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Lesson 11
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David Wickenden Scene Requirements
What I learned from doing this assignment?
Once these requirements were identified, the summary wrote itself.
Teaser
INT. COURTROOM – DAY
Pass 1:
· Start: The family of a young girl waits to hear the verdict on a child abuse charge.
· Challenging Situation: The child has been molested.
· Conflict: guilty/or not guilty verdict.
· Action: The judge acquits the defendant.
· Finish: The child weeps.
Pass 2:
The family of a young girl, SUSAN, waits to hear the verdict on a child abuse charge. The defendant looks confident and even arrogant as he waits for the verdict. The girl is anxious, biting her lip. Mon and dad hold hands, worried. The defendant had molested the young teen (16) and this is the end of two years of legal wrangling to find justice. The judge acquits the defendant. It devastated the family and girl. The defendant is excited and leans to the girl as he leaves the courtroom and tells that he will be seeing her. She breaks down.
INT. HOME – DAY
Pass 1:
· Start: A young girl, LAURA, is doing homework and her mother asks her to get her sister for supper.
· Challenging Situation: This is hours after the court case.
· Conflict: Laura finds her sister hanging in the closet.
· Action: Laura tries desperately to lift her sister so she can breathe but is too weak.
· Finish: Laura is screams for help.
Pass 2:
A young girl, LAURA, is doing homework and her mother asks her to get her sister for supper. She walks up the stairs and enters her sister’s bedroom. The bed is empty. Looking around, she sees her sister hanging by her neck in the closet. Laura screams and runs to her sister. She grabs her legs, trying to lift her sister so she can breathe, but is too weak and is unable to. She is screaming for help.
Act 1
EXT. Sky – Day
Pass 1:
· Start: A group of soldiers lined up inside a military plane. The green light goes on and they jump.
· Challenging Situation: This is a training exercise. They land and advance on a building, guns at the ready
· Conflict: Targets spring up and confront the soldiers.
· Action: A female soldier in the lead takes out targets with the help of her team.
· Finish: The lights go on at the end of the training and the soldier pulls off her helmet to release a long blonde hair. One soldier compliments her.
Pass 2.
A group of soldiers are lined up inside a military plane. The green light goes on and they jump. This is a training exercise. They land and advance on a building, guns at the ready. Targets spring up and confront the soldiers. Together, the team takes out targets. The lights go on at the end of the training and the soldier pulls off her helmet to release a long blonde hair. One soldier compliments her and addresses her as ‘Doc..
INT. Classroom – Later
Pass 1:
· Start: The ‘Doc’ is a PTSD psychiatrist who is begins speaking about triggers and signs of PTSD.
· Challenging Situation: What happens on the battlefield can affect soldiers afterwards.
· Conflict: Recognition and early treatment is the best way to conquer PTSD and many soldiers and 1<sup>st</sup> responders are not getting treatment..
· Action: She teaches them how to help each other.
· Finish: One soldier mentions her competence at the training course and asks why she does it. She tells him that it is important that she can experience what they go through.
Pass 2:
The female solider turns out to be Laura Amour, a PTSD psychiatrist. What happens on the battlefield can affect soldiers afterwards. Recognition and early treatment is the best way to conquer PTSD and many soldiers and 1<sup>st</sup> responders are not getting treatment. She talks about the signs to watch out for and how to get assistance. When asked why she goes through the training, she tells the group that to understand what the soldiers go through; she needs to understand their job.
EXT. Street – Day
Pass 1:
· Start: a young girl is standing alone on a busy street.
· Challenging Situation: A van slides to the curb and the side door opens.
· Conflict: A man grabs the girl and throws her into the van.
· Action: The girls tries to fight but is overpowered by the man.
· Finish: The van takes off with the girl inside.
Pass 2:
A young girl waits on a street corner alone. A van slides in front of her and the door is flung open. A man grabs the girl. She tries to fight but he is much stronger and he throws her into the van. The vehicle takes off.
INT. VAN – Same Time
Pass 1:
· Start: The girl is in the van.
· Challenging Situation: He is bigger than her.
· Conflict: She fights him.
· Action: She beats the hell out of him.
· Finish: She puts her pistol to the head of the driver and tells him she is police and he’s to pull over. A number of police cars block his progress.
Pass 2:
The young girl, JANICE, turns out to be a police officer, and a fight ensues. He is bigger, but between the fighting and erratic driving, the woman subdues the man. She crawls up to the front of the van and puts her pistol against the head of the driver and tells him to pull over. The van is surrounded by police vehicles that block his progress.
Act 2
INT. APARTMENT – EVENING
Pass 1:
· Start: Janice unlocks her apartment door and draws her weapon.
· Challenging Situation: She does a search of her apartment as if scared of being attacked.
· Conflict: She’s looking for an intruder.
· Action: She searches her entire apartment, including closets.
· Finish: Sighs and puts her gun on the counter.
Pass 2:
Janice unlocks her apartment door and draws her gun. She searches her home, including closets with the gun drawn as if scared of being attacked. She’s looking for an intruder. When the place is clear, she relaxes. Even while she cooks, the gun is always nearby. When she brings her supper to the living room where her computer is located, she brings the gun.
INT. Apartment – Later
Pass 1:
· Start: With her food half eaten, Janice surfs the web.
· Challenging Situation: She’s looking for evidence of child abuse.
· Conflict: A child has been abducted.
· Action: She finds a video of a young boy, Ryan, (12) Moving in a dark cell.
· Finish: A voice explains that the child has 90 days to live.
Pass 2:
With her food half eaten, Janice surfs the web. She’s looking for evidence of child abuse and information of a child that has been abducted. She gets a notice. Moving to the notice, she finds a video of a young boy, Ryan, (12) moving in a dark cell. A voice explains that the child has 90 days to live.
INT. OFFICE – DAY
Pass 1:
· Start: Janice walks into an office with a group of detectives.
· Challenging Situation: They have 90 days to find Ryan.
· Conflict: There have been other children who have been killed on live video by the perpetrator.
· Action: They brainstorm a number of ideas and Janice assigns the search to specific cops.
· Finish: Janice is staring at the picture of Ryan and the other children on the wall.
Pass 2:
Janice gathers the other team members, and they talk about Ryan’s case. They have 90 days to find him. They know that he kidnapper has assaulted and killed the other children on live video in the past. They go over cases details and brainstorm new ideas of inquiry. Janice assigns tasks to the team members. She is left staring at the photos if Ryan and the other children which are taped to the wall.
