there are 2 assignment base on one topic
assignment 1
Situation
Two girls are in their dorm rooms, they suddenly get a call from their friend that there is a party and they should accompany their friend. This is very late around 11 pm at night and tomorrow at 7am both of the girls have their finals for the semester. They not read enough because they had planned to study this night know they have to choose between the party and the studying for the finals.
base on this situation write
Storyline: (Provide a simple story summary. In one paragraph of 8-10 sentences.)
Ending shot: (What does the final shot of your short film look like? What is going on?)
Main disagreement: (A wants X. B is against X)
Action At Stake: (Identify one action that symbolizes/represents the disagreement.)
Character Issues: (List a few issues each character has in 2-3 sentences.)
Character Dynamics: (Describe their relationship before this moment.)
Key Dialogue: (Jot down dialogue ideas, out of order and out of context.)
assignment 2
base on assignment 1write a draft of the script here as a Word file attachment.
there is an example of script
FOR A FEW DAYS MORE
Written by
April Rider
[NOTE: A typical title page may look like this. For the Academy Nicholl Fellowships
competition, you should eliminate all instances of your name, address, phone number and
email address from the title page and all other pages of the screenplay. Only the title of the
screenplay is needed. It is also permissible to include a U.S. Copyright Office or WGA
registration number on the title page (though registration is not a requirement).]
April Rider
999 George Kaplan St NNW
Hitchcock, SD 57000
605-555-5555
April@nowhere.com
[This format guide was originally written by Greg Beal in 1996 and has been revised several
times by him since then, most recently in February, 2014.]
FADE IN:
INT. DRISKILL HOTEL SEMINAR ROOM – DAY
JOE and APRIL burst through the doors into a clean, well-lit
seminar room.
JOE
Are we in time?
APRIL
How could they start without us?
We’re the main attraction.
Joe catches his breath as he leans against the podium at the
front of the room.
JOE
(looking about
the room)
We are?
APRIL
Don’t be an idiot. You know we’ve
been invited to Austin to discuss
script format.
JOE
But why is the room empty?
April and Joe look out across the room – rows of empty chairs
and nary a person in sight.
APRIL
Okay, okay. Don’t panic.
She takes three deep breaths. Then April looks at her watch
and smiles.
APRIL (CONT’D)
We’re an hour early. . . . We
should rehearse.
JOE
Okay, you start. Margins?
APRIL
Left, 1.5 inches. Right, 1.0
inches. Top, 1.0 inches to the
body, 0.5 inches to the number.
Bottom, 0.5 to 1.5 inches,
depending upon where the page break
comes.
JOE
Page break?
APRIL
Right above you. There are rules
for breaking a page. Scene headers
remain attached to description. A
single line of dialogue is pushed
to the following page. A long
dialogue passage would be split –
but I’ll get to that later.
JOE
What about fonts?
APRIL
Courier, 12-point, 10-pitch. Make
sure it’s a non-proportional
version of Courier and avoid
Courier New unless you want your
script to be about 10% longer.
JOE
What about bold-face or italics? Or
a cool font like Garamond? I love
to jazz up my scripts.
APRIL
Mostly, you should steer clear of
bold and italics. Definitely no
Garamond, no Helvetica, no Times
Roman. Stick with Courier. That’s
the industry standard.
JOE
Ah . . . we’re talking about
industry standards.
Suddenly, Joe bolts from behind the podium and runs out into:
INT. DRISKILL HOTEL HALLWAY – DAY
Joe glances up and down the hallway, then reaches back to
open the door.
JOE
(calling)
April – come on! There’s no one
here.
2.
APRIL
(walking through
the door)
A scene heading. Or a slug line, as
I was taught in film school. Always
CAPPED. Usually begins with INT. or
EXT. What happens if we —
EXT. TEXAS CAPITOL BUILDING – DAY
Joe looks startled as he stands with April before the seat of
Texas politics.
JOE
How’d you do that?
APRIL
There was a cut – from the hallway
to the capitol. What’d you want to
do – ride in a cab?
JOE
Dialogue margins.
APRIL
Left, 2.5 inches. Right, 2.5
inches. Of course, you can cheat
those a tad.
JOE
So, you have about 3.5 inches for
each line of dialogue?
APRIL
You’ve got it. And you can sneak
out another character or two to the
right and no one will hold it
against you.
Joe jots down notes on a 3 x 5 card, studies the card for a
moment, then scribbles another note.
JOE
(looking up)
And the position of the character’s
name?
APRIL
ALL CAPS, and tabbed to about 4.0
to 4.2 inches, depending upon the
look you like. Some writers center
all characters’ names in dialogue.
Personally, I don’t think it
matters too much.
3.
