This document provides a shot list for a film titled "Something In The Past". It describes 26 shots across 5 scenes. Scene 1 introduces the protagonist Doug at his house. Scene 2 shows flashbacks of Doug's past alcoholism and its impact on his family. Scene 3 continues with Doug leaving the doctor's office. Scene 4 shows Doug buying alcohol and making a phone call. Scene 5 depicts Doug visiting his daughter Lilly's house for the first time, with tension between Doug and his son Michael. The shots provide close-up, medium, and long shots to advance the narrative and develop the characters and their relationships.

1. Shot List Final Draft
Something In The Past
Daniel Parker-Smith

2. Scene 1, Introduction, Doug’sHouse
Shot
Shot
Numbe Description
Type
r
1a CU bottles of alcohol on a cabinet, track across bottles left to right
bottles of alcohol and door, track from bottles to open door. This
1b CU
shows the contrasting bright light with the dark, dim room.
photo frames on a cabinet, track across showing photos, left to
1c CU
right
1d CU continue track to show a half empty glass
As protagonist picks up the glass, the camera follows the glass to
1e CU
protagonist and zooms out to show his face

3. Scene 2, Doctors
Shot
Shot
Numbe Description
Type
r
main character sat on medial gurney. Camera zooms in on eyes.
Doctor's voice fades in, "Mr Robinson, due to ignoring our advice
to stop drinking your liver is almost past the point of recovery. A
transplant is out of the question and if you continue drinking like
1a MLS this, we won’t be able to do anything to help you.
We can however make you more comfortable for the future...
Would you like to talk about your options, I could refer you to a
local hospice".
over shoulder shot from Douglas, doctor shown. Doug, (head in
1b MCU hands, breaths in and out heavily and then become serious.) "I can
manage on my own".

4. Scene 3, Leaving Doctors
Shot
Shot
Numbe Description
Type
r
1 LS Douglas leaves doctors and walks down corridor.
2 MS Douglas enters the car, starts the ignition and drives the car out of the shot.
3 MS Car enters the shot with Douglas inside.
4 MS Douglas exits the car.
Douglas exits the car and walks towards the house. Camera tracks from
5 LS
right to left, focusing on Douglas as he nears the house door.

5. Shot
Scene 2, Numbe
r
Shot
Type
Description
Flash- 1 LS Douglas enters house, walks inside and closes the door.
show Douglas from behind and pan from left to right as he looks
backs 2 CU
across room
house 3
4
MLS
LS
shows Douglas from front closing the door behind him.
Douglas in the house, hearing echoes and sounds, reverb, etc
5 CU Douglas’ face close up
6 CU to LS Douglas starts to walk out of shot down corridor
Camera inside a room as Douglas walks past the door frame
7 MLS
outside
8 MCU Camera follows Douglas down corridor
Doug walks into a room and see’s his former self sitting in an
15 MS armchair, next to him, a half empty whiskey bottle, his daughter
is behind a newspaper he is reading)
Lilly turns off a record player that Doug is listening to, to show
him a dance routine. Over the shoulder shot of young Douglas
16 CU
looking at his daughter as she pulls the newspaper down to see
him. Lilly, "Daddy look at what I learned at ballet today…"
over the shoulder shot from daughter looking at young Doug sat
17 CU
in the chair. (Lilly begins a short dance).
over the shoulder shot of young Doug looking at his daughter.
(He stands up to put the music back on). As he sits back down
18a CU
the music plays, Lilly stops, looks confused, "This isn’t the right
music…"

