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Camera Shot 1: Aerial shot descending The camera would show an aerial shot of Molching at early dawn, beginning

from a high altitude and gradually dropping from then on. [8,000 ft. AG (above ground)] Transition: Fading In The camera will at first show a pitch-black Molching where nothing can be seen due to the darkness of the night. However, there will be about 10-20 bright spots. As the camera’s altitude descends, they are more clearly shown as fires. It is at this point that audiences will be able to identify multiple buildings on fire, and conclude that this shot is of Molching, or a town. The lower the camera becomes, the more clearly the damages of the air raid is shown. [100 - 20ft. AG] The camera is now at a pretty low altitude but still captures Molching at its entirety. However, now that the camera angle is lower, it captures more of the sky, and this is when we see a very faint line of sunlight beginning to grip onto the horizon. Because more of the atmosphere is seen, the emphasis is put towards the sky rather than the grounds. This serves as a contrast to the previous shots at a higher altitude, where the wreckages of houses and infernos of fires were the main focus. The camera shot changes gradually from a tense tone to a more peaceful one, indicating the end of the air raid. [20 - 0ft. AG] At this point the camera is close enough to reveal some damages to the town. The camera shows a street view of Himmel Street. The audience will firstly hear footsteps walking down the roads before the camera descends low enough to capture the characters. From the footsteps it can be concluded that this is a group of people walking. The camera will descend all the way and stop when it captures the face of Bettina Steiner.

Camera Shot 2: Close-up We see a close up shot of Bettina Steiner, and see that she is holding the hands of a woman with her left hand; the woman is out of the frame. Then the camera focuses closer until only Bettina Steiner’s face can be seen. Her facial expression show signs of drowsiness and sleepiness. Her head fluctuates in an up and down motion suggesting to the audience that she is half walking half jogging in order to catch up with her mother Barbra Steiner. Bettina is constantly looking around, just like what a regular child would do when they’re bored. After about 5 seconds, Bettina’s

eyes grow wider and she is seen focused only on one particular object. The camera transitions to a medium shot(2 seconds) and we see Bettina’s entire body. Bettina then quickly raises her right arm as to point towards an object, and after a one second pause, she loudly says, “Look!” Transition: Straight cut Camera Shot 3: Long shot Now the camera has a larger scope and displays several characters, including Liesel, Rosa and Hans Hubermann, and Barbra Steiner. Liesel is also holding her book called “The Last Human Stranger”, with a white cover and dark lettered title. Rudy will not be on screen, but he is close by. All characters will still be walking when this camera shot is shown, but within seconds all characters on screen will respond to Bettina’s shout and come to a halt. For the characters that are off-screen, the footsteps will quickly dissolve, implying that everyone has stopped. For about three seconds, we are simply shown couple characters standing idly and staring at something off-screen. Suddenly, we see Liesel yell out “Rudy!”, and the camera shot remains for about half a second. During the last second, we see a glimpse of a moment which other characters begin to walk again and continue on to get home. Transition: Straight cut Camera Shot 4: Extreme close up This shot shows an extreme close up of Liesel’s face, and especially her eyes which widen and show signs of worry. Her adrenaline kicks in and this is shown by a very heavy intake of breath. She yells out again, “Rudy! Wait!” Transition: Straight cut Camera Shot 5: Long shot Now we’re back to the previous long shot, and see several characters that have resumed walking. They all react to Liesel’s yell and all turn around to look at Liesel. At this moment, we see Liesel handing her book to Rosa Hubermann. For a split second Rosa will seem to protest against holding Liesel’s book, and this is shown by Rosa attempting to return to book to Liesel while attempting at a finger wave, but it is cut short as Liesel begins to run immediately. Liesel will run towards the camera completely cover the camera, living it pitch-black for a split second. Transition: Match cut Camera Shot 6: Stationary camera shot Continues from the pitch-black picture that is left by the previous shot. This shot begins pitchblack and then shows Rudy running directly away from the camera (it is almost as if Rudy purposefully blocked the entire camera and the suddenly decided to run away from it). The view angle is at a relatively regular height, about leveled with Rudy’s shoulders. The shot remains for about 3 seconds as we see Rudy run further and further away. We see Rudy dressed in a brown school jacket and black cargo pants. He is holding a silver metallic tool box about the size of a

soccer ball. The metallic tool box is constantly making squeaking noises as Rudy runs with it in his hands, and the noise fades as Rudy runs farther away from the camera. Camera Shot 7: Follow shot, side view The camera runs parallel with Rudy as he runs through the woods, with about a 20 ft. distance. The setting is early dawn, so the brightness is very faint. The environment is also contaminated with the morning fog, making things harder to see. This camera shot is fast moving and there is very little detail of Rudy’s actual physical appearance and shows only a blurred physical outline of him. Because he is running through the woods, there will be constant, periodic breaks of Rudy’s image as there will be tree trunks that will obstruct the view. The tree trunks will pass with quick flashes of complete blackouts as an effect to show Rudy’s very quick speeds. Transition: Straight cut Camera Shot 8: Follow shot, close up, behind This shot is a very close follow up of Rudy’s toolbox. We see the silver metallic box jiggling up and down in a very quick and violent motion in the foreground. It is constantly squeaking due to the violent motion and there will also be creaking noises to suggest that the things inside are constantly colliding. In the background, we see trees and woods passing by very quickly. All of this violent shaking, noises and the passing by of trees are to show the quickness in Rudy’s run and the anticipation of something great ahead. Transition: Zoom out Camera Shot 9: Long shot The camera shot will gradually zoom out of the toolbox and show the entire body of Rudy. It will continue to zoom out while it gains height. Then the camera view will slowly slow down (but not stop), giving it the affect that Rudy is running further away. It will take Rudy about 5 seconds to run far enough for him to basically disappear and this is when Liesel comes into the picture frame, chasing after Rudy. The camera shot will continue to gain height and within seconds it will climb above the trees and show us a low-altitude, aerial view. The aerial view will show collections of trees and fragments of a river. We will see that in the distance there is smoke rising above the trees, indicating the occurrence of an accident. Transition: Straight cut

Camera Shot 10: Medium shot (15ft.) We’re cut into a scene in which we see Rudy facing forward, gasping for air. Seconds later, Liesel becomes visible in the background, and we see her run up beside Rudy, stop, and pant. At this moment cracks of fire can be heard and flashes of fire can also be seen reflecting on the faces of Liesel and Rudy. Rudy stands up, and faces Liesel. Transition: Straight cut

Camera Shot 11: Over the shoulder (of Liesel) We see the face of Rudy over the shoulders of Liesel. He waits about 5 seconds to catch his breath, swallows, and says, “Well, should we take a look?” (One second pause) Liesel is shown nodding.