WATCHER
(SCREENPLAY + BLOCKING&STAGING - ENGLISH)

SCENE 1

INT. MULTI-LEVEL UNDERGROUND PARKING - - NIGHT.

CAMERA__________________ ACTION

CAMERA 1 / WIDE LENSE / DISCOVERING TRUCKING SHOT

The CAMERA is positioned approximately at floor/bumper level and smoothly moves out from behind a parked car, then it slows down in the aisle.
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A black car drives out of the spiral road into the parking lot. It moves towards us. Then the car turns into the passage between the cars.
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CAMERA 1…CONT. / TRUCKING SHOT STARTS...

When the car turns, THE CAMERA starts moving again. It moves behind the parked cars parallel to the moving car.
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The car drives past parked cars.

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CAMERA 1…CONT... TRUCKING SHOT STOPS.

As the car turns, the CAMERA stops in the passage between the cars, on the left side of the parked classic JAGUAR.

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The car pulls into the driveway between the cars. It turns again, but now it moves away from us into the distance of the parking lot, gradually moving out of focus.
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CAMERA__________________ ACTION

CAMERA 1…CONT. / TILTING UP / MS - FS /

- While the WOMAN gets out of the car - the CAMERA remains static.

- However, when the WOMAN goes to the back door - the camera rises (TILT UP) to "capture" THE WOMAN in full height in the frame.
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- The door of a parked Jaguar opens and two pairs of feet in shoes come out. It's a WOMAN! The shoes step into a small puddle. The floor of the parking lot is wet, with small puddles here and there.

- The WOMAN closes the front door and goes to the back door.
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CAMERA 1…CONT. (TILTING UP)

- The CAMERA rises to capture the WOMAN in full frame.
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- The WOMAN opens the back door and takes something from the back seat.
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CAMERA 2. INSIDE THE CAR / STATIC SHOT / SHALLOW FOCUS / LONG LENSE /

- The CAMERA is lying on the back seat. Directly in front of it on the back seat is a light brown leather bag and a red or yellow notebook.
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- The WOMAN opens the back door and takes a notebook and a leather bag from the back seat. Then SHE closes the door.
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OPTIONAL SHOT / WIDE LENSE /

- The CAMERA is mounted on the back door and pointed upwards, so we can see the glass on the door and the ceiling of the parking lot. We film the door closing. The frame is set in motion by the movement of the door.

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- The back door closes.

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CAMERA 1…CONT. / TILTING UP / FS

- The CAMERA is still there, at about floor/bumper level.

- When the WOMAN approaches the front door again and looks in the side mirror, the camera rises again to keep the WOMAN at full height (TILT UP)

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- The WOMAN closes the back door of the car. And then SHE walks towards the front door again.

- When SHE approaches the front door, SHE bends down slightly to look in the side rearview mirror.
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CAMERA 3. INSIDE THE CAR / STATIC SHOT / CU /

- The CAMERA is located inside the car, on the driver's seat, and is aimed at the side rearview mirror on the driver's door.

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- A WOMAN face appears in the side rearview mirror. SHE adjusts her hair/lipstick. And then THE WOMAN straightens up, and her face begins to "come out" of the side mirror.

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CAMERA 4. TRACKING/TRUCKING SHOT / MS

- The CAMERA is on the other side of the car and shoots through the interior (through the windows).

- When the WOMAN rises, the CAMERA rises with her. And when the WOMAN turns around and starts to walk away along the car, the CAMERA starts to move parallel to the WOMAN.

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- Through the car windows we see the WOMAN straightening up from the side mirror. The CAMERA rises with her. Then the WOMAN turns around and starts walking along the car..

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CAMERA 1…CONT. / TILTING DOWN / FS

- As the WOMAN moves away, the CAMERA lowers to keep the WOMAN in frame (TILT DOWN).
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- The WOMAN turns around and leaves. On the way, SHE presses the alarm button. The car's headlights flash, and a distinctive alarm sound is heard.
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CAMERA 4. TRACKING/TRUCKING + PANNING SHOT / MS - FS

- The CAMERA follows the WOMAN along the car. When the WOMAN goes behind the column, the CAMERA stops moving and only PANS the walking WOMAN - first behind the column, and then as the WOMAN moves away from us.

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- The WOMAN walks along the car, then goes behind a column, comes out from behind it and walks diagonally across the parking lot.
- The parking lot has good acoustics, so every step of her heels is very clearly audible!
- Now the WOMAN has her back to us, and SHE is moving away from us. As SHE moves, the WOMAN rummages through her bag and tries to put her notebook and car keys in it. This is not easy, so SHE begins to stop.
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CAMERA 5. MS. TILT UP / MS - CU /

- The CAMERA is in front of the WOMAN and below her eye level. Therefore, when the WOMAN takes 1-2 steps towards the CAMERA, stopping, the CAMERA lifts slightly (TILT UP) to keep the WOMAN in the frame, and the WOMAN moves from a medium shot to a larger one.

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- The WOMAN takes a couple of steps towards us and stops. SHE looks at the bag and tries to put things in it.
- When the WOMAN stops, the SOUND OF FOOTSTEPS, which is so clearly audible in the parking lot, should also stop; HOWEVER, THE SOUND OF FOOTSTEPS CONTINUES!
- The WOMAN raises her head from the bag and turns towards the steps.
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CAMERA__________________ ACTION

CAMERA 6. STATIC SHOT / MS or CU /

- The CAMERA is static and is in front of the WOMAN.

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- The WOMAN turns towards the CAMERA and looks somewhere beyond the CAMERA.
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CAMERA 7. INSERT SHOT

- The CAMERA is static and films an empty parking lot from the WOMAN's perspective.
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- There is no one in the parking lot. Only one light is blinking in the distance.

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CAMERA 8. POV (FROM THE PERSON OF A STRANGER) / FS

- A CAMERA appears from behind one of the cars in the distance and secretly spies on the WOMAN.
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- The CAMERA secretly spies on the WOMAN. The WOMAN looks at the parking lot.
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OPTIONAL SHOT. CAMERA 6. DOLLY PUSH DIAGONAL. CU.

