This exegesis looks at how the character in goal-driven narrative cinema is cinematically constructed through the unfolding of events within the plot. While screenwriting manuals often separate plot from character, by collapsing action into a focus on the character's psychology, I argue that it is the psychology of the character and the bodily performance of the actor that motivate plot development. A closer analysis of how the character operates within the plot could be of particular relevance to film criticism when discussing the spectacle sequences contained in sports and action films, in which the body of the actor is more heavily foregrounded than in conventional narrative scenes. Through an analytical case study of the sports film Wimbledon, the exegesis demonstrates how the film privileges a focus on the psychology of the main protagonist, and the narrative, at the expense of a closer investigation into the ways in which their body operates within the tennis sequences. Furthermore, this bodily incongruity can be traced back to the film's production methods, in which there is a disjunction between the tennis training of the actor and their cinematic construction. I look to address this disjunction through a short rehearsal video which represents an alternative form of scripting, known as scripting with the body, and serves as an accompaniment to the creative component of this Doctorate of Creative Arts, which is a written screenplay, entitled Game, Set and Murder, in the genre of the psychological sports romance. The video carefully choreographs the movements of the actor as tennis player, training them to move in accordance with the camera. As a result of this previsualisation method, the actor's bodily technique is foregrounded, culminating in the cinematic construction of the heightened sports performance and the delineation of the corporeal, tactile and sensory nature of the character. On another level, scripting with the body provides the screenwriter with a more dynamic role in the filmmaking process, facilitating a more corporeal collaboration between screenwriter, actor, cinematographer and director that could ultimately translate into an embodied, multisensory viewing experience.