SHOOTING SCRIPT (DRAFT 2)

Diegetic sound of the alarm clock going off is heard fading in. An extreme close up on the protagonist's eyes in the beginning showing him opening his eyes. Low-key lighting in the room. Alarm clock is still heard as he sits up from his bed and a high angle shot is applied showing him in a crouched position sitting on the bed with dried blood on his hands and chest. An over-the-shoulder shot is then used behind him facing a picture of him and the girl (possible Red Herring) which then switches to a close-up of the framed picture. The surrounding consists of alcohol bottles and messy, desolate bedroom. Alarm is still ringing and shown in the shot. The diegetic sound of the alarm is still heard until a cut into a close up is applied onto the alarm clock being smacked out of the frame abruptly.

We cut to the hallway where the protagonist steps out from the door to the toilet. A zoom out/zoom in is used revealing only his torso and hands to show the blood stains using a dolly which he then walks to the left into the bathroom. He leans his stretched out arm onto the wall tiles seeming rather distressed and trouble as he has a shower and the water drips off which we see seeping in the drain with a close-up shot. We then cut to him wiping the vapor off the mirror and for the first time, using medium, 3/4 shot, revealing his face from the mirror and also a close-up of the face. He sighs depressingly.


A cut into a long shot, tracking shot of the main character walking along the pavement is used. A match on action is then implemented to show him clutching the door knob and opening the door with a close up of the door knob. He then sits on the chair on the computer in front of him using an over-the-shoulder shot and uses the computer. A close-up is used to show the central character using the computer displaying an intense expression on his face.

Diegetic sound of the conversation between the main character and another MI5 agent slowly interrupts the composition with the central character on the computer until the conversation is fully introduced by a cut in with a close up of the protagonist speaking. We then establish a shot/reverse shot by cutting into another close up shot of the other MI5 agent speaking with the protagonist. A non-diegetic track of an ambient, ominous effect will play throughout the dialogue.

Dialogue:
(Protagonist = Agent 1  / Second MI5 agent = Agent 2)

Agent 1: How is she?
Agent 2: I'm sorry to have to say this...
Agent 1: I assume she's under you're protection.
Agent 2: You're being discharged...
Agent 1: (slight pause) Why...?
Agent 2: (another slight pause) There was noth-
Agent 1: (furiously interrupts) After I went through all that crap just to get her! Why am I being kicked off the service?!
Agent 2: She's-
Agent 1: You know! You know what I had to do to complete the mission, goddamn it!
Agent 2: (Without hesitation) She's dead, agent...

The camera will stop on the protagonist in a close up position and very slowly zoom into his intense facial expression. The diegetic sound of the street slowly fades away and the non-diegetic sound of the ambient effect will fade into an increasingly loud train/airplane sound. All sound will abruptly stop and cut into an extreme close up of the protagonist's eyes with very low key lighting.