Script - Draft Five

Script – Draft Five

Cast/Crew:

Protagonist – Tom Barden

Antagonist (Creature) – John McDonald/CGI

Camera – Josh Endersby

Scene One: Setting – Catherine Close (General area), Byfleet. Night.

Inside protagonists house as they leave.

Establishing shots of Catherine Close and protagonists house. Titles begin to roll.

Mid/long shot from hallway of protagonist getting out an old photograph

(Over the shoulder?) Close up shot of an old photograph of a girl with protagonist, followed by a close up of the protagonists face (as if photo were the camera.)

Mid/long shot from hallway as protagonist prepares – putting on coat.

Long high angle shot from staircase as protagonist leaves through front door.

Scene Two: Setting – Outside the house/along Catherine Close.

Match-on-action as protagonist leaves house, letting door fall shut behind.

Long shot from across road of protagonist walking along pavement - under and through streetlights (this adds to the contrast between the light and dark). Walks up and around corner, with match-on-action around corner. This continues for around 20 seconds until titles have finished.

As titles finish, music fades out and a front-on close up, over the shoulder shot of the protagonist as the antagonist is seen in the background. *Silence* Protag. spins around with match on action to mid shot of him looking around, into a point of view shot (from the point of the protagonist) as they look around, concerned. Protag. continues to walk down street – front on mid shot.

Scene Three: Setting – Same as previous scene, moves around area. Protagonist gets This scene is the longest, and exists to build tension for the end of the scene and sets up the final scene (in which the protagonist wakes up in an unknown location and the shot cuts to black.)

Protag. is walking around the area, lots of match on action around corners as the antag. is also revealed in various locations. The match on action allows us to create our own world, meaning we can use more appropriate locations and sew them together during editing.

Scene Four: Same setting – The tension has built up and the music is fast paced.

Protagonist has become terrified of what he can’t see and begins break into a run. Wherever he goes, the antagonist is there (The section of the film is POV). Fast editing and loud music portrays the chaos of the scene. He freaks out and passes out.

Scene Five:  Early morning light (blue tinted) with a big close up of the protagonists’ face. He lies unconscious for a few seconds before waking up with a gasp. Before the gasp ends, the video cuts to black.

Script - Draft Four

Script – Draft Four

Cast/Crew:

Protagonist – Tom Barden

Antagonist (Creature) – John McDonald/CGI

Camera – Josh Endersby

Scene One: Setting – Catherine Close (General area), Byfleet. Night.

Inside protagonists house as they leave.

Establishing shots of Catherine Close and protagonists house. Titles begin to roll.

Mid/long shot from hallway of protagonist getting out an old photograph

Close up shot of an old photograph of a girl with protagonist, followed by a close up of the protagonists face.

Mid/long shot from hallway as protagonist prepares – putting on coat.

Long high angle shot from staircase as protagonist leaves through front door.

Scene Two: Setting – Outside the house/along Catherine Close.

Match-on-action as protagonist leaves house, letting door fall shut behind.

Long shot from across road of protagonist walking along pavement - under and through streetlights. Walks up and around corner, with match-on-action around corner. This continues for around 20 seconds until titles have finished.

As titles finish, music fades out and a front-on close up, over the shoulder shot of the protagonist as the antagonist is seen in the background. *Silence* Protag. spins around with match on action to mid shot of him looking around, into a point of view shot (from the point of the protagonist) as they look around, concerned. Protag. continues to walk down street – front on mid shot.

Scene Three: Setting – Same as previous scene, moves around area. Protagonist gets. This scene is the longest, and exists to build tension for the end of the scene and sets up the final scene (in which the protagonist wakes up in an unknown location and the shot cuts to black.)

Protag. is walking around the area, lots of match on action around corners as the antag. is also revealed in various locations. The match on action allows us to create our own world, meaning we can use more appropriate locations and sew them together during editing.

Scene Four: Same setting – The tension has built up and the music is fast paced.