INT. Apartment – Evening
Pass 1:
· Start: Laura and Janice are having supper.
· Challenging Situation: Janice is frustrated with the case she’s working on.
· Conflict: They talk about Janice’s past trauma and her PTSD.
· Action: Laura forces Janice to promise to take a break for her own sanity after this case.
· Finish: Laura gets a call to inform her that one of her patients, a cop has committed suicide due to PTSD.
Pass 2:
Janice and Laura are friends having dinner. Janice is frustrated with the case she’s working on. Laura talks about Janice’s past trauma and her PTSD. Laura forces Janice to promise to take a break for her own sanity after this case. Laura gets a call to inform her that one of her patients, a cop has committed suicide due to PTSD.
Act 3
INT. Funeral – Day
Pass 1:
· Start: Massive police funeral. Laura is there as the police councillor, while Janice is there as a cop.
· Challenging Situation: The loss of a police officer is felt by all.
· Conflict: The widow accuses Laura of not doing enough to save her husband.
· Action: She slaps Laura in the face.
· Finish: Laura is left crying, while Janice watches, unable to get to her friend.
Pass 2:
Massive police funeral. Laura is there as the police councillor, while Janice is there as a cop. Losing a police officer is felt by all. We find out more details on what the cop was working on. As the family leaves, the wife stops and accuses Laura of not doing enough to save her husband. Slaps Laura in the face. Laura is left crying, while Janice watches, unable to get to her friend.
INT. Storage locker.
Pass 1:
· Start: Laura slides open a storage unit and enters.
· Challenging Situation: The accusation and slap has pushed her to contemplate violence.
· Conflict: internal
· Action: She begins loading bullets into a clip.
· Finish: Tears are falling down her cheeks.
Pass 2:
Laura slides open a storage unit and enters. The unit is lined with weapons. The accusation and slap have pushed her to contemplate violence. She grits her teeth as she contemplates the weapons. She begins loading bullets into a clip, tears falling down her cheeks.
EXT. Church Picnic – DAY
Pass 1:
· Start: A summer fundraising picnic takes place in a church parking lot.
· Challenging Situation: He becomes interested in the youngest child, a little girl.
· Conflict: The priest must hide his intentions.
· Action: The priest takes photos of the young girl.
· Finish: When he goes into the church, he puts her picture above a monitor that shows a young boy in a holding cell. The boy is Ryan.
Pass 2:
A church fundraising picnic is on. A priest meets a new family that has moved into the neighborhood. He becomes interested in the youngest child, a little girl. He must hide his interest and intentions. He takes her picture. When he goes into the church, he puts her picture above a monitor that shows a young boy in a holding cell. The boy is Ryan.
Act 4
INT. JAIL – DAY
Pass 1:
· Start: An inmate speaks with his lawyer in prison prior to his release.
· Challenging Situation: Someone has delivered a death threat with new evidence of child abuse.
· Conflict: The child abuser must leave the prison without getting killed.
· Action: The lawyer has negotiated for the convict to be flown to the airport rather than leave by the gates due to the protest and death threats.
· Finish: There is a digital recorder under the desk in the room.
Pass 2:
An inmate speaks with his lawyer in prison prior to his release. There has been a death threat towards the inmate and new evidence of more child abuse. Lawyer has negotiated a flight to the airport rather than risk his safety. We see a digital recorder under the desk in the visitor’s room.
EXT. – AIRPORT – Afternoon
Pass 1:
· Start: We watch the helicopter arrive through the lens of a rifle scope.
· Challenging Situation: The child abuser only cares about leaving the country before new charges are served.
· Conflict: He doesn’t care about the death threat.
· Action: The child abuser is assassinated by a hi-power rifle.
· Finish: Laura drops the rifle and leaves.
Pass 2:
We watch the helicopter arrive through the lens of a rifle scope. The child abuser only cares about leaving the country before new charges are served. He doesn’t care about the death threat. A hi-power rifle assassinates the child abuser. Laura drops the rifle and leaves.
INT – POLICE HQ – Later
Pass 1:
· Start: Janice is in an office with her superior.
· Challenging Situation: She’s trying to explain that her unit is short handed and far too busy for her to take on another task.
· Conflict: The superior wants her on a task force
· Action: He gives her one week to clean up her current cases, but that she will be on the task force.
· Finish: Janice surrenders.
Pass 2:
Janice is with her boss and trying to explain that she is working on a time sensitive case and cannot be taken off of it for a new assignment. The superior wants her on a new task force. He gives her one week to clean up her current cases, but she will be on the task force. Janice surrenders, knowing she has to follow orders.
Act 5.
INT. Storage Locker – night
Pass 1:
· Start: Laura has a number of photographs and files on a table. The ex-con’s photo is on the wall, with a red ‘x’ crossed over it. She lifts one file as the phone rings.
· Challenging Situation: Janice has been assigned to the task force set up to hunt down the vigilante that killed the child abuser.
· Conflict: Laura will be up against her best friend.
· Action: Laura hangs up slowly and looks at the wall of mug shots.
· Finish: Laura looks shocked.
Pass 2:
Laura has a number of photographs and files on a table. The ex-con’s photo is on the wall, with a red ‘x’ crossed over it. She lifts one file as the phone rings. It’s Janice calling to cancel dinner plans because she has one week to close her case because of the new assignment. She has been tagged to hunt down the vigilante. Laura will be up against her best friend. Laura hangs up slowly and looks at the wall of mug shots. Laura is shocked.
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David Thompson’s Scene Requirements
What I learned doing this assignment is it’s time to step outside my comfort zone a bit here. First scene of act 1 is already set up with a hell of a challenge for Dan. So it was a matter of ditching some of my set pieces and seeing what I can do to make each scene better. Then it all flowed…
Revised beat sheet/outline with shifted elements.
TEASER (COLD OPEN)
EXT. DESERT HIGHWAY – DAY
Desert chase – TISIPHONE, on her evil black motorcycle chases races after FALLOWS, a huge biker guy. He misses a curve and crashes into the cacti. TISIPHONE displays black wings, then dispatches FALLOWS
ACT 1:
EXT/INT. GROCERY STORE
Tense standoff. SIMMONS, a geeky older store manager has a TODDLER in his lap, holding a knife to its throat. DAN LANAHAN is a cop, a Lt. He is trying to defuse the situation. With him is JONES, his partner. In the midst of this is MEGAERA, furious anger directed at SIMMONS.
