Lydia Hansen, Georgie May, Romey Oldworth and Georgia Powell

The Beginning
The sequence starts with home filmed footage of Ugandan children playing under a parachute. The film is muted and the colours of the parachute are vivid and we just see the smiling kids. The voiceover explains the situation the people in the footage and why theyre there. In July 2011, my daughter went on an aids mission to Uganda to further her journalistic interests. This footage was taken in her first, few, happy days there. She told me she went on the trip to see, first hand, the third world which is so often spoken of; and by doing this, she said she hoped to discover herself. But she discovered a lot more than that. *BLACK* She discovered the truth.

The Next Section

We then see an over shoulder shot of the daughter, about 18, driving along a quiet motorway at night, in Uganda. She looks distressed and is constantly checking her rear view and wing mirrors. We see a car driving behind her nothing apparently significant. The headlights are bright and we cant see into the car. Her phone rings so she pulls over into a quiet petrol station and picks up. Shes saying shell be home tomorrow but shes panicking that shell miss her flight as shes lost. Her mother, on the other end of the phone, says to calm down and the daughter replies saying shes trying but shes desperate to see her, she has something to tell her. Her mum acknowledges this, but in a bid to reduce her panic, tells her to check the map and flight times. The girl gets out and goes around to the boot of the car to get the papers. We see her scrambling around in the boot (the camera is at the front of the car on one side and is looking back, so we see her and her surroundings) We see the black car from before pull into the petrol station

Stylised
Then, the sequence becomes more intense. The girl continues looking and is getting stressed as she cant find her map, still on the phone. We see 3 Ugandan men get out of the black car and see them begin to approach her from behind. It goes black for a second. Then the shot gets closer to her, a mid shot, and we see the men getting closer. She sees them and it obviously scared, Mum. It goes black. Then, we see her frantically opening the drivers door she drops the phone -MATCH ON ACTIONand the men surrounding the car. Black. Shes trying to get the keys in the ignition. The men get in the back of the car and she looks in the rear view mirror and we hear her gasp as if about to scream. Black.

It fades into the phone left on the floor of the station and we hear Hello?! Name! NAME! as the camera slowly zooms and levels out, we see the car driving away in the distance. The shot then pans into the dark sky and the title punches onto the screenTHE THIRD WORLD.

The Last Shot and Title

THE THIRD WORLD

The Film
The idea for the rest of the film is the mother trying to find her daughter; and she soon discovers her daughters been killed by the men. The film is the mother trying to discover the secret to bring justice and expose the men. The secret is there is a group in Uganda who control charities, like Oxfam who say theyre raising money for poverty-stricken children, to fund child armies in order to gain power.

COSTUME
The clothing of the girl will have quite neutral colours for her top half of clothing to show her purity, however she will be wearing black trousers and have dark hair to show that under the surface she is hiding something. We could also represent this when she gets out the car she has a slight shadow of her silhouette to connote this secret which follows her. The men that capture her should wear black shabby suit trousers, one will wear a dark blue shirt, another with a deep red shirt to symbolise blood, danger and pain, and the last man to wear a dark green shirt to represent the colour of the earth and mud. Their clothes will also be dusty to show how their past is sinful and murky. The mens faces should also have dirt marks to connote how they arent afraid to get dirty and also communicates their social status. The girls make-up should be minimal to show that she has greater priorities than her appearance, this can reflect how the secret she is keeping affects her daily routine.

PROPS
The car which the girl drives should be red or blue, this connotes she has good intentions however she symbolises danger and forthcoming events which are negative. We feel that a pick up truck would be a good car to use. The men that follow her will be in a black old car to symbolise evil morals and danger. A simple Nokia will be used as the girls phone, this will let the audience know the men are not after her money as she wont be flaunting anything that is worth a lot of money, therefore this connotes there is something greater causing them to abduct the young girl.

SETTING
Ugandan Petrol Station - a desolate setting looking like a shack of a petrol station, setting the atmosphere of the area of Uganda to be underdeveloped and isolated as there is no technology to communicate to the outer world. The desolate setting is typical of the thriller genre therefore relating to the idea of a thriller.

LIGHTING
At the start in the opening the handheld videos of Uganda the lighting is bright and vivid setting a happy and carefree atmosphere. The only source of light in the car scene is the headlights from the car behind which are blindingly bright. The effect will be that the girl in the car in front will not be able to see the interior of the car behind whereas the car behind will be able to see the girl clearly which tells the audience the girl is being followed and watched in an inferior, vulnerable position as she can not identify them whereas she is fully identified. We will edit the headlights from yellow to more of a blue colour as this will create a cold and icy effect, foreshadowing negative events to come in the storyline.

SOUND
Diegetic Dialogue The motion of the car Footsteps Breathing Car Doors opening Car Locking Phone ringing Non-Diegetic As the car following behind approaches and comes into sight, suspenseful music will start to play as the car gets closer. We will edit the music to synchronise it with the actions at significant points. As the car pulls over, a beat kicks in with a fast tempo to suggest the intensity of the moment, again as he is walking toward her car, the music increases and becomes more intense. As he reaches the car and touches the door the non-diegetic music stops, leaving a few seconds of suspense in the silence to suggest something bad will happen.