Feedback 3:

Below are a collection of audience feedback forms, which are similar to my 'genre convention forms', but relate to my own production rather than what the audience would expect.

The form below was my original audience feedback form. However, I changed it in order to make the questions more open, as the one shown below features 'closed questions' which lead the audience to an answer. Something I didn't intend to happen, and won't be of any use to my post-production.

Below are the revised feedback forms, where the questions are more open and don't lead the focus group to a certain answer. I got a group of 5 people, from my target audience, in a classroom, where I showed them my short film. These people acted as my focus group, and their feedback is shown below:

PERSON 1:

PERSON 2:

PERSON 3:

PERSON 4:

Person 5 didn't hand in his/her feedback form, but from the feedback I have already gathered, I can assume that he/she would've put the same.

Update:

I have finished my production, and I am now working on my first drafts of my evaluation. I will be working on this over the christmas holidays so that a draft can be published to this blog.

Audience Feedback 2

I have gained more audience feedback, shown below:

Audience Feedback 1:

I have finished my short film, and have shown it to my audience. My short film will be published at a later date, but as at the moment I am focussing on my audience feedback videos. The video is shown below:

My finished Short Film: ANALYSIS

I have finished my short film, and I will now analyse it, like I did with my textual analysis', so I can highlight the micro-features of my project and fully reveal the creativity found in my short film. Also, the beginning part which is found on trailers was just me messing around with possible beginnings, and won't be in my final uploaded version. There will also be music in the ending credits, which I mention in my analysis.

Throughout the short film, continuity editing is seen as to allow a cause and effect pattern to take place. The beginning consists of the title credits, featuring the production company and director name and title of the film. The font used looks prestigious and well-written, as opposed to Comic Sans, for example. This makes it look professional. The non-diegetic dubbed sound of music, which is called ‘Une année sans lumière’, a song by Arcade Fire. The song is calm and quite, which creates a gloomy mood, but not a scary one, which again lulls the audience in to a false sense of security. The atmosphere soon changes however, as Holly believes she sees something in the forest she is about to enter. I thought about mise en scene a lot, in the production of my short film. I wanted to create Holly as a stereotypical geek; therefore the costume she wore was intended to reflect this. The checked shirt, buttoned to the top and sleeves rolled down, is iconic of ‘geeky’ attire. This was to reflect her personality as being reserved and shy as opposed to outgoing. This is contrasted by the antagonist’s costume, with him wearing a tracksuit with sport attire such as ‘Nike’, which is iconic of the ‘chav’ subculture, who are stereotypically violent and unfriendly. The first scene in the short film consists of Holly walking along a narrow piece of grassy land. At a straight angle and medium close-up, the camera backward tracks her as she walks toward the audience, who aren’t aware of the place she’s going, as her destination is behind the camera. The camera, still in the same shot (so no edit), pans left as Holly seems to see something in the distance, behind the camera, already creating some mystery. The camera pans to an extreme long-shot of the forest, which is the setting in which the diegesis is set. The setting itself, a forest, is iconic of psychological thriller/horror films as it is the perfect setting to hide antagonist’s in, including monsters, ghosts amongst others; it is also a place which a fear is built in to us, due to the mystery behind them, and how travellers in the past would report strange sounds (such as an owl, for example). It connotes mystery, something which scares us. Furthermore, forests can also be disorientating which not only means that it’s easy for the protagonist to get lost there, it is also a place which would be hard to escape from.

