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Lesson 9
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9 Replies
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Benita. Lesson 9. Opening and character introductions. It was good to make a start on scenes.
ACT 1 ……. TRACY
INT. FLAT SITTING ROOM – DAY
BEGINNING: TRACY’s mother, Diedre is fixing her hair to go out. She is cross with Tracy, who looks scruffy and has been sacked again from her latest job.
MIDDLE: Tracy retaliates. They have a short row. This scenario is nothing new.
END: Diedre leaves still bristling. Her daughter has ruined the start of her evening, again! Tracy grimaces at herself in the mirror and leaves flat, slamming the door.
ACT 11…… CONSTABLE STRONG
INT. HOSPITAL CORRIDOR -DAY
BEGINNING: CONSTABLE STRONG follows D. I. GREEN and SERGEANT JAMES up the corridor. They are led by nurse, SARAH who stops at the door of a private room. She opens the door and enters the room with D.I. Green.
MIDDLE: Sergeant James turns to Constable Strong and informs him that he has failed his sergeant’s exam. His duty now is to stand outside and guard the door. Sergeant James enters the room and the door closes.
END: Constable Strong grinds his teeth in annoyance. He removes his phone and gets up a gambling website. He gasps when he sees a notification that he has overrun his credit.
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Lesson 9 Act 1 Opening & Character Introductions
I am embracing the fact this this draft only needs to be 20% of what I want from the final. Now writing this fast – yipes.
Pam Ewing’s Act 1: Opening Scene
INT. DYING MOTHER’S BEDROOM – DAY
Natalie arranges pillows and checks meds. She’s overbearingly attentive and chatty. Natalie leaves to answer the doorbell. Her mother breathes a sigh of relief.
INT. NATALIE’S HOUSE – DAY
Natalie rushes past her husband and chides him for not answering the doorbell. Her defends that he was on his way. The attorney arrives. Introduces to husband and escorts him to the mother’s room.
INT. DYING MOTHER’S BEDROOM – DAY
The mother and attorney get down to business while in the background Natalie and husband bicker. Natalie enters all sweetness and smiles with iced tea. Then she leaves and the bickering begins again.
Attorney asks if the mother can meet under these conditions. She says, of course, let them have their fun.
INT. NATALIE’S HOUSE – DAY
Natalie and husband continue their silly quarreling but the argument dies down without a conclusion. Husband does lay out the basic issue that she’s given up – of course she tends to her mother but she’s become overly cautious, solicitous, and lost her spark. She knows he’s right but she protests anyway.
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Chris’s Act 1: Opening Scene
What I learned is how to better connect the dots: story theme to the intention of character and obstacles.
INT. CATHOLIC SCHOOL CLASSROOM – DAY
NUN (age unknown) dressed in her nun clothes; nothing discernable except for her pasty white muscular fullback looking calves.
FRANK (8) sits in the back amongst 30 or so neatly uniformed little SUBURBANITES.
The Nun holds a large framed photo of a smiling POPE and opulent St. Peter’s Basilica in the background.
NUN
…as we continue our study of the Roman Catholic Church. Next up…
She points to the back with a stubby arthritic finger.
NUN
Frank.
Frank strides forth, standing tall and confident; clears his throat…
FRANK
And so it began. The church had been placed in charge of a “treasury of merits” – all the good deeds the saints had done. For those trapped by their own sinfulness, the church could write a certificate transferring the sinner some of those saints merits. And fortunately for the church, these “indulgences” had a price tag.
Classroom Kids fidget with interest as Nun’s brow furrows.
FRANK
So became the Ninety-five Theses. Albert of Maine authorized the campaign. Because love grows by works of love, man becomes better. Man does not become better by means of indulgences and is merely freed from penalties.
The Nun twitches and contorts; she’s about to have an exorcist moment. Classroom kids lean in.
NUN
(stern)
The simple believes everything, but the prudent give thought to his steps.
FRANK
Away then with those prophets who say to Christ’s people, “peace, peace” where there is no peace. Hail, hail to all those prophets who say to Christ’s people, “The cross, the cross,” where there is no cross…(voice raising) And let them be more confident of entering heaven through many tribulations rather than through a false assurance of peace!
