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| The White Room was one of the locations |
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| This location was the bedroom. The actresses in this scene were Louise and Gemma Burford |
Tuesday, 4 February 2014
Locations
On this day we visted two locations within the college that we were going to use to film scenes in. We also checked whether the scene was suitable to be filmed in the rooms that we had chosen.
Rehersals
Below are some photographs of one of the actresses Louise practicing her lines with Ryan a student at the college. A lot of laughs but Louise remembered her line!
We also recorded the students practicing there lines this was so they could watch back and pick up the mistakes they had made.
We also recorded the students practicing there lines this was so they could watch back and pick up the mistakes they had made.
Monday, 3 February 2014
Sight seeing our Location
Today we went out and saw one of our many locations to film. On our visit we were looking if Ham Woods was suitable to film scenes on location.
Here is a picture we have taken of the woods.
Here is a picture we have taken of the woods.
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| Ham Woods |
Sunday, 2 February 2014
Script The Unknown
The Unknown Script written by Gemma Burford
EXT. HAM WOODS PENNYCROSS/ALL SAINTS SIDE - LATE NIGHT
LONG SHOT: Deserted road as car comes towards the camera.
INT. VEHICAL
CLOSEUP: Driver flicking on the indicator.
EXT. HAM WOODS PENNYCROSS/ALL SAINTS SIDE
PANNING SHOT: Follow CAR as it pulls into the side road.
INT. VEHICAL
REVEAL CLOSEUP: The driver, a young woman, JORDAN is confused as to why her car has stopped.
CLOSEUP of her trying to switch on the ignition however the engine fails to start.
EXT. HAM WOODS PENNYCROSS/ALL SAINTS SIDE
WIDE SHOT: A HOODED FIGURE walks down the lane and spots the car. In a panic he hides behind the closest object to him.
HOODED FIGURE POV of him spying on JORDAN as she is still trying to start the car.
INT. VEHICAL
CLOSEUP of JORDAN getting frustrated at her car and gets out.
EXT. HAM WOODS PENNYCROSS/ALL SAINTS SIDE
LOW ANGLE: FEET slowly step out of the car and move to the front.
MID SHOT of JORDAN opening up the bonnet of the car.
SIDE SHOT of JORDAN looking at the engine as the HOODED FIGURE creeps up behind her.
LOW ANGLE MID SHOT of JORDAN as the HOODED FIGURE appears and grabs her from
behind.
JORDAN screams.
DARKNESS
CU of the sleeping woman as her face twitches, she is starting to wake up. A shadow appears over her. Are they friend or foe? A Profile shot of Jordan who’s eyes flutter open. Another profile shot of a RAGGEDY OLD MAN stares back down at her.
RAGGEDY OLD MAN
Ahh I see your finally awake then sleeping beauty.
JORDAN
(shocked and scared)
AHHHHHHHHHHH!
JORDAN stumbles away from the strange man but can’t seem to find her feet.
RAGGEDY OLD MAN
Woah! WOOOOAH there missy take it easy. That’s quite a bump to the head you took there.
The OLD MAN tries to help her up but Jordan pushes him away staggering backwards. Breath coming in short gasps.
JORDAN
Get off me, what do you think you’re playing at?
JORDAN RUBS THE BACK OF HER HEAD and we finally take in the RAGGEDY OLD MAN’S appearance from JORDANS POV. Staring at the man’s feet and PANNING UP as the OLD MAN dusts himself off unfazed.
(This man seems a bit eccentric as his clothes seem a bit old fashioned they are dirty and covered in holes and has a toothy grin. He is similar to a drunken HOBO.)
JORDAN
Eh!? How? You? WHAT IS GOING ON HERE? WHO ARE YOU AND WHERE THE HELL AM I?
RAGGEDY OLD MAN
AH! So many questions and such little time. But are those the right questions to ask? That is a question to ask.
JORDAN
What are you on about.
RAGGEDY OLD MAN
Think little missy, think!
JORDAN
Uuuugh!?
