Lesson 9

[Stephen Maynard]

Subject line: Stephen Maynard Act 1: Opening Sequence

“What I learned doing this assignment is…?” First impressions must say a lot in a screenplay as it is the writer’s opportunity to introduce the main character, indicate the genre, make the promise of the premise, and set the tone. Then it’s up to the writer to not disappoint with the other ninety pages.

Go to your Beat Sheet and find the opening scene and a second lead character introduction. Create a simple outline for those two scenes.

INT. JOHNNY’S LIVING ROOM – NIGHT – OPENING SCENE

BEGINNING: Two BOYS use their fingers to draw a schematic on the carpet. They are planning a daring and impossible stunt.

MIDDLE: The boys reinforce each other’s belief that the impossible stunt can be completed successfully if they believe they can do it.

END: The boys perform the death-defying stunt astounding themselves and their classmates with their audacious accomplishment.

INT. BANK – EXECUTIVE SUITE – DAY – SECOND LEAD CHARACTER’S INTRODUCTION

BEGINNING: A BANKER attempts to quiet his BUILDER accomplice by informing him that the plan to swindle an old lady out of her property is foolproof and that he need not worry.

MIDDLE: We learn that there is an ID scam afoot and that the Banker’s brother is the one who has forged the old lady’s signature on a loan document.

END: The banker and the builder go to dinner with their beautiful seventeen-year-old daughters and we learn that the girls are their unwitting secret weapon.

2. Write your Opening scene (sequence) that introduces my protagonist.

FADE IN:

INT. JOHNNY’S LIVING ROOM – NIGHT

Using a finger, STEVIE MILLER, a B student who never took a book home, and is proud of it, draws a sequence diagram on the carpet.

It’s a Rube Goldberg scenario illustrating how an impossible series of events might unfold.

JOHNNY GRANT, a kid who breezed through high school with As, but does everything he can to disguise his ability to identify, analyze, and solve problems, ponders.

JOHNNY

Why should we have to prove gravity, it’s

axiomatic.

STEVIE

It’s our final project, Johnny, and we’re outta here.

JOHNNY

Okay, they asked for it.

STEVIE

Okay then, A goes down the slide and drops off

the building –

JOHNNY

Stevie, Stevie, we’re gonna need more speed.

Using a finger, Johnny writes upside down on the carpet. “Force = Mass X Acceleration”

Stevie draws a taller building with a slanted roof.

STEVIE

Okay, think with me. A goes off a roof onto a

water slide and drops to the seesaw.

JOHNNY

You think it before you can do it.

STEVIE

It’ll happen if we believe it will.

EXT. LATIN HIGH SCHOOL – DAY

The all-male student body looks in silence as, from a second-story window, a hula hoop is dangled from a bamboo pole.

A ground-floor window opens, and two boys extend a pole with a keg at its end.

All eyes look up at Stevie. He stands teetering precariously on a skateboard, on the crest of a three-story building’s slanted roof.

He launches, rumbles cattywampus across the clay tile, leaps the alley, drops, and comes down hard on a water slide on the flat roof of the adjacent two-story structure.

The students scream and applaud wildly.

Stevie picks up speed, goes airborne, turns a flip, kicks the skateboard away, and drops to a seesaw, launching Johnny over to a trampoline propped on its edge.

Johnny bounces off a trampoline, up through the hula hoop, turns a flip over Stevie’s head, rolls over the keg, flips, and crashes down on the seesaw.

Stevie is catapulted up to the top of the two-story building.

STEVIE

Ah, the summit of life, Dude. We’re about to

granulate high school.

JOHNNY

Johnny’s first law of gravity says, what

goes up must come down so get down

from there. We’re going to college.

3. Write the scene (sequence) that introduces the Antagonist.

INT. BANK – EXECUTIVE SUITE – DAY

The spacious interior is furnished more like a living room than an office. A dark wood desk with classical-style gold legs and inlay gold borders dominates the space. Four chairs face the desk.

Across the room, two plush sofas, separated by a low table, face one another.

Mr. GORDON puts a finger to his lips, closes the door, and leads Mr. BRADFORD over to the far side of the room.

GORDON

A lock Brad, a done deal. It’s a non-juridical foreclosure.

With our power of sale clause, you swoop in and –

BRADFORD

Document forgery is a crime. I’m concerned

about the guy blabbing.

Gordon puts a finger to his lips and assumes a calming tone.

GORDON

The guy’s my brother. In for a third, he’ll cut

his tongue out for five hundred K – –

BRADFORD

Don’t forget who orchestrated the ID scam. Bank

fraud is a crime… What bothers me is blackmail.

What if he decides he wants more?

GORDON

Simmer Brad, it’s under control. By September

we’ll have it free and clear. You just make sure the

engineering is in place so we can break ground in

October.

BRADFORD

We on for dinner tonight?

GORDON

Ambrosia’s, eight-thirty.