The furious Nun approaches Frank; he pulls a match and STRIKES it off the wood desk; he lights up his now crumpled papers.
FRANK
And here’s to you and your merits Pope…disobedience is the true foundation of liberty! The obedient must be slaves!
The Nun bends Frank over and blazes his ass with a stick. Facing his classmates – smiling and content.
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This reply was modified 2 years, 5 months ago by Chris Spizuoco.
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This reply was modified 2 years, 5 months ago by Chris Spizuoco.
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This reply was modified 2 years, 5 months ago by Chris Spizuoco.
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This reply was modified 2 years, 5 months ago by
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Doug – Lesson 9. I’ve gone through these opening couple of scenes so many times, it was about time to get them down on paper! Hope I can keep up the momentum as we continue!
FADE IN:
INT. MANSION – NIGHT
ALICE, an older Black woman, is holding an old-fashioned candle holder with a flickering candle – casting weird shadows on her face and beyond. She’s standing at the top of the stairs in an 1870’s townhouse in Harlem.
ALICE
Hello? Is anyone there?ANGLE – PORTRAIT OF CASPER HOLSTEIN
A distinguished Black gentleman. Alice’s father.ALICE (O.S.)(CONT’D) (CONT’D) Poppa – is that you?
PUSH IN on the eyes of the gentleman in the portrait.
ALICE (O.S.) (CONT’D) (nervous laugh)
I know… but I wish it were. I miss you…
(gasp) No…!
SFX: a body is tumbling down the stairs.
INT. COMMERCIAL AIRLINER – DAY
CUT TO:
NICK, late 20’s – has the window seat. He opens the shade and the dawn sun shines in – as his seat-mate reacts, even though she’s wearing a sleep-mask.
P.A. ANNOUNCER (V.O.) We are making our descent into JFK
International Airport. Please make sure your seat is in the upright position, tray table retracted, and seat belt fastened. AeroMexicana welcomes you to New York City!
Nick looks out his window at the iconic Manhattan skyline as the plane banks and gets ready to make its final approach.
NICK Yes!
His seat-mate raises her mask, squinting in the dawn light, and looks at Nick.
SEAT-MATE First time?
Nick grins and nods.
The seat-mate shakes her head and pulls her sleep-mask back down.
SEAT-MATE (CONT’D) Wake me when we’re on the ground.
DISSOLVE TO:
INT. BAGGAGE CLAIM AND CUSTOMS AREA – JFK – DAY
Nick is pulling his small, scruffy duffle bag off the carousel, but…
As he swings it off and whirls around to leave – he accidentally bangs it into a rich-looking SOUTH AMERICAN GUY (ERNESTO) standing close to him, who reacts badly!
ERNESTO Hey! Watch it!
Two other immaculately suited Associates quickly move to Ernesto’s assistance.
NICK Oh, hey! Sorry!!!
Ernesto waves them off, but mutters:
ERNESTO (under his breath)
Pendejo!
reacts subtly. He may be a gringo, but he understands thediss. And, as… ANGLE WIDENS
NICK
2.
pretends to stumble over his duffle bag’s carrying strap and “accidentally” fumbles and loses control of it – so it tumbles into Ernesto, and, in Nick’s effort to grab it back, he lurches heavily into the guy, as well – knocking both of them to the ground!
The two Accomplices rush forward, grab Nick, and jerk him away and back up to his feet – as Nick keeps a hold of his duffle bag and pulls it away with him – apologizing profusely!
NICK
Oh, hey – I’m so sorry! Please –forgive me! It’s been a long flight – I’m still half-asleep! Are you okay…?
(then reacting to Accomplices who grabbed him)
Hey! Hands off, dudes – there’s nothin’ going on here.
The Accomplices shoot a look at Ernesto, who nods. They moves away – though it looks like they’d rather have punched Nick in the gut – and Nick, realizing this, gives the closest a raised eyebrow “Oh, really?” kind of look. Perhaps surprisingly, he’s not a bit perturbed.
ANGLE – CUSTOMS AREA
An elegant young woman (SHANIA) is in conversation with a CUSTOMS OFFICIAL. They both react to the OS tumult and the Offical rushes off.
NICK
CUSTOMS OFFICIAL I’ll be right back.
has backed away and there’s a bit of remaining the Customs Official hurries in to take charge situation.
