Shot List
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Scene
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Shot Number
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Description
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1
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1
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The opening shot will be a close up of Rupert’s feet approaching his hypnotherapist’s office. This keeps his identity hidden which increases anticipation.
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1
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2
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While gradually moving into a medium shot, the camera will tilt up to reveal Rupert’s full body as he continues to approach the office.
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1
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3
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A close up of Rupert’s anxious face follows as he looks down to the door handle.
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1
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4
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An extreme close up of his hand opening the door further increases tensions as the audience wait for what is to come when he enters the room. It is the first part of the match-on-action shot that will follow. A non-diegetic sound bridge consisting of a clock ticking/pen clicking will merge together the present shot with the following shot for consistency.
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1
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5
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Dr. J. Smith reacts to the sound of the door and looks up from his work. He then abruptly shuts his notepad (as if hiding something) when he notices his patient is entering the room.
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1
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6
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Following Dr. J. Smith’s gaze, we see Rupert completing the action of entering the room (an eye-line match and a match-on-action shot in one). The doctor will say to Rupert, “Take a seat, Rupert. I’ve been expecting you”.
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1
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7
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The fade-to-black represents a passing of time. During this time Rupert has been sat in a chair and Dr. J. Smith is discussing his patient’s current progress in an over-the-shoulder shot. Rupert confesses that his visions have been worsening and the shot reveals Dr. J. Smith ticking a suspicious checklist of Rupert’s symptoms. The over the shoulder shot ensures that the doctor’s face is always concealed which puts attention on his (possible) sinister actions.
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1
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8
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A fade into a close up shot of a glowing candle commences Rupert’s hypnotherapy session. The candle is used to draw a link to the soothing voiceover of Dr. J. Smith putting his patient into a trance. He asks Rupert “In what ways are your... visions worsening?”, to which Rupert sporadically replies in a lethargic slur, “A girl... dark... friend... spying” etc.
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2
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9
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A rapid fade to white presents an over-the-shoulder shot of Rupert spying on the girl he envisions, Angela. The vision is set in a park where Angela is mucking around with a friend in a carefree manner; entirely unaware that she is being watched.
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2
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10
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The shot is repeated but is filmed closer to both Rupert and Angela. The music will intensify at the same time to heighten anticipation- will Angela notice she is being spied on? A glimpse of her stopping and looking over makes it appear as if Rupert’s cover is blown when in fact it is a false alarm.
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2
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11
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This shot shows us Rupert making sure he is pursuing the right person. It is of an eye-line match of him looking down to a torn picture of Angela and a mystery person.
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2
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12
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The image of Angela is shown with a voice over of Rupert saying “that was the day I found her... visions... even worse”. Fade to white into next scene.
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3
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13
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The next shot is a high angle shot of Angela walking down an alleyway; in this shot there is the minimal diegetic sound of footsteps. A high angle shot makes her appear vulnerable and powerless.
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3
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14
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A branch snaps in the next shot this uses diegetic sound. Angela responds to the sound and becomes aware that somebody is approaching her.
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3
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15
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There is a music jump in the next scene as it becomes more intense making the scene more dramatic.
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3
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16
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Angela increases pace as she is frightened.
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3
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17
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Next there is an extreme close up of Rupert’s balled fist to show anger.
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3
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18
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There is a low angle shot first in a direct view and eventually revealing the top half of the body also using a low angle shot. This shot makes Rupert appear more powerful and menacing. The camera then pans as Rupert starts to run.
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3
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19
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The pan in the next shot shows speed and abruptness. This shot shows Rupert chasing Angela.
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3
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20
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A close up shot is shown of Angela’s feet being followed by Rupert’s feet.
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3
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21
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Point of view shot, this also uses Rupert’s voiceover who says, “My cover has blown, the time was right I had to do it, there was no other way.” There is then the sound of Angela’s feet running, using diegetic sound. Angela then pleads, “Please, no.”
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3
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22
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Angela then begins to get tired from running away, there is the sound of panting from running, and Angela gives up and stops running. This shot is a medium shot of the legs and feet.
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3
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23
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The next shot is an over the shoulder shot. Rupert says, “You’re Angela Smith, I’ve heard about you,” as he confronts Angela.
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3
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24
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The next shot is a close up and an eye-line match revealing Angela’s distressed face.
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3
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25
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Angela watches Rupert’s facial expression change into one of sinister excitement and thrill- he is about to complete his task of killing her. At the same time the music intensifies even more to increase anticipation.
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3
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26
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The following action unfolds as the next shot reveals a close, high angle, over the shoulder shot of Rupert’s weapon. The high angle shot applies to Angela to show her vulnerability. The close up of the weapon ensures that the audience know that danger is to come.
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3
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27
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An extreme close up of Rupert tightly gripping onto the weapon is the penultimate point in the build up of Rebecca’s death. We should also include a shot of him flipping it into the air as if playing around with it in order to express his excitement. Using editing, we will slow down the action of the weapon launching up into the air for dramatic emphasis. As it falls back down into his hand we will return to real time.
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3
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28
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Abruptly following this is the first strike- Rupert will pretend to hit Rebecca on the head. As Rupert isn’t actually hitting her, the sound of the impact for this shot will be recorded separately and placed over the film. The diegetic sound will be Rebecca screaming out in struggle.
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3
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29
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A medium shot will reveal Rupert holding the bloody weapon with a crazed expression.
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3
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30
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He strikes again with the bloody weapon, this time he manages to murder her.
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3
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31
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A close up of his face reveals an expression of complete satisfaction.
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3
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32
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The following shot is an eye-line match of Rupert looking down to the picture of Angela one last time. Angela lies dead on the floor in the distance with blood surrounding her.
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3
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33
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A close-up shot of the picture shows George with a lighter about to burn the picture. This action represents the death of Angela Smith.
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3
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34
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The burning picture is placed onto the ground by Angela’s corpse.
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3
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35
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A shot of the burning picture on the ground by Angela’s corpse is the last of Rupert’s visions.
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3
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36
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Black screen. Voiceover of Dr. J. Smith in the present: “This session is almost over Rupert, wake up now...”.
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4
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37
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There is a close up shot of Rupert’s face as he wakes up.
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4
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38
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The close up is continued into the next shot which introduces a murderous and forceful side to Dr. J. Smith as he injects Rupert with a suspicious substance. Rupert, who is slowly returning to normality, cries out, “What are you doing? Why are you doing this?” etc
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4
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39
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Medium shot of a picture almost identical to the one Rupert used in his visions except it is an intact copy in a frame on the doctor’s desk.
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4
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40
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Close up of the picture in the frame.
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4
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41
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Rupert connects the two together says, “That’s you…that’s her!” The music rises in this scene- followed by the film title.
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