Scene 0 – It’s the prologue scene! This “scene” is mainly for flavor and to build intrigue. Consider it a stylistic choice.
Scene 1- This is the introduction to our lead for this movie, Flan. Everyone in this place has different anatomy/body structures so this is necessary.
Scene 2- This scene is here both to develop the setting and to show off Flan’s personality and capabilities as a gelatinous monster. He can squash and stretch and that is shown off here.
Scene 3- This scene does a lot. This scene not only introduces Sun and Moon but also introduces Flan to the concept of there being more out there than this little pocket dimension they reside in. In addition, it also introduces the Melding system in which two characters can combine bodies (but not minds) to create a new form in which to accomplish a specific task.
Scene 4 – This scene is here to develop Flan’s character. Or rather, show off one of his primary flaws. His impatience. He gets fed up with The Tailor who is being patient as can be with him. This scene also helps with world building via The Tailor who makes custom clothes for everyone which is necessary since everyone looks different.
Scene 5- Outside of Quell’s office building, we are introduced to Eisgai and Orin, two (technically three) of Quell’s most trusted subordinates. This scene also has some additional world building in the form of Elevator. It’s mainly for fun but it’s there nonetheless.
Scene 6- This is where the audience is introduced to Quell, the main antagonist of the film. This scene is primarily to show off his professional but well-intentioned personality and also to give Flan an obstacle to make it more difficult for him to achieve his goal.
Scene 7 – Eisgai had named dropped The Acolyte by mistake during Flan’s argument with Quell. Sun points Flan in that direction, thinking The Acolyte might have some key information or something to help but Sun and Moon also agree to accompany Flan on his journey both to keep him company and to keep the little guy safe.
Scene 8 – Quell scolds Eisgai for interrupting him during his meeting with Flan. He assigns Eisgai and Orin the task of watching over Flan and hopefully deterring him from trying to reach the outside. The two (mainly Eisgai) interpret this as “rough him up a little bit” so they set off to do what Quell told them, but in their own way.
Scene 1 of my screenplay introduces Dolores as the protagonist and narrator, starts to introduce us to the world of the screenplay, and plants the seeds for Mariko and Wynn’s characters by showing Dolores’ apartment, inner monologue, and her photographic evidence of Mariko and Wynn. Scene 1 also grabs the audience’s attention by spurring on the mystery of how and why Dolores is now losing her position on the Council.
Scene 2 of my screenplay provides background to Dolores as a person, including her origins as a Hunter. Through Dolores and Kayleigh’s conversation, the basic worldbuilding that can’t solely be explained through visuals is provided to the audience. The flash-forward portion of the scene continues to provide information about Dolores, though this time about her present personality, notably that she is isolated, which is a big part of the story’s themes and conflict.
Scene 3 of my screenplay establishes Wynn as a character, the Council as a group, planting the seeds for Wynn’s role as a wise ally and foil and the Council’s as an adversary on a societal level— all done through the gossip of the Council and Wynn’s boldness during their first meeting. Scene 3 also plants the seeds for Dolores’ jealous tedencies and Mariko’s obsession with her goal through their reactions to Wynn and their ideals.
Scene 4 of my screenplay provides more context to Dolores’ behavior and plants seeds for the rise and fall of her relationship with Mariko through her past relationship with Declan. The scene also introduces Declan to illustrate a contrast to isolation, planting the idea of it being somewhat self-imposed.
Scene 5 of my screenplay establishes and foreshadows the fact that someone important in the plot will die (Mariko) through mentions of the ‘incident.’ The psychiatrist’s conversation with Dolores establishes the fallout of these events, grabbing the attention of the audience by forcing them to question what happened and how severe it was, but also provides context that Dolores herself lacks in the main section of the story: that she is not entirely stable on her own. This plants the seeds for the society-as-antagonist discussion the film presents, as well as establishing that Dolores is not a reliable narrator.
Scene 6 of my screenplay establishes the consistencies and alterations within Dolores’ behavior, alluding to the themes about change, progress, and needing help in order to do so. The scene also provides more evidence to the idea that Dolores’ isolation is somewhat or entirely self-imposed, while also marking a shift in the format of the film from fragmented to chronological.
Scene 7 of my screenplay establishes Mariko’s personality and its contradictions that also drive the conflicts between her and the Council and Dolores forward. The scene also provides more conflict between Dolores and the Council, planting the seeds for her pre-established downfall within the Council.
