Tag Archives: plot structure guide

6 Short Story Formula Plot Storyboards

 

Short story formula plot template outline

Here are a few outlines you can’t print out and write on to help you structure your story:

Short story formula plot template outline

Short story formula plot template outline

Short story formula plot template outline

Short story formula plot template outline

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Extended Short Story Formula Plot Template

Start by summarizing the three acts:

 ACT 1

The protagonist, setting and conflict are introduced.

ACT 2

The protagonist confronts the conflict and solves it.

ACT 3

The protagonist reaps the (usually positive) consequences of his actions.

 Once you’ve summarized the 3 acts, expound on them by dividing each act into 3 parts:

 

 ACT 1

 

 PART 1

The protagonist and the setting are introduced

PART 2

The antagonist takes away that which is most dear to the protagonist

PART 3

The protagonist makes an irrevocable decision to confront the problem.

 

ACT 2

 

 PART 1

The protagonist identifies a solution to the problem.

PART 2

The protagonist applies the solution

PART 3

The solution neutralizes the antagonist completely.

 

ACT 3

 

 PART 1

The protagonist gets the prize.

PART 2

The protagonist uses the prize.

PART 3

The protagonist disappears into the sunset.

Once you’ve expounded each act into 3 parts, expound each of those parts into 3 segments:

 

ACT 1

 PART 1

The protagonist and the setting are introduced.

SEGMENT 1

We see a snapshot of a day in the life of the protagonist.

SEGMENT 2

We see a snapshot of the kind of conflict that epitomizes his life and his dreams.

SEGMENT 3

We see the typical outcome of how he normally handles conflict.

 

PART 2

The antagonist takes away that which is most dear to the protagonist.

SEGMENT 1

An event knocks the protagonist’s life off track in the worst possible way.

SEGMENT 2

He reacts to the conflict in his typical manner.

SEGMENT 3

He fails to prevent the event from cutting him off from his dreams.

 

PART 3

The protagonist makes an irrevocable decision to confront the problem.

SEGMENT 1

The protagonist asks what he can do to fix the problem.

SEGMENT 2

He weighs his options.

SEGMENT 3

He makes an irrevocable decision to confront the problem.

 

ACT 2

 PART 1

The protagonist identifies a solution to the problem.

SEGMENT 1

The protagonist identifies a clue/path/opportunity to help him solve the problem.

SEGMENT 2

He follows the clue.

SEGMENT 3

It leads to the antagonist, who the protagonist is too weak to overcome.

 

PART 2

The protagonist applies the solution

SEGMENT 1

The protagonist identifies the source of strength he needs to overcome the antagonist.

SEGMENT 2

He pursues the source of strength.

SEGMENT 3

He attains the source of strength.

 

PART 3

The solution neutralizes the antagonist completely.

SEGMENT 1

The protagonist approaches the antagonist with his new strength.

SEGMENT 2

He engages the antagonist.

SEGMENT 3

He defeats the antagonist.

 

ACT 3

 PART 1

The protagonist gets the prize.

SEGMENT 1

The protagonist emerges from the battle.

SEGMENT 2

He reaches for the prize that will fix his life.

SEGMENT 3

He attains the prize.

 

PART 2

The protagonist uses the prize.

SEGMENT 1

The protagonist identifies the wrongs left over from the conflict.

SEGMENT 2

He goes about using the prize to set them right.

SEGMENT 3

We see the result of him setting things right.

 

PART 3

The protagonist disappears into the sunset.

SEGMENT 1

The protagonist identifies his plans for the future.

SEGMENT 2

He steps into the sunset.

SEGMENT 3

He disappears into the sunset.

Finally, expound each segment into 3 scenes.

 

ACT 1

 PART 1

The protagonist and the setting are introduced.

             SEGMENT 1

We see a snapshot of a day in the life of the protagonist.

SCENE 1

Show the protagonist in his natural setting.

SCENE 2

Show him doing something that defines where he’s at in life.

SCENE 3

Show him doing something that defines where he’s going in life.

 

SEGMENT 2

We see a snapshot of the kind of conflict that epitomizes his life and his dreams.

SCENE 1

The protagonist is hit with a problem typical of his life.

SCENE 2

He responds to the problem as is normal for him.

SCENE 3

He succeeds or fails as is normal for him.

 

SEGMENT 3

We see the typical outcome of how he normally handles conflict.

SCENE 1

Show the immediate consequences of the protagonist’s success or failure.

SCENE 2

The protagonist reacts emotionally to his success or failure according to his values.

SCENE 3

Show how this affects his long-term plans/outlook.

 

PART 2

The antagonist takes away that which is most dear to the protagonist.

 

SEGMENT 1

An event knocks the protagonist’s life off track in the worst possible way.

SCENE 1

The worst thing that could happen to the protagonist begins to happen.

SCENE 2

The event continues to unfold.

SCENE 3

Show how this event will prevent the protagonist from continuing his life as normal if it is not stopped.

 

SEGMENT 2

He reacts to the conflict in his typical manner.

SCENE 1

The protagonist decides to take action to stop the event or its repercussions.

SCENE 2

He takes action.

SCENE 3

He fails to stop the event and it irrevocably prevents him from continuing life as normal.

 

SEGMENT 3

He fails to prevent the event from cutting him off from his dreams.

SCENE 1

The protagonist emerges from the event.

SCENE 2

He reacts emotionally to the event according to his values.

SCENE 3

He acknowledges that his life is forever changed.

 

PART 3

The protagonist makes an irrevocable decision to confront the problem.

SEGMENT 1

The protagonist asks what he can do to fix the problem.

SCENE 1

The protagonist asks what he can do to address the conflict.

SCENE 2

He weighs his options.

SCENE 3

He states his conclusion.

 

SEGMENT 2

He weighs his options.

SCENE 1

Focusing on that one course of actions, he asks if it’s worth it or even possible to pursue.

SCENE 2

He does the cost/benefit analysis.

SCENE 3

He states his conclusion.

 

SEGMENT 3

He makes an irrevocable decision to confront the problem.

SCENE 1

He steps up to the point of no return.

SCENE 2

He crosses the point of no return.

SCENE 3

He emerges on the other side.

 

ACT 2

PART 1

The protagonist identifies a solution to the problem.

SEGMENT 1

The protagonist identifies a clue/path/opportunity to help him solve the problem.

SCENE 1

The protagonist identifies a clue left over from the cataclysmic event.

SCENE 2

He analyzes the clue.

SCENE 3

He gains some advantage from it.

 

SEGMENT 2

He follows the clue.

SCENE 1

The protagonist decides to follow the trail the clue revealed.

SCENE 2

He follows the trail.

SCENE 3

He reaches the end of the trail and finds an obstacle.

 

SEGMENT 3

It leads to the antagonist, who the protagonist is too weak to overcome.

SCENE 1

The protagonist approaches the obstacle.

SCENE 2

He engages the obstacle.

SCENE 3

He fails to overcome the obstacle.

 

PART 2

The protagonist applies the solution

SEGMENT 1

The protagonist identifies the source of strength he needs to overcome the antagonist.

SCENE 1

The protagonist asks why he wasn’t strong enough to overcome the obstacle.

SCENE 2

He analyzes the question.

SCENE 3

He finds the answer.

 

SEGMENT 2

He pursues the source of strength.

SCENE 1

The protagonist identifies the source of strength he needs to overcome the obstacle.

SCENE 2

He pursues the source of strength he needs.

SCENE 3

He arrives at the source.

SEGMENT 3

He attains the source of strength.

SCENE 1

The protagonist approaches the source of strength.

SCENE 2

He reaches for it.

SCENE 3

He attains it.

 

PART 3

The solution neutralizes the antagonist completely.

SEGMENT 1

The protagonist approaches the antagonist with his new strength.

SCENE 1

The protagonist approaches the obstacle with his new strength.

SCENE 2

He engages the obstacle.

SCENE 3

He overcomes the obstacle.

 

SEGMENT 2

He engages the antagonist.

SCENE 1

The protagonist approaches the antagonist directly.

SCENE 2

He engages the antagonist.

SCENE 3

The antagonist defeats the protagonist.

 

SEGMENT 3

He defeats the antagonist.

SCENE 1

The protagonist decides to make one last strike.

SCENE 2

He strikes the antagonist.

SCENE 3

He defeats the antagonist completely.

 

ACT 3

 PART 1

The protagonist gets the prize.

SEGMENT 1

The protagonist emerges from the battle.

SCENE 1

The protagonist rises from the battlefield.

SCENE 2

He reacts emotionally to the battle according to his values.

SCENE 3

He steps off the battlefield.

 

SEGMENT 2

He reaches for the prize that will fix his life.

SCENE 1

The protagonist identifies the prize.

SCENE 2

He acknowledges the prize’s significance.

SCENE 3

He reaches for the prize.

 

SEGMENT 3

He attains the prize.

SCENE 1

The protagonist takes the prize.

SCENE 2

He absorbs or releases its power.

SCENE 3

The protagonist and/or the world is transformed by the prize.

 

PART 2

The protagonist uses the prize.

SEGMENT 1

The protagonist identifies the wrongs left over from the conflict.

SCENE 1

The protagonist asks what loose ends are left over that need to be set right.

SCENE 2

He analyzes the question.

SCENE 3

He identifies the answer.

 

SEGMENT 2

He goes about using the prize to set them right.

SCENE 1

The protagonist focuses his attention on setting that/those thing/s right.

SCENE 2

He uses the prize to neutralize those problems.

SCENE 3

He succeeds at neutralizing them.

 

SEGMENT 3

We see the result of him setting things right.

SCENE 1

Show the consequences of the protagonist neutralizing the problems.

SCENE 2

The protagonist reacts emotionally to his success.

SCENE 3

The protagonist experiences the consequence of everything that has happened.

 

PART 3

The protagonist disappears into the sunset.

SEGMENT 1

The protagonist identifies his plans for the future.

SCENE 1

The protagonist asks what he should do in the future.

SCENE 2

He analyzes the problem.

SCENE 3

He states his conclusion.

 

SEGMENT 2

He steps into the sunset.

SCENE 1

The protagonist asks what he needs to do to achieve his goal/s for the future.

SCENE 2

He analyzes the problem.

SCENE 3

He states his conclusion.

 

SEGMENT 3

He disappears into the sunset.

SCENE 1

The protagonist steps towards the point of no return.

SCENE 2

He crosses the point of no return.

SCENE 3

He emerges on the other side.

Once you’ve finished plotting all your scenes, simply write the story following your scene summaries. Your story will flow seamlessly from beginning to end.

 

If you enjoyed this post, you’ll also like these:

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Short Story Formula Plot Template

ACT 1

 

Introduction

  • Setup
  • Delivery
  • Outcome

Cataclysm

  • Setup
  • Delivery
  • Outcome

Decision

  • Setup
  • Delivery
  • Outcome

 

ACT 2

 

Preparation

  • Setup
  • Delivery
  • Outcome

Engagement

  • Setup
  • Delivery
  • Outcome

Neutralization

  • Setup
  • Delivery
  • Outcome

 

ACT 3

 

Prize

  • Setup
  • Delivery
  • Outcome

Reckoning

  • Setup
  • Delivery
  • Outcome

Sunset

  • Setup
  • Delivery
  • Outcome

 

Terms

 

Setup

This is where you see the cause of what’s about to happen.

 

Delivery

This is the event the cause…caused to happen.

 

Outcome

This is what happened as a result of that thing happening.

 

Introduction

Introduce the protagonist and the setting. Show the protagonist in his natural setting doing what he always does the way he always does it. Show how life usually reacts to him doing what he usually does. Show what the protagonist loves, hates, fears and hopes for most. Show what he’s best and worst at. Show who he is and who isn’t, what he does and what he doesn’t.

 

Cataclysm

The worst possible thing that could possibly happen to the protagonist happens. He loses that which is most dear to him.

 

Decision

The protagonist must decide to set the universe right again. Show how he makes that decision and why.

 

Preparation

If the protagonist already had everything necessary to solve the problem then it would have been solved already. So he has to gather the resources he’ll need to use to solve the problem.

 

Engagement

Once the protagonist has those resources, he goes about applying them to the problem.

 

Neutralization

There is a key moment where the solution and the problem meet and the solution neutralizes the problem conclusively. For example: throwing water on a witch. The audience needs to see the final event in full detail.

 

Prize

There wouldn’t have been a journey if there wasn’t a prize. The audience needs to see the protagonist pick up the prize in full detail.

 

Reckoning

The protagonist didn’t come all this way to get a prize and just hold it up for the crowd to admire the rest of his life. He planned on doing something with that prize. Show the first thing the protagonist does with the prize…or what it does to him.

 

Sunset

For the sake of closure, show the audience what the long-term future holds for the protagonist.

 

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Plot break down of “The Twilight Zone,” Season 1, Episode 1: Where is Everybody

Logo for the TV series, "The Twilight Zone"

This is a break down of the first episode of The Twilight Zone. For the past year I’ve been experimenting with different ways of breaking down movies and sitcoms, and I’ve found the easiest way to do it is to paste a set of prompts in between each beat of the script. Then, I fill out the prompts and add headings that break the beat itself into its components. The prompts and headings are self-explanatory. The one confusing things about this script is that the antagonist of each beat isn’t a character, it’s the absence of life.

Click here to download a PDF document of this break down

BEAT: 1

SUMMARY:

Mike walks to a diner but doesn’t know if he has any money. He checks his pocket and is delightfully surprised to find some. Then he goes in the diner.

BEAT PURPOSES:

Introduce the hero

Setup main conflict

Mystery

Teaser

QUEST CHAIN:

1: Hero’s introduction

Step 1: Introduce the hero

 

ACT ONE
ESTABLISHING SHOT

The camera has begun to pan down until it passes the
horizon and is flush on the opening shot (each week the
opening shot of the play). We are now looking down the
small two-lane asphalt highway. It is dawn, the road is
deserted save for a small diner on the left hand side. A
broken neon light flashes on and off over the front door.
From inside the sound of a rock-‘n’-roll record lends a
strange, raucous dissonance to the early morning silence.

SETUP
Then the camera sweeps right for a
LONG SHOT MIKE FERRIS
Who suddenly appears, walking down the road. His step is
tentative, unsure. He’s a tall man in his thirties. His
dress is nondescript, his only identifiable garment being
army pants. There’s an indecisiveness, a puzzlement, in his
features as he comes closer to the camera, sees the diner,
stops, rubs his knuckles over the side of his face and
feels his beard’s stubble.

OPPORTUNITY

He pats in his pocket, unsure,
reaches in and pulls out a couple of dollar bills.

OUTCOME

For some
reason this buoys him up. He looks a little more resolved
as he walks up the steps and into the diner.

 

BEAT: 2

SUMMARY:

Narrator gives his opening speech, stating the quirk in the universe, Mike inexplicably has no memory.

BEAT PURPOSES:

Narrator’s prologue

State the problem

Teaser

QUEST CHAIN:

1: Hero’s introduction

Step 2: Narrator’s prologue

 

SETUP

NARRATOR’S VOICE
We are looking at a male Caucasian,
age approximately thirty-one, height
approximately 5’11”.

CONFLICT

As to his name,
where he is, and what he’s doing
there — this even he doesn’t know.

OUTCOME
For the journey that this man will
take is an excursion into the shadows,
and all of you are invited to go
along.
DISSOLVE TO:

 

BEAT: 3

SUMMARY:

Mike sees signs of life in the diner but no life.

BEAT PURPOSES:

Show the hero’s problem

Hero investigates

Escalation

Mystery

QUEST CHAIN:

2: Find where everyone is

Step 1: Investigate the diner

Step 1: Setup

3: Find out who Mike is

Step 1: Investigate American money

 

ESTABLISHING SHOT
INT. DINER
It is a small, nondescript, typical eatery with a row of
small booths along the outside window, a counter, and a
kitchen beyond. The room is empty.

SETUP
PAN SHOT MIKE
As he walks over to a stool and sits down at the counter,
reaches over, takes a menu, studies it for a moment, then
turns and looks over toward the juke box.
MED. CLOSE SHOT JUKEBOX
Garish, multicolored, still blaring out the music.
MED. SHOT ROOM
He turns on his stool to look toward the opening to the
kitchen.
CLOSE SHOT AN OVEN INSIDE KITCHEN
Through the glass we can see a row of six or seven pies
baking and almost fully browned.

CONFLICT
MED. SHOT ROOM
Mike calls out.
MIKE
(sardonically calling out)
Is this thing loud enough for you out here?
I mean, can you hear it all right?
He grins wryly, waits momentarily for an answer that never
comes, turns and looks again at the juke box. He rises,
gets off his stool, goes over the juke box, looks all
around it, pushes it away from the wall a few inches,
reaches back, fiddles with a knob. The music goes much
lower. Then, satisfied, he pushes the machine back against
the wall and goes back over to the counter.
MIKE
Kind of early for that kind of music, isn’t
it?
Still, silence.
MIKE
I noticed there’s a town just up the road.
What’s the name of it?
Again, silence. Mike puts the menu down, peers through the
little opening to the kitchen.

A small room with a couple of stoves, et cetera. He goes
over to the stove, turns down the oven, and looks around
the room. He goes over to a back door, tries it and it
swings open. He steps back as it creaks open and reveals
the diner’s backyard.

HERO’S RESPONSE
MIKE
(calls out)
Hey? You got a customer out front! Hey!
Customer here!

ANTAGONIST’S RESPONSE
Still no answer. Mike turns, retraces his steps to the
lunch counter.

HERO’S RESPONSE
MED. SHOT ROOM
Mike still shows no real emotion beyond a puzzlement. He’s
neither frightened nor concerned as yet. Again he picks up
the menu and studies it. He talks out loud, now.
MIKE
I think ham and eggs. Eggs up and soft.
Hash browns. Coffee. Black.
(looks up, calls out again)
Customer! Got a customer out front!
(he rises from the stool
again — sticks his head in
the kitchen)
Ham and eggs. Hash browns. Coffee black.
He stands there by the open, swinging door staring into the
empty kitchen. His eyes dart about now and for the first
time we see something beyond puzzlement on his features.
What supplants it is irritation, not acute, but definitely
there. He reaches into his shirt pocket and takes out a
crumpled pack of cigarettes, goes back to the lunch
counter. Now he scratches his head, sits down on the stool
for a long moment.

ANTAGONIST’S RESPONSE

Suddenly the music on the juke box
stops. The sudden cessation of noise brings with it a
silence even more obvious.

HERO’S RESPONSE

Mike turns to stare at the juke
box. He looks up at the clock.

CLOSE SHOT CLOCK
It is on the counter near the coffee urn, its face turned
sideways so that Mike can’t see it.
MED. CLOSE SHOT MIKE
As he goes over to the clock to turn it around and stare at
it.
CLOSE SHOT CLOCK
It reads a quarter to six.
MED. SHOT MIKE
Mike turns away from it, but in doing so brushes against it
and knocks it to the floor.
CLOSE SHOT CLOCK
On the floor as Mike bends over and picks it up. The face
of it is broken. He puts it back on the counter, then goes
back over to his seat.
MED. CLOSE SHOT MIKE
His fingers tap a nervous staccato on the counter top. The
silence now begins to be oppressive and nerve-racking.
Suddenly, as if an afterthought, he reaches into his pocket
and pulls out the money, looks at it in his hand, then
reaches into all his other pockets. He finds nothing. He
rubs at his face again.

ANTAGONIST’S RESPONSE

Mike speaks aloud but obviously to
no one in an attempt to make noise or sound or just to end
the stillness.