INT. CAR PARKING LOT
FLASHBACK – Megaera appears to Simmons, tries to control him – he escapes into the store with a knife.
INT. GROCERY STORE
Dan takes advantage of Simmon’s being focused on Megaera, he creeps up and shoots the man, and grabs the baby. Dan tells Megaera to stay nearby, she was interfering with a hostage situation, and he needs to get her statement. She replies by starting to tell him to “F— off” as she dissolves away. In the aftermath, Dan asks Jones about the blonde woman. No one else saw her.
EXT. GARDEN
GAIA is tending to her garden. Sticking plain sticks into the ground, the sticks erupt with leaves and begin growing. Tisiphone appears, she says that DELINFA sends a message. Cryptic warning about Hades.
Megaera appears, they discuss Megaera’s concern about the mortal seeing her, and losing control of the situation. Tisiphone says it’s concerning, Megaera might be slipping up, a soft spot for mortals. Megaera asks about Alecto.
EXT. CITY STREET – DAY
ALECTO parks her maroon motorcycle. She walks up to two young men of Hispanic origins. Thinking she’s a cop, one young man bolts, and runs as it’s obvious Alecto is wanting him.
EXT. ALLEY – DAY
Alecto appears out of air, and carefully inspects a fingernail. With a single, fast motion, she lifts a trash can lid and holds it out of the alley. The young hispanic kid SLAMS into the lid, falling. He is dragged into the alley. When he wakes up, Alecto has him frozen, he can’t move. Alecto explains why she is there, then dispatches the kid with a single blow of her sword. A young girl has appeared, as a ghost. Alecto sits the girl on her motorcycle, and they ride away into a tunnel of light.
INT. POLICE STATION
Dan discusses stand-off with the Chief. Chief reminds Dan about just desk duty after a shooting. Dan shrugs off the suggestion to talk to the department counselor.
INT. DAN’S OFFICE
Dan looks over the report from Jones, why no mention of the woman Dan saw? Because Jones did not see her.
ACT 2:
INT. ALECTO’S ROOM
Megaera asks Alecto to look up the cop who interrupted her assignment. Using a trans-dimensional computer, Alecto quickly locates Dan in the databases.
Alecto reminds Megaera of an encounter with a mortal ages ago, she warns Megaera that relationships with mortals never end up good… at least for the mortal.
EXT. SUBURBAN STREET – NIGHT
Dan, driving home, spots his niece walking on the sidewalk. He continues on.
INT. PARTY HOUSE
Brianna and her two friends at the party. Brianna “live blogging” the party.
EXT. DESERT – NIGHT
Megaera and Alecto interrupt a truck driver as he’s sneaking across the border. There’s a brief fight, then the truck driver is dispatched by Alecto’s sword. Opening the back, the truck is filled with scared children.
EXT. DAN’S HOUSE – NIGHT
Dan arrives, loaded down with files and some take-away bags.
INT. PARTY HOUSE
A handsome stranger has cornered Brianna. She seems to be attracted to the guy, even if he’s older. He gives her a cup, encourages her to have a real grown up drink, not thin beer.
INT DAN’S HOUSE
An evening in the life of Dan. Take-out Chinese for him and his cat. TV is on, news about a small earthquake, then the hostage situation at the grocery store.
INT. PARTY HOUSE
Brianna is feeling the effects of the drugged drink. She stumbles, and the stranger helps her walk outside. Her friends make jokes about how Brianna usually vomits on guys.
EXT. PARTY HOUSE
Brianna is sick on the lawn, and the stranger helps her up.
INT PARTY HOUSE
Her friend gets a cell phone photo of Brianna being sick.
EXT PARTY HOUSE
The stranger leads Brianna away. She tries to fight it, but the drug is making her unable to fight or get away. No one else notices.
INT DAN’S BEDROOM
Dan is asleep. His slumper is interrupted by the sound of his cat growling and hissing. Awake, Dan rushes out into
INT HALLWAY
The act is by the bathroom door, making a fuss. Dan goes to open the door and
INT BATHROOM
Nothing amiss in the bathroom. Dan fusses at the cat and goes to splash water on his face. As he stands up and looks at himself in the mirror, we see a figure by the bathtub. Dan turns and reacts – the figure is a specter of Brianna, mouth open in a silent scream.
ACT 3:
EXT. JOGGING TRAIL
If it’s not overly cliche, a jogger is running though the area. Spots some fabric flapping in a breeze, and when she/he picks it up, eyes go wide, grabs and fumbles at a cell phone.
INT DAN’S DINING ROOM
Dan is bleary-eyed at the table. He is talking to his cat when the landline rings. As he walks to get it, his cell goes off. He answers the cell. It’s bad news. He rushes out.
EXT. PARK AND JOGGING TRAIL
Crime scene. Brianna was found tied to a tree. Cops swarm the area. Jones meets Dan, see if he’s okay to look at the scene. He confirms the body is his niece. Jones reminds Dan that he’s on desk duty, and since it is his niece, he shouldn’t be leading the investigation. He asks to be the one to inform his sister.
EXT. SISTER’S HOUSE
Dan exits the house and walks to his car. A woman is leaning against it, waiting for him, the woman is a younger-looking GAIA. Dan thinks she’s a reporter, and tells her to shove off. He unlocks his car and turns to say something else, and the woman is gone.
INT. FUNERAL HOME
Junior, a tall man, ageless, is setting up a tray. He rolls the tray next to a BODY, still in the BODY BAG.
He frowns and stops to light a cigar. He talks to himself. Then he blows smoke over the body and the faint outline of Brianna is seen. She coughs, then asks if he can see her. He tells her he is actually an immortal, and he can usually see spirits, but hers is quite weak. He is concerned about the marks on her face, carved into her spirit as well as her body. He explains why she is stuck, but knows some people who might be able to help.
EXT. THE UNDERWORLD – BLACK PALACE
An enormous hulk of black stone. A tall man, BUNE, dressed in a green tunic, marches to a door, but is stopped by a guard. Words exchanged as the guard did not challenge Bune.
INT. BLACK PALACE – HALLWAY
Bune tells the guard inside to send the guard outside to the pits, feed him to the dragons.