6. over the shoulder shot from daughter looking at young Doug sat
Scene 2, 17 CU
in the chair. Doug replies, "Well this is my music, my house and
my time. If you can’t dance to this then you won’t dance at all".
(Puts paper back up to block her from his sight). Lilly walks
Flash- away slowly crying as Doug remains silent.
backs 19 CU
Present time Doug is shown appaled after seeing the flashback,
he walks out of shot with his hands on his face, ashamed.
house 9 MCU
Douglas walks down corridor as camera tracks to follow him. He
walks into the kitchen and after hearing audio hallucinations and
moving towards them, a flashback is seen from over shoulder of
Doug.
Past Doug walks into the kitchen and to his drinks
9B MLS cabinet/cupboard, he realises that one of his favourite decanters
is near to empty, he angrily calls down his son in a fit of rage.
Doug is angry as Michael enters. (These shots will be filmed on
9C MCU a handheld camera and film close ups on the characters faces to
emphasise the tension of the scene to the audience).
Over shoulder shot from Michael, looking at Past Doug. Past
11 MCU Doug, almost shaking with rage, looking at the container rather
than looking at Michael "Would you care to explain this?..."
Over shoulder shot from past Doug, looking at Michael.
11B MCU Michael, smug, "Well it seems that you’ve finally drunk yourself
to the bottom".
Over shoulder shot from Michael, looking at Past Doug. Doug
replies very angry, "DON’T YOU TALK BACK TO ME; I AM
THE HEAD OF THIS HOUSEHOLD. AND IN THIS HOUSE
11 MCU
YOU FOLLOW MY RULES, WHATS MINE STAYS MINE!"
(During this dialogue shot 11B will be shown to indicate
Michael, calm, as this is usual behaviour from Doug).

7. Scene 2,
Over shoulder shot from past Doug, looking at Michael.
Michael, still appearing smug/cocky, "Why would I want to
drink that? And end up like you?!". (Camera remains on Michael
Flash- 11B MCU
as Doug replies). Michael, looks down shaking head as Doug
replies, "And what’s that supposed to mean?". (Upon Doug's
backs reply, Michael lifts his head to reply, "How you care more about
your booze than the rest of the family, did you even notice that
house
its..." (He is interupted by Doug).
Side shot of Doug's face, slight worms eye view, tension
increased. Doug, very angry, "How dare you talk back to me in
11C MCU
that manner, I put a roof over your head" (Upon the word "head",
Michael interupts Doug).
Michael, bursts with anger at his father, " YOU’VE DONE
11B MCU
NOTHING!".
Over shoulder shot from Michael, looking at Past Doug. Past
11 MCU Doug, almost shaking with rage, looking at the container rather
than looking at Michael "Would you care to explain this?..."
Over shoulder shot from past Doug, looking at Michael. Doug
11B MCU
appears very angry, eyes wide, teeth grit etc.
Doug takes a swing, begins to hit Michael. The hit is not seen by
9B MLS
the audience and the camera cuts before his hand hits Michael.
The hit is heard during this shot. Present time Doug shuts his
12 CU
eyes and turns away from the flashback.
MCU to Over shoulder shot shows the flashback gone, Doug walks down
13
LS hallway into kitchen where the flashback was.
Doug starts to walk away from the over the shoulder camera
shot, stops, leans against the wall, starts to break down, ashamed
13B MCU of his actions from the past. (A MCU side-shot will be shown to
emphasise this more to the audience and make the emotion have
more of a connection with the audience).

8. Scene 2, 20 MS
Douglas enters corridor and Vera is shown in the background
near the doors with a suitcase by her feet.
Flash- 21 MCU Vera, "Come on kids, we’re leaving!"
Camera pans down as the children walk down the stairs. (they
backs 22 MLS
both seem sad yet confused). Lilly, "What about daddy?"
Past Doug enters the room, stopping at threshold, leaning on the
house 23 MS
door frame, casual, little emotion shown.
21 MCU Vera, "He’s staying here"
22B MCU Michael, "Why?", confused, looking at Vera and Doug
Vera, "Because your father obviously doesn’t want to see us
21 MCU
anymore…"
Past Doug still leaning casually on the door frame replies,
23 MS "That’s not true you’re my family". Still little emotion and care
shown towards Vera.
Vera, slightly angry and disgusted at Doug's response, "Maybe
21 MCU
you should treat us with the respect we deserve?"
Past Doug stops leaning on door frame and moves towards Vera
as children move towards Vera from the stair case. Past Doug,
"What you deserve? You deserve a man like me, to take charge,
23 MS to take care of you (looks at wife and children and a MCU is
seen of the two children, Lilly appears very innocent, sad,
clutching a toy). During the MCU on the children Vera responds,
"A man like you? Have you seen yourself, (cut)
21 MCU Vera, angry, "you’re a disgrace!"
Camera outside house seeing Vera and children leave, Doug
24 MCU
stood in doorway
25 MCU Vera turning head to look back.

