The films opening sequence begins with instrumentsthat contrast: they differ in speed, sound and emotion– creating a sense of confusion towards the audience.The camera then displays a close-up of a personsshoes – the audience are therefore not introduced tothe character properly.
The shot then fades into an extreme close-up of thecharacters face – this transition between these two shotsproduces an element of mystery about the character. Tofurther support this idea, his face is obscured by his handsand the shot begins being out of focus, then the use of afocus-pull brings the character to the audiences attention.
The film then cuts to a master shot: viewers know where thecharacters are, and where they are positioned within their setting:the characters appear isolated due to the high walls and emptinessaround them. The set includes a tunnel which is completelyblack, this may have been used to reinforce the aspect of mystery;audiences are unaware and are not being told anything at thispoint of the story.
The film continues to cut back-and-forth from each character – as ifit is implying there’s a relationship between the two, and as a resultof having no sound apart from the continued instruments, it makesthe scene quite intense. Audiences understand that the twocharacters know each other because, as the girl lay dead by thewater – a mid-shot shows her to be motionless and pale – the malecharacter is crouched down and is intensely staring at her body. Hisbody language implies he is shaken-up over what has happened tothe girl as he hasn’t moved – as if he’s in a state of shock.
The film then cuts to a shot of girls arm, anddraws the viewers attention to the bracelets sheis wearing. There is then a graphic match onthe bracelets: allowing the film to link to thetwo shots together.
We then recognise that there is a change insetting due to the diegetic sound of the schoolbell, lockers shutting, people talking andmoving – audiences comprehend that this is theconnection between the two characters we havealready been introduced to. There is ajuxtaposition in the settings used: the school issafe and is a form of normality, but the stormdrain is creepy and unusual.
The film then suddenly cuts to the title of the movie:bold, white text over a black background. As a resultof this, it seems quite alarming, and puts emphasis onthe meaning of the title. The text indicating a timelineacts as confirmation that the beginning of the film wasnot happening chronologically.
The camera then cranes down to a close-up of thecharacters shoes again – yet this time, at a differentsetting – this has been done so the audience recollectthe memory of a similar shot, and realise who thecharacter is and his importance.
An extreme close-up is the used: displaying thatnobody is around him, although we as audiencesknow who sent him the note, he doesn’t. The use ofeither too close/too wide shots on the character enablethe viewers to still not be properly introduced to him– he’s a stranger to us; we haven’t been told anyinformation about him.
The film then cuts to a point-of-view shot ofthe note he has received, allowing audiences toview it from the subjects perspective – this isthe first time audiences are actually given anyinformation about the activity of the character.