HERO’S RESPONSE
MIKE
Cash customer here. Hungry cash customer.
(he rubs his face again)
I got two dollars and eighty-five cents.
(he looks at the money very
thoughtfully, almost
questioningly)
Two dollars and eighty-five cents, American
money.

OUTCOME
(then he stops and looks off
in obvious puzzlement)
American money.
(he throws it out into the
air as if to reassure
himself as to the meaning of
the phrase)
Sure, American money.

 

BEAT: 4

SUMMARY:

Mike admits he doesn’t know who he is or anything about himself. He discovers he’s American because he has American money.

BEAT PURPOSES:

Escalation

Catalyst

State the problem

Mystery

Discover a clue

QUEST CHAIN:

2: Find where everyone is

Step 1: Investigate the diner

Step 2: Shout for help

3: Find out who Mike is

Step 2: State the problem

SETUP

He looks at the clock again, and into the opening to the
kitchen and the swinging doors, at the silent juke box, and
back at the money in his hand.

OPPORTUNITY
MIKE
Well, we got this much settled. I’m an
American.
(he raises his voice a
little now as if to wake
someone in the next room)
There’s a little question about my
identity. Let me put it to you this way —
I’m not sure who I am.

HERO’S RESPONSE
(he holds up the money)
But I’ve got two dollars and eighty- five
cents and I’m hungry.
This much is established!
He gets up off the stool and suddenly slams both palms down
hard on the counter, making all the salt shakers and catsup
bottles quiver and rattle.
MIKE
(shouts)
I got two dollars and eighty-five cents and
I’m hungry!

ANTAGONIST’S RESPONSE
He stops dead now, listening to the silence that enfolds
and surrounds him.

HERO’S RESPONSE

Then he looks around. Again the sense of
irritation.

OUTCOME

He takes a drag on his cigarette, then butts it
out, rises, goes to the front door and stares out.

 

BEAT: 4

SUMMARY:

Mike looks outside the diner for signs of life.

BEAT PURPOSES:

Escalation

Mystery

Character development

Investigation

QUEST CHAIN:

2: Find where everyone is

Step 1: Investigate the diner

Step 2: Look outside

 

ESTABLISHING SHOT
EXT. LUNCH ROOM
The long road that leads away from the lunch counter
without a sign of traffic, people, or anything.

SETUP

He whirls
around to look back into the lunchroom.
MIKE
(aloud)
I’m gonna wake up in a minute. I know I’m
gonna wake up.

CONFLICT

I wish… I wish there’d be
a noise or something to wake me up.

HERO’S RESPONSE
He suddenly sticks two fingers in his mouth and whistles,
listens for a moment, then he whistles again, kind of
grinning to himself.
MIKE
A little noise, please!
(now he sings at the top of
his voice)

HERO’S ESCALATION
“Yes sir, that’s my baby. No sir, don’t
mean maybe. Yes sir, that’s my baby now!”
He laughs a little sheepishly,

ANTAGONIST’S RESPONSE

listens for a moment to the
silence,

OUTCOME

then he turns and goes back to the lunch counter.

 

BEAT: 5

SUMMARY:

Mike gives up looking for clues in the diner.

BEAT PURPOSES:

Failure

Escalation

Mystery

QUEST CHAIN:

2: Find where everyone is

Step 1: Investigate the diner

Step 3: Fail quest chain 2.1 (Investigate the diner)

 

SETUP
INT. LUNCH ROOM
Mike sits down, buries his face in his hands, rubbing his
eyes, massaging his temples as if trying to force out with
his fingers some connective link… some reassurance of
existence… some knowledge of where he is and what he’s
doing. Once again he looks around the room.

CONFLICT
PAN SHOT WITH HIS EYES
Taking in the shots of the coffee urn, the menus, the salt
and pepper shakers, all the simple, commonplace, terribly
normal adjuncts to what should be a normal scene but
somehow isn’t.

OUTCOME

He rises now, looks around again, then walks
to the door.
CLOSE SHOT THE ‘OPEN’ SIGN ON THE DOOR
CLOSE SHOT MIKE
As he slowly reaches down and turns the sign over to read
CLOSED. Then he walks out.

DISSOLVE TO:

 

BEAT: 6

SUMMARY:

Mike finds no life outside and starts to crack up a little.

BEAT PURPOSES:

Escalation

Mystery

Investigation

Restate the problem

Character development

QUEST CHAIN:

2: Find where everyone is

Step 2: Investigate outside

Step 1: Look at the stores

 

ESTABLISHING SHOT

EXT. TOWN STREET MIKE’S P.O.V.
It’s still early morning, and what we’re looking at is the
main drag of a small town, flanked by stores, a courthouse,
a post office, et al. The most singularly overwhelming
feature of this is the complete absence of motion and all
noise.

SETUP
LONG SHOT MIKE FERRIS
As he walks down the sidewalk looking from one side of the
street to the other.

CONFLICT
TRACK SHOT
Past stores as Mike goes by them. Drugstore, grocery, soda
bar. Most of the doors are open and there are lights on
inside, but there are no people. There’s an odd,
indefinable feeling that permeates the scene, a sense of
activity and yet coming with no players, and no people, as
if it was a place full of motion and movement suddenly
stripped of the people performing it.

OUTCOME
LONG SHOT DOWN THE STREET
From Mike’s point of view. It is devoid of any kind of
movement whatsoever. It is absolutely quiet. Over this
tableau we superimpose the title, “Where Is Everybody?”
along with major credits.

 

BEAT: 7

SUMMARY:

Mike thinks he sees a person, but it turns out to be a mannequin.

BEAT PURPOSES:

Mystery

Escalation

State the problem

False hope

Failure

QUEST CHAIN:

2: Find where everyone is

Step 2: Investigate outside

Step 2: Investigate the woman

3: Find out who Mike is

Step 3: State the problem

 

SETUP

CLOSE SHOT MIKE
As he stops and looks around. He is suddenly startled by
the sound of chimes.

He whirls around and looks up.
LONG SHOT CHURCH STEEPLE BELL
As it rings.
CLOSE SHOT MIKE
He shades his eyes to search out the church and then, in
turning away from it, he stops abruptly, staring at
something across the street.

OPPORTUNITY
LONG SHOT ACROSS THE STREET
A little clothing store and alongside of it an alley where
a large delivery truck is parked. In the cab, in the
passenger- seat, a human figure can be seen.

HERO’S RESPONSE
LONG ANGLE SHOT
Looking down as Mike goes to the curb, cranes his neck to
look over to the truck.
MIKE
Hey, miss? Miss?
(he makes a gesture that is
part a wave, part an attempt
at reassurance)
Over here, miss. Look, I wonder if you
could do me a favor? I don’t want you to
think I’m nuts or anything. I mean, it’s
nothing like that. It’s just that —
(again he grins a little)
I don’t seem to remember who I am. It’s the
craziest thing. I’ve looked all around and
I haven’t seen anybody around. I guess it’s
just early or something. Literally there
hasn’t been a soul.
(he takes a step off the
curb, looks again toward the
cab of the truck, a little
puzzled. He smiles again.)
You know, it’s a real oddball thing but…
well, I woke up this morning…
(he stops and rubs his jaw)
I didn’t exactly wake up. I just sort of
found myself on the road walking.
(and then suddenly)

HERO’S ESCALATION
Amnesia, that’s what they call it, isn’t
it? Amnesia? Well that must be what I’ve
got. I just don’t remember a thing… I
can’t find anybody to ask…
TRACKING SHOT
As he starts to walk across the street.
MIKE
(as he walks)
You’re the first person I’ve seen. Look, I
really don’t want you to be frightened or
anything, but I was wondering if you could
just tell me if maybe there’s a doctor or
something.

CLOSE SHOT MIKE
As he stops dead in his tracks. He’s about ten feet from
the truck.

ANTAGONIST’S RESPONSE
MED. LONG SHOT THE TRUCK
The female figure is outlined in the passenger seat but
very much in the shadows.

HERO’S RESPONSE
MOVING SHOT MIKE
As he gets close to the cab.

ANTAGONIST’S RESPONSE
CLOSE SHOT PROFILE FEMALE HEAD

HERO’S RESPONSE
FLASH CLOSE SHOT MIKE’S EYES
As they suddenly narrow in reaction.
CLOSE SHOT MIKE’S HANDS
On the door handle as he suddenly yanks the door open.

ANTAGONIST’S RESPONSE
MED. CLOSE SHOT INSIDE THE CAB
The female figure suddenly slumps down in the seat, her
head sticking out of the open door, the hair cascading
down. The camera pans slowly across her body until it stops
at what should be arms. There are no arms. Mike reaches
over, grabs at the hair of the figure and pulls it up and
around, to stare into the wooden face of a mannequin. He
very slowly lets loose and the mannequin tumbles back onto
the seat and then down to the floor of the cab.
CLOSE SHOT FLOOR
he mannequin staring up with glassy, manufactured eyes.

HERO’S RESPONSE
MED. SHOT MIKE
As he slowly backs away, then turns to read the lettering
printed on the side of the truck.
CLOSE SHOT LETTERING
It reads, RESNICK’S STORE MANNEQUINS.
CLOSE SHOT MIKE
As his lips form the words that he’s read. Then he turns to
look through the window of the cab at the figure of the
mannequin, He takes a few steps over to her and then very
gently picks her up and sets her back on the seat.
MIKE
I’m very sorry, Madame. I can assure you
that at no time did I mean to be so
upsetting. As a matter of fact I’ve always
had a kind of secret yen for quiet women.
(then he grins)
You get what I mean, Babe?
(he kisses his fingertips
and then plants them on the
mannequin’s nose)
Now don’t take any wooden boy friends.

OUTCOME
Then he looks at her again for a more pensive moment as if
unspoken now were his earnest wish that this creature was
alive and could be talked to. He turns away and walks back
across the street.
LONG SHOT MIKE
As he walks.

 

BEAT: 8

SUMMARY:

Mike uses a payphone to ask the operator what’s going on.

BEAT PURPOSES:

Mystery

Escalation

QUEST CHAIN:

2: Find where everyone is

Step 2: Investigate outside

Step 3: Investigate the phone booth

Step 1: Make a call

 

ESTABLISHING SHOT

SERIES OF SHOTS MIKE WALKING
In different sections and on different streets. The last
scene ends with him stopping abruptly to stare at something
down the street.
LONG SHOT GAS STATION
Out in front is a glass-enclosed public phone booth.

SETUP
LONG ANGLE SHOT LOOKING DOWN AT MIKE
As he walks toward the gas station and goes into the phone
booth.

CONFLICT
MIKE
Look, I wonder if anyone there could tell
me —
He stops abruptly, grins, shakes his head, slaps at the
side of his head with an open palm, fishes in his pocket
and takes out a coin, deposits it in the phone, then dials
the operator. He listens to the dial tone that comes on and
off with dull regularity. He jiggles the receiver
impatiently.
MIKE
Operator. Operator. Will you listen to me?
He pounds on the phone and then just indiscriminately dials
a bunch of numbers. He’s about to throw down the phone in
disgust when suddenly at the other end of the line he hears
a dial tone ringing. He very slowly and very gratefully
picks up the phone now and hears a voice filtered at the
other end.

ANTAGONIST’S RESPONSE
VOICE
(filtered)
This is the Special Operator.
(MORE)
VOICE (CONT’D)
The number you have reached is not a
working number. Please make sure you have
the right number and are dialing it
correctly.

HERO’S RESPONSE
Mike starts to shout into the phone.
MIKE
Is everybody asleep over there? What kind
of operation do you people run?

ANTAGONIST’S RESPONSE
Then she repeats all she’s just said as Mike listens to
her, excited beyond words that he has found someone alive.
When she finishes repeating the message he grabs the phone
and is about to speak when suddenly he hears the Operator’s
voice again.
VOICE
This is a recording.
There is a certain suggestion of tenseness that suddenly
shows on Mike’s face.
VOICE
(filtered)
This is the Special Operator. The number
you have reached is not a working number.
Please make sure you have the right number
and are dialing it correctly.

OUTCOME
MIKE
A recording?
(he pounds on the receiver
hook and shouts)
Operator! Look, all I want to know is where
I am. I just want to know the name of this
place.

 

BEAT: 9

SUMMARY:

Mike looks in a phone book for answers

BEAT PURPOSES:

Mystery

Escalation

QUEST CHAIN:

2: Find where everyone is

Step 2: Investigate outside

Step 3: Investigate the phone booth

Step 2: Escape the phone booth

 

4: Who’s watching Mike?

Step 1: Evidence on the street

SETUP

Then he slowly lets the receiver loose and it hangs down
from the phone box.

Mike’s hand touches and then grasps a
telephone book, a thin one that he grabs and looks at
hungrily.
CLOSE SHOT TELEPHONE COVER
On it is written OAKWOOD.
MED. SHOT MIKE
He rips open the cover, looks down at the first page.
MIKE
A. Abel. Ackerman. Adams. Allenby. Arnold.
All right, boys, where are you?
(his voice is a little
edgier now)
Where do you all live? Just in this book
here?
(he rips the page open)
Baker. Beldon. Biltmore. Botsford. Well,
look, gang — who’s watching the store?
He suddenly turns to look out at the street.
FULL SHOT THE STREET MIKE’S P.O.V.
MED. CLOSE SHOT MIKE
MIKE
Who’s watching any of the stores?
He lets loose of the phone book now, lets it fall to the
floor, and stands there motionless for a moment, deep in
thought. Then he automatically reaches for the door handle,
turns it, and pushes.

CONFLICT

Nothing happens. He tries again and
it remains locked.

HERO’S RESPONSE

He waits a moment, then puts all his
weight against it.

ANTAGONIST’S RESPONSE

It does not yield.

HERO’S RESPONSE

It is more than
irritation that we see on Mike’s face now. There’s the
first suggestion of a real concern. He looks around his
strange, glass prison.
MIKE
All right. Who’s the wise guy? Who locked
the door?
(he tries the door once
again)
It’s a great gag.
He pounds again and then suddenly stops and looks all
around.
PAN SHOT FROM MIKE’S P.O.V.
From inside the phone booth. The camera moves all the way
around the glass, almost in a three hundred and sixtydegree pan.
MED. CLOSE SHOT MIKE
He laughs softly, shakes his head.
MIKE
Trapped in a phone booth! Trapped in a
glass phone booth, like a goldfish.
(then he suddenly calls out)
Well, here I am! You got me! Everybody come
see! I’m right here on display!
LONG ANGLE SHOT LOOKING DOWN AT MIKE
In the phone booth, as once again he starts to pound on the
glass.
MIKE
How about a hand, somebody? A little
assistance — how about it? This is an
absolutely hysterical town, and I’m growing
very fond of it, but I’d appreciate it if
ANTAGONIST’S RESPONSE
He stops abruptly.
CLOSE SHOT MIKE’S FACE
As he stares at something through the glass.
CLOSE SHOT A CIGAR
Half-smoked and still burning, lying on the sidewalk just
outside the booth.

HERO’S RESPONSE
ANGLE SHOT
Looking into Mike’s face through the glass. For the very
first time there’s a look of incipient fear.
MIKE
Look. Whoever’s out there. This isn’t funny
any more. You understand? I don’t like this
jazz. It’s getting dull.
(he looks around again)
(MORE)
MIKE (CONT’D)
Look, I know I can be heard. I know… I
know somebody’s watching me.
Immediately after he’s said this he realizes he has
suddenly given voice to his fear. He’s labeled what is
beginning to bother him. Simply a sense of being watched.

OUTCOME:
He suddenly bends down, picks up the phone book, flings it
against the glass of the door. The glass disintegrates.
Mike sticks his hand through, opens the door from the
outside, then kicks at it with his foot. It springs open
and halfway off its hinges as he goes out onto the street.
Then he looks down at his hand. It’s cut; a rivulet of
blood runs down through the fingers. He feels for a
handkerchief, takes it and wraps it around the hand. He
squeezes it a couple of times, trying to get more blood to
flow. Then he starts down the street again.

 

BEAT: 10

SUMMARY:

Mike investigates the police station.

BEAT PURPOSES:

Mystery

Escalation

QUEST CHAIN:

2: Find where everyone is

Step 2: Investigate outside

Step 3: Investigate the police station

 

4: Who’s watching Mike?

Step 2: Paranoia escalates

 

ESTABLISHING SHOT
LONG SHOT STREET MIKE’S P.O.V.
Once again the sense of emptiness and loneliness and that
bizarre quality of activity with no actors.

SETUP
TRACK SHOT WITH MIKE AS HE CONTINUES DOWN THE STREET
He pauses in front of a building and looks up.
CLOSE SHOT SIGN
Which reads, POLICE STATION.
TRACK SHOT
He walks up the steps and into the building.
INT. POLICE STATION
There’s a small anteroom, and then an open, barred door
which leads to a corridor lined with cells.
MED. CLOSE SHOT MIKE
As he enters and looks around. There is a police sergeant’s
desk, files, pictures of wanted men on the wall. A teletype
machine hums in the corner. Mike goes to look at it. The
light over it is on, but nothing is being written. He
whirls around and stares toward the sergeant’s desk, goes
behind it, picks up a microphone, fingers it for a moment,
then talks into it.
MIKE
Calling all cars. Calling all cars. Unknown
man walking around the police station.
Suspicious looking character. Probably
wanted by the FBI —
Then he stops, looks at the mike, chuckles softly for a
moment and then stops abruptly, the smile gone. He flings
the microphone away from him and looks slowly around the
room.

CONFLICT
MIKE
I wish I could shake that feeling…
(he looks around again)
That crazy feeling of being watched…
listened to…

HERO’S RESPONSE
He stares toward the cell doors then begins to walk slowly
toward them.
CLOSE SHOT MIKE
As he stands in the middle of the next room, looking from
empty cell to empty cell. Then he whirls around at a
bubbling sound. There, on a hot plate, is a pot of coffee
perking. Behind him we see the barred door leading to the
anteroom begin to close.

ANTAGONIST’S RESPONSE

Mike’s eyes look wild, as if
subconsciously he realizes he’s in danger.

He whirls around
to see the cell door closing and then,

HERO’S RESPONSE

with a shout, throws
himself against it, pushing it away before it locks. He
seems to hang on it now, breathing deeply.

OUTCOME
MIKE
All right, time to wake up! Time to wake up
now!
He whirls around, his face distorted, close up against the
camera. He shouts.
MIKE
Time to wake up!
He stumbles through the anteroom and then back to the
street.

HERO’S ESCALATION
EXT. STREET LONG ANGLE SHOT
Looking down at Mike as he stands in the middle of the
empty street, the stores around him, the quiet. He suddenly
screams.
MIKE
Where is everybody? Where is everybody!?
FADE TO BLACK:

 

BEAT: 11

SUMMARY:

Mike tries to take advantage of his alone-ness by stealing cigars, but it doesn’t make him feel better.

BEAT PURPOSES:

Escalation

Mystery

State the problem

QUEST CHAIN:

2: Find where everyone is

Step 3: Exploit the situation

Step 1: Investigate the drugstore

Step 1: Enjoy a free cigar

 

ACT TWO

ESTABLISHING SHOT
FADE ON:
FILM CLIP A HOT AND HIGH AFTERNOON SUN
Shimmering in a sea of heatwaves. The camera sweeps down
until it is level with the street.

SETUP

Note: This segment could be considered its own beat.)
LONG SHOT MIKE FERRIS
As he sits on a curb, staring dully and numbly across at
nothing. The church steeple clock sounds two. He looks up,
listens to it, but is no longer shocked by it. He just lets
the sound of the chimes play along the edges of his
consciousness without really being aware of them. Now he
rises and walks slowly, methodically, without much apparent
purpose across the street. He looks up to see a sign
reading DRUGSTORE. He enters.
INT. DRUGSTORE
It is light and cheerful inside. On the left hand side is
the soda bar with a big mirror behind it full of stickers
advertising various concoctions — soft drinks, ice cream,
sandwiches.