JORDAN stares at the other confusingly, this situation is strange and she doesn’t know how to deal with it. Leaving the OLD MAN frustrated.
RAGGEDY OLD MAN
Oh forget it! It will just be quicker to show you.
JORDAN
Show me what? What are you on about?
JORDAN steps into an empty flat PANNING SHOT of a WARMLY lit lounge with a kitchenette. Her hand brushes a lamp and a flash back her throwing a lamp against a wall and a crying woman tries to comfort him. Then she is pulled back from his flashback by someone talking to her.
RAGGEDY OLD MAN
Sit, little missy sit.
Let’s have a chat.
JORDAN hesitantly obliges and we jump between MIDSHOTS of the pair as they speak as JORDAN nervously fidgets.
RAGGEDY OLD MAN
So Jordan, Why do you think you’re here?
JORDAN
Wait how did you know my name?
RAGGEDY OLD MAN
Well I know everything there is to know about Jordan Lockworth. Like how you like to go for a late night drive to clear your mind. How you are still attending in education to earn your degree in Business. Even down to small details like how you have to always have a cup of tea with two sugars before you curl up in your double bed. Tea!?
JORDAN
Wow! I don’t know whether to be amazed or extremely creeped out. Oh and no thanks…
RAGGEDY OLD MAN
Very well, and I would go with the latter Miss Jordan, you should be very wary of this place as you’ve probably worked out. Things aren’t what they seem.
JORDAN
Yeah I guess… (look around) Where are we anyway?
RAGGEDY OLD MAN
Hm? Now that is a good question. Where ARE we? Where do you think we are?
A tea pot and cup appear out of know where and the OLD MAN starts drinking his tea.
JORDAN
How did? Ah forget it I don’t
think I wanna know. And I don’t know. That’s why I asked.
RAGGEDY OLD MAN
Well let’s just say you’re in a place that has long been forgotten. And to get out you must work out the mysteries of this place. But that’s why I bought you here as you seem most capable of bringing order back to this chaotic place.
JORDAN
Why me!? I’m nothing special?
RAGGEDY OLD MAN
Oh your more special than you realise Little Miss Jordan. You’re more involved than you know.
JORDAN
What? *sigh* So what do I have to do
RAGGEDY OLD MAN
Well you have to work that out for yourself, but here’s a tip, you have to remember not only the good but the bad. Sweet?
He points to a bowl full of sweets, realising she’s hungry she confusedly takes one anyway but does not eat it. After she takes one she turns around to face the old man but he’s gone.
JORDAN
What! Hey Wait! I still don’t know what you mean.
She stands up trying to look for the OLD MAN but he’s nowhere in sight. So she ran out the now open door to see where he went.
POV: JORDAN takes in her surroundings of a dark corridor.
JORDAN
Hello? Is anyone there?
NO ANSWER.
Suddenly a sound comes from down the hall
JORDAN swings her head towards the noise and see’s light appear under a shut door. A different one from where she came from.
JORDAN
(calling worryingly)
Hello?
MID SHOT of JORDAN looking towards the door.
Again NO ANSWER.
JORDAN
Is anyone there!?
The door slowly creaks open, light appears through the crack, muffled crying could be heard.
JORDAN
Hello!? Are you okay?
There is no reply we FOLLOW: JORDAN gradually walking towards the open door.
She stops by in front of the door. A SHADOW appears behind JORDAN as she stares at the door, it looks to be her SHADOW until it moves out of sync from the actions JORDAN is producing as our hero puts her ear to the door, however she knocks something over
The crying stops.
JORDAN steps back waiting for further sound but none comes. She looks at the ‘WHAT EVER’ poster on the door.
A flash of a girl with blonde hair sits on her PHONE, the blonde looks at JORDAN and says WHAT EVER.
CLOSEUP: JORDAN gasps and then shakes her head of the strange flashback. She then mentally prepares herself to what she’s about to see. She grabs the handle and slowly pushes the door open.
CUT TO:
INT. ‘LOTTIE’S BEDROOM’- MONDAY EVENING
JORDAN steps into the room. She starts noticing little things that inform her of where she is.