- The CAMERA is in front of the WOMAN. It is approaching her very slowly at a slight angle (DOLLY PUSH).
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- The WOMAN peers into the space in front of her - somewhere beyond the screen.
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CAMERA 4. DOLLY PUSH / FS or LS /

- The CAMERA is behind the WOMAN, whom we see in full growth. The CAMERA very slowly approaches the WOMAN (DOLLY PUSH).

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- The WOMAN peers into the parking lot and her notebook and keys fall out of her hands. A couple of pieces of paper/business cards fall out of the notebook.
- The WOMAN starts to sit up to pick them up.
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CAMERA 9. PAN + TILT + REVEAL / FROM HIGH ANGLE TO LOW ANGLE / CU or MS

- The CAMERA is in front of the WOMAN. First we shoot the WOMAN's hands (HIGH ANGLE), and how SHE is picking up things on the floor. Then the CAMERA moves up, TILT+PAN, and finally it moves up to the WOMAN's face.
- Now we are just below her head level (LOW ANGLE). We see a medium shot of the WOMAN looking at the floor and picking up things. However, because of the LOW ANGLE, we do not see the floor or what SHE is picking up. Now we only see a medium shot or close-up of the WOMAN picking up something on the floor off-screen.
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- The WOMAN is squatting and collecting things that have fallen out of her hands - keys, business cards, papers that have fallen out of a notebook.

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CAMERA 4. DOLLY PUSH / FS - MS

- The CAMERA is behind the WOMAN and slowly approaches her from behind, moving from a full-length shot to a medium shot.
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- The WOMAN is squatting with her back to us and collecting things from the floor.
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CAMERA 9. STATIC / LOW ANGLE / MS - CU

- The CAMERA is in the same position. That is, it is approximately at floor level and films the WOMAN from the bottom up (LOW ANGLE).

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- THE WOMAN looks at the floor and picks up her things.
- SUDDENLY LOUD AND QUICK FOOTSTEPS ARE HEARD AGAIN.
- THE WOMAN turns her head again.
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CAMERA 6. DOLLY PUSH / CU

- The CAMERA is in front of the WOMAN and slowly approaches her diagonally (DOLLY PUSH)

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- Close-up of the WOMAN's face, who turns her head towards the CAMERA and looks somewhere beyond it.

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CAMERA 10. TRACKING PAN + OTS / MS - CU

- The CAMERA shoots the WOMAN almost in profile and slowly moves behind the WOMAN, showing the parking space from behind the WOMAN's shoulder (OTS).

(POSSIBLY! The CAMERA does not stop on one shoulder of the WOMAN, but passes behind the WOMAN and comes out on her other shoulder).
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- The WOMAN looks ahead into the depths of the parking lot.

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CAMERA 11. POV (FROM THE PERSON OF A STRANGER) / FS

- A CAMERA "peeps out" from behind one of the cars again. We are spying on the WOMAN.
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- The WOMAN is looking out for something.

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CAMERA 6. DOLLY PUSH / CU

- The CAMERA is in front of the WOMAN and slowly approaches her diagonally (DOLLY PUSH).

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- The WOMAN is looking at something beyond the screen. And then SHE looks towards CAMERA 11 (That is, towards the car from behind which SHE is being spied on).
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CAMERA 11. POV (FROM THE PERSON OF A STRANGER) / FS

- The CAMERA is behind the car and is spying on the WOMAN. When the WOMAN turns in our direction, the CAMERA immediately dives behind the car.
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- The WOMAN turns in our direction and looks straight in our direction.

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CAMERA 12. POV (FROM THE PERSON OF A STRANGER) / FS

- The CAMERA “peeks out” from another place, somewhere on the opposite side of the parking lot, and keeps spying on the WOMAN.
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- The WOMAN looks closely in the direction where CAMERA 11 was.

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CAMERA 4. DOLLY PUSH / OTS / MS - CU

- The CAMERA is behind the WOMAN. We see the WOMAN almost in profile. The CAMERA moves closer and then switches to a close-up of the WOMAN (CU), passing in front of the WOMAN's face to the other side 180 degrees.

- When the WOMAN turns to continue collecting her things, the CAMERA has already passed the WOMAN and is almost in front of her.
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- The WOMAN peers at the place where CAMERA 11 was. Then SHE moves her gaze from one place to another. And then SHE turns her head again to the things lying on the floor.

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CAMERA 9. STATIC SHOT. LOW ANGLE.

- The CAMERA is approximately at floor level and shoots the WOMAN from the bottom up (LOW ANGLE).
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- The WOMAN turns around and continues to collect things on the floor. We do not see the things themselves or the floor (LOW ANGLE)
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CAMERA 13. STATIC SHOT / WIDE ANGLE

- THE CAMERA is under THE CAR.

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- A WOMAN collects things from the floor, we see her legs and her hands lifting things.

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OPTIONAL SHOT / CAMERA 15 / STATIC SHOT / MS

- The CAMERA is located to the side of the WOMAN and shoots the WOMAN in profile.
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- The WOMAN collects things from the floor.

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CAMERA 4 / STATIC SHOT / FS

- The CAMERA is behind the WOMAN.

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- The WOMAN gathers her keys and notebook into an armful. Then SHE STANDS UP, turning to face the place SHE was looking at a second ago.
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CAMERA 6 / DOLLY PUSH / MS or CU /

- The CAMERA is in front of the WOMAN and moves slightly towards her at an angle.

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- The WOMAN stands up and looks off-screen (into the depths of the parking lot). SHE looks from place to place.

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CAMERA 14. / POV (FROM THE PERSON OF A STRANGER) / FS

- The CAMERA is watching the WOMAN from behind another car.

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- The WOMAN looks into the depths of the parking lot, turns and walks away. The CAMERA follows her, watching her from behind cover.
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CAMERA 15. DOLLY PULL OUT / MS

- The CAMERA is in front of the WOMAN and slowly moves back. HOWEVER, the WOMAN moves faster, so SHE moves out of frame.

- The CAMERA shoots an empty parking lot.
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- The WOMAN moves towards us, adjusting her bag. SHE moves faster than the camera, which is pulling back, so THE WOMAN moves out of frame.

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THE END OF SCENE 1

SCENE 2

INT. MULTI-LEVEL UNDERGROUND PARKING EXIT - - NIGHT.

CAMERA__________________ ACTION

CROSS-PAN. WE SHOOT EVERYTHING IN ONE SHOT.
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(CAMERA 1. STATIC SHOT - (WIDE LENSE, Maybe).