OPPORTUNITY

Mike, as he enters, pauses by the cigarette and
candy counter.

HERO’S RESPONSE

He looks through the glass for a long
moment, then reaches behind and takes out a couple of
cigars. He unwraps one, sticks it in his mouth, lights it,
takes a couple of draws, butts it out, reaches in another
box, takes one of those, then looks in the box.
MIKE
Two for a dollar. Now that’s more like it.
I always like an expensive cigar.
Then he turns with a smile and says to nobody.
MIKE
How about you guys — any of you want a
cigar?

HERO’S ESCALATION
SERIES OF SHOTS OF EMPTY BOOTHS
MED. CLOSE SHOT MIKE
As he gets up on a stool.
MIKE
I’ll take a chocolate soda with chocolate
ice cream.
He starts to laugh, but the laugh is checked almost
immediately as he sees his reflection in the mirror behind
the counter. His fingers run exploringly across his face,
taking in the beard stubble, the hollowness beneath the
eyes, the strange, haunted, frightened look that is obvious
there. He looks at himself again for a long moment.
MIKE

HERO’S RESPONSE
You’ll forgive me, old pal, but I don’t
recollect the name. The face seems vaguely
familiar… but it’s the name that escapes
me.
(a pause)
I’ll tell you what my problem is. I’m in
the middle of a nightmare that I can’t wake
up from.
(he points to the
reflection)
You’re part of it. You and the ice cream
and the cigar. That police station and the
phone booth. That little mannequin. This
whole bloody town, wherever it is.
(a pause)

OUTCOME
Whatever it is. I just remembered
something. Scrooge said it. You remember
Scrooge, old buddy? Ebenezer Scrooge? It’s
what he said to the ghost, Jacob Marley. he
said, “You may be an undigested bit of
beef, a blot of mustard, a crumb of cheese,
a fragment of an undone potato. There’s
more of gravy than of grave about you.” You
see? That’s what you all are. You’re what I
had for dinner last night. You must be. But
now I’d like to wake up. I’ve had it… I’d
like to wake up now. And if I can’t wake
up, at least I’d like… I’d like to find
somebody to talk to.

 

BEAT: 12

SUMMARY:

Mike tries to enjoy an icecream soda, but it doesn’t make him feel better, and he sees a comic titled “The Last Man on Earth” that freaks him ou.t

BEAT PURPOSES:

Escalation

Mystery

Misdirection

QUEST CHAIN:

2: Find where everyone is

Step 3: Exploit the situation

Step 1: Investigate the drugstore

Step 1: Enjoy a free soda

 

SETUP

He rises now and goes behind the counter. He starts to fix
himself a chocolate soda, experimenting with some of the
cupboards until he finds the right ingredients, the ice
cream, the milk, et cetera. Then he mixes himself a soda,
tall, frosty, delicious.

He starts to sip it with a straw
as he walks around the drugstore.

OPPORTUNITY

He stops by a poster of a
high school football schedule.
CLOSE SHOT CARDBOARD SIGN
IT READS, OAKWOOD HIGH SCHOOL, 1958 SCHEDULE. A LIST OF
TEAMS AND DATES TO BE PLAYED APPEARS BELOW.

HERO’S RESPONSE
MED. CLOSE SHOT MIKE
As he takes it in one hand and reads it as he sips the
soda. But the normality of it suddenly points out the
incongruity of what he’s living through. He puts the poster
back on the counter, shaking his head, staring at it.
MIKE
I must be a very imaginative guy. Very
imaginative. Nobody in the whole world can
have a dream as… as complete as mine.
Right down to the last detail.
(he taps the poster)
Right down to the last detail.

OUTCOME
He turns, stares across at a big magazine rack near the
front window of the store. He crosses over to it, stares
down at some of the magazines, then kneels down,
interested. He begins to trace the dates on each one of the
magazines. The majority of them say October 1958 and his
mouth forms that phrase, “October 1958.”
Then he bites his lips, shakes his head again, rises, looks
down at the group of comic books, each with a lurid title
having to do with horror themes, Spook themes, et cetera.
Then suddenly he stops and looks down at one, the cover of
which is peeping out from behind the others and whose title
is visible. He reaches down and pulls it out just a few
inches farther so that he can read the entire title.
TIGHT CLOSE SHOT COVER
The title: The Last Man on Earth.
MED. SHOT MIKE
He picks it up and stares at the cover, then flings it down
on the floor. He turns rapidly away and heads back to the
counter where he puts the soda down. He is suddenly gripped
by another spasm of such utter loneliness that it forces
him out onto the street.

 

BEAT: 13

SUMMARY:

Mike tries to take advantage of his aloneness by stealing money from a bank, but it doesn’t make him feel better.

BEAT PURPOSES:

Mystery

Escalation

QUEST CHAIN:

2: Find where everyone is

Step 3: Exploit the situation

Step 2: Investigate the bank

Step 1: Enjoy some free money

3: Find out who Mike is

Step 4: State the problem

 

SETUP
EXT. STREET
Camera follows him out of the store. As he gets out on the
street he suddenly shouts, shrilly, illogically.
MIKE
(shouting)
Hey! Hey, anybody! Anybody hear me? Anybody
hear me?
He almost lurches to the other side of the street where he
buries his face against the window of a building. When his
head goes back he sees the letters U.S. POST OFFICE and he
starts to laugh again.
MIKE
Any mail for me? Anybody write me a letter?
I don’t know what my name is, but maybe you
can tell me in there, huh? Will you tell me
what my name is?
He pounds his fist against the glass and then suddenly has
to stifle what obviously is a sob as he begins to give in
to the loneliness and to the unknown and to the pulsating,
gnawing fear that envelops him. Then he turns away from the
window, struggling for composure.
CLOSE SHOT MIKE
He looks at something across the street. Camera sweeps wide
until it stops on —
LONG SHOT BUILDING

OPPORTUNITY
With a sign reading CITY BANK.

HERO’S RESPONSE
LONG SHOT MIKE
As he gets up off the bench, walks across the street, and
into the bank.
INT. BANK
TRACK SHOT MIKE
As he walks past all the tellers’ cages. He stops at the
end of the line, presses his face against the bars.
CLOSE SHOT ROW AFTER ROW OF STACKED BILLS
MED. SHOT MIKE
MIKE
I’d like to borrow about eight hundred
thousand dollars. How about it?
(then he nods and grins)
Thanks. I think that’s generous of you. I
think that’s really generous.
He pulls the bars up, reaches in and takes two packages of
money. Then he starts to retrace his steps toward the front
door. He’s about to leave when he looks toward the first
teller’s window.
MED. SHOT ROWS OF COINS ON TOP OF THE COUNTER
MED. SHOT MIKE
He takes some of the bills that he’s crammed into his shirt
pocket, throws them away.

OUTCOME
MIKE
Gotta make room for some silver.
He goes behind the teller’s window and starts to cram rolls
of coins into his pockets. Then suddenly his eyes look wild
again as he looks up, his eyes scanning the room. And
again, illogically, the same mixture of wisdom and
paranoia.

 

BEAT: 14

SUMMARY:

Mike almost gets locked in the bank.

BEAT PURPOSES:

Mystery

Escalation

False victory

QUEST CHAIN:

2: Find where everyone is

Step 3: Exploit the situation

Step 2: Investigate the bank

Step 2: Danger in the bank

4: Who’s watching Mike?

Step 3: Paranoia escalates

 

SETUP
MIKE
Somebody watching me?
He goes out in front of the teller’s cage again and looks
around.
MIKE
Somebody watching me?
He looks up toward the ceiling and around as if expecting
to see someone.
MIKE
Crazy feeling. Crazy, odd-ball feeling.
Like… like I knew someone was watching
me.
And then his eyes narrow again in an awareness of danger.
MIKE
Watching me… and trying to button me up
someplace. Trying to trap me.
He looks around wildly again.

CONFLICT

CLOSE SHOT HIS LEGS
As he starts to run toward the door. He trips over some
sort of a lever close to the teller’s cage.

ANTAGONIST’S RESPONSE
FLASH SHOT ALARM BELL
On the wall as it begins to ring.

HERO’S RESPONSE
LONG ANGLE SHOT LOOKING DOWN AT MIKE
As he stops by the front door and whirls around as the
loud, dissonant clanging pierces the quiet. Then he whirls
around and tries the front door again.

ANTAGONIST’S RESPONSE

It’s locked.

HERO’S RESPONSE
SERIES OF FLASH SHOTS
Bell. Teller’s cage. Locked door. Mike’s hand. Mike’s face.

TRACK SHOT MIKE
As he races toward the alarm on the wall. He grabs the
wires that extend from it and suddenly yanks on them,
pulling them apart. The bell abruptly stops. Then he whirls
around and stares at the front door.

OUTCOME
CLOSE SHOT DOOR
It is now ajar.

 

BEAT: 15

SUMMARY:

Mike tries lighting a cigar with money but it doesn’t make him feel better.

BEAT PURPOSES:

Mystery

Escalation

QUEST CHAIN:

2: Find where everyone is

Step 3: Exploit the situation

Step 2: Investigate the bank

Step 3: False victory

 

SETUP

MED. SHOT MIKE
As he goes back toward the teller’s cage, grabs the coins
and bills, crams them back into his pocket. He walks toward
the open door, then out onto the street again, leaving a
trail of silver and bills behind him.

OPPORTUNITY

He sits down on the
curb, unwraps the handkerchief from around his hand, wipes
his face with it. He reaches into his pocket, takes out a
crumpled fistful of bills, takes one out, grins at it,
takes out the remnants of a cigar, sticks the cigar in his
mouth, takes the bill, lights it.

HERO’S RESPONSE
MIKE
Here’s something I’ve always wanted to do.
Always wanted to do this.
He takes the lit bill and lights a cigar with it, then he
lets loose of the burning bill and watches it flutter to
the ground and disappear in ashes. Mike watches it burn,
and then slowly his face looks tired, hopeless.

OUTCOME
MIKE
Big deal. So what? Big deal.
He lets his head hang a moment.
DISSOLVE TO:

 

BEAT: 16

SUMMARY:

While investigating a movie theater, Mike sees a poster in a window that makes him realize he’s in the Air Force.

BEAT PURPOSES:

Mystery

Escalation

Find a clue

QUEST CHAIN:

2: Find where everyone is

Step 4: Investigate the movie theater

Step 1: Investigate the ticket booth

3: Find out who Mike is

Step 5: Find a clue

 

ESTABLISHING SHOT
EXT. TOWN SQUARE [NIGHT]
TIGHT CLOSE SHOT STREET LAMP
As it suddenly goes on. Camera then pans down for a
SHOT OF MIKE

SETUP
On a bench looking up toward the light. Then he turns to
look toward the street flanking the square. The lights have
gone on in front of all the stores and in the windows.
CLOSE SHOT MIKE
Reacting.
MED. LONG SHOT THEATER MARQUEE
As the lights go on around it.
TRACK SHOT MIKE
He walks across the street, stops by the ticket window, and
then, almost dreamlike, speaks.

OPPORTUNITY
MIKE
I’d like one tick —
Then he stops, shakes his head, closes his eyes, realizing
how ludicrous this is. He is about to go in when he
suddenly stops and stares at a poster advertising the
movie.
CLOSE SHOT POSTER
Which shows an air force pilot in his coveralls advertising
the movie.

HERO’S RESPONSE
MED. CLOSE SHOT MIKE
As he suddenly feels his own outfit and gradually makes the
connection that the uniform of the man in the picture is
similar to that which he wears.
MIKE
Air force. Air force.
(then he whirls around,
looks up toward the sky)
Air force. I’m air force.
(he once again looks down at
his coveralls and feels
them, grabs at them)
Air force. I’m in the air force.

OUTCOME
TRACK SHOT MIKE
As he walks from the outside of the theater, through the
lobby, on into the interior.
MIKE
(shouting)
Hey, everybody. I’m in the air force. I
remember that much. I’m in the air force.
Does anybody hear me? I’m in the air force.
And then once again he rubs his eyes, runs a hand wildly
across his face and then suddenly surveys the theater.
CUT TO:

 

BEAT: 17

SUMMARY:

Mike Ferris investigates the inside of the movie theater, fails to find anyone and really starts to crack up.

BEAT PURPOSES:

Mystery

Escalation

QUEST CHAIN:

2: Find where everyone is

Step 4: Investigate the movie theater

Step 2: Investigate inside the theater

3: Find out who Mike is

Step 6: Analyze the clue

 

SETUP
FULL SHOT THE THEATER
There are enough lights on to cast a soft orange glow
through the room. He looks around at the absolute, vast
emptiness of the place. Then he sits down, checks his
watch, looks up at the big white screen with nothing on it.
He looks at his watch again and then settles down in the
chair, his eyes closed, and he starts to succumb to the
fatigue that sweeps over him.
MIKE
Air force. What does that mean? Was there a
bomb or something? Is that what happened?
That must have been it, a bomb.

But if
there was a bomb —
(he looks around the empty
theater now)
It would have destroyed everything. And
nothing is destroyed.

CONFLICT
Suddenly he is aware of the lights lowering. He starts and
his eyes open wide in time to see the last of the lights go
down. A long beam of white light shines from the projection
booth and suddenly on the screen appears a big introductory
title, Cartoon Parade, with appropriate march music. Mike
leaps to his feet, looks from the projection booth down to
the screen. He suddenly starts to run down the aisle,
shouting.

HERO’S RESPONSE
MIKE
Hey! Hey, somebody up there?
He stops in front of the projectionist’s light so that we
get an almost — nightmarish picture of the cartoons
partially showing on his face and body as he screams.
MIKE
Hey, somebody up there? Who’s running the
pictures? Can you see me? Can you see me up
there? Hey!
Then he races back up the aisle, arriving at the rear of
the theater. He looks wildly around, then he sees a door
with a glass window, steps visible on the other side.
LONG ANGLE SHOT STAIRS
As he races up them.
INT. PROJECTION BOOTH
As he bursts inside. The picture is running from one of the
two projectors,

ANTAGONIST’S RESPONSE

but the room is absolutely empty.

HERO’S RESPONSE

Mike
races over to the machine, bends down and peers at it as
the film goes through and he hears the sound of the cartoon
music and voices. This is too much for him. He throws
himself against the wall, peering out of the small,
circular hole that the picture shoots through.
LONG ANGLE SHOT THROUGH THE HOLE
Of the vast, empty theater.

HERO’S ESCALATION
INT. PROJECTION BOOTH
He turns away, goes out the door, stumbling down the steps.
ANGLE SHOT DOWN STAIRS
He continues down the steps and out into the lobby again.

ANTAGONIST’S RESPONSE
INT. LOBBY
He stops for a moment and looks across the lobby.
MED. LONG SHOT POPCORN MACHINE
That is at this moment making popcorn.

OUTCOME
CLOSE SHOT MIKE
As he closes his eyes, shakes his head. Then he opens them.
His eyes go wide. He starts to run toward the camera,
coming up very close and almost at the point of impact we
CUT AWAY TO:
TIGHT TWO SHOT
Of Mike and a mirror as he smashes his face and hands
against it and then recoils from the reflection, backs off
a few feet, and then looks at the mirror on the opposite
side of the room. The combination throws off reflections
almost to infinity. He looks from left to right staring at
the hundreds of Mike Ferrises who ape him in his every
movement. Then he stops and looks across at the refreshment
stand where the popcorn continues to pop in the big
container. This, too, is more than he can stand. His face
screws up like a small child about to cry, and then he
shouts.
MIKE
Oh my God. Oh my dear God!
He stumbles through the lobby and out into the street.

 

BEAT: 18

SUMMARY:

Mike leaves the movie theater and cracks up on the street.

BEAT PURPOSES:

Mystery

Escalation

Climax

QUEST CHAIN:

2: Find where everyone is

Step 5: Climax

Step 2: Approach the climactic threshold

 

SETUP
EXT. STREET
He stumbles down the street aimlessly now, intent only on
moving, not finding. His footsteps start to drag and
finally he stops, sits down on the curb, buries his face in
his hands, rubs his eyes. Then he looks up to once again
find himself looking through the drugstore window, the
magazine that he’d been reading lies on the floor face up.

CONFLICT
HIGH ANGLE SHOT
Looking down through the window, distorting the cover of
the magazine in such a manner as to make the lettering
appear big and irregular. Once again the title slaps at him
across the face. The Last Man on Earth.

HERO’S RESPONSE

He rises slowly,
backing away from the window, shaking his head. He turns
and races across the street. Suddenly, then, he stops
abruptly as the light on the corner changes to red and he
instinctively comes to a halt. And then he stops dead,
realizing once again the ludicrousness of it. He begins to
laugh — the laughter becomes convulsive, wild. All the way
across the street he continues it.
ANTAGONIST’S RESPONSE

TRACK SHOT
As he goes by all the stores that we’ve been introduced to.
As he goes by each one a sound emanates from it, a sound
way out of proportion to what it actually should be. When
he passes the pool hall we hear the mammoth bowling alley
sound echoing from it. From in front of the theater comes a
cacophony of music and laughter. From the drug store there
is a fizzling, bubbling sound of drinks. From the record
store, the dissonant, blaring sound of music. As each noise
joins in it becomes mumbled and part of a big morass of
noise.

HERO’S RESPONSE
Gradually the very dimension of it so frightens and shocks
Mike that he begins to back away from each store as he
passes — it as if being assaulted on all sides. He
stumbles against a street post, whirls around, frightened,
stares at it, and then suddenly, almost supplicatingly,
throws his arms around it, buries his face against it. He
starts to sob.
MIKE
Won’t somebody help me? Won’t somebody
please help me?

OUTCOME
Then his sobs subside and he stands there, breathing
deeply. His eyes slowly open. Sweat stands out on his
features. He looks haggard, desperate, close to cracking.
The noise somehow, for no apparent reason, suddenly stops
and there’s a deep, dead, all-pervading silence again.
Mike’s eyes travel up the post, stare up toward the sky. He
squints against the sun.

 

BEAT: 19

SUMMARY:

Mike gives up his quest and begs for release.

BEAT PURPOSES:

Escalation

Mystery

QUEST CHAIN:

2: Find where everyone is

Step 5: Climax

Step 2: Finishing move

 

4: Who’s watching Mike?

Step 4: Paranoia escalates

 

SETUP
MIKE
Who’s watching me? Who’s looking at me?
(screaming)
Who’s looking at me?
He looks down toward the street.

CONFLICT
LONG SHOT THE STREET
He moves to the middle of the road again, still looking up
toward the sky, and then as if suddenly seeing an
adversary,

HERO’S RESPONSE

begins to run.
CLOSE SHOT STORE WINDOW
As Mike backs into it, trying to get inside, reaching for
the door and missing, and then slamming his face against
the front pane.

ANTAGONIST’S RESPONSE
CLOSE SHOT MIKE’S FACE AND EYES
Looking from inside the store outside toward him. His eyes
go wide and he starts to scream.
CLOSE SHOT OVER MIKE’S SHOULDER
At a huge eye looking at him.

HERO’S RESPONSE
MED. SHOT MIKE
As he starts to run away from the store again.

ANTAGONIST’S RESPONSE

The camera takes in a shot of an optometrist’s sign with a huge eye that Mike had seen.