Protagonist has become terrified of what he can’t see and begins break into a run. Wherever he goes, the antagonist is there (The section of the film is POV). Fast editing and loud music portrays the chaos of the scene. He freaks out and passes out.

Scene Five:  Early morning light with a big close up of the protagonists’ face. He lies unconscious before waking up with a gasp. Before the gasp ends, the video cuts to black.

Script - Draft Three

Script – Draft Three

Cast/Crew:

Protagonist – Tom Barden

Antagonist (Creature) – John MacDonald/CGI

Camera – Josh Endersby

Scene One: Setting – Catherine Close (General area), Byfleet. Night.

Inside protagonists house as they leave.

Establishing shots of Catherine Close and protagonists house. Titles begin to roll.

Mid/long shot from hallway as protagonist prepares – putting on shoes and coat.

Long high angle shot from staircase as protagonist leaves through front door.

Scene Two: Setting – Outside the house/along Catherine Close.

Match-on-action as protagonist leaves house, letting door fall shut behind.

Long shot from across road of protagonist walking along pavement - under and through streetlights. Walks up and around corner, with match-on-action around corner. This continues for around 20 seconds until titles have finished.

As titles finish, music fades out and a front on, close up, over the shoulder shot of the protagonist as the antagonist is seen in the background. Protag. spins around with match on action to mid shot of him looking around, into a point of view shot (from the point of the protagonist) as they look around, concerned. Protag. continues to walk down street – front on mid shot.

Scene Three: Setting – Same as previous scene, moves around area. This scene is the longest, and exists to build tension for the end of the scene and sets up the final scene (in which the protagonist wakes up in an unknown location and the shot cuts to black.)

Protag. is walking around the area, lots of match on action around corners as the antag. is also revealed in various locations. The match on action allows us to create our own world, meaning we can use more appropriate locations and sew them together during editing.

Scene Four: Same setting - The tension has built up and the music is fast paced.

Protagonist has become terrified of what he can’t see and begins break into a run. Fast editing and loud music portrays the chaos of the scene. He freaks out and passes out.

Scene Five:  Early morning light with a big close up of the protagonists’ face. He lies unconscious for a few seconds before waking up with a gasp. The video cuts to black

Script - Draft Two

Script – Draft Two

Cast/Crew:

Protagonist – Tom Barden

Antagonist (Creature) – John MacDonald/CGI

Camera – Josh Endersby

Scene One: Setting – Catherine Close (General area), Byfleet. Night.

Inside protagonists house as they leave.

Establishing shots of Catherine Close and protagonists house. Titles begin to roll.

Mid/long shot from hallway as protagonist prepares – putting on shoes and coat.

Long high angle shot from staircase as protagonist leaves through front door.

Scene Two: Setting – Outside the house/along Catherine Close.

Match-on-action as protagonist leaves house, letting door fall shut behind.

Long shot from across road of protagonist walking along pavement - under and through streetlights. Walks up and around corner, with match-on-action around corner. This continues for around 20 seconds until titles have finished.

As titles finish, music fades out and a front on, close up, over the shoulder shot of the protagonist as the antagonist is seen in the background. *Silence* Protag. spins around with match on action to mid shot of him looking around, into a point of view shot (from the point of the protagonist) as they look around, concerned. Protag. continues to walk down street – front on mid shot.

Scene Three: Setting – Same as previous scene, moves around area. This scene is the longest, and exists to build tension for the end of the scene and sets up the final scene (in which the protagonist wakes up in an unknown location and the shot cuts to black.)

Protag. is walking around the area, lots of match on action around corners as the antag. is also revealed in various locations. The match on action allows us to create our own world, meaning we can use more appropriate locations and sew them together during editing.

Scene Four: Same setting - The tension has built up and the music is fast paced.

Protagonist has become terrified of what he can’t see and begins break into a run. Wherever he goes, the antagonist is there (The section of the film is POV). Fast editing and loud music portrays the chaos of the scene. He freaks out and passes out.