INT. BLACK THRONE ROOM
Bune enters the huge, black room and sees a figure on the throne. MELINOE is reclining on the throne. Bune is met by a coyote demon, who tells him the “Boss” will be returning shortly. Only one more kill, then he can return. Bune must get ready.
ACT 4:
INT. CONFERENCE ROOM
Cops attending a meeting – updates on the investigation. Other cops are sympathetic. KELSEY, a fellow cop, is really worried, and suggests she drop by and help Dan if he needs it. KELSEY is obviously crushing on the Lieutenant.
Talk that this murder was similar to another in another state a week ago. Talk about it being a roaming serial killer.
Detectives leave with assignments.
INT. OFFICE
Dan talks to Sandra, the coroner, who also acts as the department’s counselor. Dan is not interested. Hints of a past with Sandra.
EXT. UNDERWORLD
A huge dragon streaks across the red sky. A huge army is encamped across the red landscape.
It lands, and shakes, turning into Bune. Bune goes into a tent.
INT. TENT
Bune meets with various generals. Most are in NAZI uniforms. Bune tells them to expect their leader shortly.
INT. FURIES HOUSE
Thanatos shows up with Brianna. Alecto and Tisiphone talk to the girl. Megaera passes through and stops to look at the girl. The marks still etched into her face. Gaia is examining the marks and then asks Megaera to heal the scars. Blue light, girl is healed.
INT. DAN’S HOUSE
Dan arrives home with more take-out bags. He’s surprised to find Gaia in his house, holding his cat. Gaia tries to talk to Dan about his niece. He’s angry, and tries to be nice, but wants her out of his house. Gaia explains the Furies are her daughters. She tries to tell him she’s the mother of all goddesses, Terra Mater, but he argues with her. Gods cannot exist.
When he turns to show her the door, Gaia has disappeared. In between him saying “Bull” and the rest of the statement.
ACT 5:
INT. MOTEL ROOM – NIGHT
Shadows. We don’t see the figure in the chair. Just darkness. It’s like he’s talking to someone, but we only see shadows. The voices argue. Another death is needed.
INT. TENT – UNDERWORLD
Continues from earlier. Bune is mapping out what to expect when the “Master” returns.
EXT. DAN’S HOUSE – NIGHT
Dan balances files with food bags. He enters…
INT. DAN’S HOUSE – NIGHT
Dan sits the stuff on the table, then sweeps the table to make room. He calls out for his cat.
Instead of the cat, Megaera enters the room, ready to confront Dan. Dan pulls his weapon. Megaera is unfazed, and sweeps him aside as she goes for the food. She is hungry. One bag is for the cat. Megaera explains the cat has been fed, and she begins to scarf the beef lo mein. Dan demands to know what she is doing in his house.
Megaera asks him how he can see what he’s not supposed to see. He wants her out, but shakes his head and sits to eat.
It’s not what she’d planned. She wants to kill him, but instead is attracted.
EXT. STREET – NIGHT
The killer is in a car, watching the entrance to a bar.
EXT. STREET – POV
He watches as Kelsey enters the bar. Gloved hands handle a vial of liquid.
The killer exits the car and shuts the door.
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Wayne’s Scene Requirements
What I learned doing this assignment is that this well-organized process is amazingly helpful to ensure thorough application of structure, challenges, and intrigue techniques.
PASS 1: For each Beat Sheet scene, answer questions to create scene requirements:
Done, but not shown here.PASS 2: Then turn that into a full description. Results of PASS 1 & 2 below:
Teaser:
INT. SINGLE SEAT SPACESHIP – DAY
• Start: Mike accomplishes final countdown checklist.
• Challenging Situation: Mike is on a mission to explore a far-off planet.
• Conflict: Traveling at “near-light-speed,” Mike will be out of communications for 13 years.
• Action: The rocket lifts off.
• Finish: Mike is on the way to explore a planet 6.2-lightyears away.INT. STANGE MEETING PLACE ON PLANET ROMAL – EVENING
• Start: There is a peaceful gathering of religious humanoids on a strange distant planet.
• Challenging Situation: A religious gathering of more than two people is forbidden.
• Action: The meeting is raided by Security Forces led by Amixmu.
• Conflict: Amixmu scorns Desae as he proceeds to arrest her.
• Finish: Desae weeps over the dead adult male humanoid she cradles in her lap.Act 1:
START MONTAGE
EXT. LANDING STRIP – DAY
Mike returns to Earth.
EXT. MIKES MOTHER’S HOME – DAY
He’s greeted by his mother, sister, and her best friend, Samantha.
INT. WEDDING CHAPEL – DAY
Mike marries beautiful redhead Samantha.
INT. BABY’S ROOM – EVENING
Mike & Samantha put their twin babies in a crib, watch over them lovingly.
END DREAM MONTAGE
• Conflict: INT. Spaceship – Mike is awakened from his dream and suspended animation…
• Challenging Situation: …by the ships onboard AI computer, as they near the planet.
• Action: Mike and AI, “HAL,” prepare to enter high orbit to begin exploring the planet.
• Finish: The ship enters a band of small asteroids.EXT. FARM ON ROMAL – DAY
• Start: Desae is farming…
• Challenging Situation: alone.
• Conflict: Desae is worn out…
• Action: …returns home to check on her 3-year-old son, Nome.
• Finish: AOK, so she returns to her arduous farming.Act 2:
INT. SPACESHIP – N/A
• Start: Passing through a band of small asteroids just above high orbit.
• Challenging Situation: HAL must maneuver the ship to avoid collisions with larger asteroids and destroys smaller asteroids with lasers.
• Action: A small asteroid strikes the ship’s fuel transfer valve.
• Conflict: Lost fuel means no chance of returning to Earth & necessitates a crash-landing.
• Finish: HAL locates the best option for a crash-landing and survival thereafter.EXT. SMALL FARM ON ROMAL – DAY
• Start: Desae climbs back on her tractor.
• Challenging Situation: She has crops to harvest.
• Conflict: She’s tired, frustrated, and lonely.
• Action: Desae looks up to Logard (God), asking for help.
• Finish: She sees Mike’s ship descending, and she rushes to the crash site.Midpoint:
EXT. CRASH SITE – DAY
• Start: Mike remains sealed in the small spaceship unconscious.
• Challenging Situation: Desae can see he’s bleeding from his head & side.