OUTCOME
TRACK SHOT MIKE
As he runs back toward the post. He grabs it and holds on
tight, then he looks down. His hands have touched a button
and he looks down at it.
TIGHT CLOSE SHOT A BUTTON
With a sign over it: PUSH TO TURN GREEN.
MED. SHOT MIKE
As he looks away toward the light.
CLOSE SHOT THE LIGHT
MED. SHOT
And then suddenly Mike slams the palm of his hand against
the button and punches it over and over again.
MIKE
Somebody help me. Help me. Help me.
CLOSE SHOT THE LIGHT
As if flashes from red to green, from green to red, from
red to green, over and over again.
CLOSE SHOT MIKE’S HAND
As he keeps pushing the button. His voice, sobbing,
screeching, plaintive, frightened.
MIKE
Somebody help me. Please. Please, help me

 

BEAT: 20

SUMMARY:

It is revealed that Mike has been in a military-run isolation experiment.

BEAT PURPOSES:

Answer the mystery

Backstory

QUEST CHAIN:

2: Find where everyone is

Step 6: Denouement

Step 1: Reveal the answer

3: Who is Mike?

Step 7: Reveal the answer

4: Who’s watching Mike?

Step 5: Reveal the answer

 

ESTABLISHING SHOT
DISSOLVE TO:
OUT OF FOCUS ON HIS HAND
CLOSE SHOT IN FOCUS HIS HAND
Pushing a button on an instrument panel. The camera dollies
away until both the back of the panel and Mike’s face are
on a small television screen.

SETUP
LONG ANGLE SHOT
Down a line of officers in a viewing room as they intently
watch the screen. We hear Mike’s voice as it coincides with
a red light that flashes brilliantly on and off over the
viewing screen.

CONFLICT
MIKE’S VOICE
Please. Please help me. Help me.

BEAT PROTAGONIST’S RESPONSE
A general, obviously in command, turns to his aide on his
right.
GENERAL
Clock him!
(and then turning to his
left says to the officer
alongside)
Get him out of there, quick!
Officer two reaches over for a hand mike. Pushes the
button.
OFFICER TWO
Release the subject! On the double!

BEAT ANTAGONIST’S RESPONSE
INT. LARGE HANGARLIKE ROOM
In the center of it, illuminated by a couple of spots in an
otherwise dark room, is a small, hermetically sealed metal
box about six by five feet and about five feet high. A
sliding panel is pushed back. Several air force men reach
down and start unstrapping Mike and then carefully lift him
through the hole. A white-clad medical officer begins to
remove electrodes that have been taped to his body at
various points. By this time Mike has stopped speaking. His
eyes are half closed. He breathes deeply and irregularly,
slumps forward in his seat.
CLOSE SHOT HIS RIGHT FIST
Smashed against the instrument panel.
EXTREMELY TIGHT CLOSE UP HIS FIST
And the broken glass covering a clock on the panel which
reads six fifteen.
MED. GROUP SHOT THE AIR FORCE MEN
As they remove him.
AIR FORCE MAN ONE
Be careful. He’s cut his hand on that clock
glass there —
LONG SHOT GENERAL AND STAFF
As they hurriedly approach the scene, their footsteps
ringing hollowly on the concrete floor.

OUTCOME
MEDICAL OFFICER
He’s all right, sir. Delusions of some
sort. I guess that’s it. He’s coming out of
it now.
GENERAL
(nods)
Fine. You get all your data recorded?
MEDICAL OFFICER
Yes, sir. Every bit of it.
GENERAL
(to Officer One who comes up
from behind)
Did you get him clocked?
OFFICER ONE
Yes, sir. Four hundred and eighty four
hours, thirty-six minutes.
GENERAL
Good. I’d like to get a look at all the
data when they’re compiled. I’d like the
reaction chart on him, too.

 

BEAT: 21

SUMMARY:

A general explains the experiment to a report.

BEAT PURPOSES:

Explanation

Backstory

QUEST CHAIN:

2: Find where everyone is

Step 6: Denouement

Step 2: Reveal the backstory

 

SETUP
OFFICER TWO
(sotto)
The press, sir?
He points toward the opposite side of the room.
LONG SHOT THREE OR FOUR MEMBERS OF THE PRESS
As they stand waiting expectantly.
GROUP SHOT GENERAL AND THE OTHERS
GENERAL
On the run, if they don’t mind. I want to
talk to Ferris.
OFFICER TWO
Yes, sir.
He motions toward the press, and beckons them over as the
General, the medical officers, and the others start walking
in the opposite direction toward Mike Ferris, who lies on a
stretcher at the very far and opposite side of the room.
TRACK SHOT WITH THE GENERAL AND THE REPORTERS
As they join him and start to walk across the room toward
Ferris.

CONFLICT

REPORTER ONE
You consider it a success, sir?

BEAT PROTAGONIST’S RESPONSE
GENERAL
Very much so. He’s been alone in that box
for something in the neighborhood of four
hundred and eighty four hours, which is
roughly equivalent to a trip to the moon,
several orbits, and then back.

BEAT ANTAGONIST’S RESPONSE
REPORTER ONE
And this then was a simulated trip to the
moon? Is that right, General?

BEAT PROTAGONIST’S RESPONSE
GENERAL
(nods)
For all intent and purpose.

BEAT ANTAGONIST’S RESPONSE
REPORTER TWO
What about the wires attached to him?

BEAT PROTAGONIST’S RESPONSE
GENERAL
Electrodes. All of his reactions have been
charted and graphed. Respiration, heart
action, blood pressure.
At this moment they reach a point some ten feet away from
where Mike Ferris lies on a stretcher attended by a couple
of medics. Their voices become low.

BEAT ANTAGONIST’S RESPONSE
REPORTER THREE
What happened to him toward the end? Just
before he pushed that button or whatever it
is.

OUTCOME
GENERAL
What happened to him was that he cracked.
We assume delusions of some sort, but I’ll
tell you something, gentlemen — you spend
two and a half weeks all by your lonesome
in a five foot square box without ever
being able to hear a human voice other than
your own… I’ll give you especially good
odds that your imagination would run away
with you too, just as his obviously did.

 

BEAT: 22

SUMMARY:

Mike is debriefed by the general.

BEAT PURPOSES:

State the moral

Backstory

Repercussion

QUEST CHAIN:

2: Find where everyone is

Step 6: Denouement

Step 3: State the moral

 

SETUP
One of the medics looks up, motions the general over. The
general takes a few steps until he’s very close to Mike.

CONFLICT
GENERAL
How do you feel, son?

HERO’S RESPONSE
MIKE
(his voice is weak but he’s
obviously much improved now)
I feel much better, sir. I’m sorry about…
toward the end.

ANTAGONIST’S RESPONSE
MEDICAL OFFICER
(close by)
What was it like, Ferris? Where did you
think you were?

HERO’S RESPONSE
MIKE
(looks from one to the
other, wets his lips)
Some place I don’t want to visit again. A
town… a town without people. Without
anybody.

ANTAGONIST’S RESPONSE
MEDICAL OFFICER
And you had to get out of that town, didn’t
you?

HERO’S RESPONSE
MIKE
(nods)
I sure did.
(then he looks up toward the
medical officer)
What was the matter with me? Just off my
rocker, huh?

OUTCOME
MEDICAL OFFICER
Just a kind of nightmare, Ferris, that your
mind manufactured for you.
The reporters lean forward straining to overhear this
conversation.
MEDICAL OFFICER
You see, Ferris, we can feed stomachs with
concentrates. We can supply microfilm for
recreation, reading, even movies of a sort.
We can pump oxygen in, waste material out.
The camera now moves around so that it is shooting just
over the heads of all the men assembled and is looking at
the box in the background which is on the periphery of the
light.
MEDICAL OFFICER
But there’s one thing we can’t simulate.
That’s a pretty basic need — man’s hunger
for companionship, the barrier of
loneliness. That’s one we haven’t licked
yet.

 

BEAT: 23

SUMMARY:

We find out Mike’s future, which is to go to the moon alone.

BEAT PURPOSES:

Sunset

QUEST CHAIN:

2: Find where everyone is

Step 6: Denouement

Step 4: Sunset

 

SETUP

At this moment the medics help Ferris to his feet. He
stands there motionless for a moment as if testing newfound
legs, and then he looks out toward the open hangar door at
the night sky.

CONFLICT
MIKE
Next time though… it won’t be just a box
and a hangar, will it?

ANTAGONIST’S RESPONSE
GENERAL
(going to his side and
looking out toward the sky
with him)
No, Mike. Next time you’ll really be alone.

HERO’S RESPONSE
There’s a long, thoughtful silence as Mike takes a few
steps toward the hangar door. He pauses for a moment near
the box. A side has been removed so that he’s staring
directly into the control panel where the broken clock can
be seen still reading six fifteen.
CLOSE SHOT MIKE
As he reacts.
CLOSE SHOT COCKPIT
As the camera pans over the broken clock, a microphone
which hangs by the cord, a small microfilm apparatus, et
cetera.

OUTCOME
MED. CLOSE SHOT MIKE
As he looks away and then continues to walk over to the
hangar door. He slowly looks up toward the sky and the
camera sweeps up for a long shot of the moon hanging bright
and lustrous in the sky.
MIKE
(grins thoughtfully, stares
up toward the silver orb,
and then quietly)
Don’t go away up there. Next time… next
time it won’t be a nightmare or a dream.
Next time it’ll be real. So don’t go
away… We’ll be there in a little while.
Then he starts to walk out in the night followed by the
others. The camera begins a slow pan back into the room
until it is shooting on the box, squatting empty and
impassive in the empty room.
BEAT: 24

SUMMARY:

Narrator gives an epilogue speech.

BEAT PURPOSES:

Epilogue

Narrator’s closing speech

QUEST CHAIN:

2: Find where everyone is

Step 6: Denouement

Step 1: Narrator’s epilogue

 

SETUP

NARRATOR’S VOICE
The barrier of loneliness. The palpable,
desperate need of the human animal to be
with his fellow man.

CONFLICT
LAP DISSOLVE TO:
NIGHT SKY
The moon and the stars.

NARRATOR’S VOICE
Up there… up there is the vastness of
space, in the void that is sky… up there
is an enemy known as isolation. It sits
there in the stars waiting… waiting with
the patience of eons… forever waiting…

OUTCOME
in the Twilight Zone.
FADE TO BLACK:
THE END

 

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Plot Outline Of “Star War: The Empire Strikes Back”

Promotional poster of the movie, "The Empire Strikes Back"

CLICK HERE TO VIEW THE MASTER SPREADSHEET WITH ALL MY MOVIE PLOT BREAK DOWNS 

 