9. Scene 2,
Flash-
backs
house
Vera and children walking away, a close up of Lilly is shown,
27 MLS
she appears very sad.
Younger Douglas shown disgusted and angry and camera pans
28 MLS
from right to left to show present Douglas ashamed, distraught.
present Doug distraught. Camera stays on him, continuous shot
as he walks away from doorway, finds a nearby chair, falls into
29 MCU
it, hands on face, sad. (Very dark lighting within the room he
walks into).
30 - FADE TO BLACK from shot 29

10. Scene 4,
Morning
Journey Shot
Shot
Numbe Description
Type
r
1 LS Douglas asleep in chair
Doug awakes, he breathes heavily, strokes his beard/5 o clock
2 CU shadow, gazes quickly around and with little hesitation, stands up and
walks out of shot.
3 MS Douglas driving in car, camera interior.
4 ELS Doug's car arrives outside shop
5 LS Doug walks from the car to the shop, hands in pockets, cold morning.

11. Scene 4,
Morning
6 MCU Doug enters the shop and shuts the door behind him, MCU on face.
Journey 7 MS Douglas walks towards counter. Camera stationary.
A 2 shot from side is shown of Douglas and Shop Keeper. All the
dialogue for the two characters is within one continuous shot.
8 MS Shopkeeper, "Morning Doug". Doug, "bottle of whiskey". Shop,
(Passes whiskey) "that won’t do your cough any good", smiling,
slightly laughing. Doug, "A cough is the least of my worries
(awkward, light laugh under breath) im dying". Shop keeper
(awkward expression, coughs) "uhh, £10 straight please".
9 MCU Over shoulder shot of Doug looking down at his wallet.
Close up of Doug's hands as a photo falls out of the wallet. (Doug
10 CU
searches his wallet and an old photo falls out).
8 MS 2S MS, Doug reaches down for the photograph and then stands.
Over shoulder shot looking at Doug's photograph (camera zooms to
12 MCU
show photo clearer).
2 shot, side shot. Doug looking at shop keeper. Doug puts the money
13 MS on the counter and begins to walk away. Doug walks out of shot
leaving only the shop keeper in shot. Shop keeper, "uhh, cheers"
The front of Doug's face is shown, looking down at photo, he walks
13B MCU
out of shot showing shop behind him

12. Scene 4,
Morning
Journey Douglas closes the shop door, looks towards his car and walks to it,
occassionally pearing at the photo as he walks to his car. As he walks
14 MLS the camera pans from left to right, following him to his car. He gets
inside the car, closes the door and holds the photograph on top of the
steering wheel, staring at it.
Over shoulder shot from Doug, camera pans down from face to photo
16 MCU
in hands.
Doug reaches for his phone puts that on the wheel and stares at it in
14 MLS
the same way as the photograph.
A close up on the phone, he goes down a contact list and see’s Lilly’s
14B CU
name.
14 MLS He breaths heavily in contemplation, and strokes his beard, etc. After
a few moments of thinking he puts the phone to his ear, very nervous.

13. Scene 5, Shot
Numb
er
Shot
Type
Description
Lilly’s 1 LS Establishing shot of house. Showing Doug walking up to door.
House 2 MCU A side shot, showing Doug knocking on the door.
Over shoulder shot from Doug. Lilly opens the door, looks quickly at
3 MS Doug who peers towards the door, she then walks quickly away into
the house, shy.
Camera inside the house, Lilly quickly walks out of shot avoiding
4 LS Doug. Doug stands at the door, confused and curious of the house he
has never visited.
from behind Doug’s head, camera pans to see Lilly and Doug inside
5 MCU
room facing Doug
MCU of Michael on left of frame and Lilly (MS) on the right of the
6 MCU frame. Lilly appears quite reserved and Michael acts very formal,
"Have a seat"
Doug says quitely "Thanks", almost intimidated by the two,
7 MS
especially Michael and sits down quickly on the seat nearby.
All 3 characters in room are in silence, it is quiet, the tension is high
8 LS
and the overall atmosphere of the shot is very awkward.
9 MS Lilly, shy, "Umm, Do you want a cup of tea?"
Doug in the chair, front shot. He replies, close to stuttering, slightly
10 MS intimidated, "Uhh, yeah please, 2 sugars". He appears awkward sat in
the chair
Lilly leaves the room quickly, "1 minute". Doug’s arm chair is in the
11 MLS
right of the shot
Michael sits in the chair formal and silent as Lilly crosses the shot
12 MS
and leaves the room.

