A man’s eye. The man's skin is wet, covered with soil and flecks of blood. He turns to sit up and it's a painful move. He manages to disentangle himself from the plants and, while still on his knees, he opens up his suit jacket to check out the source of his pain. He manages to get to his feet, feeling something in his jacket pocket. He reaches in and pulls out…. Focal pointsWhat Shots? Extreme close-up. Tight on his face so we do not see his injury. Wider on the man’s face so we can see his emotion. Read the film script below. Use the buttons below to show film choices. Click an object at the motivation point: a gun a bottle of gin a phone

What can you infer from this choice? How does he react to the object? Where did he get the gun from? Why has he brought it? What man might take an object like this? Return to script

What can you infer from this choice? How does he react to the object? Why is it important to him? Why has he brought it? What kind of man might carry an object like this with him? Return to script

What can you infer from this choice? Who will he contact? What might happen after he uses the object? Why has he taken it out of his jacket? How will he use this for his situation? Return to script

He reaches in and pulls out a bottle of gin. He looks at it, considering. His fear is growing. He moves as fast as he can through the thick bamboo. The sound is closer now and suddenly the most important thing in the world is that he gets there and fast, so he's moving now, even faster than before. Finally he bursts out of the brush. He runs up, finally stopping dead. He's bathed in sunlight now, squinting at what he sees. Still in shock, he moves forward. Then he looks out on a horrific sight. Focal pointsWhat Shots? Moving camera shot (pan shot) – fast. Extreme close-up. We see his reaction before we find out what he sees. Pan 180 degrees until we are behind him so we see what he sees. Same again but make up your own object at the motivation point: ? ? ?

Cut to KERRY-ANNE. A young woman of 25. Dark, shoulder length hair. She nervously and slowly approaches the cockpit of the plane. Inside, she pulls away debris and finds the dead bodies of the pilot and co-pilot. She averts her eyes, horrified. She picks up a radio transceiver and exits the plane. Others stand. KERRY-ANNE: I found the transceiver. But it’s not working. Can anybody help...? GAVIN steps forward. Turns to look directly at KERRY-ANNE. GAVIN: Yes, I might be able to. JAMES: Oh yeah, good! This guy! Perfect! Let’s trust him! Where did he come from anyway? ANDY: Hey, we’re all in this together, man. Let’s try to treat each other with… JAMES: Shut up, lardo. Focal pointsWhat Shots? Medium shot of her upper body. Slow pan to to build tension. Close-up for reaction shot. Quick cut as she looks away immediately.

GAVIN: Give it a break. JAMES: Whatever you say. JAMES walks off, passing GAVIN, bumping him as he goes. GAVIN watches him, not liking him one bit. ANDY: Were there any survivors in the cockpit? KERRY-ANNE: (remembering the scene) No. GAVIN (re: transceiver): It broadcasts full- range, far as I can tell. The battery seems OK but… KERRY-ANNE: Is it working? GAVIN: Seems to be, except we’re not picking up a signal. KERRY-ANNE: Why would we need to pick up a signal, aren’t we sending one? GAVIN: Yes, but it’s a transceiver. It transmits and receives. Which means you can also read the level of other signals that you are picking up. What you want is to see is little bars. Focal pointsWhat Shots? Medium long shot of the crowd, reacting to this provocation. Medium long shot to capture both men as contact is made. Medium shot of GAVIN holding the transceiver. Close-up/ Medium shot to show her reaction to the memory of the sight of the pilots.

GAVIN: The little bars would show that the radio is getting reception, meaning we’d be in range of another radio. There are no bars here (shows her). KERRY-ANNE: So the radio’s worthless. GAVIN: We could broadcast blind. Hope that someone, maybe a ship, somewhere, picks up our distress call. But that would be a waste of the battery, which might not last for long. KERRY-ANNE: We need the bars. GAVIN: Yes. (Stops and thinks) Wait, it is unlikely but worth a try. KERRY-ANNE: What? GAVIN: Sending a signal from high ground. KERRY-ANNE (concerned): How high? GAVIN’s eyes flick over KERRY-ANNE’s shoulder as KERRY-ANNE follows GAVIN’s gaze. She turns revealing the enormous mountains that hover above them, scarily high. The next part of their mission is now before them. Focal pointsWhat Shots? Close-up of the bars on the transceiver. Close-up/ medium shot to show thought. The camera slowly follows KERRY- ANNE’S head. Close in on KERRY-ANNE.