• Conflict: Desae can not open the hatch to help him.
• Action: HAL assesses the situation, then opens the hatch, releases restraint harness..
• Finish: Desae carries Mike’s unconscious body to her tractor to bring him home.Act 3:
EXT. CRASH SITE – EVENING
• Start: Amixmu, a stern Security Force leader arrives at the crash site.
• Challenging Situation: He observes the spaceship, blood on the empty seat, etc.
• Conflict: Desae is helping & harboring the alien invader he seeks to kill.
• Action: Amixmu finds and follows Desae’s tractor tracks toward her farm.
• Finish: It is dusk, and the wind dusted tracks are difficult to follow.Act 4:
INT. DESAE’S FARMHOUSE – DUSK
• Start: Stripped of his space suit, Desae cleans a puncture wound in Mike’s side.
• Challenging Situation: 3-year-old, Nome, stands by, overwhelmed with fear & curiosity.
• Conflict: Mike is still unconscious, and they are sitting ducks for Amixmu who is on his way.
• Action: Desae dresses the wound in Mike’s side and cleans his bruised head.
• Finish: She tells Nome, when she picked Mike up, Logard’s voice told her, “Love Mike.”EXT. ROMAL WILDERNESS – NIGHT
• Start: Amixmu is having a hard time following the dusted over tracks as night falls.
• Challenging Situation: A wild animal stalks him from behind.
• Conflict: The fierce beast readies to pounce.
• Action: Amixmu hears it, turns, kills it, comments, “Thought you were the invader.”
• Finish: He closes himself into his vehicle, making himself comfortable for the night.Act 5:
INT. DESAE’S FARMHOUSE – NIGHT
• Start: Finished doing all she can, Desae looks Mike over curiously.
• Challenging Situation: Nome expresses his fear of the strange space alien.
• Conflict: Amixmu will certainly capture them in the morning.
• Action: Mike begins to stir. Nome hides. Desae looks closely into his face.
• Finish: Mike opens his eyes to see Desae’s unearthly pale magenta face looking back. -
Moses Quainoo MOD 3 – LESSON 11: OUTLINE REQUIREMENTS
“What I learned doing this assignment is…?”
ASSIGNMENT
1. PASS 1: For each scene in your Beat Sheet, answer the following questions to create your scene requirements:
Start:
Challenging Situation:
Conflict:
Action:
Finish:
2. PASS 2: Then turn that into a full description. It will look like this:
INT. LOCATION – DAY
Full description here.
· Start:
· Challenging Situation:
· Conflict:
· Action:
· Finish:
TEASER
INT – THEATRE -NIGHT
A Ballerina comes onto the stage. She Performs.
SCENE ARC
Start:
Challenging Situation:
Conflict:
Action:
Finish:
Pass 1: Determine the scene requirement.
Start:
Challenging Situation:
Conflict:
Action:
Finish:
Pass 2:
ACT 1
1. SCENE ARC
BRADER HEW comes to check on his extended relatives at the family house, and when he finds out his grandmother’s malaria is worsening, the need for money is even greater.
BEAT SHEET ESSENCE
1. EXT – FAMILY HOUSE – DAY.
BRADER HEW ascertains how his relatives are doing and finds a Final Warning Sticker asking the HEWS to pay their property tax or face auction.
Pass 1: Determine the scene requirement.
Start: BRADER HEW comes to the family house to find out how his extended family is doing.
Challenging Situation: A Final Warning sticker on the building ask the HEWS must pay their property tax or face auction.
Conflict: His eldest Aunt asks HEW for his and his grandmother’s share of the tax.
Action: HEW promises to pay when he returns from the Center.
Finish: His female cousins blurt out that they, too, be covered.
Pass 2: Turn Scene Requirements into Description.
BRADER HEW steps into the family house compound to find out how his extended family is doing this morning. His thirteen-year-old female cousin is washing yesternight’s dinner plates, and the fifteen-year-old cousin is sweeping the compound.
A Final Warning sticker on the main building asks the HEWS to pay a one-year property tax assessment or face an auction. HEW says it is not justice to sell auction a family house because of the arrears. His female cousin says the officials delayed the bill.
HEW ran into his eldest Aunt on the way to the separate bathroom. She asks for his and his grandmother’s share of the tax. The fear of where to get their portion of the tax provokes his three female cousins to shout that HEW cover. HEW promises to pay when he returns from the Center.
Start: BRADER HEW comes to the family house to find out how his extended family is doing.
Challenging Situation: A Final Warning sticker on the building ask the HEWS must pay their property tax or face auction.
Conflict: His eldest Aunt asks HEW for his and his grandmother’s share of the tax.
Action: The fear of where to get their portion of the tax provokes his three female cousins to shout that HEW cover.
Finish: HEW promises to pay when he returns from the Center.
2. SCENE ARC
HEW is in the queue to the separate bathroom when his mother barges into the compound to say his grandmother’s malaria is worsening, and HEW thinks he will bring money from the Center.
BEAT SHEET ESSENCE
BRADER HEW joins the queue to the bathroom and realizes his grandmother’s malaria is worsening.
2. EXT – DETACHED BATHROOM – DAY
HEW is third in the queue to the separate bathroom. His mother barges into the compound to say his grandmother’s malaria is worsening. The need for money is even greater.
Pass 1: Determine the scene requirement.
Start: HEW is third in the queue to the bathroom.
Challenging Situation: His mother barges into the compound to say his grandmother’s malaria is worsening. She needs money to buy anti-malaria drugs.
Conflict: HEW asked what happened to the money he gave her last night, and she answered she went to pay off the debt later that night. The need for money is even greater.
Action: The need for money is even greater.
Finish: HEW finish bathing and leaves for the Center.
Pass 2: Turn Scene Requirements into Description.
HEW is third in the queue to the separate bathroom. His mother barges into the compound to say his grandmother’s malaria is worsening. She needs money to buy anti-malaria drugs. The need for money is even greater. HEW asked what happened to the money he gave her last night, and she answered she went to pay off the debt later that night. HEW finishes bathing and leaves for the Center.
Start: HEW is third in the queue to the bathroom.
Challenging Situation: His mother barges into the compound to say his grandmother’s malaria is worsening. She needs money to buy anti-malaria drugs.
Conflict: HEW asked what happened to the money he gave her last night, and she answered she went to pay off the debt later that night.
Action: The need for money is even greater.