14. Scene 5, Doug leans forward sat in the chair, "I know I’ve done wrong in the
13 MCU
Lilly’s 12 MS
past" (interupted by Michael).
Michael sits in the chair formal, Interupting Doug, "Don't".
House 13 MCU Doug leant forward sat in the chair, "No, I need to say this."
Michael sits in the chair formal, "say what?". Doug begins to talk
12 MS while Michael sits in chair in shot looking uninterested. "I’m so sorry
for what I did to our family, ..."
Doug leant forward sat in the chair, continues talking, "I should have
13 MCU
realised it was wrong long before now".
Michael leans forward towards Doug while sat in chair, aggressive,
12 MS
"Are you expecting us to forgive you?".
Doug, "No", pauses, leans back in chair, "what I did to you and your
13 MCU
mother was unforgivable".
Michael in background, in the foreground Lilly enters, while talking
15 MLS
puts down the tray with tea, "Yes it was, but you’re still our father".
Doug leans forward sat in the chair, Lilly steps into the shot and
hands Doug a cup of tea. Michael, "Shame he didn’t act like It",
16 MCU
Doug takes Tea and Lilly walks out of shot as Doug replies, "You
know I’m sorry about that".
Michael talks in shot and in the middle of dialogue Lilly sits down in
17 MS he right of the frame. Doug, "It’s not enough to be sorry". Two shot
of Michael and Lilly sat down in frame.
Doug leant forward sat in the chair, "I don’t expect you to forgive
13 MCU
me; I just wanted to be able to see you both".
17B MCU Lilly, shy, "And mum?"

15. Scene 5, 13 MCU
Doug leant back, relaxed in the chair, "She wouldn’t have come if I
asked her".
Lilly’s 12 MS
Michael, "maybe if you treated her better we wouldn’t be having this
conversation".
House 13 MCU
Doug leant back, relaxed in the chair, "I can’t change the past, but I
can apologise for it".
Lilly, shy, "We know you’re sorry, we’re just finding it hard to
17B MCU
forgive you… you ruined everything …"
continued talking while the side of Doug's face is shown, "You’re
still our dad and we love you but we just can’t forgive you". As Lilly
16 MCU
finishes talking, Doug leans forward and replies, "I know I was out of
control…. I’m sorry for everything, …
continued while showing Michael shaking his head in disbelief, "I
12 MS wasn’t always like this, there was a time when were happy", (Michael
looks up briefly)
Side of Doug's face shot. Continued, Doug, very saddnenned by his
16 MCU speech, "all of us. You probably won’t remember though, I just wish
it was all like that".
Two shot, Lilly and Michael. Michael, "We remember you drinking
17 MS yourself into a coma". Lilly, shy, "I remember…". (She pauses and
then walks across the room towards a drawer).
16 MCU Side shot of Doug, he watches her cross the room
17C CU Close up of Lilly's hands holding photograph
17B MCU Lilly looks at Doug, sad.
Close up of Lilly's hands as she passes the photo to Doug, his hands
17C CU appear in shot and he takes the photo. As he does, camera pans up to
his face. Doug, looking at Lilly, "I didn’t think you’d keep this".