CUSTOMS OFFICIAL (CONT’D) Senor Tosca?
Ernesto smiles sarcastically.
ERNESTO Welcome to Nueva York?
tension – as of the
As his accomplishes take Ernesto’s heavy bags and the Customs Official solicitously escorts this obvious VIP through customs, Ernesto gives a scornful look back over his shoulder towards Nick and reiterates:
3.
ERNESTO (CONT’D) (hissing)
…Pendejo!
…at which point, Nick’s conflict-defusing bland expression changes to an inward grin, as he turns away from the departing group and carefully extracts a wallet and a South American passport from inside his own coat pocket – eyes widening as he sees the thick sheaf of $100 bills inside.
He now looks back over his shoulder… NICK’S POV
…and sees Ernesto greeted warmly by Shania – but then Ernesto reacts and begins frantically searching his coat pockets, and everywhere else, for his missing wallet and passport!
NICK
deftly removes the bills from the wallet and heads towards the nearest trashcan to deposit what is no longer needed, but…
LOOKING BACK
He focuses on Shania – who, it turns out, is looking directly back towards him. Nick, enjoyably smitten, gives her a mischievous wink…
And accosts a nearby Airport Employee, holding out the wallet and passport (but shielding them with his body from the view of anyone in the customs area).
NICK
Excuse me. I just found these onthe floor near the carousel. Somebody must have dropped them, but I’m sure they’d like them back!
He hands them over and heads for a Customs line at the other end of the hall, far from where Shania is shepherding the extremely worried Senor Tosca through his cursory “non- inspection”.
P.A. ANNOUNCER (V.O.)
Will Passenger Ernesto Tosca please contact Baggage Services immediately…
Hearing the announcement, Ernesto and his group immediately head towards the Baggage Services Desk… while Shania shoots a last look towards the far end of the Customs check-out area…
4.
HER POV
To see that Nick is already gone. SHANIA
smiles, as…INT. EXIT LOBBY AT JFK – DAY
Nick walks through the bustling exit lobby, which is dominated by a huge “Mastery of the Craft” real estate poster (promoting the professionalism and elegance of a particular real estate firm’s employees). Nick appears to lock eyes with the “master real estate agent” depicted in the poster and gives him a smile and a nod.
NICK (softly)
Yes.
EXT. OUT ON THE SIDEWALK – DAY
An Airport Security Officer is trying to hustle a scruffy- looking HOMELESS GUY, his shopping cart, and his even scruffier-looking ALPHA TOM CAT (perched on top of the belongings stuffed in the cart) out of the area.
SECURITY OFFICER
Move it along! No camping out onthe sidewalk!
The cat HISSES at the Officer as Nick exits the building and moves into view.
CAT (hissing meow)
Nick reacts, taking in the scene, and then goes into his wallet.
NICK Excuse me, Officer.
He reaches past the Officer and cat to hand the Homeless Guy a bill.
NICK (CONT’D)
We’ve all been there, you know whatI mean?
The Officer gives him a look as if to say, “No, I haven’t, and, no, I don’t”…
5.
As the Homeless Guy looks at the bill in his hand, reacts with surprise, and gives Nick an enthusiastic thumbs up – and suddenly becomes very proactive in moving his shopping cart away from the crowd!
HOMELESS GUY
No problem, officer – we’re outtahere!
(to cat)Right, Kodiak? INSERT ON $100 BILL
NICK
Takes a second look at his wallet and reacts…NICK (sotto)
Oh shit!
As he takes out the $1 bill he had meant to give to the guy!NICK (CONT’D) (rueful)
Oh well. Plenty more where that came from… I hope!
(looking outward to “the city”)
Right, New York?
THE REAL ESTATE POSTER
CUT TO:
And, though the guy in the poster doesn’t give Nick a wink, he might as well have, as…
NICK
jumps into a cab and motors away!CUT TO;
6.
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The Sacred Kingdom
I learned not to worry about details and full answers and just get the through-line down.
LESSON 9 – OUTLINE
1. INT. PALACE ENTRANCE- LATER
The WAR MINISTER tells Akaash that Avanti’s arch-enemy is preparing his arm to attack. Akaash must be crowned king urgently. The COURT GURU is doubtful, Akaash is not ready for kingship.
