Section 9 - Production Schedule

Production Schedule

(click the image to enlarge)



Section 8 - Production Material

Storyboard

Shot List

Shooting Script

1. A black screen, can hear both heavy footsteps and heavy breathing; conveys a sense of panic.
2. Fades into shot, low angled camera, man runs towards and past the camera, continues diegetic sound of footsteps and breathing, fast paced music begins.
3. Cuts to wide shot of him running (tracks from behind).
4. Close up of his feet running; implies speed.
5. Close up of his face, panicked/concerned expression.
6. Mid tracking shot as he runs, see him from the side.
7. Camera cuts to a shot of a young girl in a room, high angled and took from the top right corner of the room, no sound, and black and white; in order to imitate CCTV footage.
8. Camera cuts to the shots of a man running, tracking shot from the side shows him running past buildings (transformed city), non-diegetic sound returns. 
9. Full length shot of him running towards the camera head on, tracking out.
10. Cuts to a point of view shot of him running.
11. Establishing shot of the high-rise building at a low angle shot, to elongate it further and convey importance.
12. Running up towards the building, from behind.
13. Cut to him reaching for the handle.
14. Matching action, opening the door.
15. A cut to the same CCTV footage style shot of the girl banging on the door of the room she is held hostage in, again no sound.
16. Girl looks straight up at high angled camera.
17. Mid shot, slightly low, of him entering the building. All previous shots (apart from shots of the girl) have been external shots, they are now internal.
18. Pans across to him running to the foot of the stairs.
19. High angle of him running up the stairs.
20. Low angle, tracking shot of him running from behind.
21. CU of his face, looking side to side, displays confusion.
22. Point of view shot, camera pans from side to side.
23. Walks into shot.
24. CU of him walking to the door.
25. High angled shot of a girl in room, see her banging on the door, no sound.
26. Point of view shot, girl’s view of the door (inside the room).
27. Mid shot of him walking towards the door (outside the room).
28. Mid shot of her trying to open the door (inside the room).
29. Close up of his hands on the door (outside of the room).
30. Close up of her face.
31. Point of view shot as he opens the door.
32. Close up of his face, see confusion.
33. Point of view shot of the empty room (apart from table, timer and note).
34. Medium-wide shot from behind table of him walking towards table.
35. Close up of him picking up the note and unfolding it.
36. Close up of the shocked expression on his face, he turns.
37. Mid shot of him from behind as he drops the note and runs out of the room.
38. High angled shot of note falling, sees writing on note (slow motion), tracks out and becomes CCTV footage.
39. Camera tracks out to see screen showing the empty room. Can see a man’s shoulder, appears to be watching the screen.
40. Fades to black screen, see title of film ‘Justice’.

Section 7 - Recce and Location Sheets

For our thriller film, we will need to film in three locations; Warrington town centre (for the scenes in which our main character is running through the streets); Evans House, Warrington (for the scenes in which our main characteris running inside a building, and for the scenes in which the girl is shown through CCTV footage whilst in a room); the Editing Suite, Priestley College, Warrington (for the scene in which the killer is watching CCTV footage of the girl in the room - for this scene we only need a screen for the footage to be played on)

 

 

Section 6 - Character Outlines and Shooting Script

Character Outlines

There are four main characters in our thriller Justice; the 'hero' (Kyle Baldwin); the 'victim' (Lucy Baldwin); the 'villain' (Matthew Drake); the detective (Ian Randall). Randall is the only main character who does not feature in the opening sequence of the film as he is first introduced to the audience when Kyle Baldwin returns to the police station after failing to find Lucy.

