Narative Events and Basic Camera Work:Updated

 As we were not able to film in the corner shop we had to rethink and adjust the beginning of the title sequence. Consequently we had to re write our narrative:

• Over the shoulder shot of the post man approaching the door and posting a letter through the flap.
• Cuts to the opposite side of the door inside to see the letter fall to the floor using a close up
• Cuts to over the shoulder shot of a man standing at the window peering past the curtains, watching the post man leave through the gate.
• Camera follows the unknown man to the door where he stops and looks down at the letter.
• Imediately cuts to close up of the mans feet next to the letter, he bends down to pick it up
• The man then leaves the house with the letter, displayed by an over the shoulder shot that shows the door slam shut behind him.
• Wide shot of the man crossing the road suspiciously with the letter in his hand. However behind the man there is the spy getting into his car (crossover point). Both men are oblivious of one another.
• An over the shoulder shot shows the man approaching a cafe coffee table where two old men are sat playing cards, they greet the man and he sits down with them.
• Wide shot shows the three men sitting at a coffee table.
• Cuts to close up of the unkown man passing the letter across the table to another old man.
• Cuts once again to wide shot of the old man passing the letter behind him to an oncomer. This oncomer is a young thuggish looking man.
• The thug walks onto a crowded street surrounded by lots of people. An over the shoulder shot of the thug portrays a biker man in leathers. The biker is in focus but all the people around him are out of focus, this ensures that he stands out.
• Cross cuts to the spy on his was to the restaurant. Wide shot of the car passing, short time in the frame.
• Cuts once again to the view of the spy from the drivers seat of the car looking over the bonet (filmed with a go-pro camera).
• Changes back to the passover taking place on the busy street between the biker and the thug. Mid shot shows the letter pass from the thug to the biker, who imediately puts it in his leather acket pocket.
• Over the shoulder shot of the biker shows him walking towards his motorbike which is in focus.
• A mid shot of the biker as he accelarates off on his bike.
• Cross cuts back to wide shot of the spy walking into the restaurant showing his car parked behind him.
• Mid shot shows the spy being shown to his table and sitting down.
• Over the shoulder shot of the waiter walking towards the spy sitting at the table.
• Cross cuts back to the biker entering a back ally on his motorbike with wide shot.
• Mid shot of biker walking through a door at the back of the restaurant
• Wide shot of the biker being greeted by the head chef of the restaurant. The biker withdraws the letter from inside his jacket and passes it to the chef, leaves.
• The chef walks to the counter in the kitchen where all the freshly cooked food is. This is shown by another wide shot.
• Extreme close up on the envelope as he opens it up and removes the tube of poison.
• Close up onto plate of food as the chef pours the crystals (poison) onto the food.
• Wide shot shows the waiter swiftly pick up the plate of food and walk through the kitchen doors out into the main restaurant.
• Mid shot shows the waiter placing the plate of food onto the spys table.
• Close up on the plate of food. The food is in focus evrything around it is not.
• Mid shot of the spy taking his first mouthfull of the food. The camera follows the food into his mouth.
• Mid shot shows the spy look up at the chef standing at the counter as he realises something is wrong. The chef smirks at him and turns to go.
• Cuts back to mid shot of the spys face showing his sudden distress.
• Wide shot from the spys point of view shows his vision go blurry and he passes out.
• Titles begin to come up.