Beat Acts Action Sequences Beat Description Storylines
1
1
While on patrol, Luke gets kidnapped by a Wampa as an Imperial spy droid lands on Hoth.
Words scroll through space saying the Empire is trying to hunt down the Rebel Alliance. The Empire
Rebels
2 A Star Destroyer deploys a probe to the ice planet, Hoth. Star Destroyer
Probe
3 Luke rides a Tauntaun around the icy surface of Hoth. He tells Han he is on patrol and saw a meteor hit and is going to check it out. Then a Wampa attacks and knocks out Luke. Luke
Tauntaun
Probe
(Han)
Wampa
4 Han enters the rebel base on a Tauntaun and greet Chewie, who is welding on the Millennium Falcon. Han
Chewie
5 Han meets with Rieeken and Leia. Han reports their patrols haven’t found anything, Luke is still out patrolling, and Han is leaving to settle his debt with Jaba. Leia is upset Han is leaving. Han
Rieeken
Leia
(Luke)
6 As Han leaves, Leia unsuccessfully tries to convince him to say, making it obvious she likes him. Han
Leia
(Luke)
7 C3PO and R2 walk through the halls of the rebel base and make comedic banter. C3PO
R2
8 C3PO and R2 approach Han at the Millennium Falcon and tell him Luke hasn’t checked in and Leia is worried about him. Han orders a deck officer to look for Luke in the rebel base. C3PO
R2
Han
(Luke)
(Leia)
Rebel officer
9 Later, the deck officer reports to Han that Luke isn’t in the rebel base. Han says he’ll go look for Luke on Tauntaun. The deck officer says it’s too dangerous, but Han goes anyway. Rebel officer
Han
(Luke)
10 In an ice cave, Luke wakes up and uses the force to grab his lightsaber and kill the Wampa that has captured him. Then Luke stumbles out of the cave. Luke
Wampa
11
2
Han finds Luke and saves him from freezing.
R2 and C3PO stand vigil at the door to the rebel base. C3PO says it’s too cold to stay outside and look for Luke. C3PO goes inside while R2 remains outside watching for Luke. R2
C3PO
(Luke)
12 Luke stumbles through the cold and collapses in the snow. Luke
13 In the rebel base, Leia asks Derlin if Luke has returned. Derlin says no and they have to close the doors to the rebel base and assume Luke is dead and/or unreachable. Leia
Derlin
(Luke)
14 As Luke lays in the snow, Ben’s voice tells him to go to the Dagobah system. Then Luke falls unconscious. Luke
Ben
15 Han finds Luke, then kills their Tauntauns with Luke’s lightsaber, and Han and Luke spend the night inside the Tauntauns. Han
Luke
16 The next morning Zev drives a snow speeder through the Hoth landscape and retrieves Han and Luke. Zev
Han
Luke
17 At the rebel base, Luke is put in a healing tank. Luke
18 In a hospital room at the rebel base, Leia, Han, R2 and C3PO tell Luke how good it is to see him alive and recovering. Han and Leia flirt some more. Leia
Han
R2
C3PO
Luke
Chewie
19 In the rebel base command center, Rieekan tells Leia and Han their instruments have detected something metal a few miles from the base. Han and Chewie leave to check it out. Rieeken
(Probe)
Leia
Han
Chewie
20 Han and Chewie find and destroy the Imperial probe. Han
Chewie
Probe
21 Han reports back to Leia and Rieekan the Empire knows their location. Han
Leia
Rieekan
The Empire
22 On a Star Destroyer, Ozzel tells Vader their probe on Hoth sent suspicious readings. Vader uses the force to confirm the probe located the rebel base. Ozzel
Vader
(Probe)
(Rebels)
23
3
Team 1 plans and prepares to defend themselves as Team 2 plans and prepares to attack.
A rebel captain issues orders for speeder squadrons to defend the base while the rest of the personnel is evacuated by transport space ships. Rebel captain
Rebels
24 Han and Chewie frantically and unsuccessfully try to repair the Millennium Falcon. Han
Chewie
25 Luke dresses for battle and orders a droid which equipment to prioritize loading on the transport ships. Luke
Rebels
R2
26 Luke says farewell to Han and Chewie as they continue trying to repair the Millennium Falcon. Luke
Han
Chewie
27 In the rebel base control room, Controller tells Rieeken a fleet of Star Destroyers has come out of hyper space above Hoth. Rieeken orders Controller to reroute all the power to the shields until the transports get away and to prepare for the ground assault. Rebels
Rieeken
(The Empire)
28 On a Star Destroyer, Veers tells Vader the rebels are aware of the Imperial fleet and are preparing to defend/evacuate. Vader blames Ozzel and kills him using the force. Then Vader promotes Piett to Ozzel’s position. Veers
Vader
Ozzel
Piett
29 In the hangar of the rebel base, Leia explains to an audience they will send escorted transports through the shields two at a time and use an ion blast cannon to clear a path for their escape through the space fleet blockade. Then, survivors are to proceed directly to the rendezvous point. Leia
Rebels
(The Empire)
30 In/around the rebel base, troops prepare to fight the incoming Imperial forces. Rebels
Stormtroopers
31
4
Team 1 attacks Team 2 while also successfully beginning their escape.
A rebel transport ship and two fighter escorts leave Hoth. An Imperial officer tells his Captain that a transport ship is leaving the planet. The Captain is happy about blowing up the transport ship. Rebels
Imperial officer #1
Imperial officer #2
32 Two giant cannons at the Rebel base shoot into the sky. The blasts hit a Star Destroyer, which burns and veers as the Rebel transport ship and its escorts fly past the Imperial blockade. Rebels
The empire
33 In the Rebel base’s hangar, Luke and Dack get in their snow speeders. They hear an announcement that the first transport ship escaped successfully, and Luke and Dack tell each other they’re in good spirits. Luke
Dack
34 On the surface of Hoth, a Rebel officer spots an Imperial Walker in his binoculars. He announces on his radio that he’s spotted Walkers. Rebels
Walkers
35 Rebel troops run around, aim their weapons and prepare to fight the Walkers. Rebels
Walkers
36 Montage shot of Rebel snow speeders, including Luke’s, approach the Walkers. Rebel speeders
Luke
Walkers
37 After shooting a Walker a few times without effect, Luke says on his radio that blasters don’t affect Walkers and to use harpoons and tow cables instead. Walkers
Luke
Rebel speeders
38 Luke’s snow speeder is hit, and his copilot, Dack dies. Luke
Dack
Walkers
39 Walkers and snow speeders fight each other, both with successes and failures. Walkers
Rebel speeders
40 In a Walker, Veers tells Vader over the radio that he’s approaching the Rebel base and will disable the base’s shields in moments. Veers
Vader
Rebels
41 In his snow speeder, Luke tells Wedge he’ll have to harpoon the Walker they’re engaged with because Dack, Luke’s copilot, is dead. Luke
Wedge
(Dack)
Walkers
42 Wedge shoots a harpoon around a Walker’s legs and then circles the Walker, tying up its legs and making it trip and crash. Wedge
Walkers
43 Montage of shots of Rebels, including Luke and Wedge, celebrating Wedge’s victory. Rebels
Walkers
Luke
Wedge
44 In the Rebel base command center, Rieekan says they need to send more transports at a time but can’t protect them en mass. Leia says they have to try because they’re running out of time. Rieeken
Leia
(Rebels)
(The Empire)
45
5
Team 2 advances on Team 1 as Team 1 suffers losses and scrambles to escape.
In the Rebel base hangar, Han and Chewie frantically try to fix the Millennium Falcon. Han
Chewie
46 C3PO oversees R2 being lowered into an X-wing spaceship that Luke will use to escape Hoth. C3PO
R2
Rebels
47 As the battle on the surface of Hoth wages on, in his Walker, Veers orders his troops to advance. Veers
Stormtroopers
Rebels
48 In his snow speeder, Luke talks to Zev over his radio. Luke tells Zev to use his harpoon on another Walker while Luke covers him. Luke
Zev
Walkers
49 Sev and Luke engage the Walker while coordinating their attack over the radio. Sev
Luke
Walkers
50 Zev’s speeder is blown up by laser fire, and Luke’s speeder is critically hit with laser fire. Zev
Luke
Walkers
51 Han meets Leia running through the halls of the Rebel base, and they flirt. An announcement over a loudspeaker says Imperial troops have breached the base. Leia tells a Rebel officer to issue a final evacuation order. Han
Leia
Stormtroopers
Rebels
52 On the surface of Hoth, Rebel troops retreat as Imperial forces advance. Rebels
Stormtroopers
Walkers
53 Luke jumps out of his damaged snow speeder and he blows up the Walker by climbing up it and throwing mines in it. Luke
Walkers
54 In his Walker, Veers prepares to fire on the Rebel shield generators. Veers
Rebels
55 In the Rebel base, Han and Leia run to the Millennium Falcon to evacuate themselves. Han
Leia
56 Vader strides through the halls of the Rebel base surrounded by storm troopers. Vader
Stormtroopers
57 Han, Leia and C3PO continue running towards the Millennium Falcon. Han
Leia
C3PO
58 Han, Leia and C3PO arrive at the Millennium Falcon and meet a relieved Chewie. Han
Leia
C3PO
Chewie
59 Vader and his accompanying storm troopers continue walking down a hallway of the Rebel base. The storm troopers are panicked, but Vader is calm. Vader
Stormtroopers
60 In the Millennium Falcon, Han and Chewie have problems getting the ship started. Han
Chewie
Leia
C3PO
61 Storm troopers enter the Rebel hangar. The Millennium Falcon shoots them. Stormtroopers
Han
Chewie
Leia
C3PO
62 Han starts the engine of the Millennium Falcon and takes off. Stormtroopers
Han
Chewie
Leia
C3PO
63 Vader sees the Millennium Falcon fly away. Vader
Stormtroopers
Han
Chewie
Leia
C3PO
64 As Luke and Wedge get into X-wings, Luke says goodbye to Wedge and says he’ll meet him at the rendezvous. Then Luke takes off and flies into space. Luke
Wedge
65
6
Luke flies to Dagobah as Team 2 chases the Millennium Falcon into an asteroid belt.
Luke tells R2 they’re not going to the rendezvous point. They’re going to the Degobah system. Luke
R2
66 The Millennium Falcon is pursued by Tie-fighters. Han says there are two Star Destroyers in front of them, which they’ll have to outmaneuver. Han
Liea
Chewie
C3PO
Tie-fighters
Star destroyers
67 The Millennium Falcon flies past the two Star Destroyers. Han
Liea
Chewie
C3PO
Tie-fighters
Star destroyers
68 Han tries to jump to light speed, but it doesn’t work. C3PO says the hyperdrive motor is broken. Han says they’re in trouble. Han
Liea
Chewie
C3PO
Tie-fighters
Star destroyers
69 As Han and Chewie frantically mess with controls an check things in the cockpit, they realize they’ve flown into an asteroid field. Han
Liea
Chewie
C3PO
Tie-fighters
Star destroyers
70 Han says they’ll fly into the asteroid field despite Leia and C3PO’s protests. Han
Liea
Chewie
C3PO
Tie-fighters
Star destroyers
71 The Millennium Falcon races through the asteroid field. Some of the Tie-fighters following it hit asteroids and blow up. Han
Liea
Chewie
C3PO
Tie-fighters
Star destroyers
72 Leia tells Han they need to get out of the asteroid field before they’re pulverized. Han says he’s going to take them closer to a big asteroid. Han
Liea
Chewie
C3PO
Tie-fighters
Star destroyers
73 As the Millennium Falcon dives towards a large asteroid, another asteroid hits the two Tie-fighters chasing the Millennium Falcon. Han
Liea
Chewie
C3PO
Tie-fighters
Star destroyers
74 Han sees a good place to land on an asteroid and maneuvers the Millenium Falcon. Leia and C3PO are surprised and confused. Han
Liea
Chewie
C3PO
Tie-fighters
Star destroyers
75
7
Luke finds/trains with Yoda as the rest of Team 1 hides in an asteroid and tries to fix the Millennium Falcon.
Luke flies over Dagobah. He tells R2 his sensors aren’t picking up any technology but lots of life on the surface of the planet. Luke
R2
76 Luke crashes his X-wing. Luke
R2
77 R2 falls in the swamp and is briefly attacked by a swamp monster. Luke begins to question whether coming to Dagobah was a wise idea. R2
Luke
78 Piett enters Vader’s room and tells him the Millennium Falcon entered an asteroid field. Vader says to pursue it despite the risks. Piett
Vader
(Millenium Falcon)
79 Han and Chewie mess with a bunch of controls. Han says C3PO needs to diagnose the problem with the hyperdrive. The Millennium Falcon lurches, and C3PO says the asteroid isn’t stable. Han
Chewie
C3PO
Leia
80 Leia and Han flirt. Leia
Han
81 On Dagobah, as Luke fixes his X-wing, Yoda comes to him and says he’ll lead Luke to Yoda in exchange for a flashlight. Luke agrees. Luke
Yoda
R2
82 C3PO tells Han he needs to replace a part on the Millennium Falcon to get the hyperdrive working. C3PO
Han
Chewie
Leia
83 Leia and Han flirt. Han kisses Leia. Leia
Han
84 Vader tells several commanders to keep looking for the Millennium Falcon. Then Piett tells Vader that the Emperor wants to speak with him. Vader
Imperial officers
Piett
(The Emperor)
85 Vader speaks with a hologram of the Emperor in his chamber. The Emperor says the force is strong with Luke Skywalker and he poses a threat. Vader says Skywalker would make a powerful ally, and he will try to convert or kill him. The Emperor approves of the plan. Vader
The Emperor
(Luke)
86 Yoda says he can’t train Luke because he’s impatient. Luke begs, and Yoda agrees to train him. Yoda
Luke
87 Leia thinks about Han in the cockpit until an alien bat lands on the windshield and startles her. She runs out of the cockpit. Leia
Han
Bats
88 Leia tells Han they’re not alone. Han says he’ll go check it out. Leia says she’ll go with him. Leia
Han
(Bats)
89 Han, Leia and Chewie exit the Millennium Falcon and discover there are Mynocks in the cave, and the cave walls are the inside of a living creature. Han rushes everyone inside. Han
Leia
Chewie
Bats
90 Han prepares the ship for takeoff, dismissing Leia’s advice to stay put. Han
Leia
Chewie
Bats
91 The Millennium Falcon takes off just in time to escape the cave (which is actually a monster’s mouth) closing in on them. Han
Leia
Chewie
92 Luke trains with Yoda, who teaches him about the force. Luke
Yoda
93 Yoda tells Luke to enter a path between dark trees to confront the dark side of the force. Yoda
Luke
94 Luke enters the space between the dark trees and meets Vader. They have a light saber battle, and Luke cuts off Vader’s head, which has Luke’s face. Luke
Vader
95
8
Team 1 flies to Cloud City and is taken hostage by Lando as Luke prematurely ends his training with Yoda to go save his friends.
Vader tells a group of bounty hunters they will be paid a fortune to capture the Millennium Falcon. Piett tells Vader their ship’s sensors have found the Millennium Falcon. Vader
Boba Fett
(The Millenium Falcon)
96 A Star Destroyer chases the Millenium Falcon. C3PO tells Han the rear deflector shields are out. Han turns the ship around and flies straight toward the Star Destroyer. Han
Liea
Chewie
C3PO
Tie-fighters
Star destroyers
97 On the Star Destroyer, Needa watches the Millenium Falcon fly toward the Imperial ship and then disappear. Needa tells an officer he’ll apologize to Vader for losing the Millennium Falcon and to keep scanning for it. Needa
The Millenium Falcon
(Vader)
98 On Dagobah, Luke trains with Yoda in how to use the force. Luke
Yoda
99 On a Star Destroyer, Vader kills Needa. Piett tells Vader the Millennium Falcon must have went into hyperspace. Vader orders Piett to search the galaxy for the Millennium Falcon. Vader
Needa
Piett
(The Millenium Falcon)
100 In the Millennium Falcon, which is clinging to the side of a Star Destroyer, Han and Leia discuss where they can find a safe space port. Han looks at a map and says they should go Bespin and see his old friend, Lando. Han
Liea
Chewie
C3PO
Tie-fighters
Star destroyers
(Lando)
101 The Death Star, which the Millennium Falcon is attached to, dumps its garbage into space. The Millennium Falcon releases and floats away with the debris. When the Death Star flies away into hyperspace, the Millennium Falcon flies away. Boba Fett’s small ship is floating with the garbage as well and follows them. Han
Liea
Chewie
C3PO
Star destroyers
(Boba Fett)
102 On Dagobah, Yoda is training Luke. Luke sees a vision of Han, Leia and Chewie in trouble and tells Yoda he has to go to them. Yoda says this is unwise and urges Luke to have patience. Yoda
Luke
(Han)
(Leia)
(Chewie)
103 As the Millenium Falcon enters the atmosphere of planet Bespin, Han convinces the local air traffic control tower to let them land by dropping Lando’s name. Han
Liea
Chewie
C3PO
(Lando)
104 The Millennium Falcon lands on a floating city in the sky above Bespin. Han and Leia discuss whether or not they’re safe. Han
Leia
Chewie
C3PO
105 Han and Leia watch as Lando approaches the Millennium Falcon with a group of guards. Han
Leia
Chewie
C3PO
Lando
106 Lando greets Han and embraces him after pretending to be angry about something that happened in the past. Lando
Han
Leia
C3PO
Chewie
107 While walking into the floating city, Han tells Lando their ship needs repairs, and he introduces Lando to Leia. Lando tells Han he’ll have his workers fix the Millennium Falcon. Han
Lando
Leia
C3PO
Chewie
108 While walking through a hall in the floating city, Lando tells Han he’s been having business difficulties. Han compliments Lando on being a business man. Han
Lando
Leia
C3PO
Chewie
109 While following behind Han, Leia, Chewie and Lando, C3PO wanders into a room and gets shot by a laser blaster. Han
Lando
Leia
C3PO
Chewie
Stormtroopers
110 On Dagobah, Luke packs up his X-wing and tells Yoda he’s going to save Han and Leia. Yoda tells him not to, but Luke goes anyway. Yoda
Luke
R2
111 Han and Leia pace in a bedroom. Leia says she senses something wrong and doesn’t trust Lando. She says C3PO is missing and they need to leave. Han consoles her. Han
Leia
Chewie
(Lando)
(C3PO)
112 Chewie enters Han and Leia’s room carrying C3PO on his back in pieces. Chewie tells Han he found C3PO in a junk room. Then Lando enters and summons the team to go have refreshments with him. Chewie
C3PO
Han
Leia
Lando
113 Walking through a hall, Han asks Lando if he’s worried about the Empire, and Lando says he’s made a deal that will keep the Empire out. Han
Chewie
Leia
Lando
(The Empire)
114 Lando leads the team into a room where Vader is waiting for them. Lando apologizes for betraying the team. Lando
Han
Leia
Chewie
Vader
115 Luke enters planet Bespin’s atmosphere in his X-wing and flies towards Cloud City. Luke
R2
116 Chewie puts C3PO back together in a jail cell where Leia is also. Chewie
C3PO
Han
Leia
(Lando)
117 Standing outside a room where Han is being tortured, Vader tells Boba Fett he can deliver Han to Jabba after Vader is done torturing him. Then Vader tells Lando to never let Leia and Chewie leave Cloud City. Vader angers Lando, because Vader altered his original deal. Han
Vader
Boba Fett
(Jaba)
Lando
(Leia)
(Chewie)
118 Han is brought into the jail cell. Chewie and Leia greet him. Then Lando enters and says Leia and Chewie can’t leave Cloud City, and Han will be handed over to Jabba. Lando says Vader doesn’t care about them. He just wants Luke. Vader apologizes, and Han shames him for betraying them. Han
Chewie
Leia
Lando
(Jabba)
(Vader)
119 Vader oversees the carbon freezing chamber installation. Vader tells an Imperial soldier to test it on Han. If it works, they’ll freeze Luke in it as well and take him to see the Emperor. Vader
Stormtroopers
(Han)
(Luke)
(The Emperor)
120
9
Han is frozen as Luke approaches Bespin. Then Luke fights Vader as the rest of Team 1 escapes Cloud City.
Luke lands his X-wing on a platform at Cloud City. Luke
121 Han is led to the carbon freezing chamber by storm troopers. Lando tells Han he’s about to be frozen in carbonite. Han
Stormtroopers
Lando
Vader
Chewie
C3PO
Leia
122 Chewie gets angry about what’s happening to Han. So Han consoles him. As storm troopers take Han away, Leia tells Han she loves him. Han
Stormtroopers
Lando
Vader
Chewie
C3PO
Leia
123 Montage of shots of Leia, Lando, Chewie and C3PO reacting to Han being put in the carbonite freezing chamber. Han
Stormtroopers
Lando
Vader
Chewie
C3PO
Leia
124 After Han is frozen, Vader asks Lando if the carbonite freezing chamber worked. Lando says yes. So Vader tells Boba Fett he can take Han to Jabba. Then Vader tells an Imperial officer to reset the chamber for Luke. The officer says Luke has just landed. Vader tells Lando he’s taking Leia and Chewie. Lando says that wasn’t the deal. Vader threatens Lando. Han
Stormtroopers
Lando
Vader
Boba Fett
(Jabba)
Chewie
C3PO
Leia
125 Luke and R2 run into Boba Fett and two storm troopers in the hall transporting Han’s carbonite-encased body. Luke shoots the two storm troopers with a blaster while Boba Fett flees with Han’s carbonite-encased body. Down the hall, Leia shouts at Luke that he’s walking into a trap. Then doors close around Luke forcing him to go towards the carbonite freezing chamber. Luke
R2
Boba Fett
Han
Stormtroopers
Leia
126 Luke follows the path he’s forced to take. More doors close around him forcing him closer to the carbonite freezing chamber. Then the floor he’s standing on raises up and lifts him into the carbonite freezing chamber room. Luke
127 Luke meets Vader and they begin fighting with their light sabers. Luke
Vader
128 Lando, Leia, Chewie, C3PO and two storm troopers walk down a hall. Lando shoots the storm troopers with a blaster and tells the team he has decided to help them escape. Lando makes a plan to get to the Millennium Falcon and escape on it. Leia and Chewie don’t believe him, but he convinces them. Lando
Leia
Chewie
C3PO
Stormtroopers
129 Boba Fett loads Han’s carbonite-encased body into his ship. Boba Fett
Han
130 Lando, Chewie, Leia and C3PO run into R2. They join up and continue moving towards the Millennium Falcon. Lando
Chewie
Leia
C3PO
R2
131 Running down a hallway, Lando, Chewie, Leia, R2 and C3PO look out a window just in time to see Boba Fett’s ship fly away. Then storm troopers shoot at them, causing them to run away. Lando
Chewie
Leia
C3PO
R2
Boba Fett
Han
Stormtroopers
132 Vader and Luke continue light saber fighting as Vader tries to convert Luke to the dark side. Luke seems evenly matched with Vader. Vader
Luke
133 Vader and Luke continue sword fighting. Vader begins getting the upper hand, and Luke goes on the defensive. Vader
Luke
134 Leia, Lando, Chewie, C3PO and R2 come to a locked door. R2 hacks Cloud City’s computer system and opens the door. Leia
Lando
Chewie
C3PO
R2
135 Liea, Lando, Chewie, C3PO and R2 reach the Millennium Falcon and board it. Chewie begins starting up the ship. Leia
Lando
Chewie
C3PO
R2
136 Chewie flies the Millennium Falcon away from Cloud City as the rest of the team gets settled. Leia
Lando
Chewie
C3PO
R2
137
10
Vader defeats Luke in combat.
Luke and Vader continue light-saber fighting. Vader cuts off Luke’s hand and then tells Luke he’s lost and must join the dark side. Luke refuses. Then Vader tells Luke he’s his father and wants Luke to kill the Emperor so Vader and Luke can rule the galaxy as father and son. Luke suicidal-ly lets himself fall down a massive air vent. Vader walks away. Luke
Vader
138 Luke is sucked into an exhaust pipe and falls through a series of them until he falls out of the bottom of Cloud City and hangs on an antenna. There he uses the force to try to call Ben or Leia for help. Luke
(Ben)
(Leia)
139 On the Millennium Falcon, Leia tells Lando and Chewie they need to go back for Luke. They disagree, but she convinces them. Leia
Lando
Chewie
C3PO
R2
(Luke)
140 From a landing platform, Vader watches the Millennium Falcon flying around. Vader tells a storm trooper to bring him his shuttle. Vader
Stormtroopers
Millenium Falcon
141 The Millennium Falcon flies under Luke. Lando opens a hatch in the roof and pulls Luke into the ship as Tie-fighters race toward them shooting. Leia
Lando
Chewie
C3PO
R2
Luke
142
11
Team 1 saves Luke.
Leia lays Luke down on a medical cot as the ship is rocked from Tie-fighter blasts. Leia
Luke
Tie fighters
143 The Millennium Falcon flies into space, where a Star Destroyer is waiting. Lando tries to use the hyperdrive, but to his surprise, it doesn’t work. Star Destroyer
Lando
Chewie
Leia
Luke
R2
C3PO
144 Vader stands on the bridge of the Star Destroyer. He asks Piett if the Millennium Falcon’s hyper drive has been deactivated. Piet says yes and makes a plan to draw in the Millennium Falcon with the Star Destroyer’s tractor beam, where a boarding party will be waiting for it. Vader
Piett
Star Destroyer
Millenium Falcon
145 Montage of shots R2 fixes C3PO. Chewie fixes the Millennium Falcon. Leia and Lando are showered with sparks in the cockpit. R2
C3PO
Leia
Lando
Chewie
146 Laying in his cot, Luke senses Vader on the Star Destroyer. Luke calls out to him, and Vader uses the force to tell Luke to join him. Luke asks Ben why he didn’t tell him Vader is his father. Luke
(Vader)
(Ben)
147 On the bridge of the Star Destroyer, Piett tells an Imperial officer to ready the tractor beam. Piett
Imperial officer
Star Destroyer
Millenium Falcon
148 R2 hacks the Millennium Falcon computer system and fixes the hyperdrive. Leia and Lando are thrown into their seats as the ship unexpectedly goes into hyperspeed. R2
Leia
Lando
149 On the bridge of the Star Destroyer, Piett watches the Millennium Falcon disappear. He looks towards Vader in terror. Vader calmly walks away. Piett
Millenium Falcon
Vader
150
12
Denouement
The Millennium Falcon is docked on a huge Rebel starship. Lando sits in the cockpit of the Millennium with Chewie. Over the radio, Lando tells Luke that he and Chewie will find Jabba, Han and Boba Fett and then contact Luke. Lando
Chewie
Rebels
Luke
(Han)
(Boba Fett)
151 Luke sits in a medical bed/room as a robot attaches a robotic hand to Luke’s arm. Over the radio, Luke tells Lando he’ll meet them at the rendezvous point on Tattooine. Everyone exchanges goodbyes. Luke
(Lando)
R2
C3PO
Leia
Chewie
152 Luke walks over to Leia and hugs her. They stand together looking out a window thinking about their lives as they watch the Millennium Falcon fly away into hyperspace. Luke
Leia

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Plot Outline of “The Avengers”

Promotional poster of the movie, "The Avengers" 

 