- The CAMERA is under the hill at the exit and is directed towards the street (LOW ANGLE).

- The CAMERA is driving a black Mercedes (PAN), making a 180-degree turn.

- When we see the WOMAN, the car continues to drive, and the CAMERA switches to the WOMAN and, continuing to turn, is now "driving" her.

- Following the WOMAN, the CAMERA again turns 180 degrees, returning to its original place.
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- A black Mercedes drives into the parking lot from the street. It drives towards us, and then passes us.

- The black Mercedes drives further into the parking lot, and THE WOMAN comes towards us. SHE turns around and puts her keys and notebook in her purse as SHE goes.

- The WOMAN walks towards us, past us, and then goes up the parking lot slope.

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THE END OF SCENE 2

SCENE 3

EXT. STREET - - NIGHT.

CAMERA__________________ ACTION

(CAMERA 1 - STATIC SHOT / LS)

- CAMERA is in the distance (LONG LENS)
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- The WOMAN turns the corner and comes towards us.
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(CAMERA 2 - TRUCKING + PAN + LONG LENSE + LOW ANGLE)

- The CAMERA is on the roadway. And the WOMAN is walking along the pedestrian part. The CAMERA moves behind the parked cars parallel to the walking WOMAN.

- When the WOMAN crosses to the other side of the road, the CAMERA pans her (PAN) and turns 180 degrees.

- The WOMAN continues walking further along the other side, and the CAMERA, having turned, continues to follow parallel to the WOMAN.
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- The WOMAN is walking along the pedestrian part.

- The WOMAN crosses to the other side of the road and continues walking along the other side of the road.

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- (OPTIONAL SHOT / CAMERA 9 / TRACKING SHOT / CU (CURTAINS CUT)

- CAMERA 2 films the WOMAN in a medium shot, but when the WOMAN goes behind the tree, we CUT and move to CAMERA 9 in a close-up as the WOMAN comes out from behind the tree.
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- When we move to another scale, the WOMAN comes out from behind the tree, continues walking forward, turns back, and then turns back.

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(CAMERA 3. TRACKING FOLLOWING - MS/CU)

- The CAMERA is behind the WOMAN and follows her.
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- The WOMAN is walking forward (moving away from us).
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CAMERA 4 - MS > TRUCKING > LONG LENSE )

- The CAMERA is on the other side of the fence and moves parallel to the WOMAN walking along the sidewalk.
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- We see the WOMAN from the shoulders/waist.

- The WOMAN turns back..
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(CAMERA 5 - MS - TRUCKING - LONG LENSE)

- The CAMERA shoots the WOMAN from afar in 3/4 (cowboy shot size).
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- The WOMAN turns around and walks forward, looking back.
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(CAMERA 6 or 7. - MS - TRACKING)

- CAMERA 6 moves in front of the WOMAN. (Or behind her - CAMERA 7)
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- The WOMAN walks towards us and looks back.
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CAMERA 8 - POV (FROM THE PERSON OF A STRANGER) / LONG LENSE / STATIC PAN SHOT - HANDHELD /

- The CAMERA is in the distance, somewhere on the other side of the fence, watching the WOMAN through a crack. The CAMERA is SHOOTING the WOMAN from afar. The WOMAN is on the same side of the screen as in shot CAMERA 5.
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- The WOMAN walks forward and looks back, then turns back in front of her, adjusts her bag and walks out of the CAMERA's field of view (leaves the frame).

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THE END OF SCENE 3

SCENE 4_1

EXT. UNDERGROUND PASSAGE - - NIGHT

CAMERA__________________ ACTION

(CAMERA 1- STATIC SHOT / SHALLOW FOCUS / LONG LENSE)

- The CAMERA is at the top of the stairs. It is lying on the steps at the top of the walkway (at the top of the steps) and is shooting the WOMAN walking towards us in the walkway. Since the CAMERA is above the WOMAN (at the top of the steps), we see the WOMAN up to her shoulders or slightly below.

- When the wOMAN walks towards us, SHE is out of focus. Then the WOMAN starts to walk up the steps.
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- The WOMAN comes towards us, and then SHE starts to climb the steps.

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(CAMERA 2. STATIC SHOT - WIDE LENSE)

- The CAMERA is at the top of the passage and is directed down at the steps.
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- We are filming from above as a WOMAN climbs the stairs of the passage.
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SCENE 4_2

EXT. GROUND GLASS PASSAGE - - NIGHT.

CAMERA__________________ ACTION

CAMERA 1. - DISCOVERING - TRACKING SHOT / LONG LENSE / FS or LS

- The CAMERA moves out from behind a glass corner into a ground glass walkway.

- As the CAMERA moves, through the glass we see a WOMAN climbing the stairs at the other end of the glass walkway.
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- The WOMAN is walking up the stairs at the other end of the glass walkway.

- Then the WOMAN turns into the glass walkway itself and walks towards us.

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CAMERA 2. - ESTABLISHING / WIDE LENSE / STATIC OT TRUCKING SHOT / LS

- The CAMERA is far away and at 90 degrees relative to CAMERA 1. We see almost the entire above-ground glass walkway from the side, and THE WOMAN walking along it.

- We also see a neon sign with hieroglyphs (Chinese or Japanese) burning in the middle of the glass walkway.
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- THE WOMAN enters and walks along the crossing and enters the glass part of the crossing. SHE walks towards the neon sign.

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CAMERA 3 / HIGH AMGLE / WIDE LENSE / LS /

- The CAMERA is located on the ceiling of the passage and is directed at the floor.
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- A WOMAN enters the passage. We see HER from above.

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CAMERA__________________ ACTION

CAMERA 4. TRACKING LEADING / TILT UP / FROM HIGH ANGLE TO LOW / MS

- The CAMERA is 3/4 from the side and in front of the WOMAN and moves back.

- The CAMERA first films the legs of the walking WOMAN (HIGH ANGLE).

- Then the CAMERA starts to rise higher, and gradually we see the WOMAN walking up to her waist. (LOW ANGLE)
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- THE WOMAN is walking along the crossing.

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CAMERA 5. STATIC SHOT / LS

- The CAMERA is in front of THE WOMAN and behind the puddle, we see THE WOMAN in full height.