From the previous backwards tracking shot, and then pan to reveal what the protagonist was looking at, the camera then cuts to an extreme-long, low angled POV shot. This reveals that Holly had seen something in the trees, and sparks concern in the audience as well as fear and mystery. The angle was low to denote the posture of the antagonist, whose eyes the audience are looking through, as being crouched down, trying to stay hidden, highlighting the fact that he’s stalking her, basically. To enhance the POV, the diegetic sound of heavy breathing has been dubbed on, as well as the non-diegetic background music, which is intentionally disturbing and abnormal, in order to create an uncomfortable atmosphere. Holly walks right past the antagonist, with this scene utilising continuity editing from the last, and she is thereafter represented in a low angled long shot as she becomes closer to the antagonist, whose head movements are denoted through a pan to the right, to show that he is staring at Holly. Furthermore, as you can see in figure 1, the narrative style is depicted on-screen, as well as the revelation of the antagonist’s plans, through the mise en scene. As the antagonist moves his head to follow Holly’s movements, we can see that there are lots of leaves and foliage in the way, which Holly is about to “walk in to”. The foliage is intentionally web-like, connoting that she is walking in to the antagonist’s trap, so already, deconstructing the short film, the audience know that the antagonist wants to harm the protagonist.

The camera then dissolves, depicting a lapse in time since the last shot. Holly can be seen, in a LA LS, to have her phone out, as she is talking to her mother about her taking a short cut and that she will “be alright”, an example of ironic playfulness with the audience realising the antagonist’s plans understanding it. It also puts the audience in to a false sense of security as Holly has contact with someone who could help her, and that she genuinely believes that she will be safe. Throughout these scenes, to make the diegesis believable and realistic, ambient sound has been left in, such as the sound of birds and the wind swaying the trees, thereafter shaking leaves. Other ambient sound has been added, such as bird songs to sections where in one scene there may be birds making lots of diegetic ambient sound, where the next scene may not, which, if placed together, the two scenes would detach the audience from the short film because there is a sudden drop of a certain sound, unexpectedly. As the camera pans to follow Holly’s actions, the camera fades to white, again to depict a time lapse. She is now putting her phone away. In the next shot, following a cut edit, there is a straight-angled ELS of Holly, who walks towards the camera until she is at a long-shot range. Noticing something to her left (right of the screen, for the audience), the camera then pans right, revealing a set of keys hanging from a branch at a LA close-up. The pan creates the keys the focus of attention, because they are key to the narrative, as they help to progress the narrative further. The camera then pans, whilst slightly tilting, to show Holly’s face as she has picked up the pair of keys. This is because the look of confusion on her face is also key to character development as it creates the sense of her not knowing what is going on.

Thereafter, the conventional use of a fade to white, with the dubbed non-diegetic “woosh”-ing sound reveals a flashback sequence; connoting that she is thinking back to the past. To emphasise the fact that it’s in the past, there is a sepia effect added to the flashback sequence to highlight it’s movement away from reality. The shot thereafter is a straight-angled long-shot, showing the antagonist and protagonist on the bed, with the protagonist handing John some keys. This is significant as it reveals that they are close and that she trusts him, with their closeness seen in the frame, as they are close to one another, it is hinting that they are in a relationship. The mise en scene suggests that they are in the bedroom, due to the bed, which is significant because it is a personal place which suggests that the two are close. Afterwards, there is a fade to white once again, allowing the audience to recognise that the flashback is now ending. There is now a mid-shot at a high angle (the angle shows Holly’s weakness in the situation) of Holly looking distressed and looking around in fear. This is shown through a series of cuts – match-cut-on action’s to be precise. The hectic use of cutting, whilst also following continuity editing, creates a hectic atmosphere to highlight Holly’s confusion, terror and anxiety, as she feels like she’s being watched and therefore swinging around to look in all different directions. Thereafter, she walks hastily away, her body language suggesting that she’s still self-conscious about being watched. This is shown through a pan, at a LA/MS to show that she is leaving the setting. There is a fade to black in to the next scene where Holly is represented at a straight angled extreme long shot, with the time slowed down by half. This connotes the protagonist’s disorientation, and is emphasised when a twig snaps (diegetic sound) where she quickly looks in the direction of where the sound came from, when the camera also suddenly cuts to that general area. This is now a POV shot and startles her out of her trance-like state as well as the audience’s, who have been given a calm slowed down atmosphere where it doesn’t seem likely that anything will happen – lulling them in to a false sense of security. The quick cut edit, basically, startles the audience as it would the protagonist. Ensuing this shot, Holly then runs out of shot, where a cut edit follows. This shows that no considerable amount of time has passed since the last shot, and a hand-held tracking shot, of Holly running away, follows. This is up to interpretation as to whether it is a POV shot, as it doesn’t really look like one. However, it was intended to be a POV shot as the diegetic sound of heavy breathing can be heard over the shot.