INT. QUEEN’S APARTMENT – CONTINUOUS
The Queen tells him he will dishonor his father and the throne of the Sacred Kingdom if he is crowned before he’s ready. It’s like a slap in the face.
EXT. GARDEN – LATER
Akaash confesses secret doubts about his own ability to Mohini. He wants to know if his father is still alive and why he left him behind. He decides to go in search of his father.
2. EXT. PALACE GATES – NIGHT
A giant sent by Akaash by sky-god Indra challenges Akaash at the palace gates but he defeats him and forces him to reveal where his father was headed when he left on his last mission. The Giant says Vikram went to yogi Shant Sheel to find how to break the curse put on the Avanti Dynasty by Yogi Maldev.
EXT. CREMATION FIELD – NIGHT – CONTINUOUS
Shant Sheel tells Akaash he has to stop his uncle Hari from trapping his father Vikram in the infernal regions to gain revenge for usurping is throne. Akaash has to disrupt his rituals before it is too late to save his father.
EXT. A MOUNTAIN TOP
Akaash disrupts Hari’s rituals. In a shower of missiles and thunderbolts, Hari falls into the abyss. Akaash jumps in after him. He still wants answers.
3. INT. DEEP-SEA REALM OF PATAAL- DAY
OPENING: Akaash wakes up in luxurious surroundings. A Corpse nags him find Vikram. He owes him a debt and won’t be free until he repays it.
INT. VASUKI’S THRONE ROOM – CONTINUOUS
Akaash asks Vasuki the Cobra-King if his father is in Pataal. Vasuki refuses to answer and tells him no one leaves Pataal.
EXT. A SMALL SEA-CAVE – DAY
Akaash swallows his pride and asks Hari for advice. Hari reveals he crowned Vikram king and abandoned worldly matters to purify himself of his sins. With the throne empty Avanti is open to attack. If Shalivahana conquers the Sacred Kingdom, the world will be controlled by evil forces.
INT. PALACE CORRIDOR
Akaash persuades the Queen’s LADY to bring him the stone.
EXT. PATAAL
Overcome with guilt that the Lady’s favor will mean severe punishment, he return the stone before its absence is discovered. (how?)
Akaash and Hari battle terrible obstacles. A massive barrier reef appears at the boundary. Beyond it marshy sand as far as the eye can see. Akaash gives up.
EXT. BARRIER REEF
Akaash hears the piteous calls of an old WITCH trapped in the sands and feels duty-bound to help. He heaves himself up and carries her on his back. She drives him on, lashing, goading an humiliating him on and finally they re-enter the human realm.
3. EXT. CREMATION FIELD
Akaash is shocked to find himself back where he started. The witch comes off his back. She says was testing his compassion and humility. He is overwhelmed and grateful. He bids he farewell and addresses her mother. She looks grateful. His humility and sense of duty served him better than his fighting skills. He bids he farewell and addresses her mother. She reveals herself as the Goddess Kali.
EXT. SACRIFICIAL FIRE, CREMATION FIELD
The Corpse warns Akaash that Yogi Shant Sheel intends to offer the Avanti Dynasty as a sacrifice to the god Shiva in return for sovereignty over the world.
EXT. A DARK SPOT, CREMATION GROUND
Akaash instinctively accepts the Corpse’s advice to refuse Shant Sheel’s command to prostrate himself before the flames to honour the God.
EXT. SACRIFICIAL FIRE, CREMATION FIELD
Shant Sheel is prepared and hurls Akaash and Hari into the flames. Akaash appeals to the god to take him, leave his uncle, who is a holy man, to go and redeem his line from the curse.
Shant Sheel commands a group of witches to suck their blood. Instead the fly into the fire and liberate him.
The witches, instructed by Kali, who was the disguised as the old witch fly Akaash
into
EXT. SVARG – SKY-GOD’S HEAVENLY REALM
Vikram and Dharma don’t recognize Akaash in this euphoric atmosphere and Akaash has to find a way of jogging his father’s memory.
4. EXT. SVARG – SKY-GOD’S HEAVENLY REALM
Akaash shows the memory gem to Dharma.