- THE WOMAN is walking towards us, and there is a puddle in front of her (a broken bottle of wine with shards). A neon sign is reflected in the smooth surface of the water. THE WOMAN starts to go around the puddle.
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- THE WOMAN is walking towards us. There is a puddle in front of her (a broken bottle of wine with shards). A neon sign is reflected in the smooth surface of the water. THE WOMAN starts to go around the puddle.

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CAMERA 6. PAN / HIGH ANGLE / MS - FS

- The CAMERA is from behind and slightly to the side of THE WOMAN, filming her legs.
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- The WOMAN carefully walks around the puddle without touching it.

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CAMERA 2. / ESTABLISHING / WIDE LENSE / LS

- The CAMERA is located in the distance and films the glass passage from the side.
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- THE WOMAN walks around a puddle.

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CAMERA 6 - TILT+PAN + RACK FOCUS / MS - FS /

- The CAMERA is on the side and PANS behind THE WOMAN. We see the WOMAN walking away, becoming slightly out of focus,

- As THE WOMAN moves away, the camera TILTS and PANS. And we see both THE WOMAN moving away and the perfectly smooth surface of the puddle, in which the neon sign is reflected.

- (RACK FOCUS) As the action progresses, the focus shifts from THE LEAVING WOMAN to the reflection of the neon sign in the puddle.
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- THE WOMAN walks away, rummages in her pockets and takes out something.

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(CAMERA 7. TRACKING LEADING SHOT (PULL OUT) + PAN + PUSH IN / FS - MS /

- The CAMERA is in front of THE WOMAN, we see her full-length.

- THE WOMAN is moving towards us. The CAMERA also moves back with THE WOMAN, but a little slower. Therefore, THE WOMAN is approaching and from Full Shot switches to MS or CU.

- When THE WOMAN takes a cigarette out of her pocket, SHE begins to stop to light it.

- As THE WOMAN approaches and stops, THE CAMERA begins to slow down and pan THE WOMAN, moving from full-face to almost profile (3/4)

- When THE WOMAN takes out a lighter and is about to light a cigarette
FOOTSTEPS ARE HEARD ON THE WATER BEHIND !!!! At this moment, the CAMERA makes a small push in on THE WOMAN (PUSH IN).
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- THE WOMAN is coming towards us. On the way SHE rummages in her pockets, takes out a cigarette, puts it in her mouth and continues to rummage in her pockets in search of a lighter.

- SUDDENLY FOOTSTEPS ARE HEARD FROM BEHIND ON THE WATER!!!!

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CAMERA__________________ ACTION

CAMERA 8. DOLLY PUSH / MS

- The CAMERA is behind THE WOMAN and slowly approaches the WOMAN.

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- THE WOMAN turns to face the CAMERA. SHE looks scared. SHE takes the cigarette out of her mouth.
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CAMERA 9.- TILT UP SHOT

- The CAMERA is pointed at a puddle. All the water in the puddle is covered with ripples, and the neon sign, which was previously perfectly reflected in the water, is now all rattling in the water.

- We see how the figure of THE WOMAN appears in the reflection, SHE enters the frame.

- The CAMERA begins to rise (TILT UP) to show THE WOMAN completely.

- At the end of the rise, the camera (TILT UP) THE WOMAN begins to raise her head.
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- THE WOMAN "appears" in the reflection of a puddle. And then, when the CAMERA rises and shows her face, THE WOMAN lifts her head and looks ahead.

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CAMERA 10.- RISE UP + TRACKING SHOT + PAN + OTS + HANDHELD

- The CAMERA is positioned from the side of THE WOMAN, the profile of the WOMAN's face.
- When the WOMAN raises her head and looks ahead. The CAMERA rises along with the WOMAN (REFRAME + LIFT).

- While the WOMAN looks ahead attentively, the CAMERA gradually moves from the WOMAN's profile to behind her back (OTS). Now we see an empty transition from behind her shoulder - the CAMERA is shooting unevenly (HANDHELD).
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- The WOMAN raises her head and looks ahead. We see that the crossing is empty, there is no one in it.

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CAMERA 11 - DOLLY PUSH / MS- CU /

- The CAMERA is positioned in front of THE WOMAN and slowly moves towards the WOMAN's face (at a slight angle).

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- THE WOMAN looks attentively somewhere beyond the crane.

- THEN SHE shifts her gaze from one end of the passage to the other (from right to left), slightly turning her head.
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CAMERA 11 - DOLLY PUSH / MS- CU /

- The CAMERA is positioned in front of the WOMAN and slowly moves towards the WOMAN's face (at a slight angle).

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- The WOMAN looks intently somewhere beyond the screen.

- THEN SHE moves her gaze from one end of the passage to the other (from right to left), turning her head slightly.
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CAMERA 10. OTS - TRACKING SHOT + HANDHELD / CU - MS

- The CAMERA moves from one shoulder of the WOMAN to the other (follows THE WOMAN from the right shoulder to the left). During this, we see how the WOMAN turns her head slightly, shifting her gaze from one corner of the transition to another.

- When the WOMAN begins to turn back, the CAMERA moves even further, coming out almost to the profile of the WOMAN.
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- The WOMAN turns her head slightly, shifting her gaze from one side of the crossing to the other. And then SHE turns back.

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CAMERA__________________ ACTION

CAMERA 15. - STATIC SHOT / LS

- The CAMERA is far away at the other end of the crossing.

- We see THE WOMAN in full height and the entire crossing, in which, except for THE WOMAN, there is no one else.
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- The WOMAN turns around. There is no one else in the passage except HER.

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CAMERA 12. POV (FROM THE PERSON OF A STRANGER) / FS

- There is a CAMERA peeking out from behind THE WOMAN from around the corner or the railing. We are spying on the WOMAN from behind.
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- The WOMAN stands with HER back to us and looks to see if there is anyone in the passage.
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CAMERA 14. DOLLY PUSH / MS- CU /

- The CAMERA is in front of THE WOMAN and slowly and at a slight angle moves towards the WOMAN (DOLLY PUSH IN).
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- The WOMAN peers off camera. Then SHE slowly begins to turn back.

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CAMERA 12. POV (FROM THE PERSON OF A STRANGER) / FS

- The CAMERA is still behind the corner, secretly peeking at THE WOMAN.

