Evaluation

After carrying out research to aid in the formulating of my textual analysis, I have been able to understand and gain an insight into crimes throughout the past, dating back to the 1920s. In relation to the crimes, I have also explored the varying morality of the individuals that commit them, taking into account their views and how it compares or contrasts with that of societies. The first segment of time in which I explored for my study was the 1920s with a focus on organised crime. From here I examined the types of crime that occurred during the 1970s and 1980s, such as rioting and drug trafficking. The last development in crime I found was from the 1990s to present day. This was comprised more so of a forming gang culture, with a continuation of small pockets of organised criminals, often in the form of white collar crimes that may go undetected.

The first aspect I looked at was to do with how crime in the 1920s was greatly generated as a product of it’s time, being only illegal due to specific laws regarding prohibition, rendering the sale and distribution of alcohol as illegal. In the way of morality, one of the strongest motivations that came through from the individuals such as bootleggers, who partook in such criminal activities, did so for a chance of more wealth, a form of greed. In some cases this was not the reasoning, it may have been in order to support their families. The research from the study allowed me to draw the conclusion that in the 1920s it was not just exclusively alcohol related crimes, there was also still the occurrence of murders, theft and assault. This demonstrated that the context of the crimes has a strong aspect in determining which crime at that time is most prominent, yet it will never truly change human nature. I applied these findings from my textual analysis to my key frames in several ways. These findings are encapsulated with frames three to five, where my actors and props have attempted to recreated a scenario within the 1920s. To reinforce the type of crime, I have made the scenario revolve around a trade in alcohol. The hardest element was keeping the modern day cars as best out of shot as possible. If I were to do this again, that would be an element I would change. I still opted for my location to be Powder Mill Lane on the grounds it was perfect in every other aspect I was looking for. In order to hide some of the vehicles, but maintain a 1920s scene, I used Photoshop to implement an old army truck into the background. This also compliments the narrative being the vehicle used to transport the merchandise. A final feature I used was the costumes that the actors were wearing, having them in smart suits with waistcoats, in addition to the trilby / fedora style hats. I believe the frames to be effective in communicating a scenario set in the 1920s, but a more remote and rundown location would be preferable. The benefit of keeping the location however, was being able to angle the camera and provide me with shots of the red and white barriers to convey a checkpoint feel.

The next element which I explored was the crimes and morality between the 1970s and 1980s. It was in this period of history that the crimes related to drugs were on the increase, it was also a time of rioting. The frames that demonstrate this aspect to my study are frames eight to twelve. This is the scene in the park, which incorporates the relevant crime, on the grounds the characters are there to carry out a drugs trade. As a means to convey another individual’s stance on morality, I have one of the characters kill one of their long standing friends, after having just been shown a picture of his child. This is in order to demonstrate the darker side to crime and how it is not just all living the high life, made up of glorified violence that bears no negative repercussions. To emphasise this point, I used my key frame 12, which captures one of my characters lying dead on the ground with a bullet wound in his head. So we are reminded of the life he has away from crime, in way of evoking sympathy, I had the actor hold onto the photo of his family. I was extremely happy with the gun shot wound I had Photoshopped onto the actors head, as it looks realistic. I am also happy with the blood on the pavement, but believe it still has more potential to look more realistic, possibly around the edge of the blood, on the grounds it is too rounded. To show a shift in the time period, I have kept the park contacts in suits, but the other two characters in the park are in casual clothing. This demonstrates a jump back in time from the last scene in Matherson’s building, but still not quite present day. The park scene starts by capturing Steven and Cray standing in the bandstand (Frame 8), I believe this to to be an effect shot on the basis it captures the greenery in the background to convey a park environment, but the bandstand is fairly enclosed to indicate a more intimate conversation between the two characters.