16. Scene 5,
Lilly’s
House
Close up of the photograph, over shoulder shot from Doug, zoomed
17D CU in very far to photo and some hands showing. "We missed you dad, it
was the only photo where we were
17B MCU Lilly in shot, continued dialogue, "...all truly happy".
Doug, front shot, sat in chair, he breathes in vert traumatised, puts the
10 MS
photograph and his hands to his face, hiding slightly behind it
Two shot, Lilly and Michael. Lilly, calm sympathetic, "Its ok, dad, its
ok". Michael turns to her, "Its not ok, what part of our past was ok?!
17 MS (Angry)". They both argue, "He’s sorry, can’t you see that?".
Michael, aggressive, not shouting, "Maybe sorry isn’t good enough".
(Stands up and walks around)
Side of Doug's face, Doug, "It isn’t", he breathes out and moves his
16 MCU
hands and the photo away from his face, "but it’s a start".
12 MS Michael, "Why did you come? (cut line??)
Continued shot, Doug, "I wanted to be able to sleep at night knowing
16
MCU that my children know im sorry for what pain I’ve caused them in the
continued
past".

17. Scene 5, Two shot, Lilly and Michael. Lily, "We know you’re sorry", leaning
Lilly’s 17 MS
closer to camera + Doug. In the middle of Lilly's dialogue Michael
sits back down, as she finishes dialogue Michael reponds, "But why
now?".
House Doug's face, 45 degrees, imbetween front shot and side shot, his head
18 CU tilted down slightly, eyes closed before talking, eyes open as he
speaks and lifts head. "Because I don’t have much time left".
17B MCU Lilly, "What do you mean?"
Doug's face, 45 degrees, imbetween front shot and side shot, his head
18 CU
tilted down slightly. "It doesn’t matter, what matters is I’m here".
Lilly, "What’s wrong dad?". Slightly more zoomed than 17B,
17B MCU
increasing emotion etc.
Doug, head now up looking at Lilly. "Nothing… Nothing.. I’m fine
18 CU Lily…". Looks around the room, glances at a photo in a frame, he
begins to stand going out of shot, cut.
Doug stands from chair and walks across the room as Lilly and
19 LS
Michael watch him.
Doug's face, "He turns I remember this; this is from Michael’s
20 MCU
birthday (pause) you both look so... different".
Two shot, Lilly and Michael. Lilly stands and camera goes up staying
at eye level to her. Camera zooms as she walks towards Doug. As she
stands and walks she says, "Yeah, that’s one of my earliest memories,
one of my favourite too". As she reaches him at the end of her
17 MS
dialogue, she puts her arm around him, the shot becomes a two shot,
side shot, MS of them both close together facing each other. Doug,
"Do you have anymore photos like these?". Lilly, "Yeah, (walks out
of shot)"

18. Scene 5,
Lilly’s
House
Lilly to right of shot looking back at Doug, ". We’ll go through them
21 MS
now for a bit if you’d like to stay for a while, that’d be nice"
Doug mirrors shot 21 and as on the right of the frame, "yes, yes it
22 MS would". Lilly begins to walk away, (footsteps heard). Camera moves
to thr right as Doug turns, smiling to Michael.
Michael, still sat in chair. Looking back at Doug he lightly smiles and
12 MS
stands moving out o shot.
As Lilly walks down the center of the frame into another room, Doug
is on the left of the frame. Michael (now nearly stood from moving in
23 LS
previous shot) walks over to Doug and puts his arm round him. Doug
looks gently towards Michael and does the same.

19. Shot
Shot
Scene 6,
Numbe Description
Type
r
Park
1 ELS A long, wide walkway is shown from a park
2 MLS A tree canopy is shown with light shining brightly through
Scene 3 MLS
Doug enters the park through a gate, he has his hands in his
pockets and looks around as he walks. The camera pans from left
and to right as he moves further into the park.
Douglas starts to walk im-between two trees as the light of the
Ending 4 MS park shines through he apprears as a shadow in the light. (Shot
45)
Doug takes the old photograph from his pocket. As he does the
5 CU camera follows his hand and he carries it facing the camera while
walking.
A slight worms eye view of Douglas walking out of shot towards
6 MLS
trees opening.
Camera stationary as Doug walks down hill. He is in the center of
7 MS the shot throughout getting further away from camera, shot will
last approx. 30 seconds.
A long, wide walkway is shown from the park same as before and
1 ELS
Doug walks across it from left to right.
9B LS From front, Doug walks down stone stairs in park
9 LS Douglas walks down stairs. Camera from side
The side of Douglas’ face is shown as he turns to see his former
self (past Doug) and his wife (past Vera) having a discussion.
10 MCU
Camera pans left from Doug's face to an over shoulder shot from
Doug looking at them.
Over shoulder shot of dialogue from past Doug looking at Vera.
11 MS Doug, "Maybe we should think about getting away for a while? It
may cost a bit but im sure we can manage".

