1. The first shot is an establishing shot where the victim is running down a path and the camera is behind her. At this point, the audience are oblivious to what/who she is running away from and that she is pregnant and the killer had beaten her before she got away.
2 + 3 + 4 + 5 + 6 are POV shots from the victim running down the path. This makes the audience feel more involved as they get a sense of her urgency. Then the victim turns around to see how far behind the killer is, and this is the first time the audience are introduced to the idea that someone is after her. However, as this is a film opening, they will not discover why he wants her.
9. is a close up of her arm as she is leaning against the tree. The audience see a branch cut her and she starts bleeding.
10 + 11 + 12. A mid shot of the victim and the audience see her observe the cut on her arm and squirm at the sight of it. Then, she turns around and her face changes to signal that the killer is getting closer, so she continues running.
13. is a framed as a midshot but it shows his hips and legs so the audience are able to see that the killer has just approached the branch with the victim's blood on it.
14. is the same midshot however the killer bends down to observe the branch. The audience see the killer study the blood with a sadistic grin on his face.
15. is a close up of the killer's face as he smells the blood. This emphasizes to the audience that he is a blood-thirsty killer who enjoys goriness, pain and death.
16 + 17. are wide establishing shots, framed as full body shots, so the audience see the killer rise and begin to sprint, the scent of blood spurring him on, making him more determined to get her to kill her.
18. is framed as the same establishing shot as before, but panning is included which follows the killer running, but then slows down to exaggerate his speed now that he is motivated by her blood.
19. is another establishing shot framed as a full body shot, and is at a high angle, making the victim seem inferior and weaker than the agile and fast killer. Through this shot the audience see her slowing down, she is now tiring and needs to stop. She stops running forward and moves to the side.
20 + 21. A midshot in which the audience see her move behind a thick tree in order to hide away from the killer. They see her panting, then tilting is used to follow her as she falls down to the ground, tired and frightened, and she puts her head in her hands and weeps.
22 + 23. A close up showing her upset, melancholic expression, and she takes her Cross necklace and looks up and says "Please God, save us". (We chose to include a Cross as it is ironic because she is a prostitute who is pregnant and unmarried.) The camera then tilts down to show the audience who 'us' and this is when the audience officially discover she is pregnant.
24. is the killer's POV as he approach the tree the victim is hiding behind. This will make the audience feel helpless as they know he is there, but the victim does not.
25 + 26. A low angle shot of the ground where the victim and killer's feet are visible. The audience see his feet walk up to the tree and pause, holding them at the edge where they are waiting and wanting to see what he does to her. She is crying so hard that she cannot hear him approaching her. In the same shot, the audience see him move around the tree.
27. A high angle close up shot of the victim, making her appear smaller and weaker compared to the killer. The close up reveals her reaction to seeing the killer.
28. A two shot of the victim and killer to empahsize how he has finally caught her. The audience see the killer grab the victim by her neck and drag her up so she is standing face-to-face opposite him. He then strangles her.
29. is a close up, framed as a high angle POV from the killer, displaying her distressed face as she tries to scream for help. The camera zooms onto her mouth.
30 + 31. An extreme close up of the victim's open mouth as she is screaming and the camera continues zooming into her mouth and then fades out into the operation scene.
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