Another fade to black follows this shot, as Holly, represented at LS/SA comes to a halt, slowly, as she sees something off-screen. The camera is situated so that it can see behind the protagonist, also, to reveal that she is no longer being chased, and is therefore safe for the moment. The camera slowly pans to track Holly’s movement to the right of the camera frame, which creates suspense as the audience is delayed in seeing what she seems so worried and confused about seeing. The camera continues to pan, revealing a shirt hanging from a tree branch, similar to the one she is wearing. As Holly goes to pick it up, the camera cuts to a low angled mid-shot to allow a closer look at the shirt, as it is important to the cause and effect narrative development, and Holly’s face. The camera begins to pan-in to her face, and a flashback follows. Again, the fade to white is used, and the bleached sepia effect is seen to allow the audience to recognise that it is a flashback. There is a low angled mid-shot of John, who speaks diegetically. He hands over a bag, and a cut follows, now showing Holly at a HA MS, who takes out the shirt, which is the same as the one she found hanging from the tree in the present. This is an example of conventional stylistic usage of conversations, when the two characters are detached emotionally from one another. Although they go out, I wished to make it so that they weren’t really all that close, as it is later revealed that Holly was often beaten by John.

After yet another fade to white, Holly is in the present day. Time, however, has progressed during the flashback, as she’s moved to a different setting in the diegesis whilst remembering the past. She is represented in a high angle, again to connote that she is weak and powerless against the antagonist and her fate. Another diegetic sound of a twig snapping can be heard, which is followed by Holly getting up and instead of running away, she runs towards the sound. This is a sudden change in her personality as she is now willing to confront the problem, and not run away from it. She runs in to the thick forestry, where match-cut-on actions can be seen to continue the continuity editing. There is an extreme long shot at a Dutch angle, as Holly runs towards the camera, to a LA MS, and runs off screen. The camera cuts to another Dutch angle at a mid-shot, as she looks around looking for a way out. The Dutch angle connotes that, once again, she is disorientated, but this time it’s due to the thick forestry limiting her movement and vision, not fear. Another cut follows at a normal angle, HA MS. The camera pans right to follow her movement, as she manages to find her way out of the bush to a path, where the shot ends with a long shot, straight angled and over-the-shoulder. The antagonist can be seen in the background. However, for all the audience know he could be someone to save her. However, the fact that he has a baseball bat and the diegetic dubbed sound of an eagle flying overhead connotes that he is a predator and that he is eventually going to kill her. She is the prey. The camera cuts to a medium close-up, at a straight angle, of Holly’s face, to reveal emotion, which is fear, on her face. The camera then cuts to a medium shot of John, the antagonist, at a low angle. The baseball bat, a prop within the mise en scene, can be seen clearly, backing up his violent tendencies, as well as him spitting, which is a vulgar act that is frowned upon in modern society. This act of spitting on the floor was intended to show that he, basically, isn’t a very nice person. Because of problems faced with re-shoots, I initially filmed it wrong and couldn’t re-shoot it. Basically the scene looked odd, because when the camera cut from Holly to John, they where both in the centre, when really they needed to be on opposing sides. In the end, I ended up reversing the footage of John, so that I could place him on the left hand side, opposing Holly who was on the right. This was because, during filming, I failed to take in account the 180 degree rule, and I had to salvage it in post-production. You can see, by the top the antagonist is wearing, that the shot has been reversed. As you can see, the ‘AIR’ (for ‘Nike AIR’ brand) logo is backwards, which is odd if it is noticed. However, it is not easily noticed, and even I sometimes forget that I reversed it, and I bet even you didn’t notice that it had been reversed, until I mentioned it. This is why I decided to leave it in the final film, because it worked, and was too subtle to notice.

