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)