The final point that I drew from my study was from the time period of the 1990s to present day. This was when there was a rise in gang culture and street violence was assigned more so to youths; possibly as a result of a deviant amplification spirals generated by the media in relation to knife crime. I have conveyed this gang culture through frames sixteen to eighteen, capturing a gang war, which results in a massacre and multiple fatalities. It is based around a standing rivalry between two families and comes down to a dispute on turf. To convey this point on crime becoming more of a gang culture, I have dressed the actors in stereotypical clothes that gang members would wear. This was beneficial as it hides several actors faces, as I have had to use several cast members twice, due to the many different characters needed in the script. If I were to change any aspect of these stills, it would be to source more actors to comply more clearly with the varying roles within the script. It was hard having to take a photograph mid fight, on the grounds everyone needed to be performing a different actions and remain in their appropriate positions for it to comply with the script. To pose the alternative reading that some aspects of crime in the present day has remained as organised crime, I have used the frames which communicates the storyline which runs throughout, regarding Jonathan and Matherson. These frames are; one, two, six, seven, thirteen, fourteen, fifteen, nineteen and twenty. Not only does the pursuit of Matherson in these frames demonstrate additional crimes in present day, but it can also be used to highlight another individuals stance on morality. In this case, Jonathan sees it fair and just to kill Matherson, as it is his moral belief that his completion of revenge is morally right.

In conclusion, through the application of my findings to my key frames, I was able to have a greater understanding on how crime has evolved, in addition to the morality and character motivations behind the crimes being committed. A key idea I have been able to understand is although the motives for criminals can be commonly placed, it is often down to many contributing factors which apply to the individual which determines their choices and actions. Being able to apply the different types of crime to different time periods through the use of my frames has be greatly beneficial as I can now visualise the different time periods with specific crimes and scenarios, linking to the different aspects I have used to help construct each frame such as, mise-en-scene, narrative and cinematography. It is the combination of all these features that has allowed me to express the findings and conclusions I have drawn from my research carried out for the textual analysis. 

Crime Lines 20 Key Frames

Key Frame 1

The first frame is that of the Lobby in Matherson's building. It shows the room in its entirety, from the position in which the secretary is seated. This provides a feel for the surroundings, aiding the next two frames which have a stronger focus on the exchange between the secretary and Jonathan. It captures the open space around the desk and several doorways, to indicate a larger building with multiple rooms. There are several fixtures and items dotted around the room, to promote the idea that it is a privately owned and custom built office headed by Darren Matherson. In the way of lighting, the computer display and side lamp located atop the bookcase are illuminated to convey the building in the afternoon / evening. A time in which it begins to get dark, conveying some remaining light through the window in the distance. In catching the time in which the light begins to fade, promotes the beginning of the narrative, the calm before the storm.

Key Frame 2 

In this frame we see the lobby from the other side of the room, this now grants us the ability to visualise the whole room as we witness the exchange between the secretary and Jonathan. This captures the moment when Jonathan enters the lobby and the secretary looks up to greet him coyly. I have placed the picture up in the background, as a means to acting as a sufficient transition to the next scene; the scene being the trade at the checkpoint outside the warehouse. The warehouse depicted in the picture bears an antique look, conveying the 1920s time period in which I was wishing to achieve in that scene.

Key Frame 3

For this frame, I tried to use an area in which looked like a checkpoint, a place where traffic would be stopped and monitored. This scene captures a trade of illegal liqueur between two parties. One feature I changed, using Photoshop, was the sign in the background. This was from the name of the company that the buildings belong to, to "checkpoint 1". I found this a good angle to set up the table and actors, on the grounds it captures the red and white barriers in the background. Having Lambert direct his men in the background is also beneficial as it promotes a realistic edge to the frame. This is complimented with Scott looking deep in thought at the map, checking over and planning his trade routes.

Key Frame 4

This frame captures the moment that Scott and Lambert meet with the three gentleman from Chicago. This scene is in the 1920, so although it was a great location to promote the idea of a checkpoint and warehouse, it was hard to get an angle which did not capture any aspects that would indicate that it was the postmodern era. The frame still captured several vehicles, so in order to cloak the easily visible vehicles, I photoshopped an old army style truck in front of them. To make this realistic I added shadows under the truck and moved Scott and Lambert in front. I also kept the two additional actors in the background, shifting cargo between the truck and another location, to demonstrate the shot was taken mid trade.

Key Frame 5

In this frame, I have captured Lambert and Scott in a point of view shot from the back of the truck as it drives away. The intention was for it to demonstrate how the characters are feeling without the use of dialogue, merely through the use of their facial expressions and actions. Lambert hides his anger through a fake wave and appears as though he is grimacing or gritting his teeth. Scott peers over in disapproval and a sense of detachment. In this frame I also needed to Photoshop the sign in the background so that it would read "checkpoint 1" similarly to before.