(MORE)
The appearance of the script pages
is slightly different in each case,
but all are within the norm.
JOE
Hey! What happened?
APRIL
A page break appeared in the middle
of my dialogue. You use (MORE) at
the bottom of the page to show that
the character’s dialogue continues
onto the next page. Then add
(CONT’D) after the character’s name
to show that the lines have roots
in the previous page.
JOE
But not everyone uses MOREs and
CONT’Ds, do they?
INT. CAPITOL BUILDING – DAY
Joe stares up into the dome. April examines the portraits of
Texas governors on the nearby walls.
APRIL
Some writers just plan their page
breaks so as to avoid them.
JOE
(considering)
What about parentheticals?
APRIL
Start them about 0.5 inches to the
left of the character name tab
mark. In our case, that would be at
3.0 inches.
JOE
And what are they for?
APRIL
For years, parentheticals were used
to express emotion, the manner in
which a character spoke her lines.
Loudly, passionately, sadly, and so
on. That’s frowned upon these days,
but some writers still use them for
bits of action.
4.
APRIL (CONT’D)
JOE
(going up a
stairway)
Something like this?
APRIL
(following him)
Exactly.
JOE
How wide are parentheticals?
APRIL
Not very – about 1.5 inches. And
they should wrap to the following
line when they extend beyond that
point.
(pointing to the
top of the page)
If you place a parenthetical in the
middle of a dialogue passage, it
should remain distinct from the
dialogue.
EXT. MISSISSIPPI RIVERBOAT – NIGHT
A gambling boat is docked along the riverfront. April and Joe
wander about its upper deck.
JOE
I have to ask. What happened to CUT
TO:s between scenes.
APRIL
Some writers still use transitions
such as CUT TO: and DISSOLVE TO:
between scenes.
JOE
Those would introduce a new scene
header?
APRIL
And typically a different place
and/or time. But many writers have
dispensed with such transitions,
feeling that a new scene header
clearly signifies a cut without the
need of any additional indicator.
Joe gazes out at the river.
5.
JOE
How did we reach the Mississippi
and when did the sun set?
APRIL
If you’d rather . . .
EXT. AIRPLANE – SUNSET
A jet liner cruises across Texas towards the setting sun.
INT. AIRPLANE
A customized interior, outfitted with leather chairs and
sofas. April and Joe sip salt-encrusted margaritas.
JOE
Is this a flashback?
APRIL
Or it could be tomorrow or next
month?
TITLE OVER:
October 25, 2014
APRIL (CONT’D)
You see, a whole year has passed.
JOE
Okay, I didn’t notice. But I
thought only DAY and NIGHT were
allowed in scene headers.
APRIL
Production managers might prefer it
that way, but many writers use
headers as a means of depicting a
particular time of day. For
instance, SUNRISE, DAWN, LATE
AFTERNOON and SUNSET.
JOE
That’s allowed?
APRIL
On a writer’s draft, without a
doubt.
JOE
A writer’s draft?
6.
APRIL
Essentially, any draft that hasn’t
been paid for. A draft to be
submitted to agents, managers,
producers, development execs. Or
even to a screenplay competition.
Those are writer’s drafts. And they
should all be FIRST DRAFTs, no
matter how many versions the writer
has actually written.
JOE
You really think so?
APRIL
That’s my recommendation.
INT. BLUE CAMARO – DAY
April drives along Austin’s Congress Avenue as Joe rides
shotgun.
JOE
You speak any foreign languages?
APRIL
(in French)
Of course, I do. Why do you ask?
JOE
What about action sequences?
SUDDENLY, A BLACK MUSTANG
Whips around a corner, racing quickly towards them.
APRIL
Punches the accelerator and —
THE BLUE CAMARO
Leaps forward, laying a trail of rubber. The Camaro takes a
screeching left, then a quick right to accelerate into —
AN ALLEY BURIED IN DEEP SHADOWS
Where the Camaro all too quickly runs into a dead end, just
as —
THE BLACK MUSTANG
Roars into the alley, sealing it shut.
7.
APRIL
Looks to Joe, fear filling his eyes.
EXT. DRISKILL HOTEL PORTICO – DAY
April guides a dazed and confused Joe from the Camaro towards
the front doors held open by a smiling VALET.
APRIL
That’s one way to write an action
scene. It’s a variation on the Bill
Goldman style used by many pros.
JOE
(coming to)
But other writers just use standard
scene headers and description for
action scenes, don’t they?
APRIL
Many do.
INT. DRISKILL HOTEL LOBBY – DAY
A confused Joe speaks into a house phone.
JOE
I thought we were walking together.
APRIL (O.S.)
(filtered)
Well, we were, but I realized a
phone call was needed.