Following the previous shot, the camera cuts to a close up of Holly’s face, still staring at John from a distance. There is then the usual fade to white, where the past is represented through the use of a Sepia effect. The conventional non-diegetic “whooshing” can be heard again, as the audience will be familiar with this sound when being confronted by a flashback sequence. There is a long-shot of Holly, who is in the background but also the centre of focus, with John occupying the foreground at the outer limit of the frame to the left, at a low angled medium close up. They exchange diegetic dialogue where Holly breaks up with John, and it is shown that John is upset and angry, also, at this. To show that time has progressed in the flashback since she tried to break up with him, I decided to add another fade to white edit, but still continued with the flashback sequence. In this shot, it is revealed that Holly suffers domestic violence from John as, when she tries to leave, he grabs her and throws her to the couch. A cut follows (for continuity purposes a cut has been used to show no significant amount of time has passed) this to represent John, with Holly off-screen, at a low angled mid-shot, as he punches Holly. This violence, however, is implied violence as the camera also fades to white as the act is happening, and Holly is actually off-screen (she was actually behind the camera, behind the scenes, and John punched a pillow). However, the diegetic sound of Holly screaming and pleading with John connotes that she has been hit by him.

After the fade to white to the present time, Holly is seen to have sat down at a tree. She has submitted to him, as she knows she can’t win. She is represented at a high angled long shot and the camera then pans left to reveal John walking on-screen. He is shown at a medium close-up at a low angle to reveal his power in the current situation. After all, he had planned this eventuality and has the weapon, so is in control of the situation and the power is in his hands. Following this, he begins to talk (diegetic sound) whilst swinging his bat, which is significant as it connotes that he’s impatient and truly wants to harm the protagonist. He begins talking about killing her, in a cliché sort of way, but it is cut short as he states “and now I’m going to kill you”. The camera then cuts away from this as he begins to approach Holly, to give a wider view of the diegesis. Holly can be heard to be pleading with him to “not do this”, which he doesn’t listen to. He can be heard to say “I love you” before he kills her, which highlights his madness, that he’d kill someone he loves. Thereafter, as he swings the baseball bat to attack Holly, the camera pans to the right, again to leave the violence to the audience’s imaginations. It is, once again, implied violence. The diegetic sound of Holly’s scream again connotes that he’s hit her, as well as with the sound of the baseball bat hitting something hard, which emphasises this. The camera slowly fades to black, where a quick cut to a baseball bat, with a bit of camera shake, is shown at a straight angled close-up. It is covered in blood, and the camera is supposed to represent a POV shot of Holly, as she has just hit the floor (hence the camera shake) and the bat has been dropped by John, who has fled the scene. Following this is the end credits, which at this stage feature no music, but the final version will most likely feature happy, up-beat music. This will be inspired by the Reservoir Dogs’ ‘ear scene’ in which happy music is played during a harsh, violent scene. This will leave the audience with many emotions. The music will make them feel happiness, but the events that happened prior to the ending credits, such as the killing of the protagonist, will also leave them feeling shocked, horrified, scared and in despair. This will confuse them, and the music, hopefully, will make them feel like the antagonist – happy at the death of the protagonist. I aim to play with the audience’s emotions.

Word Count: 3,081

Update:

I have been editing; adding the title and end credits to my short film. I am almost at an end of my production, and my finished short film will be added on a later date. Because the main part of my film has been completed, I will now also be gathering audience feedback in the coming weeks.

I have been editing my short film...

I have completed all shooting, with no re-shoots necessary due to the seasonal changes in the trees and weather (lack of leaves and sun) which would only create a continuity problem. This has left me to the editing stage, which I am already nearing completion, with only the non-diegetic sounds left to edit (all diegetic and ambient sound has been placed in my film accordingly).

Narrative Style:

My short film will be linear, with a cause & effect system going on. Holly, the protagonist, will take a short cut home, but after finding numerous items, she will run and panic, causing her to be too tired to fight against the antagonist. This cause and effect leads to her demise. There will be non-linear elements in my short film, also. This includes numerous flashback sequences, roughly about three/four, which will take the audience back in to the past of Holly, and reveal her relation to the object which has triggered the flashback.