Kyle Baldwin:

• 40 years old
• (family) father to Lucy Baldwin
• (work) ex-partner to Matthew Drake, partner to Ian Randall 
• average height, light blonde hair, beginning to turn grey
• for work he wears a suit, but outside of work he usually wears jeans, t-shirts and a leather jacket, although when it is cold he sometimes wears a thinner hooded jacket as well
• works as a police detective, having worked his way up being a uniformed police officer
• he wanted to be a police officer from being a very young child, and achieved this at the age of 18 when he joined the police force, and by the time he was 21 he had been promoted to detective
• however, he was not content with being law enforcement, and at the age of 22, he became involved with a criminal gang dealing drugs which lasted 3 years, during which time he bought and supplied drugs
• his partner on the police force, Matthew Drake, discovered that he was involved in drug crime, and threatened to arrest him, but Baldwin panicked and framed Drake for all of the drug crime
• he faked eveidence etc. so that Drake would be punished for the crimes, and he would be free
• he stopped his involvement with drug crime after the inccident but continued working on the police force

Lucy Baldwin:

• 16 years old
• (family) daughter to Kyle Baldwin
• average height, blonde hair
• usually wears jeans and shirts
• no connection to Matthew Drake or Ian Randall
• does not know anything about her father's past involvement with drug crime
• despite her father's efforts, she does not want to go into the police force when she is older
• she wants to leave the city
• tries not to be involved in her father's career in any way, as she believes that something bad may come of it if she does

Matthew Drake:

• 50 years old
• (work) ex-partner to Kyle Baldwin
• taller than average, dark brown hair, very few grey hairs
• always wears a suit, whether he is working or not
• grew up in a bad neighbourhood, surrounded by crime, and was introduced to the idea of 'vigilante justice' at a young age
• although he was bullied severly by teenagers as a child, he gathered his own small gang and became one of the most feared in his neighbourhood by the age of 16
• however, subconsciously, he was afraid of himself, and at 18 decided to join the police force; he was unwilling to give up the power he already weilded, but felt that it was better to have the law on his side, and also to restrict himself by the law
• being highly intelligent and efficient, and being from the same background as many criminals, he played a leading role in solving many crimes and was quickly promoted to being a detective
• having no family left, and being a misanthropist whenever he was not working, his work became the single focus of his life and what was most important to him
• at the age of 31 he was partnered with Kyle Baldwin, with whom he solved many crimes
• he was shocked to discover Baldwin's involvement in drug crime, and tried to threaten him in order to end Baldwin's involvement in drug crime; however this did not work, and he was instead blamed for the crimes
• he was convicted, fired from the police force and sent to prison
• during the time he spent in prison and the years afterwards, he despised Baldwin for what had been done to him, and began to plan his revenge

 

Ian Randall:

• 40 years old
• (work) partner to Kyle Baldwin
• average height, light brown hair
• wears suits for work, jeans etc when not working
• has no criminal record and has never been involved in criminal activity
• does not know of Baldwin's criminal involvement
• has been Baldwin's partner for 5 years
• has no connection to Matthew Drake
• he became a police officer in his late 20s after trying several different careers including careers in teaching and psychology
• he uses his background in psychology to help to solve crimes
• he is more reserved than Baldwin, mainly keeping himself to himself, but not in the same way that Drake does

Shooting Script

A shooting script is a breakdown of the shots and scenes which will appear in the final production of a film. It includes a shot list and directions as to what will be happening on screen in each shot.

1. A black screen

(sound - diegetic; heavy-breathing, footsteps running)

2. It fades into a low-angled shot, which shows a man running towards the camera, from a few metres down the pavement. He runs past the camera quickly

(sound - diegetic; heavy-breathing, footsteps running - non-diegetic; fast-paced music)

3. The camera tracks the man from behind as he runs. He runs quickly down a street past shops and some people

(sound - diegetic; heavy-breathing, footsteps running - non-diegetic; fast-paced music)

4. He runs into a close-up shot of his feet, he runs past the camera, continuing in the same direction as before

(sound - diegetic; heavy-breathing, footsteps running - non-diegetic; fast-paced music)

5. A close up of his face as he runs towards the camera shows a panicked/concerned expression, implying that the reason he is running is because he is worried about something

(sound - diegetic; heavy-breathing, footsteps running - non-diegetic; fast-paced music)

6. He runs past the camera, shown by a mid tracking shot from the side, still running through the streets passing shops etc.