CLOSEUP: MAKE-UP on the table, MAGAZINES and CLOTHING spread across the floor and
POSTERS on the wall.
PAN AROUND: The room is decorated like a teenagers room
JORDAN
Hello? Anyone in here?
NO ANSWER.
WIDE SHOT of DOORWAY: JORDAN slowly walks into the room a bang is heard and then Jordan spins around to see the girl from her FLASHBACK curled up in the corner frightened.
JORDAN
Hey, it’s okay I’m not going to hurt you.
This just caused the girl to curl in on herself even more. Jordan sighs and puts her HANDS in her
POCKETS. She feels something and pulls it out. It’s the sweet from earlier. The girl looks up and licks her lips.
JORDAN
Oh! You hungry?
The girl slowly nods.
JORDAN
Would you like it? (HOLDS out the sweet) Here!
The girl hesitantly reaches out for the sweet and snatches it away; she’s in instant bliss when she eats the sweet. CLOSE UP- of JORDAN smiling.
JORDAN
Soooo! My names Jordan. What do they call you.
LOTTIE
Lottie
JORDAN suddenly has a flashback, of LOTTIE happy and laughing.
JORDAN
*gasp* Who ARE you?
She mainly asks this to herself. LOTTIE looks up at her confused.
LOTTIE
Well you should know Jordan, we are sisters.
She beams up, JORDAN steps back in shock.
JORDAN
W-what!? Ugh n-no I would know if I had a sister.
Again JORDAN experiences another FLASHBACK of yelling and screaming as LOTTIE is being dragged away. She reaches at for the other girl.
JORDAN
Lottie? What happened?
LOTTIE looks at JORDAN with sad eyes.
LOTTIE
I was taken away. And it was all YOURE fault!
JORDAN
What?
LOTTIE
If it weren’t for you I’d be living my life, having fun, but noooo because LITTLE MISS JORDAN screwed up I’m stuck here! YOU DON’T EVEN REMEMBER ME DO YOU!?
JORDAN
Well I…
LOTTIE
DO YOU?
JORDAN backs away in fear, as more memories of her and her sister. Starting off all happy and then turning to LOTTIE screaming JORDANS name as she gets further and further away.
LOTTIE
I HATE YOU
She picks up the straighteners ready to throw JORDAN backs away frightened her head throbbing.
LOTTIE gets ready to throw them, and JORDAN notices.
JORDAN
(Mutters in sadness and fear)
I’m sorry
And runs out the door. LOTTIE slumps in the floor and curls up in a ball again.
EXT. HAM WOODS PENNYCROSS/ALL SAINTS SIDE - LATE NIGHT
LONG SHOT: Deserted road as car comes towards the camera.
INT. VEHICAL
CLOSEUP: Driver flicking on the indicator.
EXT. HAM WOODS PENNYCROSS/ALL SAINTS SIDE
PANNING SHOT: Follow CAR as it pulls into the side road.
INT. VEHICAL
REVEAL CLOSEUP: The driver, a young woman, JORDAN is confused as to why her car has stopped.
CLOSEUP of her trying to switch on the ignition however the engine fails to start.
EXT. HAM WOODS PENNYCROSS/ALL SAINTS SIDE
WIDE SHOT: A HOODED FIGURE walks down the lane and spots the car. In a panic he hides behind the closest object to him.
HOODED FIGURE POV of him spying on JORDAN as she is still trying to start the car.
INT. VEHICAL
CLOSEUP of JORDAN getting frustrated at her car and gets out.
EXT. HAM WOODS PENNYCROSS/ALL SAINTS SIDE
LOW ANGLE: FEET slowly step out of the car and move to the front.
MID SHOT of JORDAN opening up the bonnet of the car.
SIDE SHOT of JORDAN looking at the engine as the HOODED FIGURE creeps up behind her.
LOW ANGLE MID SHOT of JORDAN as the HOODED FIGURE appears and grabs her from
behind.
JORDAN screams.