Update:

I have continued my filming, whilst also uploading the footage I have on to the editing suites to see if the footage was suitable.

'Revised' Synopsis:

This is my new synopsis that I thought of, when shooting started. I believe it is more realistic and plausible, as well as more simplistic (getting rid of minor 'extras' (characters that are in just one scene)) and focusing on Holly and John, as well as focusing more on voyeurism.


Holly, an  unpopular, 'geeky' school girl, has finished college late, due to her stayig back to get ahead on a new assignment, and decides to take a short cut home through a forest, a seemingly safe environment. She calls her mother to let her know she's on her way, but then her eye is caught by a shiny object in the midst of the trees. She goes to investigate.  She reaches the object finding a spare set of keys, forcing her to remember her first, and last, boyfriend, who was domineering and controlling. She begins to panic as she tries to make her way home and she begins to suspect she’s being followed. She then stumbles upon her shirt, given to her by her ex-boyfriend, years ago, again forcing her to remember him. Upset at the remembering of him, and scared at the revelation that someone had gotten in to her house, and stolen her shirt, she comes to a clearing, after gathering all of the items, only to be confronted by John, her ex-boyfriend. He clearly has a mental illness and reveals his "master plan" of getting her where he wanted her, and bringing up bad memories from the past. It is revealed that he used to beat her up. He eventually kills her, violently, with a baseball bat. Or at least she is presumed dead, as the audience wont actually get to see the final murder.


'Revised' Todorov Narrative Structure:

Filming Started:

Shooting started on 22nd of October 2010:


I have shot roughly half of my short film. However, I decided to change parts of my storyboard, something I didn't want to do. I initially didn't want to do this, but during my research coursework for A2 Film Studies, where I am studying the visual style of Tim Burton, I noticed the mention of storyboard/narrative changes, at last minute, during shoots, and how it seems to be something common in Hollywood and film-making in general. This has made me feel a little better about the change in narrative, and my storyboard, and I am going to add a new 'revised' synopsis. My overall theme remains the same, including the narrative quest and climax/re-equilibrium. My disruption, on the other hand, has been changed to be more realistic.


I have scheduled to meet with my two main actors, on Wednesday 27th October, where shooting will continue.

Props/Equipment Needed:

1. Glasses (geeky)
2. Long-sleeved checked shirt - protagonist
3. Jeans or Jeggings - protagonist
4. Red checked shirt
5. Handbag
6. Mobile phone
7. Red shoes
8. Red lipstick (for blood, if no fake blood can be found and also for the protagonist to wear)
9. Baseball bat or Knife
10. Sony HD Camera
11. Tripod
12. Makeshift Clapperboard (to help me with scenes and post-production editing - not compulsory)
13. Tracksuit/football shirt & trackies - stereotypical "chav" (social group) attire - antagonist

Setting Ideas:

These are a collection of photos I took, whilst scouting for places to set my short film, in which I will most likely shoot my film. I decided to find places which would fit neatly in to my storyboard and narrative, needing a forest and numerous flashback sequences which would be set in urban settings such as, in one instance, a park swing (shown in the first photograph). I decided to take photographs to give me an idea as to what the setting was like, and allowed me to premeditate where I was going to do my shooting of the film. This will allow me to shoot my short film a lot quicker as I already have the locations for the on-location shootings planned. I added a model, another film studies student and a friend, in my photographs in order to give them scope and depth, highlighting where my actor would be placed if I was to use the actual location. The mise en scene isn't strict in this instance as she is only used to reflect where the camera and actor will be positioned in accordance of each other, and therefore on some photographs, she may be using a phone, as well as posing for the camera. This also allowed me to test different camera angles, and see what angle/distance was best suited for what I was trying to convey.

Setting were I can film the 'Swing Scene'

Example of an ELS in a forest setting

Two examples of dutch-angles

A voyeuristic shot which I hope to put in my film.
The killer will be hiding behind the tree (POV)

Another dutch-angle at MCU

A shot which will be in my film with
Holly following a track

A LS of a red shirt, which will be in my short film

An ELS of Holly, once again.