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Beat Acts Action Sequences Locations Beat Description Storylines
1
1
Loki prepares to invade Earth as Shield reacts to the Tesseract turning on.
EXT. UNKNOWN AREA OF SPACE In an unknown area of space, Thanos tells Loki the Tesseract has awoken on Earth, and the humans will try to use it but they’re never understand it. Thanos tells Loki he’s ready to lead his army and gives Loki a scepter and tells him to burn humanity. Thanos
Loki
(Thanos’s army)
2 EXT. MOUNTAIN RANGE – EARLY NIGHT
EXT. SHIELD/NASA FACILITY – CONTINUOUS
At a Shield facility, sirens blare, and a loudspeaker orders everyone to evacuate the building. Workers evacuate the building in a panic. Shield staff
3 EXT. LANDING PAD, SHIELD/NASA FACILITY – CONTINUOUS Coulson stands on the roof of the Shield facility and watches a helicopter land. Fury and Hill exit the chopper. Coulson tells Fury they don’t know how bad the situation is. Coulson
Fury
Hill
4 INT. ELEVATOR SHAFT – MOMENTS LATER (EARLY NIGHT)
INT. LOWER LEVEL – CONTINUOUS
INT. STAIRCASE – MOMENTS LATER (EARLY NIGHT)
Walking through the Shield facility, Coulson debriefs Fury on the state of the Tesseract. Fury orders Coulson to get all their next gen guns out of the facility. Coulson
Fury
Hill
5 INT. TESSERACT CHAMBER ROOM – CONTINUOUS (EARLY NIGHT) Fury enters the Tesseract chamber and asks Selvig for a status update. Selvig says the Tesseract turned itself on, and they can’t turn it off or control its behavior. The Tesseract surges with energy. Fury
Selvig
6 INT. TESSERACT CHAMBER ROOM – CONTINUOUS (EARLY NIGHT) Fury asks Barton, who has been hiding above them, if anyone has tampered with the Tesseract. Barton says, “Not from this end.” And elaborates about how the Tesseract is a portal to another world. The Tesseract surges with energy again. Fury
Selvig
Barton
7 EXT. BEHIND A TRUCK – SAME (EARLY NIGHT)
INT. SECURITY LEVEL FOUR – SAME
INT. TESSERACT CHAMBER ROOM – CONTINUOUS
The Tesseract surges again powerfully and makes a smoky explosion. When the smoke clears, Loki is standing in the Tesseract chamber. Loki
Fury
Selvig
Barton
8 INT. TESSERACT CHAMBER ROOM – CONTINUOUS Fury attacks Loki, and Loki uses his spear to turn Barton and Selvig into his minions. Fury
Loki
Barton
Selvig
9 INT. TESSERACT CHAMBER ROOM – CONTINUOUS Loki tells Fury he wants the Tesseract and has come to subjugate humanity. Loki
Fury
Selvig
Barton
10 INT. TESSERACT CHAMBER ROOM – CONTINUOUS Barton shoots Fury. Then Loki, Selvig and Barton flee with the Tesseract. Barton
Fury
Selvig
Loki
11
2
Loki steals Barton, Selvig and the Tesseract and escapes the Shield facility.
INT. SECURITY LEVEL FOUR – A FEW SHORT MOMENTS LATER
INT. TESSERACT CHAMBER ROOM – CONTINUOUS
Loki, Barton and Selvig fight with Hill as they steal a truck and drive away. Loki
Barton
Selvig
Hill
12 INT. TESSERACT CHAMBER ROOM – CONTINUOUS Fury flees the collapsing Shield facility and orders anyone to get the Tesseract and stop Loki. Fury
Shield staff
13 INT. SECURITY LEVEL FOUR – CONTINUOUS
INT. DIMLY LIT UNDERGROUND TUNNEL – CONTINUOUS
Hill and other Shield agents get in vehicles and chase Loki. Hill
Shield staff
Loki
Barton
Selvig
14 INT. LOWER LEVEL – CONTINUOUS (EARLY DAWN
INT. FRONT STEPS OF A BUILDING – CONTINUOUS
Coulson oversees the removal of their next gen weapons but has to abandon some as the Shield facility collapses. Coulson
Shield staff
15 INT. DIMLY LIT UNDERGROUND TUNNEL – CONTINUOU Hill catches up to Loki and shoots at their truck. Barton returns fire. Hill
Shield staff
Loki
Barton
Selvig
16 INT. MILITARY TRANSPORT TRUCK – CONTINUOUS
EXT. LANDING PAD, SHIELD/NASA FACILITY – CONTINUOUS
Fury escapes the collapsing Shield facility on a helicopter as Coulson says over Fury’s radio that he has successfully escaped as well. Fury
Coulson
17 INT. DIMLY LIT UNDERGROUND TUNNEL – CONTINUOUS Hill and Barton continue shooting at each other from their vehicles. Hill
Shield staff
Loki
Barton
Selvig
18 EXT. LANDING PAD, SHIELD/NASA FACILITY – CONTINUOUS
INT. TESSERACT CHAMBER ROOM – CONTINUOUS
EXT. SHIELD/NASA FACILITY – CONTINUOUS
DIMLY LIT UNDERGROUND TUNNEL – CONTINUOUS
INT. MILITARY TRANSPORT TRUCK – CONTINUOUS
EXT. DESERT – CONTINUOUS
The Shield facility collapses. Hill and other Shield agents get cut off from pursuing Loki. Fury shoots at Loki’s vehicle from his helicopter, but Loki shoots down Fury’s helicopter with his scepter. Fury jumps out at the last minute and survives. Hill
Shield staff
Loki
Barton
Selvig
Fury
19 DIMLY LIT UNDERGROUND TUNNEL – CONTINUOUS
INT. MILITARY TRANSPORT TRUCK – CONTINUOUS
EXT. DESERT – CONTINUOUS
Fury gets a status update from Hill and Coulson over his radio and then tells them they’re at war. Fury
Hill
Coulson
(Loki)
20
3
Assemble the team.
EXT. OLD WAREHOUSE, RUSSIA – NIGHT
INT. OLD WAREHOUSE, RUSSIA – NIGHT
While ostensibly being interrogated by Luchkov, Natasha get a call from Coulson, who orders her to find Banner and return to Shield with him immediately. Natasha reluctantly agrees and then beats up Luchkov. Luchkov
Natasha
Coulson
(Banner)
21 EXT. SLUMS, CALCUTTA, INDIA – NIGHT
EXT. OLD ABANDONED SHACK, CALCUTTA OUTSKIRTS – LATER
INT. OLD ABANDONED SHACK – CONTINUOUS
Natasha finds Banner and convinces him to return to Shield with her. Natasha
Banner
22 INT. DARK ROOM, CARRIER – NIGHT Fury briefs The Council about Loki declaring war on Earth. Fury argues that they need the Avengers to save Earth. Fury
The Council
Loki
(The Avengers)
23 INT. GYM – NIGHT Rogers beats up a punching bag in a gym while having flashbacks about his past. Rogers
24 INT. GYM – NIGHT Fury tells Rogers about Loki and the Tesseract and asks for his help. Rogers reluctantly agrees. Fury
Rogers
(Loki)
25 EXT. OCEAN, NEW YORK CITY
EXT. STREETS OF MIDTOWN MANHATTAN – CONTINUOUS
EXT. STARK TOWER – CONTINUOUS (NIGHT)
In his Iron Man suit, Stark connects a large power line under water while communicating with Pepper through his radio. They reveal the line will power Stark tower with free energy from Stark’s reactor. Stark
Pepper
26 EXT. STARK TOWER LANDING PAD – CONTINUOUS
INT. PENTHOUSE, STARK TOWER – CONTINUOUS
Stark flies to his pent house on top of Stark Tower and meets Pepper. She says Coulson is there to see him, and Stark refuses to see Coulson. Stark
Pepper
(Coulson)
27 INT. PENTHOUSE, STARK TOWER – CONTINUOUS Coulson enters Stark’s pent house and tells him about Loki and the Tesseract and asks for Stark’s help. Stark refuses, but Coulson leaves documents with more details. Coulson
Stark
Pepper
(Loki)
28 EXT. OCEAN – DAY
INT. JET – CONTINUOUS
Coulson and Rogers travel on a Shield plane where Coulson tells Rogers about Banner’s back story. Coulson
Rogers
(Banner)
29 INT. JET – CONTINUOUS Coulson gives Rogers upgraded body armor. Coulson
Rogers
30 INT. LOKI’S LIAR, UNDERGROUND LAB – DAY
EXT. SPACE (CONTINUOUS)
INT. LOKI’S LIAR, UNDERGROUND LAB – CONTINUOUS
Loki uses the Tesseract and his spear to travel to space, where he debriefs Thanos on his progress and tells the audience his backstory and motives. Thanos tells Loki the consequences of failure. Loki
Thanos
31
4
Team 1 and Team 2 plan and prepare to fight each other.
EXT. OCEAN – DAY
EXT. HELICARRIER – DAY
Coulson and Rogers’ plane lands on an aircraft carrier. Coulson introduces Rogers to Natasha on deck. Coulson
Rogers
Natasha
32 EXT. HELICARRIER – DAY On deck, Rogers and Natasha meet Banner and state it’s Banner’s job to find the Tesseract. Rogers
Natasha
Banner
33 INT. BRIDGE, CARRIER – MINUTES LATER
EXT. HELICARRIER – CONTINUOUS
INT. BRIDGE, CARRIER – CONTINUOUS
Fury, Hill, Rogers, Natasha and Banner walk on the carrier bridge. Fury orders the techs to turn on the ship’s cloaking system, which they do. Rogers is astounded. Fury
Hill
Rogers
Natasha
Banner
34 INT. BRIDGE, CARRIER – CONTINUOUS Fury tells Banner he will be free to go after they find the Tesseract. Banner asks who they’re looking for it, and Banner says he can find it faster if he has equipment. Natasha leads him away to a lab. Fury
Banner
Natasha
(Loki)
35 INT. BRIDGE, CARRIER – CONTINUOUS On the carrier bridge, Hill tells Fury that she told The Council that Barton has been compromised and Fury has assembled the Avengers. Hill
Fury
(The Council)
(Barton)
(The Avengers)
36 INT. LOKI’S LIAR, UNDERGROUND LAB – DAY In Loki’s lair, Loki gives Selvig iridium he needs to complete his work on the Tesseract. Selvig says the Tesseract shows you what you want to see and that it showed him scientific truth. Barton says it showed him his next target. Loki
Selvig
Barton
37 INT. LOKI’S LIAR, UNDERGROUND LAB – DAY In Loki’s lair, Barton tells Loki he will have to fight Fury, which will be impossible while Fury is in the air. Barton tells Loki about the Avengers and that they’re a threat to each other. Loki says he wants to be in the spotlight ruling, not in an underground bunker hiding. Barton says he can help Loki. Loki asks what he needs, and Barton says a distraction and an eye ball. Then Barton takes his bow out of its case. Loki
Barton
(Fury)
(The Avengers)
38 INT. BRIDGE, CARRIER – DAY On the carrier bridge, Coulson tells Rogers he’s a big fan. Then Sitwell tells them their instruments tracked the Tesseract to Stuttgart, Germany. Fury walks up and tells Rogers it’s time for him to work. Coulson
Rogers
Sitwell
Fury
39 EXT. FANCY BUILDING, STUTTGART – NIGHT
INT. FANCY BUILDING – CONTINUOUS
INT. ROOM, CARRIER – CONTINUOUS
Rogers enters a room on the carrier and sees his new Captain America armor suit. Rogers
40
5
Team 1 struggles to work together and achieves a false victory by ostensibly defeating Loki.
EXT. GUARDED BUILDING – CONTINUOUS Barton shoots some guards outside a guarded building. Barton
Guards
41 EXT. QUINJET, SKIES – CONTINUOUS The Avengers’ jet speeds across the sky to Germany. The Avengers
42 EXT. DOOR, GUARDED BUILDING – CONTINUOUS Barton and some henchmen run into a door in a hallway and prepare to break into it. Barton
Loki’s henchmen
43 INT. FANCY BUILDING – CONTINUOUS Loki walks through a fancy gala at an expensive hotel. He grabs a scientist and cuts his eye out using his scepter. Loki
Scientist
44 EXT. DOOR, GUARDED BUILDING – CONTINUOUS Barton holds a device that transmits an image of the eye Loki took onto the door panel’s eye scanner. He enters the room with his henchmen and steal more iridium. Barton
(Scientist)
(Loki)
Henchmen
45 EXT. FANCY BUILDING, STUTTGART – CONTINUOUS (NIGHT) People flee the gala at the expensive hotel. Loki walks out the front door and magically changes clothes to Asgardian attire. He blasts a cop car with his scepter and orders the humans around him to kneel. Loki says humans were meant to be ruled, and he was meant to rule. Loki shoots his scepter at a man who stands up to him. Loki
46 EXT. FANCY BUILDING, STUTTGART – CONTINUOUS (NIGHT) Rogers jumps in and saves the man Loki shot at. Then Natasha shows up, and Rogers and Natasha fight Loki but are having trouble. Rogers
Loki
Natasha
47 EXT. FANCY BUILDING, STUTTGART – CONTINUOUS (NIGHT) Stark flies in wearing his Iron Man suit and shoots Loki, disabling him. Stark
Loki
Natasha
Rogers
48 EXT. FANCY BUILDING, STUTTGART – CONTINUOUS (NIGHT)
EXT. DARKENED CLOUDY SKIES – NIGHT
INT. COCKPIT, QUINJET – CONTINUOUS
INT. QUINJET – CONTINUOUS
In the Avengers’ jet, Natasha flies the plane while Rogers and Stark talk. Stark mentions Rogers’ backstory. Rogers says he didn’t know Fury summoned Stark, and Stark replies there’s a lot of things Fury hasn’t told Rogers. Natasha
Rogers
Stark
(Fury)
49 INT. QUINJET – CONTINUOUS
EXT. DARKENED STORMY SKIES – CONTINUOUS (NIGHT)
INT. QUINJET – CONTINUOUS
Lightning flashes out of a clear sky, and Loki says trouble follows lightening. Thor lands on the plane. Stark opens the door to go outside and fight, but Thor jumps in, knocks down Stark and Rogers, grabs Loki and jumps out the plane. Loki
Thor
Stark
Natasha
Rogers
50 INT. QUINJET – CONTINUOUS Rogers asks Natasha and Stark if Thor is friendly. Natasha says it doesn’t matter, because they’ll lose the Tesseract if Thor kills or takes Loki. She also warns Rogers not to fight Thor, because he’s basically a god. Rogers dismisses her warning and jumps out the plane. Rogers
Natasha
Stark
(Thor)
51 EXT. CLIFF TOP – NIGHT Thor demands Loki tell him where the Tesseract is. Avoiding the question, Loki mentions he should be king of Asgard instead of Loki. Thor says Earth is under his protection. Loki says he sent the Tesseract off to a location he doesn’t know, and Thor summons his hammer. Thor
Loki
52 EXT. CLIFF TOP – NIGHT
EXT. FOREST – SECONDS LATER
Stark flies in and knocks Thor down. Stark says he’ll let Thor take Loki back to Asgard for justice after Loki gives him the Tesseract. Then they fight while Loki watches. Stark
Thor
Loki
53 EXT. FOREST – SECONDS LATER Rogers tries to break up the fight, and Thor attacks him unsuccessfully. Then Rogers says the fight is over. Rogers
Stark
Thor
Loki
54
6
Team 1 loses trust for each other and analyzes Loki’s motives and goals as well as each other’s’.
EXT. HELICARRIER, SKIES – NIGHT
INT. HALL, CARRIER – CONTINUOUS
INT. CYLINDRICAL GLASS CAGE, CARRIER – CONTINUOUS
Loki is brought to a glass jail cell on the helicarrier. Fury says if Loki tries to escape, the cell will be dropped out of the helicarrier. Loki and Fury both taunt each other for wanting the Tesseract’s power. Loki
Fury
55 INT. CONFERENCE TABLE, BRIDGE, CARRIER – CONTINUOUS On the bridge of the helicarrier,Thor tells Rogers and Banner that Loki’s plan is to use the Tesseract to open a portal and let Thanos’ army invade/destroy earth in exchange for Loki giving Thanos the Tesseract. Thor
Rogers
Banner
(Loki)
(Thanos’s army)
56 INT. CONFERENCE TABLE, BRIDGE, CARRIER – CONTINUOUS Tony and Coulson enter the bridge. Tony plants a hacking device on a computer and tells the rest of the team that Loki needs a major energy source to power the Tesseract. Tony and Banner leave to go try to track the Tesseract by studying Loki’s staff, which they say is powered by the Tesseract. Tony
Coulson
Banner
(Loki)
57 INT. WISHBONE LAB, CARRIER – NIGHT In the helicarrier lab, Rogers, Banner and Stark question Fury’s motives and guess that Loki will try to use the arc reactor at Stark Tower to power the Tesseract. Rogers guesses Loki is trying to anger the Avengers. Rogers leaves. Then Stark and Banner talk about coping with their medical conditions. Rogers
Banner
Stark
(Loki)
58 INT. STORAGE ROOM, CARRIER – EARLY DAWN Rogers goes into a storage room and starts looking around. Rogers
59 EXT. TUNNEL – CONTINUOUS
INT. TRAILER, TRUCK – CONTINUOUS
Selvig drives a truck into a tunnel and then puts iridium into the Tesseract. Selvig
60 INT. BRIDGE, CARRIER – CONTINUOUS Thor and Coulson discuss Loki’s motives (pride and vengeance). Fury enters and speculates that Loki is the only person who wants to be on the helicarrier. Thor
Coulson
Fury
(Loki)
61 INT. CYLINDRICAL GLASS CAGE, CARRIER – DAWN Natasha begs Loki to free Barton. Natasha says she has blood on her hands and wants to make amends. Loki taunts her for being weak and pathetic. Natasha
Loki
(Barton)
62 INT. WISHBONE LAB, CARRIER – CONTINUOUS (DAWN)
INT. BRIDGE, CARRIER – CONTINUOUS
While Stark and Banner try to hack the helicarrier computer, Hill and Fury discover someone is trying to hack their system. Stark
Banner
Hill
Fury
63 INT. STORAGE ROOM, CARRIER – CONTINUOUS Rogers opens some storage containers and finds the next gen weapons. Rogers