Scene 8 of my screenplay establishes more of Mariko’s personality and the chemistry between Dolores and Mariko through the coffee “date.” This scene also establishes the beginnings of the external conflict our two main girls are dealing with through the sabotage we see at its end.
Scene 1: The first scene is Odette walking down a street towards the flower shop, the scene focuses heavily on the cozy and bright atmosphere and aesthetics of the film. The purpose of this scene is to set the tone of the film looks wise, and give the viewer an idea of what to expect visually,
Scene 2: This scene takes place directly after the walking scene, and introduces Odette and her flower shop she owns, giving an idea of her personal sense of style. This scene also lays the groundwork for the conflict of the film, introducing the gift of the cactus and planting seeds of mystery as to why Odette received a sympathy gift and why she’s upset about it.
Scene 3: In this scene Odette is leaving the flower shop to go home, we get to see more of the setting the story takes place in and it implements the theme of Odette’s loneliness.
Scene 4: Scene four takes place on the train and is a continuation of scene 3, it not only cements this theme of loneliness but also showcases the fact Odette lives in a big, beautiful city, and uses public transportation to get around. It is also a pretty visual to treat the viewers too at the same time.
Scene 5: Here Odette arrives home, and we see her apartment for the first time, meeting her cat and going about some of her nightly routines/interactions. This scene is meant to showcase some of Odette’s goofy and immature personality, as well as her innate and unabashed sense of style which is showcased through the decorating of her home.
Scene 6: The next scene takes place in the flower shop, where Odette recieves an incorrect order of flowers, and gets some emotional insight on Tony the Mailman. This scene is meant to lay breadcrumbs for Odette’s past and the circumstances around what has been making her upset the whole movie, without directly telling the audience what’s going on. It also works to humanize one of the minor characters, Tony the mailman.
Scene 7: This scene takes place in Odette’s apartment, where she complains about her wrong shipment of flowers to Norman and the cactus, blaming it as a bad luck charm. The scene is meant to be humerous and keep the tone of the film light and entertaining, and enlighten the viewer as to Odette’s immaturity when it comes to issues.
Scene 8: This scene is short and only features Odette laying in bed, however it is meant to once again touch on that feeling of loneliness and give more hints as to the identity of the individual causing her grief.
Scene 9: This scene showcases Odette talking about her day to the cactus, further humanizing her as she talks about the issues and discrimination she faces as a young black woman running her own business. The scene also showcases Norman knocking a plant off a counter, foreshadowing the tragic fate that will befall the cactus in the second act.
Scene 10: In this scene we get to see Odette once again on the train, this time she gets emotional when seeing a young boy and we get a flashback to her past on said train. The scene is heavy in highlighting elements of her past, but the mood is lifted somewhat with a bit of comedy at the end, meant to purvey Odette’s refusal to reminisce on the past or bad memories for very long.
Scene 11: Odette gets home from the train, and we are introduced to her aunt Margaret who barges in with a bottle of wine for a girl’s night, this scene is meant to introduce Odette’s only other living family member and one of the forces that pushes her towards emotional growth throughout the story.
Scene 12: This scene is also a flashback, introduced by Margaret and showcasing three year old Odette and giving isnight onto her relationship with her grandmother/caregiver, as well as some of the family history taht haunts them. The scene is menat to not explain everything, but to allow the viewer to come to their own inferences and gain better insight onto Odette’s psyche.
Scene 13: In this scene after the flashback, still on the couch, Odette turns a cold shoulder towards Margaret after she talks too much about the past(the flashback). This scene is meant to showcase Odette’s refusal to talk about her feelings and how she shuts down when faced with the topic of her grandmother,
Scene 1 sets up the opening shot for the screenplay. It is set in the back alleyways of a disheveled city, after bounty hunters attempt to kill Shura, and on of her advisors during a secret meeting, only succeeding in Helthena.
Scene 2 introduces Malco, the second protagonist, as he discovers Shura, and offers to take her to his apartment to bandage a slash on Shura’s hand. Showing that there is someone who is not hunting her down.
