Screenplay Format
Most screenplays are submitted in a form called the master screen script. The emphasis in this version is on compelling exposition of the story’s action, development of the characters, and visual and emotional details of the scene. The shots and camera angles are not fully specified, so they will not distract from the writer’s presentation of the story concept. The samples below, excerpted from classic scripts of the 1950s, illustrate the methodology of formatting scripts, which has remained basically unchanged over the decades.
Notice that in the example which follows, a draft work version of a television screenplay, the terms most frequently used are general terms like close shot and full shot. Another useful general term is new angle. Because this script was written for a television movie, the format is essentially the same as for a motion picture screenplay (see Sample #2 below). Other kinds of television shows, like sitcoms, documentaries, and talk shows, would have a somewhat different script format.
The Shattered Dream
Screenplay
(for television)
by
Eugene Vale
Draft Work Copy
1953
FADE IN.
INT. BANQUET HAIL, DAIS - PULL SHOT – DAY
A long table. Guests of honor, politicians, in the center JUDGE POSTER, a white-haired, distinguished-looking man; next to him, CAPTAIN KENNETH STAFFORD, candidate for Congress, handsome, strong face; he is about 34; wears dinner clothes. He is glancing at the script of the speech he is about to make. On wall behind Dais are posters like: VOTE FOR KENNETH STAFFORD, etc., campaign slogans, and large above them — The American flag. Judge Foster rises to address the gathering. The MURMUR OF THE GUESTS O.S. BECOMES HUSHED, as he raises his hands.
JUDGE FOSTER
Ladies and Gentlemen, I have the honor to introduce to you our nominee for Congress, a man we can all be proud of. A combat veteran of the war in Korea, the holder of several military medals, including the Silver Star and the Purple Heart, his fighting career was ended by the wound he suffered in the service of his country.
(Turning to Ken)
Ladies and Gentlemen! I present to you our next congressman from this district, Captain Kenneth Stafford!
Amid the ENTHUSIASTIC APPLAUSE, Judge Foster sits down.
TWO SHOT - JUDGE FOSTER AND KEN
While the APPLAUSE CONTINUES, Ken talks to Judge Foster in a low voice.
KEN
Judge Foster, I’ve been thinking it over —
(Crumpling papers in hand)
I don’t think I want to make this speech.
JUDGE FOSTER (Upset)
Now, look, Ken —
I know it’s a good speech, well-written, honest — but it’s not right — for me! I’m not a politician. The only way I can address these people is If I talk straight from the heart!
JUDGE FOSTER
Impossible! You don’t have enough experience to make an improvised speech. It’s too dangerous. One mistake — and you’re ruined!
KEN
I realize that… But it’s a risk I have to take!
JUDGE FOSTER
Ken, this is not a battlefield. You can’t get by on courage. You’re now in the political arena. These people are going to judge you by every word you say.
KEN
I have nothing to hide. Let them decide whether I’m the right man to send to Congress!
FULL SHOT - DAIS
as Ken rises. THE APPLAUSE SWELLS TO NEW ENTHUSIASM. His eyes turn to the right side of the room. He smiles.
P.O.V. SHOT - ROUND TABLE AGAINST WALL
RUTH STAFFORD, Ken’s wife, responds to his smile. She is about 28, soft, lovely features. Beside her sits a boy of 14, FRANZ KOVIC, and his mother, MRS. KOVIC, a simply dressed woman of 40. Ruth smiles at Ken, clasping her hands in a gesture of encouragement.
MEDIUM CLOSE SHOT - KEN AT DAIS
Ken’s smile gives way to a serious expression as he turns from his wife to the audience.
Ladles and Gentlemen! I have here In my hand a prepared speech, explaining my stand on the political issues, setting forth my program, stating my campaign promises.
(putting down speech)
But I’m going to put it aside — and instead I’m going to tell you a story.
(SURPRISED MURMUR OP AUDIENCE O.S.)
CLOSE SHOT - RUTH, AS SHE REACTS, SURPRISED, BEWILDERED
KEN’S VOICE O.S.
I’m going to tell you this story, because I can think of no better way to explain what I shall do — if elected — than to tell you why I decided to run — in the first place.
[END OF SAMPLE]
When a script is ready for production, it is marked up as a final shooting script. Shot numbers are specified in the left margin, and every camera angle is spelled out in detail, as the example below illustrates. However, these decisions are made by the director and the production crew, not by the writer, and detailed directions should not be included in scripts submitted for purchase. They would just diminish the impact of your presentation.
“THE DARK WAVE”
Story and Screenplay
by
Eugene Vale
Final Script
May 19, 1955
FADE IN:
1 INSERT - CLOSE UP OP ELECTROENCEPHALOGRAPH
The eight pens on the right side of the machine keep tracing the vibrating lines, as the paper strip moves steadily across the screen.
NARRATOR
This is an electroencephalograph … An instrument which records the minute electric impulses sent out by the human brain… Right now, the pattern indicates normal activity… But when the lines become agitated —
(the pens vibrate wildly)
— forming these high waves and spikes — it means that the brain has been engulfed by —
At that moment, the lines, rolling wildly across the screen, form into the words, also spoken by the Narrator:
The Dark Wave
Main Title and Credits
FADE IN:
2 A SERIES OF STOCK SHOTS, INCLUDING A STREET IN JERUSALEM,
6 AN ARENA IN ROME, A MEDIEVAL TOWN, ETC.
NARRATOR
Since the dawn of history, the symptoms of this brain disturbance were known, misunderstood and feared. The Bible refers to the spitting sickness; the Greeks called it the Sacred Disease; for centuries, it was believed that the person afflicted was possessed by demons and devils. And even though modern science has traced the symptoms to physiological causes, some of the ancient superstitions persist in our present time.