Scene Five:  Early morning light (blue tinted) with a big close up of the protagonists’ face. He lies unconscious for a few seconds before waking up with a gasp. Before the gasp ends, the video cuts to black

Script - Draft One

Script – Draft One

Cast/Crew:

Protagonist – Tom Barden

Antagonist (Creature) – John MacDonald/CGI

Camera – Josh Endersby

Scene One: Setting – Catherine Close (General area), Byfleet. Night.

Inside protagonists house as they leave.

Establishing shots of Catherine Close and protagonists house. Titles begin to roll.

Mid/long shot from hallway as protagonist prepares – putting on shoes and coat.

Long high angle shot from staircase as protagonist leaves through front door.

Scene Two: Setting – Outside the house/along Catherine Close.

Match-on-action as protagonist leaves house, letting door fall shut behind.

Long shot from across road of protagonist walking along pavement - under and through streetlights. Walks up and around corner, with match-on-action around corner. This continues for around 20 seconds until titles have finished.

As titles finish, music fades out and a front on, close up, over the shoulder shot of the protagonist as the antagonist is seen in the background. *Silence* Protag. spins around with match on action to mid shot of him looking around, into a point of view shot (from the point of the protagonist) as they look around, concerned. Protag. continues to walk down street – front on mid shot.

Scene Three: Setting – Same as previous scene, moves around area. This scene is the longest, and exists to build tension for the end of the scene and sets up the final scene (in which the protagonist wakes up in an unknown location and the shot cuts to black.)

Protag. is walking around the area, lots of match on action around corners as the antag. is also revealed in various locations. The match on action allows us to create our own world, meaning we can use more appropriate locations and sew them together during editing.

Scene Four: Same setting - The tension has built up and the music is fast paced.

Protagonist has become terrified of what he can’t see and begins break into a run. Wherever he goes, the antagonist is there (The section of the film is POV). Fast editing and loud music portrays the chaos of the scene. He freaks out and passes out.

Scene Five:  Early morning light (blue tinted) with a big close up of the protagonists’ face. He lies unconscious for a few seconds before waking up with a gasp. Before the gasp ends, the video cuts to black

Christopher Nolan - The Dark Knight

Christopher nolan from joshendersby

Questionnaire analysis

We gave 40 people our questionnaire, asking them the same 9 questions to gather information about what sort of thriller our audience wants. We then took the results of the questionnaire and used them to make decisions about our final task based on the opinions of our audience.

One question asked was whether they would like the thriller set inside, outside or a mixture of the two. 26 out of the 40 people asked said they would prefer it to be set outside, 6 said inside and 8 said a mixture. Based on this, we decided to set the our final task outside, and added with the fact that we all agreed with this decision and thought it would be best before we asked the questionnaire, we agreed that setting it outside, with some inside shots would be best.

We also asked which time setting would be best to shoot the thriller in, day or night. 37 people asked said to set it at night, and only 3 said daytime would be best. We all agreed that night would be best, considering how a dark setting would add to the thriller atmosphere. However, this would mean that we would have a very short period of time to film, since we needed it to be dark, but if it were too dark the audience wouldn't be able to tell what was going on.

The next question was whether the audience would prefer a male or female protagonist. 23 people said they would prefer a male protagonist rather than a female, so we decided to cast a male as the lead role.

We also asked which sort of music best fits the thriller genre, out of techno, pop, orchestral, rock, dub step or R ‘n’ B. 31 said orchestral, 7 said rock and 2 said pop. Based on these results and our own opinions on the genre, we decided that an orchestral score would be best for our film, and could be used effectively to increase tension and add to the atmosphere. We also decided to compose and perform the music ourselves, which meant we could write climaxes into the music to fit with the action of the film.

Next we asked which sub-genre would be best for a thriller. 16 people out of 40 said that an action thriller would be best, 6 people said political, and 18 said psychological. Based on these results and our own preferences we decided to go for a psychological thriller.