DARKNESS
CU of the sleeping woman as her face twitches, she is starting to wake up. A shadow appears over her. Are they friend or foe? A Profile shot of Jordan who’s eyes flutter open. Another profile shot of a RAGGEDY OLD MAN stares back down at her.
RAGGEDY OLD MAN
Ahh I see your finally awake then sleeping beauty.
JORDAN
(shocked and scared)
AHHHHHHHHHHH!
JORDAN stumbles away from the strange man but can’t seem to find her feet.
RAGGEDY OLD MAN
Woah! WOOOOAH there missy take it easy. That’s quite a bump to the head you took there.
The OLD MAN tries to help her up but Jordan pushes him away staggering backwards. Breath coming in short gasps.
JORDAN
Get off me, what do you think you’re playing at?
JORDAN RUBS THE BACK OF HER HEAD and we finally take in the RAGGEDY OLD MAN’S appearance from JORDANS POV. Staring at the man’s feet and PANNING UP as the OLD MAN dusts himself off unfazed.
(This man seems a bit eccentric as his clothes seem a bit old fashioned they are dirty and covered in holes and has a toothy grin. He is similar to a drunken HOBO.)
JORDAN
Eh!? How? You? WHAT IS GOING ON HERE? WHO ARE YOU AND WHERE THE HELL AM I?
RAGGEDY OLD MAN
AH! So many questions and such little time. But are those the right questions to ask? That is a question to ask.
JORDAN
What are you on about.
RAGGEDY OLD MAN
Think little missy, think!
JORDAN
Uuuugh!?
JORDAN stares at the other confusingly, this situation is strange and she doesn’t know how to deal with it. Leaving the OLD MAN frustrated.
RAGGEDY OLD MAN
Oh forget it! It will just be quicker to show you.
JORDAN
Show me what? What are you on about?
JORDAN steps into an empty flat PANNING SHOT of a WARMLY lit lounge with a kitchenette. Her hand brushes a lamp and a flash back her throwing a lamp against a wall and a crying woman tries to comfort him. Then she is pulled back from his flashback by someone talking to her.
RAGGEDY OLD MAN
Sit, little missy sit.
Let’s have a chat.
JORDAN hesitantly obliges and we jump between MIDSHOTS of the pair as they speak as JORDAN nervously fidgets.
RAGGEDY OLD MAN
So Jordan, Why do you think you’re here?
JORDAN
Wait how did you know my name?
RAGGEDY OLD MAN
Well I know everything there is to know about Jordan Lockworth. Like how you like to go for a late night drive to clear your mind. How you are still attending in education to earn your degree in Business. Even down to small details like how you have to always have a cup of tea with two sugars before you curl up in your double bed. Tea!?
JORDAN
Wow! I don’t know whether to be amazed or extremely creeped out. Oh and no thanks…
RAGGEDY OLD MAN
Very well, and I would go with the latter Miss Jordan, you should be very wary of this place as you’ve probably worked out. Things aren’t what they seem.
JORDAN
Yeah I guess… (look around) Where are we anyway?
RAGGEDY OLD MAN
Hm? Now that is a good question. Where ARE we? Where do you think we are?
A tea pot and cup appear out of know where and the OLD MAN starts drinking his tea.
JORDAN
How did? Ah forget it I don’t
think I wanna know. And I don’t know. That’s why I asked.
RAGGEDY OLD MAN
Well let’s just say you’re in a place that has long been forgotten. And to get out you must work out the mysteries of this place. But that’s why I bought you here as you seem most capable of bringing order back to this chaotic place.
JORDAN
Why me!? I’m nothing special?
RAGGEDY OLD MAN
Oh your more special than you realise Little Miss Jordan. You’re more involved than you know.
JORDAN
What? *sigh* So what do I have to do
RAGGEDY OLD MAN
Well you have to work that out for yourself, but here’s a tip, you have to remember not only the good but the bad. Sweet?
He points to a bowl full of sweets, realising she’s hungry she confusedly takes one anyway but does not eat it. After she takes one she turns around to face the old man but he’s gone.