DISSOLVE TO:
7 EXT. SCHOOL - (STOCK SHOT) - LONG SHOT - DAY
NARRATOR
Today — no one at this modern school believes in demons. But superstition and prejudice can live on in many forms.
8 EXT. PLAYGROUND - LONG SHOT - DAY
Children, singly and in groups, are scattered across the beautiful lawn. A clear blue sky, trees and well-kept hedges contribute to the Joyful picture, expressive of the serenity and lighthearted play of youth.
NARRATOR
— as one of these children is soon to find out. Her name is — Debbie Daniels. Age 12. A popular girl, gentle, and lively. Her grades good — except for a weakness in mathematics. Conduct — excellent. Distinguishing marks — none — so far as anyone knows.
During the last, the camera has been approaching a group of three girls, passing others as though searching out the one girl who is different.
9 MED. CLOSE SHOT - THE THREE GIRLS
DEBBIE is standing with SUSAN and LUCY.
SUSAN
You’re kidding.
DEBBIE
Cross my heart and hope to die.
SUSAN
But why would he ask you to the party. He’s a whole year older.
DEBBIE
Search me. Maybe because he wants me to help him with his composition.
9 Cont.
HELEN’S VOICE (o.s.)
Debbie — what’s keeping you?
As Debbie turns, HELEN, 12, comes running into shot.
HELEN
Come on, Debbie. We’re waiting for you. Game’s starting.
DEBBIE
You go ahead without me.
HELEN
Naw… More fun when you’re on our team… Come on!
Helen pulls Debbie out of shot. Lucy looks after Debbie.
LUCY
Want to know something?
SUSAN
What?
LUCY
It’s not the composition.
(awed)
I think he likes her!
10 MED. SHOT - VOLLEY BALL AREA
The game is already in progress as Debbie takes her place. She is Immediately in the spirit of the game, as the ball is flying back and forth.
11 MED. CLOSE SHOT - DEBBIE
She turns enthusiastically, watching the flight of the ball, calls to the player behind her:
DEBBIE
Catch!
The ball is returned successfully, and Debbie turns to face camera. At that moment, she undergoes a strange transformation. Her body stiffens, and her eyes become absent-minded, taking on a fixed stare.
12 MED. SHOT - WITH DEBBIE IN CENTER
In contrast to the other girls, who are running around, she alone stands rigidly. And she does not move, though the ball comes flying toward her.
13 CLOSE SHOT - HELEN
As she notices that Debbie is in danger of being struck by the ball.
HELEN
Debbie!
14 MED. CLOSE SHOT - DEBBIE
The ball bounces against her leg, rolling harmlessly away. But she still does not move, except for a slight fluttering of the hands.
15 MED. SHOT - THE OTHER PLAYERS
They look at her, bewildered, then start running to her, Helen ahead of the others.
16 MED. CLOSE SHOT - DEBBIE AND THE GIRLS
As the girls start crowding around her, perplexed by her incomprehensible attitude. Debbie is staring past them with unseeing eyes, until gradually, her features relax. She looks around, confused.
HELEN
What happened?
DEBBIE
I don’t know… I Just don’t know.
HELEN
You sick or something?
DEBBIE
No… Just a dizzy spell… I get them sometimes… It’s nothing!
HELEN
You sure you’re all right again?
16 Cont.
DEBBIE
Sure — I’m fine… Let’s play!
NARRATOR
Dizzy spells — short periods of inattentiveness at school or at home, lasting no more than 8 to 10 seconds. At first ignored or attributed to absent-mindedness, but gradually arousing concern.
DISSOLVE TO:
17 INT. DANIELS HOME, LIVING ROOM WITH DINING AREA - FULL SHOT - NIGHT
A comfortable, middle-class home. PAUL DANIELS, father, about 39; LOUISE DANIELS, mother, 38; GWEN DANIELS, Debbie’s sister, a pretty girl of 17; and Debbie. They have just finished dinner.
MOTHER
One of you children has to help me with the dishes tonight.
DEBBIE
I will. My homework’s all done.
FATHER
In that case, I’ll tell you something that ought to make you happy. We’re going away next weekend.
DEBBIE
(eagerly)
We are?
FATHER
Uncle Jim has invited us to the ranch.
Excitedly, Debbie leaps up, rushes to her father. Smiling at her enthusiasm, Father strokes her hair. Meanwhile, Gwen is clearing away dishes.
17 Cont.
DEBBIE
Really?… You think he’ll let me ride on the pony?
FATHER
If you’re a good girl.
DEBBIE
Oh, yes… I’ll do anything you say.
GWEN
(crossing to kitchen with tray)
Debbie — get your dishes.
DEBBIE
Sure…
Father and Mother smile, exchanging a glance, as they observe Debbie’s eagerness to earn her vacation; quickly, she picks up the dishes, and starts toward kitchen.
18 MED. CLOSE SHOT - DEBBIE
Suddenly, she stops, swaying slightly, as though to lose her balance. For a moment, her expression becomes almost bewildered—just before the rigidity sets in. The dishes drop from her hands, clattering to the floor.
[END OF SAMPLE]