64 INT. CYLINDRICAL GLASS CAGE, CARRIER – CONTINUOUS Loki continues taunting Natasha. He thinks he’s getting to her, but when he accidentally implies his plan is to unleash the Hulk on the helicarrier, Natasha abruptly leaves and reports to Fury that Loki wants to anger the Hulk. Loki
Natasha
(Banner)
65
7
Team 1 turns on each other as Team 2 attacks Team 1’s base.
INT. WISHBONE LAB, CARRIER – MORNING Fury enters the helicarrier lab and asks Stark what he’s doing. Stark asks Fury what his plan is after retrieving the Tesseract. Rogers enters with a next gen gun and says Fury’s plan is to make next gen weapons. Fury says they need next gen weapon to fight aliens. The scepter glows as the Avengers argue with each other. Fury
Stark
Rogers
Banner
Thor
66 INT. BARTON’S JET – CONTINUOUS Barton and other henchmen prepare to attack the helicarrier. Barton
Henchmen
67 INT. WISHBONE LAB, CARRIER – CONTINUOUS (MORNING) The Avengers continue bickering and pointing out each other’s’ flaws. Banner says they’re not a team, they’re a ticking time bomb. Fury
Stark
Rogers
Banner
Thor
68 INT. BARTON’S JET – CONTINUOUS Barton shoots an explosive arrow at one of the helicarrier’s engines. Barton
69 INT. WISHBONE LAB, CARRIER – CONTINUOUS (MORNING) The Avengers continue bickering until the computer locates the Tesseract. Fury
Stark
Rogers
Banner
Thor
70 INT. WISHBONE LAB, CARRIER – CONTINUOUS (MORNING) Tony says he’ll get the Tesseract while everyone argues about who gets to keep it. Then Banner notices an intruder alert from the computer. Fury
Stark
Rogers
Banner
Thor
(Barton)
(Henchmen)
71 INT. BARTON’S JET – CONTINUOUS (MORNING)
EXT. HELICARRIER – CONTINUOUS
INT. WISHBONE LAB, CARRIER – CONTINUOUS
EXT. ENGINE 3, HELICARRIER – CONTINUOUS
INT. WISHBONE LAB, CARRIER – CONTINUOUS
Barton’s arrow explodes, incapacitating the helicarrier engine. The Avengers all go flying around as the helicarrier bucks. (Barton)
Fury
Stark
Rogers
Banner
Thor
72 INT. WISHBONE LAB, CARRIER – CONTINUOUS
INT. BRIDGE, CARRIER – CONTINUOUS
INT. WISHBONE LAB, CARRIER – CONTINUOUS (MORNING)
INT. BRIDGE, CARRIER – CONTINUOUS
INT. WISHBONE HALL, CARRIER – CONTINUOUS
Fury asks Hill for a situation report. Hill says an engine is down and someone needs to go outside to repair it. Tony says he’ll fix it. Then Fury tells Coulson to get to the armory. Fury
(Hill)
Stark
Rogers
Banner
Thor
(Coulson)
73 INT. LOWER EQUIPMENT ROOM, CARRIER – CONTINUOUS Natasha’s leg is trapped under debris while Banner turns into the Hulk near her. Natasha
Banner
74 EXT. DECK, CARRIER – CONTINUOUS
INT. ENGINE ROOM, CARRIER – CONTINUOUS
Barton and his henchmen board the helicarrier. Barton
Henchmen
75 EXT. ND HALLWAY, CARRIER – MORNING Tony and Rogers make their way to the damaged engine. Tony
Rogers
76 INT. LOWER EQUIPMENT ROOM, CARRIER – CONTINUOUS
INT. CYLINDRICAL GLASS CAGE, CARRIER – CONTINUOUS
Banner changes into the Hulk and chases Natasha. Banner
Natasha
77 INT. BRIDGE, CARRIER – CONTINUOUS (MORNING) Fury orders a crewmember to move the helicarrier over the ocean in case the other engines fail. Fury
Shield staff
78
8
Team 1 fights Team 2. Loki escapes, but Barton returns to Team 1.
EXT. ENGINE 3, HELICARRIER – CONTINUOUS Stark and Rogers study the damaged engine and make a plan to fix it. Stark
Rogers
79 INT. LOWER ENGINE ROOM, CARRIER – CONTINUOUS
INT. LOWER DOCKING AREA, CARRIER – CONTINUOUS
Natasha and Thor fight the Hulk. Natasha
Thor
Banner
80 EXT. ENGINE 3, HELICARRIER – MORNING Stark and Rogers work on fixing the engine. Stark
Rogers
81 INT. LOWER DOCKING AREA, CARRIER – CONTINUOUS Thor and Hulk continue fighting. Thor
Hulk
82 INT. BRIDGE, CARRIER – CONTINUOUS Hill and Fury make plans to evacuate the helicarrier when henchmen attack them. Hill
Fury
Henchmen
83 INT. ARMORY, CARRIER – MORNING Coulson enters the armory as his radio warns that hostiles have breached the perimeter. Coulson
(Henchmen)
84 INT. WISHBONE LAB, CARRIER – MOMENTS LATER Hulk and Thor continue fighting. Banner
Thor
85 INT. BRIDGE, CARRIER – CONTINUOUS
EXT. FIGHT JET, HELICARRIER – CONTINUOUS (MORNING)
A fighter jet attacks Hulk. Hulk destroys the jet but falls to Earth in the process. Shield staff
Banner
86 EXT. ENGINE 3, HELICARRIER – MOMENTS LATER (DAY) Stark and Rogers continue fixing the engine while simultaneously fighting henchmen. Stark
Rogers
Henchmen
87 INT. BRIDGE, CARRIER – CONTINUOUS Hill and Fury continue fighting Henchmen on the bridge. Barton enters and disables another engine by shooting a control panel. Hill
Fury
Henchmen
Barton
88 INT. LOWER ENGINE ROOM, CARRIER – CONTINUOUS Fury calls for help, and Natasha says she’s on her way. Fury
Hill
Henchmen
Barton
(Natasha)
89 EXT. ENGINE 3, HELICARRIER – DAY Stark continues trying to fix the engine. Stark
90 INT. CYLINDRICAL GLASS CAGE, CARRIER – CONTINUOUS Thor enters Loki’s cell, and Loki traps him inside. Thor
Loki
91 INT. ENGINE ROOM, CARRIER – CONTINUOUS Natasha meets Barton, and they fight. Natasha
Barton
92 INT. CYLINDRICAL GLASS CAGE, CARRIER – CONTINUOUS (DAY) Coulson threatens Loki with a next gen weapon. Loki stabs Coulson and then drops Thor out of the helicarrier trapped in the glass jail cell. Coulson
Loki
Thor
93 INT. ENGINE ROOM, CARRIER – CONTINUOUS Natasha and Barton continue fighting. Natasha knocks Barton out. Natasha
Barton
94 EXT. SKIES – MOMENTS LATER (DAY)
INT. CYLINDRICAL GLASS CAGE, SKIES – CONTINUOUS
EXT. REMOTE FIELD – CONTINUOUS
Thor smashes through the cell and escapes before it hits the ground. Thor
95 INT. EMPTY DETENTION ROOM, CARRIER – CONTINUOUS Coulson shoots Loki with the next gen weapon and then Coulson slumps over. Coulson
Loki
96 INT. BRIDGE, CARRIER – DAY
EXT. ENGINE 3, HELICARRIER – CONTINUOUS
Stark and Rogers succeed at fixing the engine. Stark
Rogers
97 EXT. DECK, CARRIER – MOMENTS LATER
INT. EMPTY DETENTION ROOM, CARRIER – DAY
Loki escapes the helicarrier on a jet. Loki
Henchmen
98 INT. EMPTY DETENTION ROOM, CARRIER – DAY Fury tries and fails to save Coulson’s life. Fury
Coulson
99 INT. ENGINE ROOM, CARRIER – CONTINUOUS
EXT. ENGINE 3, HELICARRIER – CONTINUOUS
Natasha watches soldiers drag Barton away. Natasha
Shield staff
Barton
100 INT. CONFERENCE TABLE, BRIDGE, CARRIER – DAY Fury debriefs the Avengers and says “the Avenger initiative” was always his master plan, not the next gen weapons, and that Coulson died believing in them. Fury
Rogers
Stark
(Coulson)
101
9
Team 1 and Team 2 plan and prepare to fight.
EXT. REMOTE FIELD – DAY Thor picks up his hammer in an empty field. Thor
102 INT. ABANDONED WAREHOUSE – SAME Banner wakes up in an abandoned warehouse. A security guard gives him clothes and a motorcycle. Banner contemplates not going back, but the security guard convinces him to do what he knows is right. Banner
Guard
103 INT. SICK BAY, CARRIER – DAY Natasha debriefs Barton on all that’s happened after Barton wakes up in a hospital bed. Natasha
Barton
104 INT. EMPTY DETENTION ROOM, CARRIER – DAY Stark and Rogers contemplate not fighting for Fury, but they decide they need to. They also deduce that Loki’s next attack will be in a major metropolitan area for the publicity factor. Stark
Rogers
105 EXT. STARK TOWER ROOFTOP – DAY Selvig sets up equipment on the roof of Stark Tower. Selvig
106 EXT. STARK TOWER ROOFTOP – DAY Barton, Rogers and Natasha suit up and plan to go fight Loki. Barton
Rogers
Natasha
107 MONTAGE Montage of all the Avengers gearing up with their signature weapons and armor. Barton
Rogers
Natasha
Banner
Thor
Stark
108 INT. QUINJET – CONTINUOUS Rogers, Barton and Natasha leave the helicarrier on a jet. Rogers
Barton
Natasha
109 INT. AIR DECK, BRIDGE, CARRIER – DAY Hill and Fury make a plan to monitor stuff. Hill
Fury
110 EXT. NEW YORK CITY SKYLINE – DAY Stark flies to Stark Tower in his Iron Man suit. Stark
111 EXT. STARK TOWER ROOFTOP – CONTINUOUS Stark tries to disable the Tesseract by shooting it, but it’s protected by an energy field, which reflects the blast and damages Stark’s Iron Man suit. Stark
Selvig
112 EXT. STARK TOWER ROOFTOP – CONTINUOUS
INT. PENTHOUSE, STARK TOWER – CONTINUOUS
Stark enters his penthouse on top of Stark Tower and removes his damaged Iron Man suit and meets Loki. Stark
Loki
113 INT. PENTHOUSE, STARK TOWER – CONTINUOUS Loki tells Stark that Thanos’ army is coming, and Stark says the Avengers will stop them. Loki throws Stark out a window. Another Iron Man suit flies out of the building and assembles itself around Stark as the Tesseract powers up and shoots a beam into the sky, opening a portal that Thanos’ army begins pouring through. Loki
Stark
Thanos’s army
114
10
Team 1 and Team 2 fight. Team 1 is more successful.
EXT. SKIES – CONTINUOUS Stark fights the incoming army. Stark
Thanos’s army
115 EXT. STARK TOWER LANDING PAD – CONTINUOUS Thor lands on the balcony of Stark Tower, and Thor fights Loki. Thor
Loki
116 EXT. NEW YORK CITY SKYLINE – DAY
EXT. STARK TOWER – CONTINUOUS
INT. COCKPIT, QUINJET – CONTINUOUS
EXT. QUINJET, SKIES OF MIDTOWN – CONTINUOUS
Barton, Rogers and Natasha arrive an help Stark fight Thanos’ army. Barton
Rogers
Natasha
Stark
Thanos’s army
117 EXT. STARK TOWER – CONTINUOUS Loki gets the upperhand on Thor, but Natasha saves him. Loki gets the upperhand on Natasha, but Rogers saves her. Rogers asks where Banner is. Loki
Thor
Natasha
Rogers
(Banner)
118 EXT. STARK TOWER LANDING PAD – CONTINUOUS Thor continues fighting Loki, but Loki stabs him and runs away. Thor
Loki
119 EXT. OVERPASS BELOW STARK TOWER – DAY Barton, Natasha and Rogers protect civilians from Thanos’ army. Barton
Natasha
Rogers
Thanos’s army
120 EXT. STREETS OF MIDTOWN MANHATTAN – CONTINUOUS Rogers gives orders to some cops, who question his authority but yield to his leadership. Rogers
Barton
Natasha
121 EXT. STREETS OF MIDTOWN MANHATTAN – CONTINUOUS Barton and Natasha continue fighting Thanos’ army. Barton
Natasha
Thanos’s army
122 EXT. STREETS OF MIDTOWN MANHATTAN – CONTINUOUS Banner shows up, and the Avengers make a plan to focus on fighting Thanos’ army instead of chasing Loki or trying to shut down the Tesseract. Banner
Natasha
Rogers
Stark
Barton
Thor
Thanos’s army
123 EXT. STREETS OF MIDTOWN MANHATTAN – CONTINUOUS Rogers gives the Avengers instructions suited to their strengths, and they all obey. Then Banner turns himself into the Hulk. Rogers
Natasha
Stark
Barton
Thor
Banner
Thanos’s army
124
11
Team 1 and Team 2 fight. The chances of success dwindle as the stakes rise steadily. In the end, Team 1 wins.
EXT. STREETS OF MIDTOWN MANHATTAN – CONTINUOUS
EXT. TOP OF THE CHRYSLER BUILDING – CONTINUOUS (
The Avengers fight Thanos’ army as a team. Rogers
Natasha
Stark
Barton
Thor
Banner
Thanos’s army
125 INT. BRIDGE, CARRIER – CONTINUOUS
EXT. STREETS OF MIDTOWN MANHATTAN – CONTINUOUS
The Avengers analyze their enemies’ weaknesses and exploit them as a team. Rogers
Natasha
Stark
Barton
Thor
Banner
Thanos’s army
126 INT. OFFICE BUILDING – CONTINUOUS (DAY) Natasha makes a plan to try to get to the Tesseract to try to shut it down. The rest of the Avengers help her get to the top of Stark tower. Rogers
Natasha
Stark
Barton
Thor
Banner
Thanos’s army
127 EXT. STARK TOWER ROOFTOP – DAY Selvig wakes up near the Tesseract. He is free from Loki’s control. Selvig
128 EXT. GRAND CENTRAL 42ND STREET STATION – CONTINUOUS
INT. 42ND STREET BANK – CONTINUOUS
As the American military arrives on the scene, Rogers protects civilians. Rogers
Thanos’s army
129 INT. BRIDGE, CARRIER – CONTINUOUS Fury argues with The Council about whether or not to use a nuclear weapon on Manhattan. Fury
The Council
130 EXT. FLYING CHITAURI CRAFT – DAY
EXT. STARK TOWER ROOFTOP – CONTINUOUS
EXT. STARK TOWER CATWALK – CONTINUOUS
INT. PENTHOUSE, STARK TOWER – CONTINUOUS
Loki, Natasha and Hulk arrive on the balcony of Stark Tower. Loki says he’s a God, and Hulk beats up Loki. Loki
Natasha
Banner
131 EXT. STARK TOWER ROOFTOP – CONTINUOUS Selvig tells Natasha that Loki’s scepter may be able to stop the Tesseract. Selvig
Natasha
132 EXT. ABOVE STREETS OF MANHATTAN – CONTINUOUS Stark and Thor fight Thanos’ army. Stark
Thor
Thanos’s army
133 EXT. TOP OF A BUILDING – CONTINUOUS
EXT. BUILDING ROOF – CONTINUOUS
Barton fights Thanos’ army and begins getting overwhelmed. Barton
Thanos’s army
134 INT. FIGHTER JET – CONTINUOUS
EXT. DECK, CARRIER – CONTINUOUS
INT. PASSAGE TO DECK, CARRIER – CONTINUOUS
The Council tells a fighter jet pilot that Fury is no longer in command and orders the pilot to shoot a nuclear missile at the portal. Fury tells Stark there’s an incoming nuclear missile. The Council
Shield staff
Fury
Stark
135 EXT. STREET, MIDTOWN – CONTINUOUS
EXT. FIGHTER JET – CONTINUOUS
EXT. NEW YORK CITY SKYLINE – DAY
Stark flies towards the incoming missile. Stark
136 EXT. STREET – CONTINUOUS Thor and Rogers continue fighting Thanos’ army. Thor
Rogers
Thanos’s army
137 EXT. STARK TOWER ROOFTOP – CONTINUOUS
EXT. STREET – CONTINUOUS
EXT. VERRAZANO BRIDGE – CONTINUOUS (DAY)
Natasha begins pushing the scepter through the energy field protecting the Tesseract. She says she can shut it down, but Stark says to wait until he can direct the nuclear missile through the portal. Natasha
Stark
138 EXT. VERRAZANO BRIDGE – CONTINUOUS (DAY)
EXT. STARK INDUSTRIES PRIVATE JET – CONTINUOUS
INT. BRIDGE, CARRIER – CONTINUOUS
EXT. STREET BELOW STARK TOWER – CONTINUOUS
INT. BRIDGE, CARRIER – CONTINUOUS
EXT. SPACE (CONTINUOUS)
Stark directs the nuclear missile into the portal as he tries to call Pepper and tell her he loves her and say goodbye. The missile explodes in the portal, causing Stark’s Iron Man suit to turn off. Stark
Pepper
139 CUTAWAY TO EARTH:
BACK IN SPACE:
EXT. STARK TOWER ROOFTOP – CONTINUOUS
Natasha uses the scepter to turn off the Tesseract and close the portal just as Stark falls back through it. Hulk catches Stark before he hits the ground. Natasha
Stark
Hulk
Thanos’s army
140 INT. PENTHOUSE, STARK TOWER – CONTINUOUS
EXT. CENTRAL PARK, NEW YORK SKYLINE – EARLY EVENING
The Avengers surround Loki, who admits defeat and surrenders. Rogers
Stark
Banner
Thor
Natasha
Barton
Loki
141
12
Denouement
INT. DARK ROOM, CARRIER – CONTINUOUS Montage of news report footage of reporters talking about the carnage in Manhattan and the heroism of the Avengers. Interviews with civilians shows mixed reactions to the Avengers. The Avengers
142 EXT. CENTRAL PARK – CONTINUOUS Continued montage of new reports play as the Avengers take Loki and the Tesseract to an empty road. Rogers
Stark
Banner
Thor
Natasha
Barton
Loki
143 INT. DARK ROOM, CARRIER – CONTINUOUS
EXT. CENTRAL PARK:
INT. DARK ROOM, CARRIER – CONTINUOUS
EXT. CENTRAL PARK:
Continued montage of new reports play as Fury talks to The Council from the bridge of the helicarrier. Fury tells them he let the Avengers go and let Thor take the Tesseract and Loki. Fury
The Council
Thor
Loki
144 EXT. CENTRAL PARK:
INT. DARK ROOM, CARRIER – CONTINUOUS
Montage of the Council telling Fury the Avengers are too dangerous not to control, as the Avengers each walk off into the sunset in their own way. The Council
Fury
Rogers
Stark
Banner
Natasha
Barton
145 INT. BRIDGE, CARRIER – CONTINUOUS (EARLY EVENING)
INT. PENTHOUSE, STARK TOWER – CONTINUOUS
EXT. STARK TOWER – CONTINUOUS
Hill asks Fury if the Avengers will ever come back, and Fury says they will when they’re needed because they’re good guys. Hill
Fury
The Avengers
146 EXT. UNKNOWN AREA OF SPACE An alien debriefs Thanos about how dangerous they’ve learned it is to attack Earth. Thanos
Thanos’s army
(The Avengers)
147 INT. SHAWARMA JOINT – DAY The Avengers sit around a table eating food silently in a restaurant that was damaged in the attack on Manhattan. Rogers
Stark
Banner
Natasha
Barton