- HOWEVER, as soon as THE WOMAN starts to turn in our direction, the CAMERA quickly hides around the corner.
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- THE WOMAN turns towards us.

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CAMERA 13. POV / (FROM THE PERSON OF A STRANGER) / FS

- The CAMERA peeks out again, but from a different angle/location and through a crack. It continues to watch the WOMAN from afar. This time the camera is on the other side of 180 degrees.
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- The WOMAN stares at something for a couple of seconds. Then SHE turns around and starts to walk away.

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CAMERA 13. POV (FROM THE PERSON OF A STRANGER) / FS

- THE CAMERA peeks out again, but from a different angle/location and through a crack. It continues to watch THE WOMAN from afar. This time THE CAMERA is on the other side of 180 degrees.
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- THE WOMAN stares at something for a couple of seconds. Then SHE turns around and starts to walk away.

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CAMERA 2. - ESTABLISHING / STATIC SHOT / WIDE LENSE / LS

- The CAMERA is in the distance and shoots a ground glass walkway.

- We show the ground glass walkway from the side, - THE WOMAN is leaving through it.

(Since the CAMERA is on the opposite side 180 degrees from the previous shot, then to avoid a jump, THe WOMAN must be in the same part of the screen as in the previous shot)
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- THE WOMAN walks along a glass passage.

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THE END OF SCENE 4

SCENE 5

EXT. STREET - - YARD IN FRONT OF HOUSE - - NIGHT.

CAMERA__________________ ACTION

CAMERA 1. STATIC SHOT / WIDE LENSE / FS

- The CAMERA is in a narrow courtyard, right in front of us in the depths there is a residential building.
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- THE WOMAN enters the frame from behind the camera (from behind). SHE moves away from us.
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CAMERA 2. TRACKING LEADING / MS

- The CAMERA is in front of THE WOMAN and moves backwards.
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- THE WOMAN is coming towards us.
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CAMERA 3. TRAСKING FOLLOWING / CU

- The CAMERA is behind THE WOMAN and follows her, behind her back. (We see THE WOMAN up to her shoulders).
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- Continuing to walk forward, THE WOMAN turns around, looks behind her, then turns around again.
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CAMERA 4. STATIC SHOT / LONG LENSE / LS

- THE CAMERA is located somewhere behind a fence, hedge or some kind of obstacle and is shooting through it.

- THE CAMERA is aimed at the front door/entrance.
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- THE WOMAN walks towards the front door.

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(J-CUT)

- As THE WOMAN walks towards the door, the sound of shoes on the steps is heard for 1/1.5 seconds (THIS IS THE SOUND FROM THE BEGINNING OF THE NEXT SCENE - SCENE 6)
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THE END OF SCENE 5

SCENE 6

INT. - - STAIRCASE OF THE HOUSE - - NIGHT

CAMERA__________________ ACTION

CAMERA 1. DISCOVERING + PAN/TILT + TRACKING FOLLOWING

- The CAMERA is located near the stairs, approximately at floor level and behind the railings.

- While THE WOMAN is climbing, the CAMERA moves parallel to THE WOMAN and rises slightly with her (TRACKING + PAN/TILT).

- When THE WOMAN has completely climbed the stairs and is already walking along the corridor, the CAMERA pans and follows THE WOMAN.
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- THE WOMAN climbs the stairs. First her head appears, then the rest.

- As SHE climbs, the CHARACTERISTIC CLAP OF HEELS ON THE STAIRS IS HEARD!!!

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CAMERA 2. STATIC SHOT / FS

- The CAMERA is in the back of the hallway, behind THE WOMAN, whom we see in full height and a little closer to the floor, so we see the carpet in the hallway.

- THE WOMAN turns from the stairs into the hallway and goes onto the carpet, the sound of heels dies down, THE WOMAN walks on the carpet.
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- THE WOMAN turns from the stairs into the hallway.

- As soon as she steps onto the carpet, the sound of HER heels fades, THE WOMAN walks on the carpet.

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CAMERA 3. LEADING TRACKING SHOT / FS - MS /

- The CAMERA is in front of THE WOMAN.

- When THE WOMAN comes out from behind the corner, we see her full-length. However, as soon as THE WOMAN gets closer to the camera (before MS), the CAMERA starts moving back in front of THE WOMAN.
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- THE WOMAN turns from behind the stairs into the corridor and walks towards us, SHE bends down to open her purse.

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CAMERA 4. FOLLOWING TRACKING SHOT / MS/FS

- The CAMERA is behind THE WOMAN and follows her. We see her a little more than a cowboy shot.

- AT FIRST THE CAMERA follows THE WOMAN, but then gradually stops, allowing THE WOMAN to move further away.
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- THE WOMAN walks away from us, SHE rummages in her purse.

- SUDDENLY THERE IS A LOUD CLAP OF HEELS ON THE STAIRS.

- THE WOMAN starts stopping.
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(CAMERA 17. STATIC SHOT / TILTING UP / MS - CU /

- The CAMERA is in front of THE WOMAN , but below her eye level.

- When THE WOMAN takes a step/two towards THE CAMERA, the CAMERA makes a slight TILTING UP as THE WOMAN approaches.
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- THE WOMAN takes a step/two towards THE CAMERA and lifts her head from her bag.

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CAMERA__________________ ACTION

CAMERA 5. - STATIC SHOT / LOW ANGLE

- The CAMERA is on the stairs, but on the floor below. It shoots the stairs from the bottom up.

- THE WOMAN appears on the top floor. SHE goes to the railing and looks down.
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- THE WOMAN appears on the top floor. SHE goes to the railing and looks down.

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CAMERA 6. - INSERT SHOT / HIGH ANGLE

- The CAMERA is in the WOMAN's place and shoots the stairs from top to bottom.
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- There's no one on the stairs.

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CAMERA 7. POV / (FROM THE PERSON OF A STRANGER) / FS or LS

- The CAMERA peeks out from behind a flower bed and spies on THE WOMAN.
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- THE WOMAN stands at the stairs and looks down.

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CAMERA 5. - STATIC SHOT / LOW ANGLE

- The CAMERA is on the stairs, but on the floor below. It's filming the stairs from the bottom up.
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- THE WOMAN on the top floor looks down

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- THE WOMAN stands at the stairs and looks down.