(sound - diegetic; heavy-breathing, footsteps running - non-diegetic; fast-paced music)

7. The camera cuts to a shot of a young girl in a room, she is standing in front of a door, which has no handle, and seems to be trying to find a way of opening the door

(no sound; in black-and-white, as if it is CCTV footage)

8. The camera cuts to the shots of the man running, tracking shot from the side shows him running past buildings

(sound - diegetic; heavy-breathing, footsteps running - non-diegetic; fast-paced music)

9. He runs forwards towards and past the camera  

(sound - diegetic; heavy-breathing, footsteps running - non-diegetic; fast-paced music)

10. A point of view shot as he runs shows him running through the street

(sound - diegetic; heavy-breathing, footsteps running - non-diegetic; fast-paced music)

11. A low-angled shot shows an large old building, apparently in a city, and presumably the building that the running man is heading for

(sound - diegetic; heavy-breathing, footsteps running - non-diegetic; fast-paced music)

12. The man runs past the camera towards the old building

(sound - diegetic; heavy-breathing, footsteps running - non-diegetic; fast-paced music)

13. He reaches out towards the door of the building

(sound - diegetic; heavy-breathing, footsteps running - non-diegetic; fast-paced music)

14. Match-on-action shows him go to open the door

(sound - diegetic; heavy-breathing, footsteps running - non-diegetic; fast-paced music)

15. The camera cuts to a shot of the young girl in the same room as before, we see her still attempting to open the door. She seems to give up her attempt and slumps into a corner to the room

(no sound; in black-and-white, as if it is CCTV footage)

16. From her seat in the corner, the girl looks at the camera in the corner, showing that she is aware of its presence

(no sound; in black-and-white, as if it is CCTV footage)

17. We see the man entering the building through the doors (the camera is on the inside) and continue running towards the camera

(sound - diegetic; heavy-breathing, footsteps running - non-diegetic; fast-paced music)

18. The camera pans, following the man as he runs towards the stairs in the building, past a mirror

(sound - diegetic; heavy-breathing, footsteps running - non-diegetic; fast-paced music)

19. A high angled shot of the man shows him running up the set of stairs, which are quite narrow

(sound - diegetic; heavy-breathing, footsteps running - non-diegetic; fast-paced music)

20. A low-angled shot, also of him running up the stairs, implies that there are many stairs for him to run up before he reaches where he is headed

(sound - diegetic; heavy-breathing, footsteps running - non-diegetic; fast-paced music)

21. His face is shown, looking from side to side, presumably he is now at the top of the stairs. He seems to be confused

(sound - diegetic; heavy-breathing - non-diegetic; fast-paced music)

22. A point of view shot shows that he is looking at a corridor with a few doors, the camera pans from side to side, as if he is trying to decide which door to take

(sound - diegetic; heavy-breathing - non-diegetic; fast-paced music)

23. The man walks into the shot, towards the door straight in front of him
(sound - diegetic; heavy-breathing, footsteps running - non-diegetic; fast paced music)

24. The camera cuts to a shot from the side of him walking towards the door.

(sound - diegetic; heavy-breathing, footsteps - non-diegetic; fast-paced music)

25. The camera cuts to another shot of the young girl in the room. She stands up and begins banging on the door and attempting to escape

(no sound; in black-and-white, as if it is CCTV footage)

26. The girl's point of view is shown, a shot of the door she is attempting to escape through

(no sound; in black-and-white, as if it is CCTV footage)

27. A mid shot of the man walking towards the door implies that he is walking towards the room in which the girl is trapped

(sound - diegetic; heavy-breathing, footsteps - non-diegetic; fast-paced music)

28. A mid shot of her trying to open the door confirms the suspicions of the audience that it is the same room the man is going to enter

(no sound; in black-and-white, as if it is CCTV footage)

29. A close up shows him reaching towards the door, placing his hands on it and beginning to open the door

(sound - diegetic; heavy-breathing - non-diegetic; fast-paced music)

30. A close up of her face shows her desperation at not being able to open the door

(no sound; in black-and-white, as if it is CCTV footage)

31. A point of view shot shows an empty room as he opens the door

(sound - diegetic; heavy-breathing - non-diegetic; fast-paced music)

32. A close up of his face shows his confusion at the room being empty so it obvious that he was expecting the girl to be inside of the room

(sound - diegetic; heavy-breathing - non-diegetic; fast-paced music)