JORDAN
What! Hey Wait! I still don’t know what you mean.
She stands up trying to look for the OLD MAN but he’s nowhere in sight. So she ran out the now open door to see where he went.
POV: JORDAN takes in her surroundings of a dark corridor.
JORDAN
Hello? Is anyone there?
NO ANSWER.
Suddenly a sound comes from down the hall
JORDAN swings her head towards the noise and see’s light appear under a shut door. A different one from where she came from.
JORDAN
(calling worryingly)
Hello?
MID SHOT of JORDAN looking towards the door.
Again NO ANSWER.
JORDAN
Is anyone there!?
The door slowly creaks open, light appears through the crack, muffled crying could be heard.
JORDAN
Hello!? Are you okay?
There is no reply we FOLLOW: JORDAN gradually walking towards the open door.
She stops by in front of the door. A SHADOW appears behind JORDAN as she stares at the door, it looks to be her SHADOW until it moves out of sync from the actions JORDAN is producing as our hero puts her ear to the door, however she knocks something over
The crying stops.
JORDAN steps back waiting for further sound but none comes. She looks at the ‘WHAT EVER’ poster on the door.
A flash of a girl with blonde hair sits on her PHONE, the blonde looks at JORDAN and says WHAT EVER.
CLOSEUP: JORDAN gasps and then shakes her head of the strange flashback. She then mentally prepares herself to what she’s about to see. She grabs the handle and slowly pushes the door open.
CUT TO:
INT. ‘LOTTIE’S BEDROOM’- MONDAY EVENING
JORDAN steps into the room. She starts noticing little things that inform her of where she is.
CLOSEUP: MAKE-UP on the table, MAGAZINES and CLOTHING spread across the floor and
POSTERS on the wall.
PAN AROUND: The room is decorated like a teenagers room
JORDAN
Hello? Anyone in here?
NO ANSWER.
WIDE SHOT of DOORWAY: JORDAN slowly walks into the room a bang is heard and then Jordan spins around to see the girl from her FLASHBACK curled up in the corner frightened.
JORDAN
Hey, it’s okay I’m not going to hurt you.
This just caused the girl to curl in on herself even more. Jordan sighs and puts her HANDS in her
POCKETS. She feels something and pulls it out. It’s the sweet from earlier. The girl looks up and licks her lips.
JORDAN
Oh! You hungry?
The girl slowly nods.
JORDAN
Would you like it? (HOLDS out the sweet) Here!
The girl hesitantly reaches out for the sweet and snatches it away; she’s in instant bliss when she eats the sweet. CLOSE UP- of JORDAN smiling.
JORDAN
Soooo! My names Jordan. What do they call you.
LOTTIE
Lottie
JORDAN suddenly has a flashback, of LOTTIE happy and laughing.
JORDAN
*gasp* Who ARE you?
She mainly asks this to herself. LOTTIE looks up at her confused.
LOTTIE
Well you should know Jordan, we are sisters.
She beams up, JORDAN steps back in shock.
JORDAN
W-what!? Ugh n-no I would know if I had a sister.
Again JORDAN experiences another FLASHBACK of yelling and screaming as LOTTIE is being dragged away. She reaches at for the other girl.
JORDAN
Lottie? What happened?
LOTTIE looks at JORDAN with sad eyes.
LOTTIE
I was taken away. And it was all YOURE fault!
JORDAN
What?
LOTTIE
If it weren’t for you I’d be living my life, having fun, but noooo because LITTLE MISS JORDAN screwed up I’m stuck here! YOU DON’T EVEN REMEMBER ME DO YOU!?
JORDAN
Well I…
LOTTIE
DO YOU?
JORDAN backs away in fear, as more memories of her and her sister. Starting off all happy and then turning to LOTTIE screaming JORDANS name as she gets further and further away.
LOTTIE
I HATE YOU
She picks up the straighteners ready to throw JORDAN backs away frightened her head throbbing.
LOTTIE gets ready to throw them, and JORDAN notices.
JORDAN
(Mutters in sadness and fear)
I’m sorry
And runs out the door. LOTTIE slumps in the floor and curls up in a ball again.