Key Frame 6

This frame is of the hallway in Matherson's building. It captures Jonathan's ascent up the stairs in order to get to Matherson's office. I placed a picture up in the windowsill in the background, displaying Steven and Cray with their arms around one another, communicating a strong friendship. Similarly to the picture of the warehouse in the lobby, this picture acts as the transition the camera will use to the next scene (Park Scene). In addition to this, I photoshopped another three pictures onto the wall. One is the melting clocks by Salvador Dali, the next is Night Hawks by Edward Hopper and lastly The Lament For Icarus by Herbert Draper. I chose these paintings as I felt they would be effective symbolism to correspond with the plot line. The melting clocks can indicate the warping of time as we jump from different ancestors in different time periods. Night Hawks captures three strangers, where we can only speculate and guess as to who they are and why they are there, constructing a sense of mystery, similarly as to the intentions and purpose of Jonathan being there. The painting of Icarus can be used as foreshadowing, in relation to the character of Matherson. This is on the basis in Greek mythology, Icarus' downfall occurs as he flies too close to the sun. Matherson is killed by Jonathan as a result of where his past actions have lead him. The room in the background is left in darkness, a room Jonathan has to pass in order to reach where he is going. Symbolic of needing to pass through dark times for hope of a brighter future.

Key Frame 7

In this frame, the staff member in Matherson's building is rolling the trolley from a room into the hallway, in the process he bumps into Jonathan, waylaying his progress in reaching Matherson's office. It is at this point that the camera pans back to the photo in the windowsill and transports the audience to the park scene.

Key Scene 8

For this frame, I placed Steven and Cray in the bandstand as they wait to meet the two park contacts who they are going to carry out a drug trade with. In the bottom right of the image I have placed the drug bag. Cray stares into the distance waiting for the contacts, as he converses with a concerned looking Steven. He holds a wallet in his hands. I feel the angle in this frame is effective with the scenery, as it captures the tree line and greenery around them. In having this scene in the park allows for high levels of light, complimenting the narrative, making reference to a positive discussion of the future and thoughts of Steven's family.

Key Frame 9

This moment is when Steven shows Cray the photograph of his baby. I chose to have this shot from over the shoulders of the characters, as this way we view the image as they view it, allowing us to align ourselves with these characters and feel their emotions. This constructs a caring nature between the two characters, making us hope for a successful drop so that they may carry on with the positive aspects of their lives.

Key Frame 10

Here we witness the trading of the drugs for an amount of money in the briefcase, provided by the two park contacts in the right of the frame. The contact in the background has just taken the drug bag from Steven, and now Steven is taking the money from the other contact. The park contact handing over the money carries a smirk, as if taunting Steven with something he does not know. The park environment is continued by including more greenery in addition to a stand alone bench along the pathway.

Key Frame 11

Here Steven becomes aware of the Cray's betrayal against him. The frame captures Steven turning back around after having taken the money from the contacts, only to be met with a gun pointed at his head by one of his long standing friends. Steven appears shocked by his facial expression and conveys a sense of weakness as he cradles the briefcase close to his chest. In this shot, the surroundings focused on have become dark colours and dying trees, to shift from a positive atmosphere to a tense and negative one, arguably seen as a form of pathetic fallacy. Having a larger focus of the characters low lit surroundings in this shot, helps in promoting an eery vibe.  The dead trees lean across the pathway, blocking out even more natural light from the sky.

Key Frame 12 

In this frame we bear witness to Steven as he lies dead on the pathway in the park, holding the photo of the ones he holds dearest to him. He has a bullet wound in his head. To construct a realistic wound, I applied fake blood onto the actors head in the park, then blurred in a gun shot wound on Photoshop. I also used the paint a blur tool in Photoshop to create the puddle of blood around the exit wound in the back of Steven's head. To add to the sinister nature of this image, I applied some of the fake blood onto the photograph, as if it were smeared on the image by himself as his last action was reaching for the photograph of the people he loves, making his last thought a happy one.

Frame 13

After having walked through the hallway, following the jump back in time to the park, Jonathan arrives at Matherson's office. Matherson greets Jonathan in the doorway, Jonathan stricken with a grin, aware of what lies ahead. They both have a firm handshake, keeping eye contact, trying to gauge the mindset and behaviour of the other.