33. An over-the-shoulder shot of the room shows the man looking around the room, obviously searching for a clue about the whereabouts of the girl, he looks at a table in the middle of the room

(sound - diegetic; heavy-breathing - non-diegetic; fast-paced music)

34. A medium-wide shot from behind the table shows the man slowly walking towards the table, he seems anxious, as if he is not sure what to expect

(sound - diegetic; heavy-breathing, footsteps - non-diegetic; fast-paced music)

35. He picks up a piece of paper which is placed on the table and unfolds it

(sound - diegetic; heavy-breathing, footsteps running - non-diegetic; fast-paced music)

36. His shocked expression is shown by a close-up, and he turns away from the table, beginning to walk away

(sound - diegetic; heavy-breathing - non-diegetic; fast-paced music)

37. The man begins to run and leaves the room, dropping the piece of paper on the floor as he leaves

(sound - diegetic; heavy-breathing, footsteps running - non-diegetic; fast-paced music)

38. The note falls to the ground, allowing us to see the words 'one week' written on it. The camera tracks out as the note hits the floor and becomes like CCTV footage

(sound - diegetic; heavy-breathing, footsteps running - non-diegetic; fast-paced music - as the camera tracks out, the sound begins to fade out)

39. The camera continues to track out until it becomes a TV/computer screen which is playing the CCTV footage of the empty room. A person appears to be watching the the screen, but the audience cannot see the identity of the person

(no sound; in black-and-white, as if it is CCTV footage - when the camera has tracked out to the shot of the person sat watching, the music begins to build up again)

40. Fades to black screen and the audience see the title of the film ‘Justice’.

(sound - non-diegetic; music keeps getting louder, building tension)

Section 5 - Treatment

Synopsis:

He went into the police force to ensure that justice prevailed and now he’s taking justice into his own hands.

She was just an ordinary girl who was in the wrong place at the wrong time.

He has a secret and a countdown to save a life…

Treatment:

The first screen the audience see is just black, and they can hear diegetic sounds of heavy breathing and running footsteps. The black screen fades showing us a road, and in the distance can be seen a man (Kyle Baldwin) running. He runs towards and past the camera; as he does the non-diegetic soundtrack begins. The music is fast-paced and dramatic, giving a sense that something is wrong or that something important is/has happened. Close-ups of his feet and of his face as he runs are used to show his speed and his panic. He continues to run down the street.

The scene changes and both the diegetic and non-diegetic sounds stop as the camera cuts to a shot of a girl (Lucy Baldwin) in a room. The room is empty and she is banging against what we assume is a door and appears to be screaming, although we cannot hear her. She paces a little, before returning to the door, and continuing to try and escape.

The scene changes again, and returns to shots of Baldwin running. Both the diegetic and non-diegetic soundtracks begin. We see him running past buildings and past cars, so we assume that he is in either a town or a city. He runs towards one particular building, at the end of the street, opens the door and runs inside.

The camera then cuts back to a shot of the girl in the room, still using a high-angled shot but this time from an opposite corner of the room. No sound can be heard, but we can see her from behind, still trying to open the door. She stops again, glances around the room as if she is looking for something to help her open the door, but the room is empty. She continues to try to open the door. Then she stops and looks straight up at the camera.

The camera cuts to a shot of Baldwin running up some stairs inside the building he has just entered. The music/sound comes back as he runs. He reaches the top of the stairs and stops. He looks around slowly, as if he isn’t sure which way to go. He keeps focusing on the door straight in front of him. Taking a deep breath, he walks towards the door in front of him.

There is one very quick shot of the girl inside the room (sound cuts out). She is trying to open the door.

The next shot is of Baldwin (sound comes back in, now including diegetic sound of a ticking clock); he opens the door, and walks into the room. He stops and looks from side to side looking confused. The room is empty apart from a piece of paper, on the floor, so we cannot see what it says. The next shot is high-angled and taken from the corner of the room (similar to the shots of the girl – both types of sound stop).

The camera tracks out (diegetic sound returns – normal breathing etc), and we can see two images on television/computer screens: one image is of Kyle Baldwin in the room with the clock on the table; the other image is of Lucy Baldwin in the other room, still trying to escape. The camera continues to track out and we see part of a silhouette of a man, who is watching the two screens.