INT. AMBROSIA’S – NIGHT

The crowded room is tastefully decorated in Grecian decor, columns, alabaster statuary, and the whole nine yards.

At a round table, Bradford, Dawn, Mrs. BRADFORD, Gordon, Charlie, and Mrs. GORDON sit chatting.

A busgirl sweeps the tablecloth and goes. The hovering waiter centers a low-profile bouquet and with a fairy-like flourish, takes his leave.

BRADFORD

Dawn looked at the architect’s drawings today.

She picked a nice penthouse suite for herself

and one for Charlie.

DAWN

I thought I’d do mine in all pink and gold, Mommy.

MRS BRADFORD

Oh, honey, your taste has always been impeccable.

Two waiters arrive and place menus in front of each person.

DAWN

Daddy, order something sweet for me.

GORDON

Dessert, Charlie?

CHARLIE

Sharly, s’il vous plaît, Papa.

GORDON

Have some dessert, Sharly.

CHARLIE

Sharly is too sweet for dessert, Papa.

[Jennifer Williams]

Subject line: Jennifer Williams – Act 1: Opening Scenes

1. “What I learned doing this assignment is…?”

· I learned how to break down a scene to make sure it has a beginning, middle, and end with a twist.

2. Go to your Beat Sheet and find the opening scene and a second lead character introduction. Create a simple outline those scenes for those two scenes.

3. Write your Opening scene that introduces a lead character, either your Protagonist or Antagonist.

4. Write the scene that introduces the other lead character.

• OPENING SCENE:

BEGINNING

FADE IN:

INT. CHURCH – DAY

In the church’s vestibule, DELORES SELENÁE CHANEY, 40s, is distressed as she prepares to walk down the aisle. PAUL SMITH, 60s, a debonaire gentleman who exudes confidence and style, Delores’ father, takes her to the side to determine their next move.

MIDDLE

INT. CHURCH – DAY

KENDRA PERKINS, 40s, Delores’ best friend and Maid of Honor, enters the lobby with MAURI CHANEY, 19, preparing to march into the church. Kendra notices Mr. Smith uses his handkerchief to dab Delores’ eyes. She quietly walks over to her to tell her it’s not too late to call it off.

END

INT. CHURCH – DAY

The church doors open, and the music begins to play; Mauri walks down the aisle, followed by Kendra. Paul and Delores step up, and the music stops. The congregation turns toward the altar, but we don’t know the groom.

BEGINNING

TITLE CARD: ONE YEAR EARLIER

INT. DELORES HOME – DAY

Delores waits for Mauri to come downstairs so they can go to the gym. She stares at the picture of herself and her husband, TREVOR CHANEY, who passed away, on the mantle. The doorbell rings, and Kendra, her best friend, enters.

MIDDLE

Based on the look on Delores’ face, Kendra can tell she is thinking of her late husband. Kendra tries to assure her that since it’s been more than a year since his passing it’s all right to move on with her life.

END

INT. GYM – DAY

Delores, Mauri, and Kendra enter the gym, passing several workout areas, and a man attempts to talk with Delores. Delores speaks but ignores his advance. Kendra calls her on it. The three work out and, after 90 minutes, end their workout. Kendra has set up a not-so-chance meeting with NICK OLIVER, 40s. Nick invites Delores for coffee afterward, but she politely declines, citing a work meeting.

BEGINNING

INT. DELORES’ OFFICE – DAY

Delores gets to work, and her Co-Worker, JAMES PRICE, 40s, Chief Operations Officer, who has been trying to get to know her on a non-work level, creates a reason for them to have lunch together. She accepts the invitation but makes excuses to cut the lunch short.

MIDDLE

INT. DELORES’ OFFICE – DAY

Delores is in the office late and meets up with LYLE COLLINS, 40s, the online gentleman she’s been communicating with for several months, in an online specialty book lover’s room, and they engage in delightful banter.

END

INT. DELORES’ OFFICE – DAY

Totally out of character, Lyle convinces her to meet him for dinner since he is in Los Angeles for the evening. They exchange personal information via email.

ANTAGONIST INTRODUCTION

BEGINNING

INT. LYLE’S OFFICE SEATTLE – DAY

CINDY COLLINS, 30s, Lyle’s ex-wife, former model/actress, enters the office with their son, MATTHEW COLLINS, 7, while CLARA LATHAM, the Office Manager, tries to stop her; she overhears part of the conversation that LYLE COLLINS, 40s, is having with Selenae.

MIDDLE

INT. LYLE’S OFFICE SEATTLE – DAY

Cindy yells at Clara and pushes through the door, dragging Matthew. Lyle ends his call before she is heard by Selenáe. Matthew runs and jumps into his father’s arms. Cindy begins to question Lyle about who he was speaking with.

Lyle avoids Cindy’s questioning by leaving the room with Matthew to get him a snack from their breakroom.