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OPT - STATIC SHOT - CU

- The CAMERA is positioned to the side of THE WOMAN and shoots THE WOMAN in profile as SHE looks down.
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- THE WOMAN (we see her in profile) looks down.

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CAMERA 5. - STATIC SHOT / LOW ANGLE

- The CAMERA is on the stairs, but on the floor below. It is filming the stairs from the bottom up.
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- THE WOMAN on the top floor looks down. THEN THE WOMAN turns towards CAMERA 7.
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CAMERA 7. POV / (FROM THE PERSON OF A STRANGER) / FS or LS

- The CAMERA peeks out from behind a flower bed in the hallway and spies on THE WOMAN.

- When THE WOMAN turns in our direction, the CAMERA "dives" behind the flower bed, and then peeks out from behind it again, spying on THE WOMAN.
HOWEVER, THE WOMAN IS ALREADY LOOKING CAREFULLY IN OUR DIRECTION AND IS ALREADY STARTING TO WALK SLOWLY TOWARDS US.
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- THE WOMAN stands by the stairs and turns straight towards us.

- THE WOMAN looks attentively towards the camera and begins to slowly move straight towards it.

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CAMERA 8. TRACKING LEADING SHOT / MS or CU

- The CAMERA is in front of THE WOMAN and moves back to the place with THE WOMAN, who is cautiously walking towards us.
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- THE WOMAN moves cautiously towards us.

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CAMERA 9. INSERT SHOT /

- The CAMERA from THE WOMAN's point of view slowly moves down the corridor towards the flowerbed.
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- The CAMERA from THE WOMAN's point of view slowly moves along the corridor.
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CAMERA 8. TRACKING LEADING SHOT / CU or MS /

- The CAMERA is in front of THE WOMAN and moves back to the place with THE WOMAN, who is cautiously walking towards us.
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- THE WOMAN moves cautiously towards us.

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CAMERA 7. POV / (FROM THE PERSON OF A STRANGER) / FS or LS

- The CAMERA peeks out from behind a flower bed.
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- THE WOMAN is getting closer and closer.
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CAMERA 9. INSERT SHOT - WALK INTO HER OWN INSERT

- THE WOMAN'S POV CAMERA slowly moves down the hallway towards the flowerbed. And it looks like the THE WOMAN'S POV.
!!!!!!! HOWEVER SUDDENLY THE WOMAN ENTERS THE FRAME !!!!!!!
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- First we see a corridor, then THE WOMAN ENTERS THE FRAME and slowly moves towards a flowerbed. AND THEN SHE STARTS TO LOOK BEHIND THE FLOWERBED TO FIND OUT WHO IS HIDING BEHIND IT!
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CAMERA__________________ ACTION

CAMERA 7. STATIC SHOT. / WIDE LENSE

- The CAMERA is behind the flowerbed.
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- THE WOMAN begins to appear in the frame, looking behind a flowerbed.
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CAMERA 9. INSERT SHOT

- The CAMERA from THE WOMAN's point of view looks behind the flowerbed.

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- The CAMERA looks behind the flowerbed/pot, but there is nothing behind it, no one is there.
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CAMERA 7. STATIC SHOT / MS or FS /

- The CAMERA is behind the flowerbed.

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- THE WOMAN stands directly in front of THE CAMERA and looks at us approximately. THE WOMAN is slightly bent over because SHE is actually looking at the floor. Then she turns towards CAMERA 10 and straightens up a little.
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CAMERA 10. REFRAME SHOT/TILT / DOLLY SHOT / CU or MS /

- The CAMERA in the hallway is in front of THE WOMAN.

- When THE WOMAN straightens up and turns towards THE CAMERA, then THE CAMERA also lifts up a little so that THE WOMAN is lying in the frame.

- THEN the CAMERA slowly moves towards THE WOMAN (at a slight angle).

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- THE WOMAN straightens up slightly and turns towards THE CAMERA. SHE peers into the space outside the frame (into the corridor).

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CAMERA 11. INSERT SHOT

- THE CAMERA shoots the corridor from THE WOMAN's point of view.
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- The corridor is empty.
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CAMERA 12. POV / (ОТ ЛИЦА НЕЗНАКОМЦА) / FS or LS

- THE CAMERA is at the other end of the corridor, far behind THE WOMAN.

- THE CAMERA comes out from behind a corner or some object and spies on THE WOMAN.
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- We see THE WOMAN in the distance in the hallway. SHE stands with her back to us and looks out for something in the hallway.

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CAMERA 10. STATIC SHOT / RACK FOCUS / CU

- The CAMERA is in front of THE WOMAN. We see THE WOMAN's face in the foreground and the corridor in the background.

- (OUT OF FOCUS) THE WOMAN is completely out of focus. The CORRIDOR behind her is in focus.

- (RACK FOCUS) The focus gradually moves from the corridor (background) to THE WOMAN's face (foreground).
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- FIRST THE WOMAN peers into the space beyond THE CAMERA.

- THEN THE WOMAN begins to turn around.

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CAMERA 7. STATIC SHOT / FS or MS

- The CAMERA is behind the flowerbed.

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- THE WOMAN turns and walks away.

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CAMERA 13. TRACKING LEADING - MS

- THE CAMERA is in front of THE WOMAN in the hallway, next to the flowerbed, and moves back.
- THE WOMAN is walking towards us, THE CAMERA is also moving back. HOWEVER, THE WOMAN is walking faster, so SHE goes out of frame.

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- THE WOMAN is coming towards us. However, SHE is moving faster than THE CAMERA, so SHE is moving out of frame.

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CAMERA__________________ ACTION

(CAMERA 14. PAN + TRACKING FOLLOWING - MS)

- THE CAMERA is in the hallway, but at 60/70 degrees. THE WOMAN enters the frame from the side. THE CAMERA pans her (PAN), then goes behind her (TRACKING LEADING) and follows THE WOMAN (MS waist-high).
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- THE WOMAN walks down the hallway and rummages through her purse.

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(CAMERA 15. / DOLLY PUSH / FS to MS)

- THE CAMERA is in the hallway in front of THE WOMAN. We see THE WOMAN walking towards us, full-length.

- The CAMERA moves towards THE WOMAN (DOLLY PUSH).

- WHEN THE WOMAN approaches the door, the plan switches from FS to MS, and THE CAMERA stops.
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- THE WOMAN walks down the hallway towards us. SHE pulls out her keys, goes to her door and inserts the key into the lock.