The above three images are all examples of
 gothic mise en scene

An example of internal framing to show Holly's
 entrapment in the forest

The above two shots are examples of
internal framing.

An ELS showing Holly walking in to a trap through
 her walking in to thick forestry
('being caught in the killer's web')

Two examples of a beaten forest track

Holly will find a ring on this tree.

The above two shots highlight the
 beauty of the forest

Holly, my character played By Ruth.

Mood Board:

This is a mood board that I concocted to reflect the colour and mood of my short film. My short film will feature mostly green, brown and 'autumny' colours, as is conventional of a film set in the forest. However, my second mood board, below, reflects the colour and mood of the flashback sequences, which will be dominated by the colour yellow, have circus themes and be unrealistic and scary.

The second mood board, shown above, represents the colour and style of the many flashback sequences throughout my short film. There will be extensive use of the colour yellow, as well as the sequences being edited in post-production to be sepia. This will ultimitely take the audience out of their comfort zone by creating a sense of unreality.

Character Background:

Holly: She is a shy, unpopular and geeky female. She is very quiet, and she has one close friend, however, within the narrative of my short film, she is seperated from her friend by being put in to a group of popular people, to explore the forest, who don't really acknowledge Holly's existance. She has only been in one relationship in her life, with a boy, three years older than her, called John. He was domineering and controlling, and after being with him for years, unhappy, Holly finally gained the courage to split up with him. Out of anger, he killed Holly's mother and was put in jail; holding a grudge against Holly. Holly, however, quickly overcame the death of her mother with the help of a wonderful father.

Holly, my protagonist.
She will be wearing similar
(if not the same) costume during filming

John: He is the antagonist, stalking Holly in the woods, purposely seperating her from her group. He is in a rage, due to a mental illness he has, about her dumping him, and has held a grudge for years, as she was "his", he "owned her". He committed a murder, Holly's mother, to try and persuade Holly to get back with him, and was consequently put in to a prison, then a mental institute. He ultimitely tries to kill Holly in the forest, and has been stalking her for some time, stealing items that related to their relationship, and placing them throughout the forest to scare her before he finally confronts her. He may be the antagonist, but the audience has to remember that he has a mental illness that makes his anger extremely tempermental. John is strong, quick and "chavvy". He and his mother were both deserted by his father, leaving them with no money and their living conditions quickly became poor. Shortly following this, his mother abandoned John, a 10 year old boy. However, he managed to survive, where at the age of 20, he met Holly (she was only 17 at the time). This abandonment by his family left him enraged, and eventually lead to his insanity, which would make him the antagonist in my short film.

Influences 3:

I aim to use many close-ups of the protagonist, just like the medium close-up of the character above (taken from 'The Blair Witch Project'). Also, to convey the sense of panic and that the protagonist is not thinking straight, I will use many dutch angles, to show that the protagonist isn't thinking straight. Similarly to the above still, my short film will be set in a forest. I have taken influence from the mise en scene in the still, such as trees and fallen leaves to represent the setting as being autumn and in a forest.

Influences 2:

This photograph, minus the tourists, will be a shot I aim to reproduce in my short film. This is because you get the sense of vastness and isolation in this photograph and I believe it will really influence me to convey that my protagonist's lost in a forest. However, I am hoping to make the lighting a little darker, perhaps. I will also be using many high-angled long shots, to show the density of the forest and highlight my protagonist's isolation in a hostile environment.

This second photo, taken from 'The Blair Witch Project' (1999, US, Daniel Myrick & Eduardo Sanchez), is a better representation of the setting I wish to achieve in my film. I will be using an extensive use of extreme long-shots, like the one above, in order to convey a sense of vastness, and empty 'negative' space.

Influences: 1



With the above photo, taken in sepia (or edited to be sepia afterwards), there is a stark contrast between the forest floor and the shadows emitted from the trees. I am not sure whether I want to achieve this effect, but it is definitely something I will be thinking about. However, because the above picture looks otherworldly and unconventional, I will be aiming to achieve this style (the sepia and trees) in a flashback sequence, in order to take the audience away from reality.