Frame 14

This Frame captures Matherson and Jonathan during their conversation at Matherson's desk. This is reinforced by the way Matherson is using a hand gesture, to indicate he is explaining something to Jonathan. In order to make the table more like a large office desk, I used various props such as a desk jotter, a desk lamp, paper holder and decorative items. I used larger ceiling lights in order to create a eery and tense atmosphere, on the basis it shows up any reflections and shadows.  

Frame 15

Here Matherson is standing after having become enraged by the manner in which Jonathan in speaking to him. Shortly after standing Jonathan pulls a gun and points it out across the table; with hardly any accuracy, but enough to act as a sufficient threat. This is why in the frame Matherson's eyes are cast down towards the gun and he no longer has an expression of anger, which was his motivation to stand, but in fact now fears for his life and has adopted a face of concern and discomfort.

Key Frame 16

Frame 13 is the start of the Street Fight scene, when both rival gangs stand opposed to one another. One side is headed by Jonathan's ancestor Finn, the other side by the younger Darren Matherson. It captures the actors in varying poses, all waiting for the violence to ensue. They look threatening to one another while the brief exchange occurs between the two gang leaders, Finn and Darren.

Key Frame 17

In this frame, I have decided to catch the gang fight in mid swing, having each of the actors engaged in combat, creating multiple areas of actions, where no one thing is the focal point. This helps promote the disorganised and chaotic nature of the brutal fight. All the actors are dressed in casual thick clothing, conveying the idea they have come out anticipating a fight.

Key Frame 18

This is a key plot point, when Finn's gang has been violently massacred and are left dying, scattered across the fight zone. One of Matherson's men has died and his dog has left the area. He has two men that remain, one left fatally wounded in the shoulder, the other holding Finn up on his knees. Finn has been violently beaten and has cuts all over his face. Matherson stands ready, about to crack open Finn's skull, ending their rivalry between the two gangs.

Key Frame 19

In this frame Jonathan has his arm extended straight, pointing the gun directly a Matherson's head. To convey Jonathan as someone now dark and sinister, his face remains in the shadows, whilst Matherson's face is lit, capturing the sadness and concern regarding the matter of whether or not he will survive this ordeal. His face also demonstrates a level of realisation, understanding now that this is his comeuppance as a result of the life he has lead. Jonathan is not only shrouded by darkness, but he is also staring Matherson directly in the eyes, fully aware and fixed on what he is about to do.

Key Frame 20

This is the final frame, the moment after Jonathan has just shot Matherson. It captures Jonathan just about to leave Matherson's office, while his adversary lies dead across from him on the desk. He is slung back in his chair, head cast back, being made to pay for the action of not only himself, but also his ancestors. His families past of betrayal and rivalry with that of the Troop family has continued through to present day, unable to break from the life of crime they are sucked into.

Cast Photo

Additional Frames & Behind The Scenes

20 Key Frames Layout & Treatment

Matherson’s Building - Lobby

• Frame No. 1

This shot will be the lobby of Matherson’s building. It will capture the desk centralised in the middle of the lobby, displaying the staircase to the rear of the building behind the desk. It will also display the wide open space to reinforce a large building, in addition to a few extras being dotted around in formal attire, to promote a realistic feel. The secretary is seated at the desk and is working on the computer or organising files. The lobby is brightly lit with artificial lights and there are sophisticated table top lights spread throughout the lobby. The light highlights all the luxurious fixtures and items such as traditional and antique items for decor. The lobby in the this frame reinforces my study as this will start the storyline which focuses on Jonathan, conveying crime that has occurred in the 2000s.  

• Frame No. 2

This shot will be focused more so on the behaviour of the characters, capturing Jonathan Troop and the secretary together at the reception desk. Troop will have his arm resting on the desk and smirking as he converses with the secretary. The secretary will be seated at her computer and will be looking up at Troop, responding with a smile as if feeling flattered or charmed. In the background of the shot, there will be the photograph of the warehouse hanging on the wall. This is significant for the next scene. As it is the item that allows for the transition between the two scenes.