Scene 3 is inside Malco’s apartment as he has Shura sit on a couch as he searches for something to help her. In this scene, we see Shura beginning to trust Malco a little bit, but not much. It is also where Shura tells what happened in:
Scene 4 takes place in the not so distant past at the Stralavian Palace where Shura (once queen) was having a meeting with Helthena before the main antagonist, Kitor Wilstem, threatens to slaughter Helthena if agreements are not met to discuss a resignation for Shura.
Scene 5 takes place partly in Malco’s apartment and the Palace as Shura continues to explain what had happened, and showing what did happen on the “screen”. In the palace, we see Shura mostly in her bedroom chambers, as she speaks to a close friend of hers, her head attendant. Her maid. Her maid is completely hystarical by Kitor’s actions and Shura’s home imprisonment, as Shura attempts to calm her, and reassure her that she can make negotiations.
However in scene 6, we see that a few days after she last saw Shura, the maid, Kalina, attacks Kitor with a large knife while in a meeting with another advisor that had helped Kitor in his plan to overthrow Shura. Kitor’s guards shoot Kalina, and Kitor lives, immediately blaming the assassination attempt onto Shura.
(These are the next scenes planned, in the process of writing)
In scene 7 we will see Shura be accused of trying to assassinate Kitor, and be be sentenced to an execution the next morning. However, as the night progressed, Helthena appeared and Shura was able to escape with her help, into the night, on the run.
In scene 8, we will see Malco reflect on Shura’s true story, and he will see that she was framed and lied about. Shura and Malco will discuss what to do next, and Malco offers to help Shura in returning to the Palace, and help her regain her rightful position. At first Shura regects him, but after some convincing, she agrees, and the two plan their next move to the Palace, which ends up being:
Scene 9 will take place at a large railroad industrial plant, where Malco works as railroad worker. Shura is put off by Malco’s decision, and the two begin to bicker about other options, before deciding to jump onto a train to the capitol city.
The first scene shows Evakdor Hafdin, the Trusted One, agitatedly running through the castle as it crumbles around him, which aims at engaging the audience’s attention and drawing them into the story. Additionally, it includes visuals of physical destruction, as well as hints (through flashbacks) of the past and of the Trusted One’s mental state, which advances the plot by introducing the source of conflict.
The second scene introduces Dergek as the first traveler that will go on the mission to save Latabat, and provides background into his character in terms of family history, livelihood, and his attitude toward the Trusted One. Additionally, it helps to add onto the world-building element of the story by showing one piece of the culture of the nation and presenting the governmental system that runs Latabat.
The third scene presents Plurmef as the second traveler, and it shows who she is by describing her interactions with her environment, her seemingly “magical” powers (which are foreshadowed to aid her on the mission), and her relationship with her mother. It also provides more aspects to the world-building by emphasizing the governmental system first shown in the second scene with Dergek, and revealing how the caverns of Latabat each have their own culture and atmosphere.
This scene is an extension of scene three, further developing character and advancing the plot by showing how close Plurmef is with her mother–which will tie into Plurmef’s dramatic need to protect her family– and how Plurmef handles the knowledge that she must leave home.
The fifth scene introduces the third traveler, Flook, and–similarly to the past few scenes– demonstrates the differences between the caverns that make up Latabat, thus building the foundation for this story that is the background, setting, and culture. The audience also comes to understand Flook’s loving relationship with his family (particularly in relation to his father and his deceased mother), which helps to reveal the theme of family importance and establish the dramatic need that are prevalent throughout the screenplay.
The function of the sixth scene is to introduce another traveler, Renege, and her dramatic need– which is largely different than that of all the other main characters– to escape the structured role that she has always played in life. It also reveals her unique friendship with a bailieft, highlighting how different she seems to be from all of the other characters and foreshadowing how her roles in this story will become distinctly unique.
The final traveler, Clanas, is introduced in scene seven, and his motivations– money, humor, food, and a lack of stressful responsibilities– are revealed. This scene also serves to emphasize the class system/hierarchy that exists throughout Latabat, contributing to the world building as well as the development of plot and character.
This eighth scene has the function of really starting to push the story forward from just character introductions, seeing as it shows the characters’ first step into their journey. All five of the travelers arrive in Labar for the first time, and a conversation with some of the guards foreshadows a secret that will be later revealed.
In this scene, the travelers meet the Trusted One, and they receive their official mission right from that leader. Thus, it serves the function of establishing where the story will go and the roles that each of the characters will fulfill.