Finish: HEW finish bathing and leaves for the Center.
3. SCENE ARC
HEW leaves home, takes the primary street to meet GIFFARD road, and crosses to the Center.
BEAT SHEET ESSENCE
3. EXT – FAMILY HOUSE PRIMARY STREET – DAY
HEW leaves the family house, takes the primary street to meet GIFFARD road, and crosses to the Center.
Pass 1: Determine the scene requirement.
Start: HEW leaves the family house compound.
Challenging Situation: HE turns right onto the primary street.
Conflict: He walks to meet GIFFARD Road.
Action: He crosses to the Center.
Finish: HEW is on the green lawn before the vast car park.
Pass 2: Turn Scene Requirements into Description.
HEW steps out of the family house compound. The short wooden gates return to place. He turns right by the hedge plant and walks on the primary street to meet GIFFARD road. He crosses to the lawn before the vast car park.
Start: HEW leaves the family house compound.
Challenging Situation: HE turns right onto the primary street.
Conflict: He walks to meet GIFFARD Road.
Action: He crosses to the Center.
Finish: HEW is on the green lawn before the vast car park.
ACT 2
<div>
</div>4. SCENE ARC
Two female RIDERS fasten their horses to a short tree in the forest behind the Center’s back car park and cross the rear car park to the back gates.
BEAT SHEET ESSENCE
4. EXT – FOREST – DAY
Two female RIDERS fasten their horses to a short tree in the forest behind the Center’s back car park. They walk across the rear car park to the back gates.
Pass 1: Determine the scene requirement.
Start: Two RIDER fasten their horses to a short tree.
Challenging Situation: The RIDERS walk across the rear car park.
Conflict: AC talks of retiring when her term ends and marrying.
Action: LOVEDAY says she will be her bridesmaid when the time comes.
Finish: The RIDERS enter the Pedestrian gates.
Pass 2: Turn Scene Requirements into Description.
Two female RIDERS fasten their horses to a short tree in the forest behind the Center’s back car park. The RIDERS walk across the rear car park and enter the Pedestrian gates. AC talks of retirement when her term ends and marrying. LOVEDAY says she will be her bridesmaid when the time comes.
Start: Two RIDER fasten their horses to a short tree.
Challenging Situation: The RIDERS walk across the rear car park.
Conflict: AC talks of retiring when her term ends and marrying.
Action: LOVEDAY says she will be her bridesmaid when the time comes.
Finish: The RIDERS enter the Pedestrian gates.
<div>
</div>5. SCENE ARC
The RIDERS emerge into the yard and meet a crowd of men in the street. A-signboard on the left side Kerbing proclaims Loaders for Hire at the Coop.
BEAT SHEET ESSENCE
5. INT – CENTER’S PEDESTRIANS BACK GATES – DAY
The RIDERS emerge into the yard and meet a crowd of men in the street. A-signboard on the left side Kerbing proclaims Loaders for Hire at the Coop.
Pass 1: Determine the scene requirement.
Start: The RIDERS emerge into the yard.
Challenging Situation: They meet a crowd of men in the street.
Conflict: A-signboard on the left side Kerbing proclaims Loaders for Hire at the Coop.
Action: The RIDERS walk through the crowd.
Finish: They are going to the ADMINISTRATIVE BLOCK
Pass 2: Turn Scene Requirements into Description.
The RIDERS emerge into the yard and meet a crowd of men in the street. A-signboard on the left side Kerbing proclaims Loaders for Hire at the Coop. The RIDERS walk through the public to the ADMINISTRATIVE BLOCK.
Start: The RIDERS emerge into the yard.
Challenging Situation: They meet a crowd of men in the street.
Conflict: A-signboard on the left side Kerbing proclaims Loaders for Hire at the Coop.
Action: The RIDERS walk through the crowd.
Finish: They are going to the ADMINISTRATIVE BLOCK.
<div>
</div>6. SCENE ARC
HEW meets ISHEY GARFUNK in the vast car park, and they enter the Pedestrian gates at the main entrance.
BEAT SHEET ESSENCE
6. INT-CENTER’S FRONT CAR PARK – DAY
HEW meets ISHEY GARFUNK in the vast car park in front of the Center. He tells ISHEY he is a flour loader. They enter the Pedestrian gates at the main entrance.
<strong style=”background-color: transparent; font-family: inherit; font-size: inherit;”>Pass 1: Determine the scene requirement.
Start: HEW meets ISHEY GARFUNK in the vast car park.
Challenging Situation:
Conflict:
Action:
Finish:
Pass 2: Turn Scene Requirements into Description.
7. SCENE ARC
BEAT SHEET ESSENCE
7. EXT – STREET-DAY
HEW and ISHEY join the gathering.
Pass 1: Determine the scene requirement.
Start: HEW and ISHEY join the gathering
Challenging Situation:
Conflict:
Action:
Finish:
Pass 2: Turn Scene Requirements into Description.
SCENE ARC
BEAT SHEET ESSENCE
INT – DAY
Start:
Challenging Situation:
Conflict:
Action:
Finish:
Pass 2: Turn Scene Requirements into Description.
8. SCENE ARC
BEAT SHEET ESSENCE
8. EXT – COOP PORTAKABIN (1) OFFICES – DAY
The MANAGER emerges from his Portakabin into the street. A referee’s whistle dangles around his neck.
Pass 1: Determine the scene requirement.
Start:
Challenging Situation:
Conflict:
Action:
Finish:
Pass 2: Turn Scene Requirements into Description.
9. SCENE ARC
BEAT SHEET ESSENCE
9. EXT – CENTER STREET – DAY
HEW and ISHEY arrive at the Coop Flour Distribution Offices.
Pass 1: Determine the scene requirement.
Start:
Challenging Situation:
Conflict:
Action:
Finish:
Pass 2: Turn Scene Requirements into Description.
10. SCENE ARC
BEAT SHEET ESSENCE
10. EXT – CENTER STREET – DAY
The MANAGER addresses the JOB SEEKERS and points to the ten LENGTHY VEHICLES sleeping two hundred yards away.
Pass 1: Determine the scene requirement.
Start:
Challenging Situation:
Conflict:
Action:
Finish:
Pass 2:
11. SCENE ARC
BEAT SHEET ESSENCE
11. EXT – CENTER ADMINISTRATIVE BLOCK – DAY
The RIDERS are on the first floor of the block. Their backs lean on the railing, and the VEHICLES are asleep below.