• Frame No. 3

In this frame there will be a shot of the lobby, with all the people walking round and conversing, all looking determined and hard at work. The shot will be from inside the building, capturing the entrance and the rest of the lobby from the point of view of the reception desk. This is to provide another angle and provide a clear image of the entire lobby, so one clear image of layout can be formulated. The idea is that this shot will capture what Frame No.1 can not. In this frame, there could be the incorporation of the edge to the stairwell or reception desk, to help determine what angle the shot is being taken from. 

Warehouse

• Frame No. 4

This image will capture Lambert in the background with his arms up, casting directions to his men on the cross roads who are shifting crates on to the back of a truck. In the foreground is Scott, who has both his hands firmly planted in the table. He is leaning over a map with deep thought and consideration sprawled across his face. Scott appears detached from the operation happening around him. In this shot, the idea is to promote a precise trade being carried out in an isolated location, capturing the large buildings in the background and the the red and white security checkpoint barricade. This is another beneficial reasoning for the selection of Powder Mill Lane as the location for the warehouse.   

• Frame No. 5

Here we will see Scott and Lambert meeting the three gentlemen from Chicago. They are standing around near the table. Lambert and Scott have serious faces, as if engaged in discussion with the men from Chicago about the trade that has been established between them. The map is now flicked over, so its content remains hidden from the Chicago men. One of the three men is slightly out of line, standing further forward than the other two men, this is to promote the point that this gentleman is the person discussing with Scott and Lambert on behalf of Chicago. The clear point of this frame is to demonstrate a formal meet between two parties, regarding a business in illegal liquor, highlighting the contextual issue of Prohibition, a key aspect of my textual analysis study.   

• Frame No. 6

This frame captures a point of view shot from the back of the truck which is now driving away, It shows Lambert in the foreground with a friendly wave at the truck’s direction. There is however a false face of grimace, hidden behind an easily mistakable grin, through gritted teeth. In the background is Scott, stricken with disappointment towards Lambert and his narrow minded behaviour towards the Chicago men. This frame is to reinforce the differences between Scott and Lambert, foreshadowing the conflict the two families participate in, throughout the rest of the film. Scott’s head can be slightly cast down in order to communicate the negative feelings he has towards Lambert after their exchange.      

Matherson’s Building - Hallway

• Frame No. 7

In this frame, the stairs which join to the upper hallway are in shot. There is also a small section of the edge of the upper hallway in the frame, to demonstrate where the stairs are heading to. Upon the stairs is Jonathan Troop, who is captured in the middle of the staircase, venturing up to the hallway. Behind him are small shelves with books aligned on them. The shelves recede into the wall, to ensure their are no obstructions on the stairs, due to there low placement in the wall. The shot does not capture Jonathan completely, as an antique wooden handrail is located in front, promoting a more exclusive area to the building. In addition to the bookshelves, there is the picture of the two men with their arms around one another posing for the photo. This is a nice subtlety towards the transition to the next scene.          

• Frame No. 8

This shot captures Jonathan bumping into the member of staff who has wheeled out a trolley into his path. There is the look of shock on the member of staff’s face, one arm is holding the trolley in place, the other is extended towards Jonathan. This is to demonstrate the incident being a complete accident; the arm is extended merely to steady Jonathan. Jonathan remains fixed on the door to Matherson’s study, he does not acknowledge the member of staff, other than resting a hand on his back to ensure he did fall and was aware of his presence.  

Park

• Frame No. 9

This frame captures a front facing shot of Steven and Cray, they are leaning on the bandstand rail, under shelter from the heavy rain. They both have big clothes to keep them warm, including long sweeping coats. They both have solemn faces as they stare into the distance in the direction of the camera. Cray is in the left of the shot and Steven is on the right. Cray’s gaze is more towards the directions as to which their contacts will be walking from, whilst Steven looks in the same direction, but his head is cast downwards. The shot can incorporate the top of the briefcase, on display to the right of the shot, situated next to Steven on the ground of the bandstand.

• Frame No. 10      

To convey the suspense, the two contacts and Steven and Cray are standing in the rain looking at each other. The shot captures them from the side and displays both suitcases in hand. This is similar to frame number eleven, but feel it is necessary for another shot to emphasis the suspense.  