This is a short, mostly transitional scene, but it also importantly showcases how the travelers are reacting to the news that they will soon be leaving. It also pushes the story along by showing the personality of the guard introduced in scene nine, and showing how the characters prepare for their mission.
Scene eleven is the very last scene of Act I, marking a significant event that transitions the story into Act II. This significant event is the travelers taking their very first step out into the world and embarking on their mission, advancing the plot into the next sector of the adventure.
Scene 1
Section 8 apartment – late night
The purpose of this scene is to lay the ground work for the future and to reveal the theme of the story.
The intention of this scene is to highlight how prolific my protagonists father is and the impact it has on his family. In this scene I give details that will show up later in this story and at my story’s finish that really make my story come around full circle, it reveals my theme as well this reccuring violence and the phrase my protagonist mother keeps highlighting.
Scene 2
Southeast dc – EARLY MORNING
This scene advances the plot of my story as we see my protagonist and how the kids in his neighborhood treat him. It also lays the groundwork for my protagonist and his big change as I really try to highlight his personality and how he is as a kid.
Scene 3
SchOOL
This scene gives some background information of the pro/antagonist and how close they are, almost inseparable. It also shows context on the age of my main characters and how even though they have seen some crazy things they are just kids.
Scene 4
School courtyard
The titillates the audience as an exciting event happens that’s out of character for my protagonist so I’m hoping it gets my viewers on the edge of their seat. It also advances the plot of my story as we get some type of background information on my antagonist and his family life, subtly reveals stuff.
Scene 5
Principles office
At this point, im trying to show the recurring theme in my story and the mission of my protagonist. I want to continue to lay the groundwork for that mission as we keep hearing this phrase from my protagonist’s mother and I want to highlight that. It also reveals character and helps me to develop that .
Scene 6
Car
This is a description a visual description of where my story takes place it should advance my recurring theme. It also continues to advance the plot of my story as we see the continued phrase dropped again.
Scene 7
This scene lays the groundwork for what happens next as we get a prologue of the kids around the neighborhood and how they act. It also titillates the audience as some of the things said should get you guessing and excited about what happens next.
6 thoughts on “JOURNAL # 18”
Scene 0 – It’s the prologue scene! This “scene” is mainly for flavor and to build intrigue. Consider it a stylistic choice.
Scene 1- This is the introduction to our lead for this movie, Flan. Everyone in this place has different anatomy/body structures so this is necessary.
Scene 2- This scene is here both to develop the setting and to show off Flan’s personality and capabilities as a gelatinous monster. He can squash and stretch and that is shown off here.
Scene 3- This scene does a lot. This scene not only introduces Sun and Moon but also introduces Flan to the concept of there being more out there than this little pocket dimension they reside in. In addition, it also introduces the Melding system in which two characters can combine bodies (but not minds) to create a new form in which to accomplish a specific task.
Scene 4 – This scene is here to develop Flan’s character. Or rather, show off one of his primary flaws. His impatience. He gets fed up with The Tailor who is being patient as can be with him. This scene also helps with world building via The Tailor who makes custom clothes for everyone which is necessary since everyone looks different.
Scene 5- Outside of Quell’s office building, we are introduced to Eisgai and Orin, two (technically three) of Quell’s most trusted subordinates. This scene also has some additional world building in the form of Elevator. It’s mainly for fun but it’s there nonetheless.
Scene 6- This is where the audience is introduced to Quell, the main antagonist of the film. This scene is primarily to show off his professional but well-intentioned personality and also to give Flan an obstacle to make it more difficult for him to achieve his goal.
Scene 7 – Eisgai had named dropped The Acolyte by mistake during Flan’s argument with Quell. Sun points Flan in that direction, thinking The Acolyte might have some key information or something to help but Sun and Moon also agree to accompany Flan on his journey both to keep him company and to keep the little guy safe.
Scene 8 – Quell scolds Eisgai for interrupting him during his meeting with Flan. He assigns Eisgai and Orin the task of watching over Flan and hopefully deterring him from trying to reach the outside. The two (mainly Eisgai) interpret this as “rough him up a little bit” so they set off to do what Quell told them, but in their own way.