This photo, edited to be sepia, will influence me on my numerous flashback scenes throughout my short film. In my short film, unanimous objects will be found in the forest as my Protagonist tries to find her way back home. When stumbling upon these objects, that mean something to her, they will trigger a flashback. However, in order for me to achieve this, I want to convey a sense of unrealism and unreality to the flashback to connote that this is a different time period; in the past, without having to use the mundane black and white edit. This will be accompanied by non-diegetic sound, and I am currently considering background music resemblent of a fair ground, to create a sense of unrealism and create an eery atmosphere...

Animatic:

Below is my animatic, which will help me picture what my short film will look like once it is filmed.

Script/Screenplay:

‘THE HUNT’

By Arron Bass

SCENE 1

FADE IN

EXT. FOREST. DAY.

HOLLY is walking through a forest, alone. She is on her phone.

HOLLY

No mum, I’ll be fine! I’m just taking

a shortcut; I won’t be long. Right,

stop worrying, I’m on my way now… okay?

Bye

SCENE 2

CUT

EXT. FOREST. DAY.

HOLLY, after walking through the forest for a while, sees some keys, which she appears to recognise.

HOLLY

What, my keys?!

SCENE 3

DISSOLVE IN

INT. BEDROOM. DAY.

HOLLY, in a flashback sequence, gives some keys to her boyfriend, JOHN.

HOLLY

…I got you some keys, so now you can

let yourself in

JOHN

Oh… thanks!

SCENE 4

DISSOLVE IN

EXT. FOREST. DAY.

Holly runs through the forest in a panic, getting disorientated and tired. She takes a rest beside a tree, were she is again startled by a loud noise. It is John, who is stalking her, but she is yet to find out. She runs.

SCENE 5

CUT

EXT. BASE OF LARGE TREE. DAY.

Holly stumbles upon a shirt which, again, she seems to recognise.

SCENE 6

DISSOLVE IN

INT. BEDROOM. DAY.

HOLLY and JOHN are in the bedroom talking and John has got a gift for Holly.

JOHN

And whilst I was there I got

you a gift.

HOLLY

Yeah? …oh wow!

JOHN

So do you like it?

HOLLY

Yeah I really love it, thank you.

SCENE 7

DISSOLVE IN

EXT. FOREST. DAY.

Holly, again startled by a noise, feeling like she’s being followed, runs, losing the forest track. She finds it again.

JOHN ENTERS. And Holly, noticing him, comes to a halt.

SCENE 8

DISSOLVE IN

INT. LIVING ROOM. DAY.

HOLLY is in the process of breaking up with JOHN. He takes it badly.

JOHN

Well why does it have to be over?

HOLLY

I just… I can’t do it anymore. It’s not

Working, I’m sorry.

HOLLY tries to comfort John, but is pushed away.

HOLLY

Oh forget it, I’m leaving now.

HOLLY tries to leave but JOHN stops her.

JOHN

You’re not going anywhere!

HOLLY

What?

John throws HOLLY to the couch and attacks her.

HOLLY

John… NO!

SCENE 9

DISSOLVE IN

EXT. FOREST. DAY.

Holly has given up running from JOHN, as she is exhausted and traumatised at the reappearance of her controlling, mentally unstable ex-boyfriend.

JOHN ENTERS.

JOHN

Alright. Didn’t think I’d get you, did you?

I take it you knew it was me… setting up

All the traps. Making you remember.

JOHN, holding a baseball bat, looks menacingly towards Holly.

JOHN

You hurt me! …and now I’m going to kill you.

John attacks HOLLY with the baseball bat.

HOLLY

John… JOHN! NO! ARGHHH!

Storyboard:

This is my storyboard for my short film. It was originally hand drawn, but the text couldn't be read, so I edited it on a computer; typing the text over the hand-written text. I have also added a link under each photo which takes the audience to a larger version of the image to allow easy viewing/reading. However, this can be achieved by simply clicking on the image, but sometimes that doesn't work.

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