20. Shot
Shot
Scene 6,
Numbe Description
Type
r
Park
1 ELS A long, wide walkway is shown from a park
2 MLS A tree canopy is shown with light shining brightly through
Scene 3 MLS
Doug enters the park through a gate, he has his hands in his
pockets and looks around as he walks. The camera pans from left
and to right as he moves further into the park.
Douglas starts to walk im-between two trees as the light of the
Ending 4 MS park shines through he apprears as a shadow in the light. (Shot
45)
Doug takes the old photograph from his pocket. As he does the
5 CU camera follows his hand and he carries it facing the camera while
walking.
A slight worms eye view of Douglas walking out of shot towards
6 MLS
trees opening.
Camera stationary as Doug walks down hill. He is in the center of
7 MS the shot throughout getting further away from camera, shot will
last approx. 30 seconds.
A long, wide walkway is shown from the park same as before and
1 ELS
Doug walks across it from left to right.
9B LS From front, Doug walks down stone stairs in park
9 LS Douglas walks down stairs. Camera from side
The side of Douglas’ face is shown as he turns to see his former
self (past Doug) and his wife (past Vera) having a discussion.
10 MCU
Camera pans left from Doug's face to an over shoulder shot from
Doug looking at them.
Over shoulder shot of dialogue from past Doug looking at Vera.
11 MS Doug, "Maybe we should think about getting away for a while? It
may cost a bit but im sure we can manage".

21. Scene 6, Over shoulder shot of dialogue from Vera looking at Past Doug.
(Vera pauses looking down, then looking at Doug. Vera, " Are
Park 11B MS
you sure we should be thinking about a holiday when there is
gunna be the 3 of us… "
Scene 11 MS
Over shoulder shot of dialogue from past Doug looking at Vera.
Doug, "What do you mean? 3 of us?"
and Over shoulder shot of dialogue from Vera looking at Past Doug.
11B MS Vera, pauses, laughing lightly, "You, me… and the baby". Looks
Ending down at stomach.
Past Doug reaches to hold Vera's hand and they both smile.
12 MS Present Douglas in the background, the flashback characters fade
out.
Dougs face is shown in the center of the frame and with some
13 CU
trees in the background, Doug turns to look at them.
Douglas revealed as camera pans from behind tree around the,
14 MCU
right to left, to show his face.
15 CU Close up Douglas’ hands with photograph.
Camera behind/side tree to show Douglas sat at the tree with
16 LS
Family in the background, unrelated family.
MS from behind tree to show back of Douglas’ head and family
17 MS
in background.
MCU to MLS of Douglas’ face to full body view whilst Douglas
18 MCU
sat at tree. Camera zooms out when Douglas stands up.
19 MLS LS of Douglas moving from tree to path. Camera stationary.
MCU back of Douglas’ head. The café and other people are all
20 MCU
still in shot.

22. Scene 6,
Park
Scene 21 CU Still on Doug, (Andy Warhol screen test, etc)
and 22 CU CU of Doug pulling tablets out of pocket
Ending 23 CU CU of hand, camera follows hand from pocket to face.
LS of Doug taking tablets tree and field visible. Doug sits back
24 LS
down after taking tablets.
25 MCU MCU from front thinking about drinking. Ruffling stubble.
MCU of side of face showing drinking it. Follow on from 25.
26 MCU
Then reaches down for alcohol and drinks it.
360 shot. LS pan from left to right, starting with Doug, then
moving to Young Doug flying a kite with daughter and then she
runs away, to which Doug walks over to his son and plays
27 LS
football with him. The ball the goes out of shot and the family are
eventually reunited at a picnic on the last shot before the camera
pans back to preset Doug at the tree.
CU to CU to an ECU of Doug’s face to Doug’s eyes, as he closes his
28
ECU eyes the shot is cut to black.
29 Various Still shots of park, day.