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(CAMERA 16. STATIC SHOT / CU)

- THE CAMERA is in the hallway and is aimed at the profile of THE WOMAN's face. We see THE WOMAN from the shoulders/waist.

- While THE WOMAN is rummaging in the lock, SHE turns her head towards THE CAMERA and looks somewhere beyond it (into the hallway).
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- THE WOMAN is fiddling with the lock and at the same time turns towards us to see if anyone is walking in the hallway.

- Then SHE opens the door to the apartment, goes inside (the apartment is dark). Then the DOOR closes.
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THE END OF SCENE 6

SCENE 7 / 1. In a flat

INT. - - WOMAN 'S APARTMENT - - NIGHT

CAMERA__________________ ACTION

CAMERA 1. MACRO / LONG LENSE

- The CAMERA is on the side of the door peephole. The apartment is dark, but there is light coming from the peephole.
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- PROFILE WITH CLOSE UP OF WOMAN'S EYES enters frame and looks through the peephole.
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CAMERA 2. INSERT - FISH EYE/WIDE LENSE /

- VIEW THROUGH THE PEEPHOLE.
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- There is no one in the hallway.
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CAMERA 3. LONG LENSE - MS

- The CAMERA is on the side of the door, and we see THE WOMAN in profile up to her shoulders.
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- THE WOMAN moves away from the peephole and turns around.

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CAMERA 4. STATIC SHOT / LONG LENSE / RACK FOCUS / MS /

- THE CAMERA is in the apartment in front of the door, behind the coat rack and is directed into the hallway. We use LONG LENS, so only the foreground is in focus (COAT RACK AND THE WOMAN).
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- THE WOMAN turns away from the door, turns her back to us. SHE takes her bag off her shoulder, goes into the depths of the corridor to the nightstand, becoming out of focus, and puts the bag on the nightstand.
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CAMERA 5. LONG LENSE / CU /

- The CAMERA is on a nightstand. IN THE FOREGROUND on the stand is a PEPPER SPRAY. It is the spray that is in focus, everything else is out of focus.

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- THE WOMAN is out of focus, SHE puts her bag behind PEPPER SPRAY.

- THEN THE WOMAN starts taking off her coat/jacket and walking back to the coat rack.
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CAMERA 4. STATIC SHOT / LONG LENSE / RACK FOCUS / MS /

- The CAMERA is in the apartment in front of the door, behind the COAT RACK and is directed into the hallway. We use LONG LENS, so only the foreground is in focus - the COAT RACK.

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- THE WOMAN is out of focus. SHE takes off her coat/jacket and goes to the coat rack. THEN SHE hangs her outerwear on it, turns around and goes into the depths of the corridor out of focus.

- WHEN THE WOMAN GOES VERY MUCH INTO THE DEPTH OF THE CORRIDOR - THERE IS A KNOCK ON THE DOOR!!!
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CAMERA__________________ ACTION

CAMERA 6. STATIC SHOT - THROUGH A MIRRIOR

- The CAMERA is in the hallway and is aimed at the mirror in the hallway (at an angle).

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- FIRST, THE WOMAN's reflection appears in the mirror. THEN, THE WOMAN herself enters the frame. SHE stops for a second. Then SHE continues walking toward the door.
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CAMERA 7. TRACKING LEADING SHOT - MS (POSSIBLY, DUTCH)

- The CAMERA is in front of THE WOMAN and moves back in front of her.
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- THE WOMAN walks cautiously towards us (towards the door).
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CAMERA 8. PIVOT SHOT AROUND A PAPPER SPRAY / SHALLOW FOCUS / LONG LENSE /

- The CAMERA is behind a cabinet in the hallway. Directly in front of the CAMERA is a pepper spray can. Only the SPRAY can is in focus, everything else is out of focus.

- As THE WOMAN walks past the camera, the CAMERA rotates around the pepper spray can (PAN-PIVOT) to keep THE WOMAN in frame.
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- THE WOMAN walks down the hallway towards the door. SHE is out of focus.

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CAMERA 7. TRACKING LEADING SHOT - MS (POSSIBLY, DUTCH)

- The CAMERA is in front of THE WOMAN and moves back in front of her.

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- THE WOMAN walks cautiously towards us (towards the door). As SHE moves, SHE notices a PEPPER SPRAY off-screen and reaches out to it. THEN SHE reaches out and takes it. This all happens off-screen, as we only see THE WOMAN and her reach out to something off-screen.
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CAMERA 9. TRACKING FOLLOWING / CU

- The CAMERA is behind THE WOMAN, at waist level, and follows THE WOMAN, holding the hand with the spray can in the center of focus.
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- THE WOMAN's HAND takes the SPRAY CAN. THE WOMAN continues to walk forward, always holding the can in her hand.
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CAMERA 7. TRACKING LEADING SHOT / CU

- THE CAMERA is in front of THE WOMAN and moves backwards.

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- THE WOMAN is walking towards us (towards the door). This is already a close-up of THE WOMAN.
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CAMERA 10. DOLLY PUSH - MS

- The CAMERA is in front of the door and is moving towards it.
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- We see the door.
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CAMERA 7. TRACKING LEADING SHOT / CU

- THE CAMERA is in front of THE WOMAN and moves back.

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- THE WOMAN is walking towards us (towards the door). This is already a close-up of THE WOMAN.
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CAMERA 10. DOLLY PUSH / CU or MACRO /

- The CAMERA is in front of the door's peephole and is moving towards it.
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- We see a door and a close-up of the peephole.
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CAMERA 11. LONG LENSE / MACRO /

- THE CAMERA is in front of THE WOMAN's face.

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- CLOSE UP OF THE FACE AND ESPECIALLY THE EYES OF THE WOMAN as they approach THE CAMERA.
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CAMERA 1. LONG LENSE / MACRO /

- THE CAMERA is on the side of the door peephole. The apartment is dark, but there is light coming from the peephole.
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- PROFILE WITH CLOSE UP OF WOMAN'S EYES enters frame and looks through the peephole.
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CAMERA 9. STATIC SHOT / LONG LENSE / SHALLOW FOCUS / CU

- The CAMERA is behind THE WOMAN, at waist level, and holds THE WOMAN'S HAND WITH THE SPRAY CAN in the frame.
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- THE HAND of THE WOMAN holding PEPPER SPRAY. THE HAND shaking slightly from exertion.
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SCENE 7 / 2 In the hall

INT. - - CORRIDOR IN FRONT OF APARTMENT - - NIGHT

CAMERA__________________ ACTION

(CAMERA 1. STATIC SHOT - MS/FS)

- The CAMERA is in the hallway. It is aimed at the door at an acute angle, so we see both the door and a part of the hallway in which there is no one.