Script Lights Will Guide You Home
As part of our TV unit we have come to a decision that we will combine two of our scripts written by Gemma Burford and Gemma Bray.
The script below is Gemma Bray's Lights Will Guide You Home
WIDE SHOT of school as we hear the school bell sound. Schools out. CLOSE UPS of 2-3 children’s school bags, feet and excited faces as they all leave the school.
We hear mindless chatter about what they are going to do over the week end as they make their way to the LOLLIPOP MAN.(a man in his early 30’s, wearing his typical uniform of a bright yellow coat and his lollipop sign)
The LOLLIPOP MAN is exuberant and is HIGH FIVING the kids as they walk past. The majority of children have walked past but ONE STRAGGLER is trying to catch up.
STRAGGLER
Wait for me!
LOLLIPOP MAN
Hurry up kid, I don’t have all day.
CUT TO:
EXT. CULLOMPTON SERVICES M5 - LATE SUNDAY NIGHT
PAN OUT from Motorway Service sign to reveal the exterior of the building.
Silence. Nothing moving. Nothing to disturb the silence. Until a light appears by the entrance.
This is the lights of a FORD FOCUS arriving into the motorway service. The only thing moving.
INT. FORD FOCUS - EVENING
CLOSEUP: FUEL GAUGE on empty
REVEAL CLOSEUP: The driver, a middle-aged man, JORDAN, one eye on the gauge, the other looking on the road.
EXT. CULLOMPTON SERVICES M5 - LATE SUNDAY NIGHT
DOLLY SHOT: follow CAR as it pulls into the abandoned petrol station into number 5 bay.
LOW ANGLE: FEET slowly step out of the car and move to the front.
WIDE SHOT: A man approaches the side of the FOCUS and pops open the FUEL CAP with one hand, the other picking up the FUEL PUMP.
TWO MINUTES LATER:
JORDAN closes the cap and starts to walk to the other side of the CAR.
JORDAN
Where is everyone?
POV UNDER THE CAR: An ARM reaches out of the car and grabs JORDAN’S foot and pulls him under the car.
JORDAN screams.
DARKNESS
CUT TO
INT. ABANDONED HOUSE, NORTH COPSE – MONDAY EVENING
EXTREME CLOSEUP: EYES flicker open.
PAN OUT: It’s JORDAN.
JORDAN
Ouch! My head!
JORDAN takes in his surroundings.
JORDAN(CONT’D)
Hello? Is anyone there?
NO ANSWER.
The floorboards outside of the room creaks.
JORDAN swings his head towards the door.
JORDAN
(calling worryingly)
Hello?
Again NO ANSWER.
JORDAN tries to stand up but immediately his legs give way and he falls to the ground, BANG!
JORDAN
(Screamed)
HELP!
The door slowly creaks open, light appears through the crack.
FOLLOW: JORDAN gradually crawls to the open door.
CLOSEUP: JORDAN grabs hold of the handle and pushes himself up.
A SHADOW appears behind JORDAN as he is lifting himself up, it looks to be his SHADOW until it moves out of sync from the actions JORDAN is producing.
JORDAN walks along the corridor. He starts noticing little things that inform him of where he is.
CLOSEUP: A DOLLY. A FIRETRUCK. And a TEDDY. Children’s TOYS littered the floor.
He steps carefully along this corridor, walking towards the door marked ‘LOTTIE’S BEDROOM’ the same name as his daughter.
JORDAN
(confused)
Lottie?
The door creaks as he pushes it open.
INT. ‘LOTTIE’S BEDROOM’- MONDAY EVENING
PAN AROUND: The room was decorated for every little girl’s dream.
Pink WALLS. Pink CARPET. Pink BEDDING. Everything was pink.
In the BED there was a small figure, curled up into a BALL.
The DOOR slowly opens, this figure curls tighter, scared at the thought this person may harm her.
WIDE SHOT of DOORWAY: JORDAN steps into the room.
JORDAN
Hello?
NO ANSWER.