Scene 1 of my screenplay introduces Dolores as the protagonist and narrator, starts to introduce us to the world of the screenplay, and plants the seeds for Mariko and Wynn’s characters by showing Dolores’ apartment, inner monologue, and her photographic evidence of Mariko and Wynn. Scene 1 also grabs the audience’s attention by spurring on the mystery of how and why Dolores is now losing her position on the Council.
Scene 2 of my screenplay provides background to Dolores as a person, including her origins as a Hunter. Through Dolores and Kayleigh’s conversation, the basic worldbuilding that can’t solely be explained through visuals is provided to the audience. The flash-forward portion of the scene continues to provide information about Dolores, though this time about her present personality, notably that she is isolated, which is a big part of the story’s themes and conflict.
Scene 3 of my screenplay establishes Wynn as a character, the Council as a group, planting the seeds for Wynn’s role as a wise ally and foil and the Council’s as an adversary on a societal level— all done through the gossip of the Council and Wynn’s boldness during their first meeting. Scene 3 also plants the seeds for Dolores’ jealous tedencies and Mariko’s obsession with her goal through their reactions to Wynn and their ideals.
Scene 4 of my screenplay provides more context to Dolores’ behavior and plants seeds for the rise and fall of her relationship with Mariko through her past relationship with Declan. The scene also introduces Declan to illustrate a contrast to isolation, planting the idea of it being somewhat self-imposed.
Scene 5 of my screenplay establishes and foreshadows the fact that someone important in the plot will die (Mariko) through mentions of the ‘incident.’ The psychiatrist’s conversation with Dolores establishes the fallout of these events, grabbing the attention of the audience by forcing them to question what happened and how severe it was, but also provides context that Dolores herself lacks in the main section of the story: that she is not entirely stable on her own. This plants the seeds for the society-as-antagonist discussion the film presents, as well as establishing that Dolores is not a reliable narrator.
Scene 6 of my screenplay establishes the consistencies and alterations within Dolores’ behavior, alluding to the themes about change, progress, and needing help in order to do so. The scene also provides more evidence to the idea that Dolores’ isolation is somewhat or entirely self-imposed, while also marking a shift in the format of the film from fragmented to chronological.
Scene 7 of my screenplay establishes Mariko’s personality and its contradictions that also drive the conflicts between her and the Council and Dolores forward. The scene also provides more conflict between Dolores and the Council, planting the seeds for her pre-established downfall within the Council.
Scene 8 of my screenplay establishes more of Mariko’s personality and the chemistry between Dolores and Mariko through the coffee “date.” This scene also establishes the beginnings of the external conflict our two main girls are dealing with through the sabotage we see at its end.
Scene 1: The first scene is Odette walking down a street towards the flower shop, the scene focuses heavily on the cozy and bright atmosphere and aesthetics of the film. The purpose of this scene is to set the tone of the film looks wise, and give the viewer an idea of what to expect visually,
Scene 2: This scene takes place directly after the walking scene, and introduces Odette and her flower shop she owns, giving an idea of her personal sense of style. This scene also lays the groundwork for the conflict of the film, introducing the gift of the cactus and planting seeds of mystery as to why Odette received a sympathy gift and why she’s upset about it.
Scene 3: In this scene Odette is leaving the flower shop to go home, we get to see more of the setting the story takes place in and it implements the theme of Odette’s loneliness.
Scene 4: Scene four takes place on the train and is a continuation of scene 3, it not only cements this theme of loneliness but also showcases the fact Odette lives in a big, beautiful city, and uses public transportation to get around. It is also a pretty visual to treat the viewers too at the same time.
Scene 5: Here Odette arrives home, and we see her apartment for the first time, meeting her cat and going about some of her nightly routines/interactions. This scene is meant to showcase some of Odette’s goofy and immature personality, as well as her innate and unabashed sense of style which is showcased through the decorating of her home.
Scene 6: The next scene takes place in the flower shop, where Odette recieves an incorrect order of flowers, and gets some emotional insight on Tony the Mailman. This scene is meant to lay breadcrumbs for Odette’s past and the circumstances around what has been making her upset the whole movie, without directly telling the audience what’s going on. It also works to humanize one of the minor characters, Tony the mailman.
Scene 7: This scene takes place in Odette’s apartment, where she complains about her wrong shipment of flowers to Norman and the cactus, blaming it as a bad luck charm. The scene is meant to be humerous and keep the tone of the film light and entertaining, and enlighten the viewer as to Odette’s immaturity when it comes to issues.