• Frame No. 11

Here we will see the two contacts in the background of the shot, Steven is holding the exchanged briefcase, standing between them and Cray. Cray has his arm straight grasping a gun, which is pointed at Steven. In relation to the contacts they have met, one is not amused and has a facial expression of boredom, the other conveys the appearance of smugness. Steven displays a face of confusion, disappointment and sadness. This captures his realisation of betrayal. Cray demonstrates a conformed stance, but his face expresses agony, which has arisen from anger and a conflicted mindset. They all stand on the path and extend onto the surrounding grass. In the background behind the two contacts is a large tree and different levels of shrubberies and vegetation.     

• Frame No. 12

Here there is a close up of the upper half of Steven’s body; this is after he has been shot and lies across the path and grass. His eyes are open and his mouth his slightly ajar. His hand is laid out towards the camera, it contains the crumpled picture of his child. Behind his hand, his lifeless face can be seen. His body is soaked with the rain and the shot captures several little splashes over his hand and face where rain has been caught at the point of impact.  Watery blood is running over the image in his hand and down the pathway around where his body lies. 

Office

• Frame No. 13

This frame shows Matherson shaking hands with Jonathan, he is seen meeting Jonathan in the entrance of the room, a small way in from the doorway. Behind them in shot is two chairs either side of a wooden desk with an assortment of office equipment atop its surface, such as a lamp, pens and folders etc. This is minimal, in order to convey a desk which is well used, but not cluttered. Jonathan is looking at Matherson with a small smile; a smile as if you are acknowledging a passing acquaintance. Matherson displays a beaming grin, one considered overly enthusiastic. They are shaking hands using their right a hands. Both men are leaning in, but to demonstrate Matherson’s eagerness, he is leaning further across and catching him directly after the doorframe. To demonstrate the meeting is occurring in the evening, the room will be illuminated with the artificial ceiling lights.

• Frame No. 14

In this shot Jonathan and Matherson are now sitting down in chairs either side of Matherson’s desk. Jonathan sits back with his right foot and ankle planted upon his left knee. Matherson's lower half of his body is hidden behind the desk, but he is leaning into Jonathan slightly from where he is seated. He has his elbows on the desk and his fingers are interlocking apart from his index fingers and thumbs which are touching their counterparts on the other hand. Matherson maintains his grin, whilst Jonathan has moved to a more relaxed smirk. 

• Frame No. 15

Here Jonathan appears to remain calm and conformed in his seat, however he now holds a gun in his right hand, loosely pointed out in the direction of Matherson. It is not accurately aimed, in order to convey the point that the gun is used merely to encourage Matherson to sit back down. Jonathan’s demeanor in this shot, promotes him as a character which is uncaring at this point in the scene. Matherson is standing, stricken with a face of anger. His hand is raised from the desk slightly with a fist forming.      

Street

• Frame No. 16

This shot captures the two gangs standing opposed against each other on the street. There are approximately six members on each side, they are dressed down in casual clothes and all holding melee weapons to appear threatening to the other gang, and as an effective means to dealing damage. Matherson has a club raised in the air with a face of pride and confidence, as if rallying his troops. Finn is peering over his shoulder, as if confirming that his men are also ready for the battle that is about to ensue. Both Finn and Matherson are a few paces in front of their men, in order to convey them as the leaders of each gang.     

• Frame No. 17

In this frame, the gangs are together in a brawl, in various individual conflicts, indicating that both groups have just charged at one another. There will be makeup used on some of the gang members, to promote the violence through wounds. To demonstrate the power that both Finn and Matherson have, they will both be in shot, both enacting violence on an opposing gang member. On the ground, there will be a couple of dead bodies which will convey how the conflict being captured is mid-battle. The shot will be taken from the middle of the fighting, as if the audience is caught between the two gangs and find themselves in the midst of the fight.     

• Frame No. 18

Frame 18 communicates the victory of Matherson’s gang, having Finn on his knees before Matherson and his two men. Finn is covered in blood and appears distant as a result of how brutally beaten he has been. Matherson’s gang member is wounded and his stab wound with one of his hands and looking at Finn, he is standing behind Matherson. His other man is holding Finn upright and steady. Matherson has his bat covered in barded wire grasped tightly in his hand, he is towering over Finn in order to convey his dominance.  