In it, they see SHALIVAHANA, the enemy, battering down the gates of Avanti. Dharma suddenly remembers.
Akaash faces the toughest decision of his life – wait for his father to resolve his question or protect Avanti. He takes his leave of Vikram taking Dharma to protect the Sacred Kingdom. If he is vrowned king in time – Avanti will not be attacked.
When Vikram hears the mention of a Sacred City, he says he must defend it.
EXT. OUTSIDE THE AVANTI PALACE
The battle is in full flow. Akaash asks his father’s guidance and Dharma’s help.
Shalivahana attacks Vikram from behind but escapes without killing him. But the sight of Vikram has energised the Avanti army and they fight with passion.
EXT. A DUNE ON THE EDGE OF THE BATTLEFIELd
Akaash sees his father is wounded and races to him.Vikram’s memory returns. Vikram gives him his ring bestowed on him by Indra. Akaash begs him to stay but it his time to return to Svarg.
INT. QUEEN’S QUARTERS
Shalivahana has surrounded the Queen’s quarters and is holding the women hostage.
EXT. BATTELFIELD
Akaash hands over to Dharma and races over to liberate the queen and Mohini. They shout that they will look after themselves. Akaash remembers the world could be at stake and against his urge, returns to the fight.
He sees Kali appear by the women, 20 times her size. Shant Sheel protects Shalivahan.
The battle rages between humans, gods and the demonic forces of Shant Sheel.
Akash slay Shalivahana, resisting the desire to cast an exta blow from rage.
EXT. CENTRE OF BATTLEFIELD
Akaash is face to face with Shant Sheel with supernatural powers. Shant Sheel is indestructible but Akaash doesn’t give up.
Akaash sees Kali in the distance, calls out ‘Hail Mother Kali!’. He thrusts is sword into Shant Sheel who falls to the ground. A formless sliver escapes his body as he dissolves.
Prologue
The end
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This reply was modified 2 years, 5 months ago by Shahrukh Shackle.
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This reply was modified 2 years, 5 months ago by
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Marilynne’s Act 1: Opening Scenes
What I learned doing this assignment is… I am not clear about introducing the antagonist this early. He/It is not revealed until much later; the only thing that is revealed is his/its actions and their consequences.
ACT 1 – Key Scenes
OPENING SCENE BEAT SHEET
INT. VIRTUAL HUMAN PROJECT (VHP) LAB – EARLY MORNING
OPENING: DR. ISY BORDEN enters the scenario test with a cut on her arm and realizes it is healed when she leaves the lab.
OPENING SCENE OUTLINE
INT. VIRTUAL HUMAN PROJECT (VHP) LAB – EARLY MORNING
BEGINNING: Dr. ISY tells her team member MONROE she is doing an initial test on the bike racing scenario. She briefly glances at a long scrape on her right forearm as she enters the lab.
MIDDLE: In the Lab Dr. Isy initiates a bike racing scenario and is soon on a bicycle racing around the track.
END: As she leaves the Lab, Dr. Isy glances at her forearm. Her injury is gone.
SECOND SCENE BEAT SHEET
INT. VHP CONFERENCE ROOM – LATER SAME MORNING
Dr. Isy has called a meeting with her team to plan the test scenario for the next day. BENNY MARTENS will take the lead on conducting the test.
SECOND SCENE OUTLINE
INT. VHP CONFERENCE ROOM – LATER SAME MORNING
BEGINNING: Dr. Isy and her team Benny, Monroe, and Zack meet around the conference table discussing the climbing scenario test scheduled for the next day.
MIDDLE: They argue about who should be the first tester. Benny has the most experience and makes the strongest case. Monroe and Zack are not convinced Benny is the best choice.
END: The team leaves the lab still disgruntled with Dr. Isy’s decision.
THIRD SCENE BEAT SHEET
EXT. ABC COFFEE SHOP – EARLY NEXT MORNING
A Global Techno Action (GTA) Human Resources rep approaches Benny when he picks up his morning coffee. She strikes up a conversation and asks if he might be interested in working for a large R&D corporation, with a considerable increase in salary. He is surprised by this sudden offer and says he’ll think about it.