Scene 8: This scene is short and only features Odette laying in bed, however it is meant to once again touch on that feeling of loneliness and give more hints as to the identity of the individual causing her grief.
Scene 9: This scene showcases Odette talking about her day to the cactus, further humanizing her as she talks about the issues and discrimination she faces as a young black woman running her own business. The scene also showcases Norman knocking a plant off a counter, foreshadowing the tragic fate that will befall the cactus in the second act.
Scene 10: In this scene we get to see Odette once again on the train, this time she gets emotional when seeing a young boy and we get a flashback to her past on said train. The scene is heavy in highlighting elements of her past, but the mood is lifted somewhat with a bit of comedy at the end, meant to purvey Odette’s refusal to reminisce on the past or bad memories for very long.
Scene 11: Odette gets home from the train, and we are introduced to her aunt Margaret who barges in with a bottle of wine for a girl’s night, this scene is meant to introduce Odette’s only other living family member and one of the forces that pushes her towards emotional growth throughout the story.
Scene 12: This scene is also a flashback, introduced by Margaret and showcasing three year old Odette and giving isnight onto her relationship with her grandmother/caregiver, as well as some of the family history taht haunts them. The scene is menat to not explain everything, but to allow the viewer to come to their own inferences and gain better insight onto Odette’s psyche.
Scene 13: In this scene after the flashback, still on the couch, Odette turns a cold shoulder towards Margaret after she talks too much about the past(the flashback). This scene is meant to showcase Odette’s refusal to talk about her feelings and how she shuts down when faced with the topic of her grandmother,
Scene 1 sets up the opening shot for the screenplay. It is set in the back alleyways of a disheveled city, after bounty hunters attempt to kill Shura, and on of her advisors during a secret meeting, only succeeding in Helthena.
Scene 2 introduces Malco, the second protagonist, as he discovers Shura, and offers to take her to his apartment to bandage a slash on Shura’s hand. Showing that there is someone who is not hunting her down.
Scene 3 is inside Malco’s apartment as he has Shura sit on a couch as he searches for something to help her. In this scene, we see Shura beginning to trust Malco a little bit, but not much. It is also where Shura tells what happened in:
Scene 4 takes place in the not so distant past at the Stralavian Palace where Shura (once queen) was having a meeting with Helthena before the main antagonist, Kitor Wilstem, threatens to slaughter Helthena if agreements are not met to discuss a resignation for Shura.
Scene 5 takes place partly in Malco’s apartment and the Palace as Shura continues to explain what had happened, and showing what did happen on the “screen”. In the palace, we see Shura mostly in her bedroom chambers, as she speaks to a close friend of hers, her head attendant. Her maid. Her maid is completely hystarical by Kitor’s actions and Shura’s home imprisonment, as Shura attempts to calm her, and reassure her that she can make negotiations.
However in scene 6, we see that a few days after she last saw Shura, the maid, Kalina, attacks Kitor with a large knife while in a meeting with another advisor that had helped Kitor in his plan to overthrow Shura. Kitor’s guards shoot Kalina, and Kitor lives, immediately blaming the assassination attempt onto Shura.
(These are the next scenes planned, in the process of writing)
In scene 7 we will see Shura be accused of trying to assassinate Kitor, and be be sentenced to an execution the next morning. However, as the night progressed, Helthena appeared and Shura was able to escape with her help, into the night, on the run.
In scene 8, we will see Malco reflect on Shura’s true story, and he will see that she was framed and lied about. Shura and Malco will discuss what to do next, and Malco offers to help Shura in returning to the Palace, and help her regain her rightful position. At first Shura regects him, but after some convincing, she agrees, and the two plan their next move to the Palace, which ends up being:
Scene 9 will take place at a large railroad industrial plant, where Malco works as railroad worker. Shura is put off by Malco’s decision, and the two begin to bicker about other options, before deciding to jump onto a train to the capitol city.
The first scene shows Evakdor Hafdin, the Trusted One, agitatedly running through the castle as it crumbles around him, which aims at engaging the audience’s attention and drawing them into the story. Additionally, it includes visuals of physical destruction, as well as hints (through flashbacks) of the past and of the Trusted One’s mental state, which advances the plot by introducing the source of conflict.