END

INT. LYLE’S OFFICE SEATTLE – DAY

Cindy walks around the desk, sees the website on the computer, and looks at the paper on his desk where she sees doodles with Selenáe’s screenname, Selenáe, the printed email with her email address and phone number, as well as Lyle’s plans for a vacation for the two of them. She hears him returning and quickly moves back in front of the desk.

[Steve Jones]

Steve Jones – Act 1: Opening scenes

What I learned doing this assignment is that there’s always an easy way to overcome the urge to do something else other than write.

INT. MARS SPACEPORT – DAY

Harry is on duty when a ship arrives from Earth.

Harry finds it all routine and easily spots someone that the AI system and spotter robots miss who turns out to be there illegally. The illegal immigrant is taken away pleading for help. Harry opens the automatic doors to free a bird/butterfly/something else.

Harry’s relationship with his fellow officers is strained and they keep him at arms’ length.

Harry’s boss is more accepting of the results
Harry gets but still doesn’t understand him. He tells Harry that his life on Mars
is blessed because he’s useful but he should never forget that he should really
be on Earth with all the other slummers.

INT. VOR’S CLINIC – DAY

Vor instructs Peep about how important this last segment of the chemical is to him and reminds him to bring back a living mule not a dead donkey. It matters to him that they’re alive.

Peep is subservient to his master and does everything he wants. He is downcast after being used in the bedroom but becomes animated when given a real job to catch and bring back the illegal.

FADE IN:

INT. MARS SPACEPORT – DAY

HARRY KOALA looks out over the Mars Spaceport concourse from the mezzanine above. He’s mid forties, fit, good looking and bored.

LEIGHTON BUZZARD ambles up behind him. He’s older than Harry and wears authority like a casual sweater.

LEIGHTON BUZZARD

You look bored.

Harry looks at the cops and their robot partners on the concourse below.

HARRY

Bet you a half eaten doughnut they don’t spot anyone.

Buzzard grimaces.

LEIGHTON BUZZARD

Big stakes huh? And you’re going to do your usual and find someone for us?

HARRY

If they’re there, yup.

LEIGHTON BUZZARD

No-one likes a smart ass, Harry.

HARRY

Unless they’re better at their job than everyone else. Or anything else. But you’re right. No-one likes having their noses rubbed in it.

One of the cops below looks up and sees Harry talking to Buzzard. He nudges his robot partner and all the robots look in the Harry’s direction at the same time. Some of their human partners catch on and glance up.

HARRY (cont’d)

See that one? (Harry points at a cop on the concourse.)He’s so busy being obtuse, he hasn’t even noticed everyone else clocking our conversation.

The unobservant cop sees everyone looking up and turns to look at what they’ve seen.

Harry waves at him and blows him a kiss.

He gives Harry the finger, spots Buzzard behind him and quickly salutes.

HARRY (cont’d)

Your elite squad of trackers relies on their robot data peddlers to do everything for them. They wouldn’t notice if they left their dicks out after going for a piss. I can’t be here for every landing.

LEIGHTON BUZZARD

There’s one a week. It takes two hours to clear the crew and the passengers.

HARRY

Then it’s lucky for you that I can be here for each one then.

LEIGHTON BUZZARD

And lucky for you that you’re so good at spotting the illegal ones that the computers say are legal.

HARRY

Don’t threaten me.

LEIGHTON BUZZARD

No-body likes a smart ass.

Harry stares at Leighton who returns the favor.

LEIGHTON BUZZARD (cont’d)

(Nodding at something behind Harry) You’re on.

Harry glances over his shoulder. He sees the landing gear of ten million tonnes of space liner come into view through the spaceport windows. It drifts down onto the landing pad supported by huge blue flames from landing booster rockets.

Leighton wanders off.

LEIGHTON BUZZARD (cont’d)

Catch me something juicy.

HARRY

(Soto) Go fuck yourself. Sir.

INT. VOR WORPLE’S CLINIC – SAME

VOR WORPLE sits in his favorite recliner and watches the space liner slowly descend behind the spaceport on the edge of the huge dome they all live in. He’s old but looks fit and healthy. he could be sixty or ninety. You just can’t tell these days.

Worple is wearing a robe and his thick, silvery hair is disheveled. At the foot of his chair, PEEP KANSAS is slumped on the floor. He is younger, naked and wiry. His head hangs down slightly.

Worple nudges the back of Peep’s head with his foot.

WORPLE

You’re missing the show.

Worple looks back at the spaceport.

WORPLE (cont’d)

Are we clear on this one? No mistakes.

Peep nods.

WORPLE (cont’d)

Time to clean yourself up then and go and get my last delivery.

Peep lifts his head and glances towards the spaceport as the huge ship finishes its landing. He smiles slightly, hauls himself up and heads for the shower.

WORPLE (cont’d)

Good boy. (Calling after Peep) No mistakes! This is the final piece of the jigsaw.