<div>
Pass 1: Determine the scene requirement.
Start:
Challenging Situation:
Conflict:
Action:
Finish:
Pass 2: Turn Scene Requirements into Description.
12. SCENE ARC
BEAT SHEET ESSENCE
EXT – CENTER STREET – DAY
HEW, ISHEY, and the JOB SEEKERS are alert and watch for the whistle to go.
Pass 1: Determine the scene requirement.
Start:
Challenging Situation:
Conflict:
Action:
Finish:
Pass 2: Turn Scene Requirements into Description.
13. SCENE ARC
BEAT SHEET ESSENCE
13. EXT – PORTAKABIN OFFICE (2) – DAY
The SUPERVISOR blows his whistle.
Pass 1: Determine the scene requirement.
Start:
Challenging Situation:
Conflict:
Action:
Finish:
Pass 2: Turn Scene Requirements into Description.
14. SCENE ARC
BEAT SHEET ESSENCE
EXT – CENTER ADMINISTRATIVE BLOCK – DAY
AC and LOVEDAY hear the whistle shrill and turn around to see.
Pass 1: Determine the scene requirement.
Start:
Challenging Situation:
Conflict:
Action:
Finish:
Pass 2: Turn Scene Requirements into Description.
15. SCENE ARC
BEAT SHEET ESSENCE
EXT – CENTER STREET- DAY
HEW, ISHEY, and the JOB SEEKERS sprint towards the VEHICLES.
Pass 1: Determine the scene requirement.Start:
Challenging Situation:
Conflict:
Action:
Finish:
Pass 2: Turn Scene Requirements into Description.
16. SCENE ARC
BEAT SHEET ESSENCE
16. INT – CENTER ADMINISTRATIVE BLOCK – DAY
The job seeker boots another in his path to get an advantage. AC and LOVEDAY see the cheat among the runners.
SCENE ARC
Pass 1: Determine the scene requirement.
Start:
Challenging Situation:
Conflict:
Action:
Finish:
Pass 2: Turn Scene Requirements into Description.
07. SCENE ARC
BEAT SHEET ESSENCE
EXT – LENGHTY VEHICLE 8 – DAY
ISHEY gets a head start, leaps onto Vehicle 8, and occupies the fourth spot.
Pass 1: Determine the scene requirement.
Start:
Challenging Situation:
Conflict:
Action:
Finish:
Pass 2: Turn Scene Requirements into Description.
18. SCENE ARC
BEAT SHEET ESSENCE
EXT – LENGHTY VEHICLE 8 – DAY
HEW joins the intense race and hops onto Vehicle 8. HEW connects with an aspirant for the sixth spot. The others expose the aspirant as unfair.
Start:
Challenging Situation:
Conflict:
Action:
Finish:
Pass 2: Turn Scene Requirements into Description.
19. SCENE ARC
BEAT SHEET ESSENCE
19. EXT – LENGHTY VEHICLE 8 – DAY
HEW’S competitor strikes first. HEW is an expert Boxer. He fights the opponent to keep the spot, and both men show rare fighting skills.
Pass 1: Determine the scene requirement.
Start:
Challenging Situation:
Conflict:
Action:
Finish:
Pass 2: Turn Scene Requirements into Description.
20. SCENE ARC
BEAT SHEET ESSENCE
INT – CENTER ADMINISTRATIVE BLOCK – DAY
The two RIDERS capture the fight on cameras built into the crest of each riding hat.
<div>
Pass 1: Determine the scene requirement.
Start:
Challenging Situation:
Conflict:
Action:
Finish:
Pass 2: Turn Scene Requirements into Description.
21. SCENE ARC
BEAT SHEET ESSENCE
21. EXT – LENGHTY VEHICLE 8 – DAY
SCENE ARC
Start:
Challenging Situation:
Conflict:
Action:
Finish:
Pass 2: Turn Scene Requirements into Description.:
22. SCENE ARC
BEAT SHEET ESSENCE
22. INT – CENTER ADMINISTRATIVE BLOCK – DAY
Pass 1: Determine the scene requirement.
Start:
Challenging Situation:
Conflict:
Action:
Finish:
Pass 2: Turn Scene Requirements into Description.
ACT 3
23. SCENE ARC
BEAT SHEET ESSENCE
23. EXT – PORT CITY – DAY
VEHICLE 8 is eighteen miles away from the capital and at Port City.
Pass 1: Determine the scene requirement.
Start:
Challenging Situation:
Conflict:
Action:
Finish:
Pass 2: Turn Scene Requirements into Description.
24. <b style=”background-color: transparent; font-family: inherit; font-size: inherit;”>SCENE ARC
BEAT SHEET ESSENCE
24. EXT – FLOUR MILL – DAY
VEHICLE 8 reverses into the loading bay.
Pass 1: Determine the scene requirement.
Start:
Challenging Situation:
Conflict:
Action:
Finish:
Pass 2: Turn Scene Requirements into Description.
25. SCENE ARC
BEAT SHEET ESSENCE
INT – VEHICLE 8 – DAY
HEW, ISHEY, and the boarding team fill the trailer.
<div>
Pass 1: Determine the scene requirement.
Start:
Challenging Situation:
Conflict:
Action:
Finish:
Pass 2: Turn Scene Requirements into Description.
26. SCENE ARC
BEAT SHEET ESSENCE
26. EXT – VEHICLE 8 – DAY
VEHICLE 8 travels around neighboring towns and cities and deals out the bags for payment.
<div>
Pass 1: Determine the scene requirement.
Start:
Challenging Situation:
Conflict:
Action:
Finish:
Pass 2: Turn Scene Requirements into Description.
27. SCENE ARC
BEAT SHEET ESSENCE
27. INT – PRESS CONFERENCE – DAY
AC announces THE DO-WELLS Annual Contests will come up in December. The BOXER tournament takes up the last three days. Members must enter and win this event before joining the organization as Master Spies. The prize is six million dollars.
Pass 1: Determine the scene requirement.
Start:
Challenging Situation:
Conflict:
Action:
Finish:
Pass 2: Turn Scene Requirements into Description.
28. SCENE ARC
BEAT SHEET ESSENCE
28. INT – TECHNICAL ROOM – DAY
AC approves one technical innovation to this year’s Arena.