The second scene introduces Dergek as the first traveler that will go on the mission to save Latabat, and provides background into his character in terms of family history, livelihood, and his attitude toward the Trusted One. Additionally, it helps to add onto the world-building element of the story by showing one piece of the culture of the nation and presenting the governmental system that runs Latabat.
The third scene presents Plurmef as the second traveler, and it shows who she is by describing her interactions with her environment, her seemingly “magical” powers (which are foreshadowed to aid her on the mission), and her relationship with her mother. It also provides more aspects to the world-building by emphasizing the governmental system first shown in the second scene with Dergek, and revealing how the caverns of Latabat each have their own culture and atmosphere.
This scene is an extension of scene three, further developing character and advancing the plot by showing how close Plurmef is with her mother–which will tie into Plurmef’s dramatic need to protect her family– and how Plurmef handles the knowledge that she must leave home.
The fifth scene introduces the third traveler, Flook, and–similarly to the past few scenes– demonstrates the differences between the caverns that make up Latabat, thus building the foundation for this story that is the background, setting, and culture. The audience also comes to understand Flook’s loving relationship with his family (particularly in relation to his father and his deceased mother), which helps to reveal the theme of family importance and establish the dramatic need that are prevalent throughout the screenplay.
The function of the sixth scene is to introduce another traveler, Renege, and her dramatic need– which is largely different than that of all the other main characters– to escape the structured role that she has always played in life. It also reveals her unique friendship with a bailieft, highlighting how different she seems to be from all of the other characters and foreshadowing how her roles in this story will become distinctly unique.
The final traveler, Clanas, is introduced in scene seven, and his motivations– money, humor, food, and a lack of stressful responsibilities– are revealed. This scene also serves to emphasize the class system/hierarchy that exists throughout Latabat, contributing to the world building as well as the development of plot and character.
This eighth scene has the function of really starting to push the story forward from just character introductions, seeing as it shows the characters’ first step into their journey. All five of the travelers arrive in Labar for the first time, and a conversation with some of the guards foreshadows a secret that will be later revealed.
In this scene, the travelers meet the Trusted One, and they receive their official mission right from that leader. Thus, it serves the function of establishing where the story will go and the roles that each of the characters will fulfill.
This is a short, mostly transitional scene, but it also importantly showcases how the travelers are reacting to the news that they will soon be leaving. It also pushes the story along by showing the personality of the guard introduced in scene nine, and showing how the characters prepare for their mission.
Scene eleven is the very last scene of Act I, marking a significant event that transitions the story into Act II. This significant event is the travelers taking their very first step out into the world and embarking on their mission, advancing the plot into the next sector of the adventure.
Scene 1
Section 8 apartment – late night
The purpose of this scene is to lay the ground work for the future and to reveal the theme of the story.
The intention of this scene is to highlight how prolific my protagonists father is and the impact it has on his family. In this scene I give details that will show up later in this story and at my story’s finish that really make my story come around full circle, it reveals my theme as well this reccuring violence and the phrase my protagonist mother keeps highlighting.
Scene 2
Southeast dc – EARLY MORNING
This scene advances the plot of my story as we see my protagonist and how the kids in his neighborhood treat him. It also lays the groundwork for my protagonist and his big change as I really try to highlight his personality and how he is as a kid.
Scene 3
SchOOL
This scene gives some background information of the pro/antagonist and how close they are, almost inseparable. It also shows context on the age of my main characters and how even though they have seen some crazy things they are just kids.
Scene 4
School courtyard
The titillates the audience as an exciting event happens that’s out of character for my protagonist so I’m hoping it gets my viewers on the edge of their seat. It also advances the plot of my story as we get some type of background information on my antagonist and his family life, subtly reveals stuff.
Scene 5
Principles office
At this point, im trying to show the recurring theme in my story and the mission of my protagonist. I want to continue to lay the groundwork for that mission as we keep hearing this phrase from my protagonist’s mother and I want to highlight that. It also reveals character and helps me to develop that .
Scene 6
Car
This is a description a visual description of where my story takes place it should advance my recurring theme. It also continues to advance the plot of my story as we see the continued phrase dropped again.
Scene 7
This scene lays the groundwork for what happens next as we get a prologue of the kids around the neighborhood and how they act. It also titillates the audience as some of the things said should get you guessing and excited about what happens next.