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- THE DOOR OPENS. THE WOMAN's head slowly appears from it, holding a PEPPER SPRAY.

- FIRST THE WOMAN looks in the direction of the corridor that we also see, AND THEN SHE turns to face us. NOW SHE looks beyond the corridor, out of frame.
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CAMERA 2. INSERT SHOT

- The CAMERA peeks out from behind the door frame and shoots the empty corridor from THE WOMAN's perspective.
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- The corridor is empty.

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CAMERA 1. STATIC SHOT - MS /

- The CAMERA is in the hallway. It is aimed at the door at an acute angle.

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- THE WOMAN looks out of frame. THEN she goes back into the apartment and CLOSES the DOOR.
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SCENE 7 / 3. In a flat

INT. - - THE WOMAN'S APARTMENT - - NIGHT

CAMERA__________________ ACTION

CAMERA 4. STATIC SHOT / LONG LENSE / SHALLOW FOCUS /

- The CAMERA is in the apartment in front of the door, behind the coat rack and is directed into the hallway. Only the foreground is in focus - the coat rack.
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- THE WOMAN turns away from the door, turns her back to us and goes into the depths of the corridor to the nightstand, becoming out of focus.
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CAMERA 12 - STATIC SHOT / LONG SHOT / CU

- The CAMERA is in the next room (kitchen) on the floor, we only see THE WOMAN's feet in shoes in the hallway.

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- THE WOMAN'S LEGS IN SHOES "enter" the frame (in the hallway). THE WOMAN takes off her shoes (shoes) and puts them aside, next to other shoes standing in the hallway and turns towards THE CAMERA.
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CAMERA 13 - TRUCKING SHOT / ALONG A WALL /

- THE CAMERA is in the back of the LIVING ROOM and shoots the corridor.

- As soon as THE WOMAN starts to walk into the kitchen, the CAMERA starts to move parallel to THE WOMAN along the wall in the LIVING ROOM. That is, we are driving past photographs, books, a glass of wine, burnt candles, posters, burning lamps, a vase with flowers and other things of THE WOMAN.

- AT THE END, THE CAMERA moves out into another passage to the kitchen. In it, we see part of a chair/armchair, onto which first a sweater flies, then a skirt/pants (THE WOMAN, being off-screen, undresses)
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- THE WOMAN moves her shoes away and, starting to take off her sweater, goes into the kitchen.

- When THE CAMERA moves to another passage and we see a chair in the kitchen, THE WOMAN, undressing off-camera, throws things (sweater/skirt/shirt) on it.

- THEN THE WOMAN puts her foot on the chair/armchair and takes off her stockings. First from one leg, then from the other. However, she does this without any sexual connotation - that is, very casually.
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CAMERA 14 / STATIC SHOT / LONG LENSE / SHALLOW FOCUS / CU

- The CAMERA is close to the record player and is facing the kitchen exit. Only the record player is in focus, everything else is out of focus.

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- The game lands on the spinning plate, a hissing sound is heard.

- THE WOMAN is in the background, out of focus. SHE goes back into the hallway, leaving the kitchen, becoming even larger in focus.
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CAMERA 15 - STATIC FROM ABOVE / WIDE LENSE /

- The CAMERA is "on the ceiling" and is shooting from top to bottom.

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- THE WOMAN comes out of the kitchen and walks down the hallway.

- THE WOMAN puts her hands behind her back to the clasp of her bra.
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CAMERA 16 / TRACKING FOLLOWING SHOT / LONG LENSE / CU

- THE CAMERA is at floor level and follows THE WOMAN's legs.
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- We see THE WOMAN's feet walking down the hallway.
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CAMERA 17 - TRACKING SHOT - LONG LENSE / CU

- THE CAMERA follows THE WOMAN at back level.

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- THE WOMAN puts her hands behind her back to her bra and starts to unhook it.
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CAMERA 18 PAN / PENDULIM PAN / DOLLY PULL OUT / RACK FOCUS / MS - CU - FS /

- The CAMERA is in the room, in front of THE WOMAN and slightly to the side in the back of the room.

- As THE WOMAN passes by, the CAMERA PANs her and goes behind THE WOMAN.
(Possibly! In the reflection of a small table mirror, we see how SHE managed to unfasten her bra).

- As THE CAMERA turns behind THE WOMAN, panning as SHE walks into the room, heading for the bathroom, we see a mirror in the room. It reflects a MAN sitting in a chair. HE is wearing a balaclava, jeans and a hoodie. HE has a beer belly and looks unkempt.

- As THE WOMAN begins to wash herself, THE CAMERA begins to slowly move back into the hallway. At this point, we see how the man gets up from the chair.

FADE OUT
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- THE WOMAN enters the room and walks towards us. Her hands are behind her back (she is trying to unfasten her bra), her head is slightly down, and her hair is also hanging down, covering her eyes.

- When THE WOMAN passes THE CAMERA and we already see her with her back to us, SHE takes off her bra and goes into the bathroom. At this moment, THE WOMAN goes completely out of focus, we see only her silhouette.

- THE WOMAN takes off her panties, goes into the shower, turns on the water and starts washing herself.

- When the CAMERA turns behind THE WOMAN, following her as she passes the room, heading to the bathroom, we see a mirror in the room. A MAN is reflected in it, sitting in a chair. HE is fat, with a belly (NASTY). HE is wearing dark clothes, blue old jeans, a hoodie and a black balaclava. HE just sits and watches.

- When THE WOMAN starts washing herself, the CAMERA begins to slowly move back into the corridor. At this point we see the MAN get up from his chair.

FADE OUT
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THE END

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WATCHER (SCREENPLAY + BLOCKING&STAGING - ENGLISH)

WATCHER
(SCREENPLAY + BLOCKING&STAGING - ENGLISH)