SCENE ONE - DAY - EXT.
1. An establishing shot tracking inward to the block of flats that Perry lives in.
SCENE TWO - DAY - INT.
2. A long shot of the cat lying on the couch.
3. A rear long shot, just out of the door of Perry walking into the room.
4. A medium shot of Perry as he speaks.
5. A 3/4 long shot of the ned from the corner of the room showing both Perry and Crawford.
6. A P.O.V. shot from Perry's perspective as Crawford gives a thumbs up.
SCENE THREE - DAY - INT.
7. An establishing shot from inside the court, behind Perry standing up in front of Judge Archer, this goes on as the Judge speaks his first line.
8. A medium shot of Perry as he speaks his line.
9. A P.O.V. shot from Perry's perspective looking up at the Judge as the Judge speaks his line.
10. A P.O.V. shot from the Judge's perspective looking down at Perry as he speaks his second line.
11. A P.O.V. shot from Perry's perspective again as the Judge speaks his third line.
12. A P.O.V. shot from the Judge's perspective as Perry speaks his third line.
13. A medium shot of the Judge as he looks bewildered by Perry's reason for urinating on the police car. He then hammers his pallet.
14. A P.O.V. shot as Perry speaks his final line.
SCENE FOUR - DAY - EXT.
15. Another establishing shot that tracks into the block of flats where Perry lives.
SCENE FIVE - DAY - INT.
16. A long shot tracking in from above Perry's bed as he says his line and ponders.
17. A long shot from the bottom of the ned's bed as he suddenly sits up and exclaims that he's got it. The cat flies towards the camera.
18. A tight long shot as the cat slams into the wall and slumps down.
SCENE SIX - DAY - INT.
19. A long, 3/4 shot from behind Perry, with the door in the way as the top of his body is bent inward to the cupboard. His legs are the only thing visible.
20. A long shot just above the cat as he watches things fly over his head, and something nearly hits him, thus jumping out of the shot and back in after the bathroom sink misses him. Perry's rummaging slows.
21. A medium shot looking up at Perry as he exclaims "Oh Snowball!"
22. A P.O.V. shot as Perry looks down at Snowball's bones.
23. A medium shot looking at Perry, shoulder height as Crawford looks around his shoulder and meows. Perry speaks his line. He then throws Snowball towards the camera into his final resting place.
24. A rear medium shot as Perry speaks his line, and then turns around holding the firework and smiles dastardedly.
25. A long shot, just above the cat looking down on him as he gulps.
SCENE SEVEN - DAY - INT.
26. Medium shot, tracking outward to a long shot of the cat strapped to the firework. The duct tape then snaps and the cat slumps down to the ground.
27. A long, 3/4 shot from behind Perry, with the door in the way as the top of his body is bent inward to the cupboard again. He says his lines.
28. A long shot showing the cat, as Perry walks by him and chucks the army man at Crawford who catches the army man after it hits him on the head who looks confused. The cat then rolls his eyes.
SCENE EIGHT - DAY - INT.
29. A close-up of the firework as Perry paints NASA decals onto it, the shot tracks up after seeing him stick on a sticker.
30. A long, rear shot of the cat doing mathematical equations on a blackboard.
31. A close-up of Perry's head as he puts on goggles.
32. A long shot of Crawford duct taping the army man to the firework.
33. A medium shot of Perry's torso as he puts on his labcoat.
34. A long shot of Crawford setting up a launchpad and sticking the firework into the ground.
35. A close-up of each hand as Perry puts on his rubber washing up gloves.
36. A close-up of the firework as the camera tracks all the way up it showing all the work that Perry and Crawford have done to it.
SCENE NINE- DAY - EXT.
37. A long shot of the rocket, to the left of the shot, while the two are in the background of the shot, to the right.
38. A medium shot of the cat putting on his goggles.
39. There is a transition to this shot from the last shot in the manner of a blur. It is a medium shot of Perry as he says his line.
40. A long shot of the two as the cat moves out the shot towards the iPod dock.
41. A 3/4 long shot of the cat as he nears the iPod on the dock and puts his paw out to touch it.
42. Close up shot of the iPod Touch as Crawford navigates to the "Countdown" app.
43. A medium shot of Perry's lower half, with the rocket to the left hand side of the shot as he bends over and pats the rocket saying his line.
44. A close-up of Perry lighting the fuse.
45. A long shot, that turns to a medium shot as the two characters run towards the camera away from the firework as it's fuse counts down.
46. A long shot of the firework as it shoots up from its launchpad.
47. A long shot of the two's eyes blinking in the smoke.
48. A long shot, that tracks into a close-up of the army man as the firework gains altitude.
49. A long shot of the two coming out of their shelter and looking upward at the firework.
50. A long shot/medium shot that looks down on Govan. The firework careers into the left of the shot and explodes.
51. A medium shot of Perry with his arms outstretched, mouth opened in awe.
52. A medium shot of Crawford with his arms ourstretched, mouth opened in awe.
53. A long shot of the two standing with their arms outstretched as they are showered with debris.
54. A P.O.V. shot from Perry's perspective looking down at Crawford as he smiles.
55. A P.O.V. shot from Crawford's viewpoint as Perry scowls at him and says his line.
56. A long shot showing the two as Perry walks off into the close, with Crawford in tow.
SCENE TEN - NIGHT - INT.
57. A long shot of Perry lying on the couch as the cat walks into the room and sits in front of Perry's face.
58. A P.O.V. shot from Perry's perspective looking down at Crawford.
59. A medium shot of Perry as he says his line.
60. A long shot of the two lying on the couch as the cat jumps up and nestles up into a ball on Perry's stomach.
SCENE ELEVEN - NIGHT - EXT.
61. An establishing shot of the block of flats in Govan where Perry and Crawford live, it starts from a close up of the window, in which we can see the two lying down on the couch. The shot tracks back from their window, which is the only light on in the block of flats where they live. The shot continues to track back outward until we are very far away from their flats...and then, we cut.
62. Cue the credits.