JORDAN slowly walks over to the bed. He crouches down by the side of the bed.
JORDAN
Are you OK?
LITTLE GIRL
(called gently)
Don’t hurt me, please.
He reaches out towards the figure and places his hand on her shoulder.
LITTLE GIRL
Daddy?
JORDAN
Daddy?
She slowly uncovers herself from her BALL. She sits up and looks at JORDAN.
LITTLE GIRL
You are my Daddy, right?
JORDAN
No?
LITTLE GIRL
But, but, he said he would
be right back.
JORDAN
I don’t know who you are sweetie,
but I don’t think I’m your Daddy.
LITTLE GIRL
(with tears in her eyes)
But you look EXACTLY like him.
JORDAN starts to slowly move away from this little girl.
JORDAN
Is your name Lottie?
LITTLE GIRL
Yes, it is? Why?
JORDAN
How old are you?
LOTTIE
Seven in March.
JORDAN
March the..
LOTTIE
Thirteenth?
JORDAN moves back even more, his hand reaching behind him for the door handle. He grabs it and pulls it open.
JORDAN
(spoke sternly)
What is this? Where am I?
LOTTIE looked at him confusingly
JORDAN
Stop playing jokes with me!
LOTTIE
(spoke angrily)
But I’m not! I’m your daughter!
JORDAN turned around and walked hurriedly out of the door, just as he’s about to leave, LOTTIE shouts out pleadingly.
LOTTIE
DADDY!
TO BE CONTINUED
Written by:
Gemma Bray
The script below is Gemma Bray's Lights Will Guide You Home
The Lights Will Guide You Home
EXT. ROAD OUTSIDE SCHOOL - AFTERNOONWIDE SHOT of school as we hear the school bell sound. Schools out. CLOSE UPS of 2-3 children’s school bags, feet and excited faces as they all leave the school.
We hear mindless chatter about what they are going to do over the week end as they make their way to the LOLLIPOP MAN.(a man in his early 30’s, wearing his typical uniform of a bright yellow coat and his lollipop sign)
The LOLLIPOP MAN is exuberant and is HIGH FIVING the kids as they walk past. The majority of children have walked past but ONE STRAGGLER is trying to catch up.
STRAGGLER
Wait for me!
LOLLIPOP MAN
Hurry up kid, I don’t have all day.
CUT TO:
EXT. CULLOMPTON SERVICES M5 - LATE SUNDAY NIGHT
PAN OUT from Motorway Service sign to reveal the exterior of the building.
Silence. Nothing moving. Nothing to disturb the silence. Until a light appears by the entrance.
This is the lights of a FORD FOCUS arriving into the motorway service. The only thing moving.
INT. FORD FOCUS - EVENING
CLOSEUP: FUEL GAUGE on empty
REVEAL CLOSEUP: The driver, a middle-aged man, JORDAN, one eye on the gauge, the other looking on the road.
EXT. CULLOMPTON SERVICES M5 - LATE SUNDAY NIGHT
DOLLY SHOT: follow CAR as it pulls into the abandoned petrol station into number 5 bay.
LOW ANGLE: FEET slowly step out of the car and move to the front.
WIDE SHOT: A man approaches the side of the FOCUS and pops open the FUEL CAP with one hand, the other picking up the FUEL PUMP.
TWO MINUTES LATER:
JORDAN closes the cap and starts to walk to the other side of the CAR.
JORDAN
Where is everyone?
POV UNDER THE CAR: An ARM reaches out of the car and grabs JORDAN’S foot and pulls him under the car.
JORDAN screams.
DARKNESS
CUT TO
INT. ABANDONED HOUSE, NORTH COPSE – MONDAY EVENING
EXTREME CLOSEUP: EYES flicker open.
PAN OUT: It’s JORDAN.
JORDAN
Ouch! My head!
JORDAN takes in his surroundings.
JORDAN(CONT’D)
Hello? Is anyone there?
NO ANSWER.
The floorboards outside of the room creaks.
JORDAN swings his head towards the door.