THIRD SCENE OUTLINE
EXT. ABC COFFEE SHOP – EARLY NEXT MORNING
BEGINNING: Benny waits outside the coffee shop with his morning coffee and bagel. A well dressed, sexy woman approaches him – not the kind he usually meets. She hands him her business card and introduces herself as Margo, a Global Techno Action (GTA) Human Resources representative.
MIDDLE: She strikes up a conversation and asks if Benny might be interested in working for a large R&D corporation, with a considerable salary increase. He is surprised by this sudden offer and says he’ll think about it. She thanks him and leaves him with her dazzling smile.
END: Monroe waves as she approaches Benny. He seems a bit “spaced out” as he tells Monroe about the strange conversation he just had and the job offer “out of the blue.”
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OPENING SCENES
DAVID BRUNO
Answer the question “What I learned doing this assignment is…?” and put it at the top of your work.
I learned about outlining scenes and the structure of key scenes in acts.
1. ASSIGNMENT.
Go to your Beat Sheet and find the opening scene and a second lead character introduction. Create a simple outline for those scenes.
Protagonist Opening: (beat)
INT. CAMPUS LECTURE HALL – DAY
ALISTAR is teaching a class on the ‘Fermi Paradox’.
Outline:
INT. CAMPUS LECTURE HALL – DAY
BEGINNING: ALISTAR enters and students hush completely.
MIDDLE: ALISTAR states the subject: FERMI PARADOX explanation.
END: A student remarks about the spelling of ALISTAR. ALISTAR retorts about the missing link being present in the lecture hall… even today.
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Antagonist Opening: (beat)
INT. NSA RESEARCH FACILITY – NIGHT
ANTAG gives order to execute alien
Outline:
BEGINNING: Alien is strapped to table, struggling.
MIDDLE: ANTAG enters chamber and prepares device, then gives or to execute alien.
END: Alien violently struggles in his death rattle, ANTAG call on phone, “It’s done.”
2. Write your Opening scene that introduces the characters.
PROTAGONIST OPENING SCENE:
EXT. MOTORCYCLE ON WOODED ROAD – DAY
ALISTAR rides to campus on a foggy winding road, heavily wooded. Exits bike, enters lecture hall.
INT. CAMPUS LECTURE HALL – DAY
Noisy students wait for ALISTAR to enter hall. As he enters the students hush completely and suddenly as if falling from a cliff. The lecture is about the ‘FERMI PARADOX’. The students listen carefully and take notes. One student seems annoyed and scribbles for a distraction. The student attempts a snarky comment after the lecture and…
ALISTAR retort:
“There may still be missing links among us… even in this lecture hall.”
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ANTAGONIST OPENING SCENE:
INT. NSA RESEARCH FACILITY – NIGHT
Alien, in a sealed chamber, is strapped to a table, struggling. ANTAG enters room and reviews monitors. Hands clipboard to operator and gives the order to pull the lever. Packet of pellets drop into bucket below alien and give off cyanide gas. Alien struggles violently and her skin rapidly changes colors. Alien’s death rattle ends. ANTAG calls on phone and says: “It’s done.” He exits the room.
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Aina’s Act 1: Opening Scene
Since I am fairly behind I have decided to get through the lessons and do only scene outlines. I will try to catch up with writing or fleshing the scenes out as I go along.
What I learned doing this assignment is that doing scenes in outlines using beginning, middle and end helps to create new action needed.
OPENING: Montage of Urr’s life
INT. APARTMENT – DAY/NIGHT – WINTER
BEGINNING: Urr adjusts glass baubles on the Xmas tree – moving delicate ones higher and bringing tougher ones lower – he is wiry and athletic, easily moving from slim branch to another. Dog finds it funny and tries to grab Urr.
MIDDLE: Urr throws something for the dog, dog off. A baby reaches for a glass bauble on a lower branch, Urr drops Mia’s doll down for it and removes the bauble. Mother picks up baby. Looks at the tree in wonder – has someone changed the decorations. Daughter, Mia, with biscuits and cream, takes her doll – jealous of the baby. Fear it will take away all that’s hers.
END: Urr eats a biscuit, pushes a piece to the dog – no other contact between them, Urr happy
INT. APARTMENT – DAY – WINTER
BEGINNING: Urr cleanses the apartment with his “something”, Toys lie around.