As the film continues, we see Baldwin return to a police station, staggering in as he is very tired. He walks straight through the station into an office, where a detective comes out to meet him. Detective Ian Randall begins speaking to Baldwin, and we realise that Baldwin is a police officer as well. Baldwin shows Randall the piece of paper he is still holding in his hand. On the paper is an address, which has been handwritten.

Baldwin explains to Randall that he found the note in his home, and that his daughter Lucy is missing. He explains how he found the address but that when he reached the building, there was nothing and nobody there. He also tells Randall about the room with the clock on the table and from his pocket he pulls out the piece of paper he found on the table. Unfolding it, we see the words ‘where we last talked’ have been written on the paper.

Randall begins an investigation into the disappearance of Lucy, and asks Baldwin to try to think of someone who would kidnap her. He tells Randall that he cannot remember anyone who would have a grudge against him, but as the narrative progresses, we realise that he is lying. He spends his time looking through old files about a drugs scandal, and Randall becomes suspicious. He begins to follow Baldwin, as he suspects that he knows more about the person who has kidnapped Lucy than he is saying.

Randall follows Baldwin to another building and watches as he enters the building. When he doesn’t come back out, Randall also enters the building and finds Baldwin kneeling on the floor in a room which is empty except from a table with a clock and another piece of paper on top of it.

(As the narrative is unfolding, we repeatedly are shown shots of Lucy in the room, and we see her from the perspective of the kidnapper. She is always in the same room, which implies that the kidnapper is playing a game with Randall and Baldwin as he begins to leave notes which only lead to another empty room, and never to the room where Lucy is being kept.)

Baldwin confesses that he believes the kidnapper to be Matthew Drake, an ex-police officer whom he was the partner of 10 years ago. He tells Randall that he got involved in a drugs scandal, but blamed it on Drake, who was then thrown out of the police force and sent to prison. He believes that Drake is holding a grudge against him and wants to punish him by harming Lucy. Baldwin shows Randall the piece of paper that is on table, which has the words ‘only 3 days left’ written on it. He tells him that Drake’s trial for the drugs scandal lasted for six days, and that three days had already passed since Lucy had been taken. The two return to the police station, planning to discover more about Drake, as they believe they might be able to discover something which will help them find where he is keeping Lucy.

On the sixth day since Lucy was taken, a letter arrives at the police station, giving instructions as to where the two detectives can find Lucy. They follow the instructions and are led to a third building, inside of which is a room set out like the other rooms Baldwin had been led to. There is another piece of paper there, and following the instructions on here leads them to another room, and so on, until eventually, when it is almost the end of the day the two detectives are lead to a courtroom. Baldwin identifies the courtroom as the one where Drake was sentenced to prison.

Inside they can hear Lucy shouting and screaming but all they can find is a television screen which is playing a video of her trying to escape from the room she is in. They hear a voice, which Baldwin recognises as Drake’s voice, and turning around they see him sat in the judge’s chair. Both detectives raise their guns, but Drake threatens that if they shoot him, they will never find Lucy.

Drake forces the two detectives to ‘attend’ a fake trial, all the time threatening to hurt Lucy if they don’t do what he asks. He forces Baldwin to confess that he was the one who was involved in the drugs scandal and that he was wrong in blaming Drake for it. He tells them how he felt about being thrown off the force and about his time in prison, and then why he kidnapped Lucy. This was because his career was the most important thing in his life, and Baldwin took it away, so he wanted to punish Baldwin in the same way. Drake feels that justice failed him, so he wanted to take justice into his own hands.

He tells the two that he has removed all traces of his existence from their computer systems and that they will never be able to track him down; he compromises with them that if they let him go, he will tell them where Lucy is. They agree, as they cannot think of another way to get Lucy back. Drake gives them instructions as to where to find her, and then leaves. Neither of the detectives see where he is going.

They follow the instructions Drake gave them, and find Lucy in a room, surrounded by drugs. They realise that Drake has murdered her with a drugs overdose. Behind her on the wall is written the word ‘JUSTICE’.