 

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Plot Outline of “Lock, Stock & Two Smoking Barrels”

Promotional poster of the movie, "Lock, Stock and Two Smoking Barrels"

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Beat Acts Beat Description Storylines
1
1
Introduce all the teams and their goals.
At Harry’s card table, Eddy explains how to play the card game, Three Card Brag. Eddy
2 On a street corner, Bacon sells stolen goods. Eddy buys some goods as part of the two-man con. They both get chased by the cops and lose their merchandise fleeing. Bacon
Eddy
3 In a grocer’s market, Eddy meets Tom and Nick. Tom and Nick haggle over a stolen stereo.
Introduce Tom (Team 1)
Eddy
Tom
Nick
4 In Soap’s kitchen, Tom and Eddy meet Soap. Soap gives Eddy a bag with $25k in it. Tom
Eddy
Soap
5 In Harry’s office, Harry sits behind his desk talking to Eddy on the phone. Eddy confirms he has the money to join Harry’s illegal card game. Harry
(Eddy )
Barry
6 In Harry’s office, Barry tells Harry that Eddy is good enough at cards to be a liability. Include a voice over introduction of Barry. Barry tells Harry that Eddy’s dad (JD) owns a bar. Harry
Barry
Eddy
7 In a warehouse, Dog tortures a man and steals his drugs and money. Dog
Dog’s victim
8 In Eddy’s living room, Eddy, Bacon, Tom and Soap consolidate their money to join Harry’s card game. Eddy mentions that Dog lives next door and is a thief. Bacon discovers you can hear what’s going on in Tom’s apartment by listening through the wall. Eddy
Bacon
Tom
Soap
(Harry )
(Dog )
9 In Eddy’s living room Tom hears Dog and Plank discuss how they need to find a (thieving) job “worth doing” while Tom and Bacon eavesdrop. Tom
Dog
Plank
10 At a tanning salon, Big Chris and Little Chris collect on a debt for Harry. Big Chris
Little Chris
Big Chris’s victim
11 In JD’s bar, Tom, Eddy, Soap and Bacon chit chat with JD. Soap tells JD to rest up for the card game. JD
Eddy
Tom
Soap
Bacon
12 In the upstairs of the grow house, Jay and Charles smoke weed and talk about their weed growing operation. Their conversation is cut short when the doorbell rings downstairs. Jay
Charles
(Winston )
(Gloria )
13 In foyer of the grow house, Jay and Charles meet Willy at the door, who is carrying a bag of fertilizer. A semi-conscious hippy female named, Gloria is hanging on his other arm. Winston comes downstairs and chides Jay and Charles for not locking the security gate (a cage around the front door), and he chides Winston for walking to a suburban drug lab carrying a bag of fertilizer and a semi-conscious Gloria, when he was supposed to be out buying a money counter to count all the money they make selling weed. Jay
Charles
Winston
Gloria
14 In JD’s bar, JD overhears Tom talking to Eddy about his card game with Harry. JD asks if he’s playing cards with Harry, and Eddy lies to his father. JD
Eddy
Tom
Soap
Bacon
(Harry )
15 In his bedroom, Eddy prepares for the card game by getting dressed and meditating. Eddy
16 In a seedy strip club, Gary and Dean meet Barry, who hires them to steal two shot guns from a rich man’s house. Gary
Dean
Barry
(Rich man )
17 Eddy, Tom, Soap and Bacon approach the door to a boxing gym. The doorman only lets Eddy in. He tells the others to wait next door at a pub called “Samoan Jo’s.” Eddy
Tom
Soap
Bacon
Doorman
18
2
Team 4 robs a mansion as Team 1 loses a card game against Team 2.
Inside the boxing gym, Eddy sits at a card table in the middle of the boxing ring and exchanges introductions with Harry. Eddy
Harry
Dealer
Gamblers
19 As Soap, Tom and Bacon approach Samoan Jo’s, a man runs out the door. He is on fire. Tom
Soap
Bacon
(Rory’s victim )
20 Gary and Dean arrive at the mansion where Barry said the shotguns he wanted are at. They proceed to pick the lock to the door. Gary
Dean
21 Bacon, Soap and Tom hang out at Samoan Jo’s. Bacon orders a fruity cocktail he isn’t happy with. Sitting next to them is Rory, watching a football match on TV. The bartender warns them to leave Rory alone. Bacon asks Rory if he’ll turn the volume down, and Rory refuses calmly. Tom
Soap
Bacon
Samoan Joe
Rory
22 In Harry’s boxing gym, the big card game gets started. Eddy
Harry
Dealer
Gamblers
23 Barry sets up a TV monitor in a locker room. The TV is hooked up to a hidden camera that allows him to see Eddy’s cards. Barry
Eddy
Harry
Dealer
Gamblers
24 In Harry’s boxing gym, the card game continues. One of the players loses all his money and is thrown out. Eddy
Harry
Dealer
Gamblers
25 In the mansion, Gary and Dean fumble about wearing stockings on their heads. Dean
Gary
26 In Harry’s boxing gym, the card game continues. Eddy is winning a lot. Other players are signing IOUs. Eddy
Harry
Dealer
Gamblers
27 In the mansion, Gary and Dean are attacked by a butler shooting at them with the shotguns they’re looking for. He misses, and Gary and Dean get the shotguns. Dean
Gary
Rich man
28 In Harry’s boxing gym, Eddy continues winning. Eddy
Harry
Dealer
Gamblers
29 Dean calls Barry and tells him they’ve got the guns. Dean
Gary
Barry
30 In Harry’s boxing gym, Eddy and Harry bet $500k on one hand. Eddy borrows the money from Harry to cover the bet. Harry wins. Eddy
Harry
Dealer
Gamblers
31 Harry tells Eddy he has a week to pay the $500k back. After that he’ll take off a finger each day the debt isn’t paid. Harry offers to accept JD’s bar as partial payment. Ed stumbles outside and vomits. Eddy
Harry
Dealer
Gamblers
(JD )
(Tom )
(Soap )
(Bacon )
32
3
Team 6 plans to rob Team 3. Team 1 plans to pay back Harry and sell the loot to Team 5. Team 2 plans to rob Team 1.
At Samoan Jo’s, Eddy gives the bad news to his friends. Soap asks why they don’t just not pay, and everyone looks at him like he’s crazy. Bacon explains how Harry once beat a man to death with a dildo. Eddy
Tom
Soap
Bacon
(Harry )
33 Two days later, Eddy walks past JD’s bar. Eddy looks ragged and has a flask in his pocket. He starts to enter the bar but walks on. Eddy
JD
34 Plank arrives at the grow house to buy weed from Jay Winston and Charles. He almost sits on Gloria and knocks over a pile of money. Plank tries to act nonchalant, but we can see greed in his eyes. Plank
Will
Winston
Charles
35 In JD’s bar, Tom, Bacon and Soap brainstorm ineffective ways to pay off Harry. They commiserate that Eddy is going to have to tell JD he’s going to lose his bar. Tom
Bacon
Soap
Ed
(JD)
36 In Dog’s apartment, Plank tells Dog about how easy it would be to rob Team 3. Plank
Dog
(Winston’s team)
37 Ed enters his house drunk and dazed. He opens the cupboard and can hear Dog and Plank planning on robbing Team 3. Ed
Dog
Plank
38 In JD’s bar, Soap and Bacon brainstorm more ideas to pay off Harry with no luck. Soap
Bacon
Tom
39 In Dog’s apartment, Dog tries to poke holes in Plank’s plan to rob Team 3. Dog insists Team 3 must be working with someone with muscle and/or intelligence. Plank refutes this notion and insists Team 3 is a bunch of push overs, and no blowback will come from robbing them. Dog
Plank
(Jays’ team)
40 In Harry’s office, Barry expresses doubt that Big Chris will bring back the $500k if he collects it from Team 1. Harry defends Big Chris saying he’s a natural born debt collector, loyal to his boss. Big Chris’s only flaw is he has anger issues and would murder anyone who harms Little Chris. Barry
Harry
(Big Chris)
(Little Chris)
(Eddys’ team)
41 Big Chris and Little Chris arrive at Harry’s office. Harry tells them to put all other debt collections to the side and focus on getting the $500k from Team 1. Big Chris
Little Chris
Harry
Barry
(Eddy’s team)
42 At Eddy’s house, Eddy tells Tom, Bacon and Soap he has a plan to get the money they owe Harry. Eddy
Tom
Bacon
Soap
(Dog’s team)
43 In the grow house, Jay suggests to Winston that they can skim off the top of the money they’re making for Rory. Winston warns Jay that Rory is a lunatic and will gruesomely kill them if he suspects they’re stealing from him. Jay
Winston
(Rory)
44 In Eddy’s house, Eddy have finished explaining his plan to Tom, Bacon and Soap. They pay back Harry when they return from robbing Team 3. Soap offers reasons why they shouldn’t, but the consensus is they don’t have any other options. Eddy
Tom
Bacon
Soap
(Dog’s team)
45 In JD’s bar, Tom makes a deal with Nick. Nick will make some money if he finds a buyer for the weed Team 1 is going to steal from Team 6. Tom
Nick
(Rory)
46 In Rory’s office, Rory tells Nick that Team 5 will buy Team 1’s weed when they have it. Rory
Nick
(Eddy’s team)
47
4
Each team prepares to enact their plans.
Gary and Dean meet with Barry and give him the guns they stole from the mansion, but Gary tells Barry they sold the shotguns Barry wanted to Nick. Barry threatens them and tells them to get the shotguns back immediately. Gary
Dean
Barry
(Nick)
48 At Team 1’s van, Nick gives the two shotguns Barry wants to Team 1, who accept the shotguns ruefully. Nick also confirms that Rory is standing by to buy their weed. Nick
Eddy
Tom
Bacon
Soap
(Rory)
49 In JD’s bar, Big Chris informs JD that if he doesn’t give Harry his bar, Eddy will die. JD tells Chris to go fuck himself. Big Chris
Little Chris
JD
(Harry)
(Eddy’s team)
50 In Eddy’s apartment, Bacon has set up a lot of microphones and recording equipment in the cupboard to listen to Dog and Plank’s conversations. Bacon
Eddy
Tom
Soap
(Dog’s team)
51 In Dog’s apartment, Plank assures Dog that their robbery will be easy. Dog insists it won’t be easy. Dog
Plank
(Winston’s team)
52 In Eddy’s apartment, crackling noises start coming from the electric socket that Bacon has all the recording equipment plugged into. There’s a loud pop, and then the power in the building goes off. Bacon
Eddy
Tom
Soap
(Dog’s team)
53 In Dog’s apartment, Dog hears the pop from next door and wonders what his neighbor is doing. Then Dog states the plan to rob Team 3. Dog
Plank
(Eddy’s team)
(Winston’s team)
54 In Eddy’s apartment, by candle light, Bacon tells Team 1 the plans of Team 6. Then Soap complains they don’t have enough guns and suggests they all carry knives. Bacon
Eddy
Tom
Soap
(Dog’s team)
55
5
Team 6 robs Team 3.
In Eddy’s apartment, Team 1 watches Team 6 leave to go rob Team 3. Bacon
Eddy
Tom
Soap
(Dog’s team)
56 In the grow house, Team 3 are on edge and in a hurry to deliver the profits of their weed operation to Rory. Winston mentions that the security cage is locked. Jay
Winston
Charles
Gloria
(Rory)
57 At the front door to the grow house, Plank tries to talk Jay into letting him in, but Jay won’t let him. Plank says it’s in his best interest. Plank
Jay
58 Jay goes upstairs and asks Winston if Plank can come in. Winston refuses. Jay
59 Meanwhile, outside, Team 6 gets anxious waiting. Plank
Dog
Goons
60 Jay returns downstairs and lets Plank through the front door into the security cage. Plank grabs him through the bars, points a gun at him and orders him to open the gate, but Jay passes out in fear. Jay
Plank
61 The rest of Team 6 runs into the security cage not knowing it’s locked and they can’t go any further. Jay
Plank
Dog
Goons
62 Upstairs in the grow house, Winston realizes they’re being robbed and tells Charles to get the BB gun. Winston
Charles
(Dog’s team)
63 From the top of the stairs in the grow house, Charles shoots Team 6 with the BB gun until they shoot Jay’s toes off and threaten to kill him if they don’t open the security gate. Charles
Jay
Plank
Dog
Goons
64 Upstairs in the grow house, Winston and Charles debate their choices and decide to surrender. Winston
Charles
(Dog’s team)
65 Winston lets Team 6 through the security cage. Dog asks where Charles is, and Winston lies that Charles has run away. Winston
Dog
Plank
Goons
(Charles)
66 Upstairs in the grow house, Dog asks Winston where their money is. Winston tells them. Then Dog goes to look for it. Dog
Plank
Goons
Winston
67 Charles jumps out of a closet and attacks Dog with a knife, but Dog makes Charles surrender at gunpoint. Charles
Plank
Dog
Goons
Winston
68 As Plank is taking bags of weed out to the van, a parking warden approaches him and orders him to move the van. Plank protests, but the traffic warden is relentless. Plank knocks the traffic warden unconscious and throws him in the back of the van. Plank
Warden
69 Gloria wakes up, grabs Dog’s machine gun and shoots it wildly. She misses everything. Then Dog knocks her out, and Plank and Dog leave. Gloria
Charles
Winston
Dog
Plank
Goons
70 Outside Eddy’s apartment, Team 1 gets in position to attack Team 6. Eddy
Bacon
Tom
Soap
(Dog’s team)
71 In Team 6’s van, Dog asks why there is a traffic warden with them. Plank says the traffic warden was endangering their mission. Dog says they’ll deal with him later. Dog
Plank
Warden
Goons
72
6
Team 1 robs Team 6 and sells the loot to Team 5, who then plans to kill Team 1. Team 6 discovers it was Team 1 who robbed them.
Team 6 arrives at Dog’s apartment. Team 1 attacks and subdues Team 6 easily. Dog’s team
Eddy’s team
(Warden)
73 In Dog’s apartment, wearing a disguise, Eddy takes Dog’s keys to the van, and Dog threatens to find and kill Eddy. Eddie
Dog
Plank
Goons
74 Team 1 gets in Team 6’s van and takes stock of their loot. They find the traffic warden and make a plan to dump him at a traffic light. Eddy
Bacon
Tom
Soap
Warden
75 In Harry’s office, Harry tells Big Chris to pay a visit to Team 1. Harry
Big Chris
(Eddy’s team)
76 In Dog’s apartment, Dog escapes his restraints and rants about how he’s going to find and kill Team 1. Dog
Plank
Goons
(Eddy’s team)
77 Team 1 transfers their loot from the old van to a new one. They make a plan to take the weed back to Eddy’s apartment, and Eddy tells Tom to take a sample to Nick. Eddy
Bacon
Tom
Soap
(Rory)
78 In Rory’s office, Rory tells Nick he’ll buy the weed for half what he originally offered. Then he tells Lenny, his assistant, to give the weed sample to Team 3 for their opinion of its quality. Rory
Nick
Lenny
(Eddy’s team)
(Winston’s team)
79 Lenny pulls up to the grow house and notices something’s wrong. Lenny
(Winston’s team)
80 Lenny enters the grow house cautiously and finds Team 3 tied up. Lenny
Winston’s team
81 In Eddy’s apartment, Team 1 takes stock of their loot again and counts out the cash they owe Harry. Eddy’s team
(Harry)
82 In Rory’s office, Rory interrogates Team 3 and comes to the conclusion that Nick is related to the robbery. He tells Lenny to bring Nick to him. Rory
Winston’s team
(Nick)
(Dog’s team)
(Eddy’s team)
83 In Dog’s apartment, Dog comes up with a plan to find who attacked them. They’ll start by searching the apartment for listening devices and then start torturing known thieves. Dog
Plank
Goons
(Eddy’s team)
84 In JD’s bar, Team 1 is drinking. They ask JD’s bartender if he knows Rory. JD’s bartender relates the story of how Rory lit a man on fire in Samoan Jo’s for trying to turn down the volume on a football match Rory was watching. Eddy’s team
Bartender
(Rory)
(Rory’s victim)
85 In Rory’s office, Rory threatens to kill Nick if he doesn’t tell him where Team 1 lives. Rory
Nick
(Eddy’s team)
86 In Dog’s apartment, Dog yells at Plank for failing to find who robbed them. In a fit of rage, he throws Plank into the wall. Plank’s head breaks through into Eddy’s apartment where he sees all of Bacon’s recording devices. Dog
Plank
Goons
(Eddy’s team)
87
7
Team 2, 4, 5 and 6 converge on Team 1’s base. Team 5 and 6 kill each other. Team 2 takes the loot and is followed by Team 4 and the leader of Team 6.
In JD’s bar, Team 1 recovers from a night of drinking and plan to pay Harry. Eddy’s team
(Harry)
88 Dean calls Nick and asks to buy their shotguns back. Nick tells them he’ll never see the shotguns or the people he sold them to again. Dean
Gary
Nick
(Eddy’s team)
89 Dean calls Barry and tells him they can’t get the shotguns back. Barry tells Dean the shotguns belong to Harry. Then Harry takes the phone and threatens to kill Dean if he doesn’t get the shotguns. After Harry hangs up, Dean calls Nick and demands to know where he can find the shotguns. Dean
Gary
Barry
Nick
(Eddy’s team)
90 In Eddy’s apartment, Dog, Plank and Team 6 henchmen take stock of their loot and prepare to kill Team 1 when they return. Dog takes the money and shotguns into a back room to count the money. Dog
Plank
Goons
(Eddy’s team)
91 Rory and Team 5 henchmen prepare to kill everyone in Eddy’s apartment, and Team 6 prepares to kill anyone entering Eddy’s apartment. Big Chris and Little Chris sit outside Eddy’s apartment also waiting for Eddy’s return. Rory
Henchmen
Dog’s team
Big Chris
Little Chris
92 Team 6 busts into Eddy’s apartment, and there is an apocalyptic gun fight. Rory
Henchmen
Dog’s team
93 In Eddy’s bedroom, Dog hears the gun fight and prepares to escape with the money and shotguns. Dog
(Rory)
(Henchmen)
(Dog’s team)
94 Outside Eddy’s apartment, Big Chris meets Dog running away with the money and shotguns. Big Chris knocks out Dog and takes all his loot. Dean and Gary arrive on the scene in time to see Big Chris get in his car with the shotguns. Dean tells Chris to follow Big Chris’s car. Big Chris
Little Chris
Dog
Dean
Gary
95 In Eddy’s apartment, Rory loads his weed into his van. He kicks over Planks bloody body and is about to shoot him, when Plank raises a loaded gun. Plank and Rory then kill each other simultaneously. Rory
Plank
Goons
Henchmen
96
8
Team 2 summons Team 1 to their base. Team 4 and Team 2 kill each other. Team 1 takes the loot. The leader of Team 6 attacks Team 2 but is killed, and Team 2 takes the loot.
Team 1 arrives at Eddy’s apartment to find their weed and money has been swapped for a pile of corpses. They leave in a panic. Eddy’s team
Rory
Plank
Goons
Henchmen
97 Big Chris arrives at Harry’s office. He gives Harry the guns and money believing he simply collected on Team 1’s debt, not knowing Dog wasn’t a member of Team 1. Big Chris
Harry
Barry
(Dog)
(Eddy’s team)
98 Outside Harry’s office, Dean and Gary see Big Chris leave without the guns. They worry that they don’t know who’s inside, but they decide to get the guns back by any means necessary so as not to incur the wrath of Harry. Dean
Gary
Big Chris
(Harry)
99 In JD’s bar, Eddy calls Harry, who tells Eddy his debt has been paid, but he wants to know where Team 1 got the shotguns. Harry tells Eddy to come to his office. After Harry hangs up, Team 1 debates whether Eddy should go. Eddy
(Harry)
Eddy’s team
100 At Harry’s office, Dean kicks the door in. Harry and Dean simultaneously shoot each other. Then Gary runs in and continues shooting Harry. Barry throws a Harry into Gary’s back. Gary turns around and shoots Barry dead before dying himself. Dean
Harry
Gary
Barry
101 Tom and Eddy enter Harry’s office and find the pile of corpses. Eddy takes the money, and Tom takes the shotguns. Tom
Eddy
102 Outside Harry’s office, Big Chris gets in his car to discover Dog is in the backseat with a knife to Little Chris’s throat. Dog tells Big Chris to get the money he took. Big Chris then drives his car full speed into the back of another, sending Dog flying into the windshield. Big Chris
Dog
Little Chris
(Eddy)
(Tom)
103 Eddy and Tom sit in their car assessing their situation. They decide everything is going to be okay, until Big Chris slams his car into the back of theirs. Eddy
Tom
(Big Chris)
(Little Chris)
(Dog)
104 Big Chris slams Dog’s head in the car door murderously. He then goes to check on the occupants of the car he hit. He sees the bag of money he just gave Harry and takes it. Big Chris
Dog
Little Chris
(Eddy’s team)
105
9
Denouement
In a police station, Eddy is interrogated. Eddy plays stupid. On the other side of a two way mirror, the traffic warden says he doesn’t recognize Eddy as one of the people who kidnapped him. Eddy
Police
Warden
106 In JD’s bar, Eddy tells the rest of Team 1 that the traffic warden identified Plank at the morgue. There’s no evidence against Team 1. So there’s no case against them. The only evidence linking them is the shotguns, which Tom is taking care of. Eddy
Soap
Bacon
(Police)
(Warden)
(Plank)
(Tom)
107 Big Chris enters JD’s bar and gives Team 1 the money bag and tells them they won’t be crossing paths any more. Big Chris
Eddy
Soap
Bacon
108 Outside JD’s bar, Big Chris gets in a new sports car and tells Little Chris they’re in the money loaning business now. Big Chris
Little Chris
109 Inside JD’s bar, Team 1 looks in the bag and find a gun collector’s magazine that says the shotguns Tom is in the process of throwing into a river are worth $250k. Eddy
Bacon
Soap
(Tom)
110 As Tom is in the process of throwing the shotguns off a bridge, Team 1 tries to call him. The movie ends before he can answer the phone or throw the guns in the river. Tom
(Eddy)
(Bacon)
(Soap)

 

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