MIDDLE: Dad in, heads for the toys – does not see. Urr urges Dog for gallop, rides up, removes the toy in time, as father pats the dog.
END: Resumes the cleansing – it is rehearsed and always done the same – but what could be the change-twist?
INT. APARTMENT – URR’S HIDEOUT – DAY
BEGINNING: Urr staggers into his home, collapses.
MIDDLE: ticks things off in his note book – things he must do.
END: Happy, all tasks are done. Note: no shadows for 20 days.
NOTE: the space – where and what it’s like – it must be hidden. Would he have a comfy home or not?
INT. APARTMENT – DAY – SPRING
BEGINNING: Mother/Father in an argument
MIDDLE: Urr’s ritual for the argument. No help. Sees shadows – dark shadows grow in a corner of the room – Urr does his ritual.
END: Shadows retreat – fight stops
INT. APARTMENT – DAY – SPRING
BEGINNING: Urr cleans apartment – same ritual as before, boxes on his way.
MIDDLE: FEAR: every move is well set-up and rehearsed, Urr is curious – wonders about the boxes, looks at the Dog but fears to ask or wonder about it
END: decides it’s better to ignore it, then it will go away – does the vanquishing ritual just in case, boxes don’t go anywhere, he moves on.
ANTAGONIST
EXT. FARM – STABLES – DAY – SUMMER
BEGINNING: Moving trucks in the courtyard, men take boxes and furniture into an old farm house. Urr peeks out from his box. Show the farm.
MIDDLE: Farm elves witness the family move in to the farm – Velbas is clearly the leader, grumpy and unfair, cheeky but respected. (Velbas and farm elves 1). FEAR: excited fear of the newcomers, hope for a salvation of the farm. Urr panics. Velbas – introduce conflict – he leads and takes over. And is not trustworthy. How to put him in action?
END: Urr hides back in his box and it is carried inside.
INT. BOX – DAY – SUMMER
BEGINNING: Urr, clearly upset, shuffles his things, talks to himself
MIDDLE: .. No idea who they were, but they must be from the outside, he will never have to go outside, he is indoors elf.
END: Decides: It’s better to ignore them. And he is poured out with all his things from the box. OR box is put down and he dares to peek out again OR is lifted out with linen by Mother – Urr hides between linen. NOTE: stuff in the box must be such that one can hide himself and his things among it without raisin human suspicion.
INT. FARM HOUSE KITCHEN – DAY
BEGINNING: Urr rushes in and bumps into Velbas and his daughter Kippen (sneaked up on Urr, keeping an eye on him). “What are you doing inside, you’re outdoors elves?” FEAR:
MIDDLE: Velbas is hostile. Kippen is nice. Velbas tells Urr immediately he wants him out. Urr is fine with that, he wants to get away from here as well, but with his family. Reveal Urr’s fear: what will become of him if family isn’t there? Plus Velbas realises Urr knows nothing of elves – or maybe this in ACt 2.
END: Velbas pretends he is okay with that. I could help you. Kippen is suspicious, Urr falls for it.
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OPENING SCENE BEAT SHEET
EXT. SUBURBAN HOUSE – DAY
OPENING: Monique harasses her husband to the point he walks into traffic and is hit and killed by a car.
OPENING SCENE OUTLINE
EXT. SUBURBAN HOUSE – DAY
BEGINNING: Monique swigs from a bottle and is loud and belligerent.
MIDDLE: Her friends Kira and Mark are embarrassed and uncomfortable with her behavior. Her husband is increasingly upset by his wife’s actions.
END: A fed-up Steven angrily stalks from the backyard out into the street. He doesn’t notice an oncoming car and is hit and killed instantly.
SECOND SCENE BEAT SHEET
INT. OFFICE – DAY
Monique is effectively run out of town.
SECOND SCENE OUTLINE
INT. OFFICE – DAY
BEGINNING: A hesitant Monique listens as Mark, her estate lawyer, outlines the details of her living trust.
MIDDLE: Mark is abrupt and cold, matter-of-factly listing all the specifics and talking over Monique when she tries to interject.
END: Mark’s secretary opens the door wide for Monique and doesn’t make eye contact. As Monique steps through the doorway, the door slams behind her.
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