With the completion of a Final Script for Convictions, I could now work with the Director to write out a shot list. Fortunately, our ideas were mostly the same on which shots to use at certain point in the film. We did differ in our opinions on a couple of shots, however with reasoning and explanations we managed to settle upon which direction to take fairly quickly.
Writer: James Parkes
Producer: Georgia Ball
Subject: Shot List
Director: James Parkes
SHOT/ TYPE OF SHOT/ DESCRIPTION
1.1 OVER BLACK KNOCK, KNOCK. Pause. KNOCK, KNOCK. Pause.
1.2 DOLLY-IN IAN (aged 36) bangs on the refined door
of room 70. He hasn’t shaven in days,
and he wears a black trenchcoat that’s
half-intimidating and half-tramp.
1.3 WIDE The long, narrow hallway of the hotel is
quiet, aside from the maid several doors down,
trudging through burnished handles, buffering
the hotel’s class and elegance. The body of
the building makes Ian look out of place, and
the building like a prude – almost snobbish –
1.4 OVER THE
He bangs on the door again. [DIALOGUE] There’s
movement behind the door. Two moments, and it
opens a crack, held back by the security chain
attached with paranoia.
1.5 MEDIUM A STRANGER, similar age to Ian, looks out to
him, behind square-rimmed glasses, His round
face is almost child-like, and his neat hair
compliments his well-kempt appearance and
smart clothes. [DIALOGUE] Silence. [DIALOGUE]
Silence. An awkward pause. Ian fidgets
uncomfortably. He appears on edge – agitated.
[DIALOGUE] The stranger slowly closes the
door. He murmurs under his breath from the
1.6 WIDE Ian looks left and right, up and down the
corridor, looking for something. There’s not a
soul in sight. Then he pulls himself together
and bangs on the door again.
1.7 MEDIUM The door opens. The stranger looks back at Ian
with annoyance and hint of anger in his eyes
1.8 CLOSE-UP The door begins to close, but Ian stops it at
the last moment. [DIALOGUE]
1.9 OVER THE
BANG. Ian rams into the door with his
shoulder, breaking the chain and bursting into
2.1 MEDIUM The stranger backs up into the equally tidy
room, stumbling back in fear like a trapped
2.2 CLOSE UP (OF HANDGUN) Ian opens his trenchcoat pocket,
pulling out a loaded and deadly BERETTA M92,
aiming with two hands at the stranger.
2.3 MEDIUM In return, he puts his hands up, completely
defenceless. [DIALOGUE] Despite his words, Ian
sweats unconvincingly and his hand trembles as
he aims. [DIALOGUE]
2.4 WIDE (IN SILHOUETTE, SHOOTING TOWARDS WINDOW/LIGHT)
And he pulls the trigger.
3.1 TRACK (BACKWARDS – IAN WALKING TOWARDS CAMERA) The
door of room 70 opens. Ian slips out. He
closes it slowly and quietly. He heads down
the corridor. He doesn’t look back. His face:
a picture of remorse.
4.1 CLOSE-UP TICK, TICK, TICK. A small golden pocketwatch.
It’s small mechanical hands race around the
face with stunning precision. MR CORAL, snaps
Autumn, browned leaves die and fall from the
nearest trees. There’s a chilling BREEZE,
breaking the silence.
4.3 TRACK Ian enters the rusty gates of the park with
his collar up and his head down. Mr. Coral
is seated at a nearby bench. His face is the
other way, but his jet black, pin-striped suit
and bowler hat is distinct and recognisable.
4.4 MEDIUM Ian takes a seat next to Mr. Coral. Neither of
them turn to speak. [DIALOGUE] Ian doesn’t say
4.5 TWO-SHOT [DIALOGUE]
4.6 MEDIUM (LOW ANGLE) With a start, Ian raises from
his seat and looks down at Mr. Coral, who
maintains his unfazed, stiff posture.
4.7 CLOSE-UP He puts the gun down on the bench, next to Mr.
Coral. A gentle breeze whistles through the
air and rustles the breathless ember leaves.
4.8 MEDIUM Ian buttons up his coat, pulling it closer
around his skeleton frame. They hold the stare
– an unspoken agreement of their parting ways.
Ian turns and walks away, leaving Coral on the
bench. [DIALOGUE] Ian pauses, but doesn’t look
4.9 WIDE And he resumes walking, exiting through the
rusted gates and out into the cold world.