Shot 1:
"EXT. THE BIG BLUE SKY - DAY"
WS establishing shot- 747 flying slowly through the clouds; the camera follows it from profile as the plane stays stationary in frame, the clouds passing by it, the plane pointed toward L of frame. Natural sunlight is used.
I wanted to use this particular shot to establish the plane, allowing the audience to get a good look at it and remember just how high up the characters are (to remind them of the stakes after JONES throws PASQUAL out of the plane with him). This is a relatively simple setup for the shot.
Shot 2:
"INT. VIRGIN AIR 747 - DAY"
MS angle dolly tracking of FIRST CLASS CABIN. Dim lighting; key lighting from above, everyone's heads being slightly backlit, faces in darkness. Camera follows FLIGHT ATTENDANT from behind as she pushes the drink cart down the aisle; camera PANS SLIGHTLY RIGHT, still moving forward, to focus on "nervous MAN" before moving past the FLIGHT ATTENDANT who has stopped to give someone a drink. Still tracking
I wanted this first series of scenes to be one long, continuous shot, to allow the audience to get used to the architecture of the plane, as well as establish the FLIGHT ATTENDANT in one smooth shot. The slight panning to emphasize PASQUAL is meant to be a subtle indicator that something is just slightly not right with him, and thus we don't dedicate a whole shot to him.
Shot 3: COACH SECTION
Same M low shot (ctd.) At the lavatory, the camera PUSHES IN ECU on the OCCUPIED sign flipping to VACANT; pan up to reveal face of JAMES EARL JONES
Keeping this the same shot, we learn more about the plane, as well as build tension by waiting to reveal who we are meant to show the audience. The closeup of the bathroom sign is a visual marker to further that tension, and then the closeup of JONES, setting him apart from the medium shots of the other passengers, cements him as the central figure.
Shot 4: JAMES EARL JONES
"I'm sorry sir, This cabin is restricted to first cl"
who then walks past the camera (we follow from behind as with the FLIGHT ATTENDANT), same dolly shot, toward FIRST CLASS. The FLIGHT ATTENDANT, face now visible, gives dialogue, JAMES replying, only back of head seen, haloed by key lights overhead. He continues walking
The camera following him out of the bathroom in the same way allows for a visual linkage between JONES and PASQUAL, as well as show his mysterious nature by hiding his face as he interacts with people.
Shot 5: "THE FIRST CLASS EMERGENCY ROOM"
"They say birds can't fly this high"
First cut; Straight on two-shot of JAMES EARL JONES and PASQUAL, eye-level, with each figure on either side of frame. Lighting is slightly brighter, with amber light from plane windows lighting the right side of their faces.
This shot is relatively simple; by connecting both of them in the same shot, we establish the relationship between them, and let the audience know that they are meant to be paid attention to in the dialogue scene.
Shot 6: FLIGHT ATTENDANT
"Shall I pour your scotch?" Low-angle CU of flight attendant. Lighting is full on, her face more brightly lit than JONES or PASQUAL in other shots.
The flight attendant is emphasized here to establish the comparative dangerousness of JONES and PASQUAL, while at the same time shooting her at a high angle to indicate that she is on a completely different level of discourse than the other two characters.
Shot 7:
"No - I'll take the bottle, Thank you." High-angle over-the-shoulder MS of JAMES EARL JONES. Lighting here is dim, though his face can still be barely seen.
This allows the villain to be seen from a low angle and singled out, allowing his intense brow to be seen and painting him as a more mysterious figure. He will look more menacing by juxtaposition, despite the low angle often making a character look weaker.
Shot 8:
"Well, what about your end of the bargain?"
Eye-level Two-shot, CU, with PASQUAL in foreground, JONES in window seat. JONES pulls out pouch and PASQUAL opens it. Lighting here is still low.
Shooting PASQUAL this way makes it seem as though he is in power, which follows along with what he thinks is happening in the scene. It also continues to obscure JONES slightly, in order to make him seem more mysterious.
Shot 9:
"Ah, C5"
ECU of explosive pack of Certs in JONES' hand. This is well lit by the overhead lights, so the package is clearly visible.
This closeup is merely there to establish the explosive, and make the audience aware of the actual details of the device he is holding.
Shot 10:
Return to eye-leveltwo-shot of PASQUAL and JONES, both equal in frame. Lights go out, leaving them in darkness. Image of in-flight movie projected over their faces as they sigh in relief.
Simple shot as before; the lighting will go out on them to create a sense of tension, but then the inflight movie will play. The projection of the film over the character's faces is a presentational bit meant to convey both that a) an inflight movie is playing and b) the characters are relieved at that.
Shot 11:
Eye-level MS of in-flight movie screen displaying "BOSOM BUDDIES: THE MOVIE". Rest of cabin is dark.
This establishes the movie itself, so that the characters can remark on it, with no frills to the shot.
Shot 12:
"Another movie from an old TV show?"
Eye-level CU of two-shot from aisle, Pasqual down frame.
Return to the aisle shot, very simple. Allows us to see both PASQUAL's deflected tension and JONES' calm collectedness.
Shot 13: "Walk out."
Low angle ECU of JONES' face, right third of frame.
Pushing in on JONES' face like that is the closest we've ever been to JONES, establishing that this is where he makes his move and we learn the most about him. It also conveys intensity.
Shot 14:
"That's very funny."
ECU of PASQUAL, left third of frame. Stays in reaction shot at "No. It isn't."
This shot matches the previous shot, but lingers on PASQUAL to catch his horrified reaction at JONES' line. We now know something is wrong.
Shot 15:
Eye-level Two-shot from aisle; JONES puts PASQUAL in headlock, turning toward back of plane. Scene still lit by BOSOM BUDDIES movie.
Lighting the scene with the BOSOM BUDDIES movie lends an unconventional and kinetic lighting scheme to the scene, as another movie is ostensibly playing over this movie, obscuring much of what JONES is doing.
Shot 16:
"EVERYONE! FASTEN YOUR SEAT BELTS!"
High-angle WS of cabin, aisle center of frame. JONES walks to door.
This wide shot permits us to see the entirety of what is going on, and the geography of the plane as the passengers react in horror to the fight. We also see in one shot JONES and PASQUAL getting from their seats to the door.
Shot 17:
ECU of hand opening emergency door release. Low light.
This quick closeup establishes for the audience what JONES is doing, instilling tension because of the familiarity of the fear of that plane door opening in midair; and gives kinetic action to the scene.
Shot 18:
MS of JONES and PASQUAL getting sucked out into the cabin, papers and wind flowing everywhere.
This shot demonstrates what is going on, emphasizing the two characters in question while permitting some of the background to be seen to be affected by the character's actions.
Shot 19:
WS, handheld, skydiving-cam shot following JONES and PASQUAL in a bear hug, plummeting away from the plane, the camera just ahead of them. The plane grows smaller and smaller in flame.
This shot, seen in many films, allows us to follow the characters as they fall away from the plane, and lets the audience experience vicariously through the film the experience of skydiving.