Office (II)  

• Frame No. 19

In this shot, there is a return to the office which captures Matherson who appears more concerned and has water around his eyes. Jonathan’s face is not phased and he begins to look more menacing as he enforces his control over Matherson.   

• Frame No. 20

For this frame, this is the final scene, capturing the death of Matherson. He is displayed with his body slung back in the chair, a bullet wound in his head with blood dripping out of his skull. In the background, Jonathan is walking out with no worry of having just killed someone. Jonathan’s face is not in shot as the focus is Matherson’s lifeless body. His eyes are wide open and his mouth is open. 

Screenplay - Crime Lines

Location Report

• Matherson’s Building - Lobby (Dartford Library - Marriott Hotel - Bluewater) 

The lobby of the building is very traditional with old wooden furnishings. The stairwell is located towards the rear of the building, behind the lobby desk which is located in the center of the lobby. There are bright lights which display all the antique fixtures and traditional items which add to the decor. This will be either in dartford library or the Marriott Hotel in Bexleyheath, due to the large open spaces to communicate a grand lobby. There is wooden coffee tables and seating areas with people dotted around to communicate a busy building, a place of business. 

Due to the Marriott being a business with paying customers it will be hard to gain access to the lobby and utilise the facilities for photographs, although the library is easier to access and has older more traditional fixtures, the layout is not as suitable as I would like, for the communication of the set as a lobby of a grand building. Within Bluewater there is an isolated desk located near the cinema. It has wide open spaces and shoppers in the background that could perform the role of accurate extras in way of communicating busy surroundings. Out of the three selected locations, this currently stands as the most effective in terms of what it offers and how accessible it is for the frames.    

• Matherson’s Building - Hallway (The Nutter Residence - Bluewater)

For the Hallway of Matherson’s building I will utilise the staircase in my house as it can be taken from my hallway capturing the wooden handrail and carpet, conveying a more privatised section to the building. This helps reinforce the research from my textual analysis in relation to crime hierarchies, promoting Matherson as a man of power and connections with crime. In the Hallway I will be able to hang a picture of two men with their arms around one another in a display of friendship. This will either be above the stairs on the back wall, or placed on the wall in the hall before the door to Matherson’s study is reached.  

• Matherson’s Building - Office (Academy Library Corner - Study Room)

This location could be a section of the library located in The Leigh Technology Academy as it is fairly secluded and conveys the idea of a formal study in which Matherson can conduct  his business. It has a series of desks located in the center of the room which can be moved around so it looks more like a work station and two chairs in which Troop and Matherson can communicate to one another from across the desk. This can be set dressed with the placing of documents on the desk and other various items such as a lamp  and pen holder. If need be we can also bring in different style chairs in order to promote the corner as a more professional and luxurious office. Another location that can be used is the study room in my house, where the desk can be moved to the center of the room and would act as a more contained room than that of the open corner in the library. The same set dressing features would apply. 

• Prohibition Warehouse (Powder Mill Lane) 

For the creation of a warehouse in the 1920s, I have chosen the cross roads on Powder Mill Lane as a means to communicate a nearby trade route in which illegal substances can be exchanged. There is a barrier which conveys the scene more so as a remote cross roads used for this purpose where vehicles can be stopped and bearing parallels with that of a road check point. The warehouse would be in the background but still a key part of the location on the grounds that is where the alcohol is being stored in relation to the story line. The crossroad is fairly open and will allow for the carrying of crates and vehicles to pass, constructing an exchange or delivery of alcohol.  

• The Park (Dartford Park) 

I have selected Dartford Park as my location to use for the park in which my characters from ancestor sequence two will meet. Dartford Park is an effective location for this scene as it remains quite quiet in specific places, which is perfect for the suspense around the meeting I wish to create. Although it is open, it is a great location for the inclusion of scenery features such as the bandstand and allows for a larger selection of what bench to pick for the two characters to wait on.

• Street (Havelock Road leading to Helen Close)

For this location I have selected a quiet road in which I can have my street battle between the two rival families, the Troops and the Mathersons. This will be in the evening when it begins to get dark, creating an eery atmosphere with amber light illuminating from the street lamps. In picking a quiet road would allow for effective use of the surroundings without concern for many members of the public, where shots could be compromised, or even where filming would create an inconvenience for people.