JORDAN
(calling worryingly)
Hello?
Again NO ANSWER.
JORDAN tries to stand up but immediately his legs give way and he falls to the ground, BANG!
JORDAN
(Screamed)
HELP!
The door slowly creaks open, light appears through the crack.
FOLLOW: JORDAN gradually crawls to the open door.
CLOSEUP: JORDAN grabs hold of the handle and pushes himself up.
A SHADOW appears behind JORDAN as he is lifting himself up, it looks to be his SHADOW until it moves out of sync from the actions JORDAN is producing.
JORDAN walks along the corridor. He starts noticing little things that inform him of where he is.
CLOSEUP: A DOLLY. A FIRETRUCK. And a TEDDY. Children’s TOYS littered the floor.
He steps carefully along this corridor, walking towards the door marked ‘LOTTIE’S BEDROOM’ the same name as his daughter.
JORDAN
(confused)
Lottie?
The door creaks as he pushes it open.
INT. ‘LOTTIE’S BEDROOM’- MONDAY EVENING
PAN AROUND: The room was decorated for every little girl’s dream.
Pink WALLS. Pink CARPET. Pink BEDDING. Everything was pink.
In the BED there was a small figure, curled up into a BALL.
The DOOR slowly opens, this figure curls tighter, scared at the thought this person may harm her.
WIDE SHOT of DOORWAY: JORDAN steps into the room.
JORDAN
Hello?
NO ANSWER.
JORDAN slowly walks over to the bed. He crouches down by the side of the bed.
JORDAN
Are you OK?
LITTLE GIRL
(called gently)
Don’t hurt me, please.
He reaches out towards the figure and places his hand on her shoulder.
LITTLE GIRL
Daddy?
JORDAN
Daddy?
She slowly uncovers herself from her BALL. She sits up and looks at JORDAN.
LITTLE GIRL
You are my Daddy, right?
JORDAN
No?
LITTLE GIRL
But, but, he said he would
be right back.
JORDAN
I don’t know who you are sweetie,
but I don’t think I’m your Daddy.
LITTLE GIRL
(with tears in her eyes)
But you look EXACTLY like him.
JORDAN starts to slowly move away from this little girl.
JORDAN
Is your name Lottie?
LITTLE GIRL
Yes, it is? Why?
JORDAN
How old are you?
LOTTIE
Seven in March.
JORDAN
March the..
LOTTIE
Thirteenth?
JORDAN moves back even more, his hand reaching behind him for the door handle. He grabs it and pulls it open.
JORDAN
(spoke sternly)
What is this? Where am I?
LOTTIE looked at him confusingly
JORDAN
Stop playing jokes with me!
LOTTIE
(spoke angrily)
But I’m not! I’m your daughter!
JORDAN turned around and walked hurriedly out of the door, just as he’s about to leave, LOTTIE shouts out pleadingly.
LOTTIE
DADDY!
TO BE CONTINUED
Written by:
Gemma Bray
Saturday, 1 February 2014
Rehearsal 1 - The Unknown
As part of our TV Production Unit 43 Assignment 1: Be able to produce pre-production material; I have uploaded documents via googledocs and to the college moodle; City College Plymouth Moodle. These documents were of the pre-production of filming and the making of the documentary. The documents includes a script, legal and ethical, a synpsis, syoryboards, a floor plan, reece's and risk assessments and consent forms.
Last Tuesday, 4th February 2014, the group got together and rehersed the script for the documentary which we are filming. The group rehersed efficantly, professionally and in character. Although I wasn't here for the first part of the lesson I made it into college part way through. During the time I
made it to college and the time of the end of the lesson I stepped in as 'Lottie' Jordan's sister as we were short of staff whilst in character.
Last Tuesday, 4th February 2014, the group got together and rehersed the script for the documentary which we are filming. The group rehersed efficantly, professionally and in character. Although I wasn't here for the first part of the lesson I made it into college part way through. During the time I
made it to college and the time of the end of the lesson I stepped in as 'Lottie' Jordan's sister as we were short of staff whilst in character.
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