story and explains that this choice no longer belongs to anyone, neither the audience nor himself.
FINAL 1: Carlo recovers that day and returns to his life of crime, until one day he witnesses the execution of a minor from the favela, which reminds him of his brother. In the midst of a psychotic episode, Carlos wanders aimlessly through the streets delirious and is run over by a bus at a city intersection.
The narrator watches the scene from the outside...
(Narrator's voice): The choices in our lives exist to give direction to our story, to help us learn from our mistakes and successes. Whatever path your story has taken, when your time comes to leave, it will no longer be up to you to choose.
| CREATIVE SCRIPT |
INITIAL CHOICE OF THE AUDIENCE 2:
b-chose to study/work: Carlos doesn't give up on helping his mother, resists the pressures of drug trafficking, and narrates his hard life of work and study. He joins a social project in the favela that helps him study and graduate... and so he continues narrating his life until he is 30 years old. At that age, Carlos is already married to his childhood sweetheart, his mother is deceased, and his brother is dead because of drug trafficking. Today he can consider himself a winner, working in a large company, holding a leadership position, and having a stable life, until he is involved in a scheme within the company and needs to make an important decision: turn the scheme over to the police or accept a bribe and get involved in the scheme.
At this point, it's not up to the audience to choose, but rather to the character, who, in the narrative, intervenes and asks permission to make that choice alone. Carlos joins the scheme and begins to flaunt his expensive car, jewelry, and ostentatious lifestyle. The money goes to his head, he loses his wife, becomes addicted to alcohol and drugs, until, during one of his orgies, he discovers that he is the main scapegoat for this scam, where the big players make a fortune and he's the one who ends up paying the price with the police. The masterminds of the plan themselves denounce Carlos to the police. Carlos tries to escape, and during a police chase, he suffers a serious accident, and it is here that we choose the ending of the story.
FINAL CHOICE OF THE PUBLIC 2:
Option “a”: Carlos dies in the accident
Option “b”: Carlos lives and has a new chance.
Here, the audience chooses the ending, but not really. The only thing we can't change is death. When our day comes, the choice is no longer ours. When the audience chooses any of the options, the narrator himself intervenes once more in the story and explains that this choice no longer belongs to anyone, neither the audience nor himself.
FINAL 2: Carlos's car overturns on a busy street in São Paulo. Carlos manages to get out of the car before the police arrive, walks a few blocks, and, still somewhat dazed and confused, ends up being hit by a bus at an intersection.
The narrator watches the scene from the outside...
Off-screen narrator: The choices in our lives exist to give direction to our story, to help us learn from our mistakes and successes. Whatever path your story took, the lessons you learned from the choices you made in life, when your time comes to leave, you will no longer be able to choose.
Yes, in both endings he dies in the same way, at the same intersection, on the same day and at the same time.
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