JOE
You’re filtered?
INTERCUT WITH:
EXT. STATE CAPITOL – DAY
With the capitol dome looming large behind her, April speaks
on her mobile phone.
APRIL
Only when you hear my voice over
the phone. Radio voices and phone
calls can be filtered, though it’s
a convention that isn’t used as
much these days.
8.
JOE
Let’s try something easy. What
about page numbers?
APRIL
Number each and every page, though
you can start with page two. The
numbers should appear in the upper
right-hand corner, about 0.5 inches
down and 0.75 inches from the right
page edge. Those dimensions are not
set in stone, but the page numbers
should always be placed in the
upper right-hand corner.
INT. DRISKILL HOTEL HALLWAY – DAY
Joe strolls slowly towards the seminar room.
JOE
You know, that pronouncement almost
seemed godlike.
APRIL (V.O.)
If it were, I probably would have
spoken in a voice-over and not on
the phone.
Joe searches the hallway, trying to decide just where this
disembodied voice is emanating from.
JOE
What’s a V.O. used for?
APRIL (V.O.)
Often for narration, for a
narrator’s voice. In film noir, the
protagonists often filled the
audience in on their thoughts or
story details. Scorsese films are
often filled with voice-over, as
are many documentaries.
INT. DRISKILL HOTEL SEMINAR ROOM – DAY
Joe races past April to reach the podium first. April walks
casually past the still-empty chairs.
At the podium Joe gestures with his hands as if he were
delivering a major political speech.
April sneaks up behind him and mimics his gestures – until he
notices. Joe spins to confront her.
9.
JOE
Why I ought’a . . .
APRIL
I was simply demonstrating the way
many writers break descriptions
into shorter paragraphs. As opposed
to allowing description to fill
dense blocks running on for lines.
JOE
That makes for tougher reading,
doesn’t it?
APRIL
I know studio readers who claim
they skip long description passages
and only read dialogue.
JOE
But there are pros who write
scripts with extended description.
APRIL
They do – but that doesn’t mean you
should too. When you’re paid to
write a screenplay, you just have
to satisfy the people writing your
checks.
Joe balances on one leg atop the podium.
JOE
But when you’re like me, you should
stick to format. Is that what
you’re trying to say?
APRIL
You just want to make your script
as easy a read as possible.
Joe jumps down from the podium and hustles out the door just
as conference ATTENDEES begin to enter.
APRIL (CONT’D)
By the way, the first time you
introduce a character in
description, you CAP his name. And
when you break a dialogue passage
with description, the standard is
to place (CONT’D) next to the
speaking character’s name.
April watches as a number of people find chairs in front of
her.
10.
APRIL (CONT’D)
Of course, many writers have
dropped (CONT’D) from their
repertoire. I mean, it’s obvious
that I’m still speaking, isn’t it?
And that I never stopped speaking.
JOE (O.S.)
(shouting from
beyond the door)
Hey, April! C’mon! There’s a
barbeque at the Governor’s Mansion
and a shuttle leaving in two
minutes.
APRIL
(shouting)
We haven’t mentioned master scenes.
A sheepish Joe slides back into the seminar room, slowly
walking to the podium.
JOE
That one I know. No CLOSE UPs, no
WIDE SHOTs, mostly no shots of any
kind. Just scene headers,
description and dialogue. And no
scene numbers. Those only belong on
shooting scripts.
APRIL
It’s okay to sneak in a shot here
and there when it’s necessary to
highlight a moment or move the
action along.
JOE
Okay. I can get behind that.
APRIL
And don’t worry. I would never let
you miss a meal.
FADE OUT.
THE END
11.
A FEW ADDITIONAL NOTES:
How closely should the format presented on the above pages be
followed?
Close enough so that your script at least resembles these
pages. That said, there is no absolute standard format within
the U.S. film industry. The format used by professional
screenwriters can vary considerably from writer to writer –
but overall the format used by one professional writer
generally resembles that used by another professional writer.
Nuances may vary – margins slightly different, a dash here or
there, parentheticals used this way or that or not at all –
but overall, professional screenplays fit within or near
these guidelines.
Clarity is the goal. If your script’s format can be easily
read by anyone working in the film industry, then it falls
within acceptable standards.
Do realize that “shooting scripts,” the form in which scripts
are most often available online, in books and at libraries,
are not the form in which most professional writers submit
their scripts. Submission scripts, sales scripts, first draft
scripts – all usually share certain characteristics: no scene
numbers, few designated camera shots and sequences generally
written in master scenes.
If you’re confused about which nuances are acceptable and
which would push your script into an “out-of-format”
category, you would do well to follow these guidelines and
eliminate those questionable nuances.
12.