Pass 1: Determine the scene requirement.
Start:
Challenging Situation:
Conflict:
Action:
Finish:
Pass 2: Turn Scene Requirements into Description.
29. SCENE ARC
BEAT SHEET ESSENCE
29. EXT – CENTER’s CAR PARK – NIGHT
HEW jumps down from the back of VEHICLE 8. ISHEY and two others disembark.
Pass 1: Determine the scene requirement.
Start:
Challenging Situation:
Conflict:
Action:
Finish:
Pass 2: Turn Scene Requirements into Description.
30. <b style=”font-family: inherit; font-size: inherit;”>SCENE ARC
BEAT SHEET ESSENCE
30. EXT – CAR BONNET – NIGHT
LOVEDAY sits on a car bonnet near them and reaches up to recover her drone.
Pass 1: Determine the scene requirement.
Start:
Challenging Situation:
Conflict:
Action:
Finish:
Pass 2: Turn Scene Requirements into Description.
31. SCENE ARC
BEAT SHEET ESSENCE
EXT – CENTER’s CAR PARK – NIGHT
VEHICLE 8 moves to sleep inside the Center’s yard. HEW bids ISHEY bye and walks to GIFFARD ROAD. LOVEDAY follows him.
32. SCENE ARC
BEAT SHEET ESSENCE
EXT – MAJOR ROAD – NIGHT
HEW crosses the road. LOVEDAY calls out to him.
SCENE ARC
Pass 1: Determine the scene requirement.
Start:
Challenging Situation:
Conflict:
Action:
Finish:
Pass 2: Turn Scene Requirements into Description.
33. BEAT SHEET ESSENCE
33. EXT – ROAD SHOULDER – NIGHT
LOVEDAY tells HEW she wants to engage him. HEW must enroll with their Club and win the six million dollar BOXER contest, which comes up in December, before training as a spy.
Start:
Challenging Situation:
Conflict:
Action:
Finish:
Pass 2: Turn Scene Requirements into Description.
34. SCENE ARC
BEAT SHEET ESSENCE
34. EXT – PRIMARY ROAD – NIGHT
HEW will need more time for clubs and mingling.
Pass 1: Determine the scene requirement.
Start:
Challenging Situation:
Conflict:
Action:
Finish:
Pass 2: Turn Scene Requirements into Description.
36. SCENE ARC
BEAT SHEET ESSENCE
36. EXT – PRIMARY ROAD – NIGHT
LOVEDAY says she built a weak profile of him and will snatch his daily meal unless HEW agrees.
Pass 1: Determine the scene requirement.
Start:
Challenging Situation:
Conflict:
Action:
Finish:
Pass 2: Turn Scene Requirements into Description.
37. SCENE ARC
BEAT SHEET ESSENCE
37. EXT – PRIMARY ROAD – NIGHT
He wants her to prove something.
Pass 1: Determine the scene requirement.
Start:
Challenging Situation:
Conflict:
Action:
Finish:
Pass 2: Turn Scene Requirements into Description.
38. SCENE ARC
BEAT SHEET ESSENCE
38. EXT – PRIMARY ROAD – NIGHT
LOVEDAY gives HEW a choice between starvation, six million dollars, and a job.
SCENE ARC
Start:
Challenging Situation:
Conflict:
Action:
Finish:
Pass 2: Turn Scene Requirements into Description.
39. SCENE ARC
BEAT SHEET ESSENCE
39. EXT – PRIMARY ROAD – NIGHT
HEW demands LOVEDAY to prove who she is or nothing.
Pass 1: Determine the scene requirement.
Start:
Challenging Situation:
Conflict:
Action:
Finish:
Pass 2: Turn Scene Requirements into Description.
40. SCENE ARC
BEAT SHEET ESSENCE
EXT – PRIMARY ROAD – NIGHT
She says HEW decided his grandmother and relatives starve.
Start:
Challenging Situation:
Conflict:
Action:
Finish:
Pass 2: Turn Scene Requirements into Description.
ACT 4
41. SCENE ARC
BEAT SHEET ESSENCE
41. EXT – COCONUT TREE – DAY
In the morning, the JOB SEEKERS talk of rumors that Western creditors influence the country to dip.
Pass 1: Determine the scene requirement.
Start:
Challenging Situation:
Conflict:
Action:
Finish:
Pass 2: Turn Scene Requirements into Description.
42. SCENE ARC
BEAT SHEET ESSENCE
472. EXT – VEHICLE 3 – DAY
The Coop MANAGER regulates each VEHICLE’S daily trips to the loading bay.
<div>
Pass 1: Determine the scene requirement.
Start:
Challenging Situation:
Conflict:
Action:
Finish:
Pass 2: Turn Scene Requirements into Description.
43. SCENE ARC
BEAT SHEET ESSENCE
INT- PRODUCTION UNIT – DAY
A Production SUPERVISOR tells HEW the Mill is running short of wheat.
Pass 1: Determine the scene requirement.
Start:
Challenging Situation:
Conflict:
Action:
Finish:
Pass 2: Turn Scene Requirements into Description.
44. <b style=”font-family: inherit; font-size: inherit;”>SCENE ARC
BEAT SHEET ESSENCE
INT –
<div>
Pass 1: Determine the scene requirement.
Start:
Challenging Situation:
Conflict:
Action:
Finish:
Pass 2: Turn Scene Requirements into Description.
45. SCENE ARC
BEAT SHEET ESSENCE
INT-
Pass 1: Determine the scene requirement.
Start:
Challenging Situation:
Conflict:
Action:
Finish:
Pass 2: Turn Scene Requirements into Description.
ACT 5
46. SCENE ARC
BEAT SHEET ESSENCE
46. EXT – CARPENTER’S WORKBENCH – DAY
HEW and ISHEY need a job at the Center.
Pass 1: Determine the scene requirement.
Start:
Challenging Situation:
Conflict:
Action:
Finish:
Pass 2: Turn Scene Requirements into Description.
47. SCENE ARC
BEAT SHEET ESSENCE
47. EXT – COOP PORTAKABIN OFFICES – DAY
The Coop closes offices.
Pass 1: Determine the scene requirement.
Start:
Challenging Situation:
Conflict:
Action:
Finish:
Pass 2: Turn Scene Requirements into Description.
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This reply was modified 2 years ago by Moses Quainoo.
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This reply was modified 2 years ago by
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