“THE CHECKLIST” Test Scene

PIV

Finding Stops and Movement

Finding Moves and Transitions
Finding Keyframes and Deep Staging
Finding Coverage
Connecting Keyframes
Finding Lead-Ins and Extensions
Coordinating Foreground and Background

Blocking diagram © 2004 Hollywood Camera Work

“CHANGE OF PLANS” Script

INT. CYGNI - ADJACENT ROOM

On monitor: Colonel Steven Boutell, an aging officer speaking

from behind a desk. The transmission occasionally breaks up.

BOUTELL
...No matter what we try, we’re not
getting through. It might just be
the atmosphere, but I think we’re
being blocked.

Pulling out from the monitor, we’re in a small crew quarter.

Jeremy picks up archeological artifacts while he waits. A
Guard stands watch outside the door.

BRADLEY
Have you tracked down the cause of
the explosion?

BOUTELL
(shakes his head)
... It’s inconclusive. But we also
have a survey team missing below
the planet surface. I don’t think
this is a coincidence.

BRADLEY
Colonel, we can be at your position
in less than a day.

BOUTELL
Are you trying to get out of those
negotiations?

BRADLEY
Of course not.

BOUTELL
Anyway, you’re not equipped for
this sector. We... are having some
problems...

BRADLEY
What kind of problems?

BOUTELL
A strange phenomenon. This whole
sector is engulfed in some sort of
blackout. It’s like the space just
absorbs energy.
 2.

Bradley and Jeremy become puzzled.

BOUTELL (CONT’D) (cont’d)

We are using 35% of ship’s power
just for this transmission. Anyway,
we need those logs.

BRADLEY
We’ll send them. Good to hear from
you again.

BOUTELL
Likewise. Boutell out.

The screen returns to a logo. Jeremy has walked over to the

captain’s desk. Bradley gets up.

BRADLEY
Send him the logs.

Jeremy acknowledges.

BRADLEY (CONT’D)
(to Guard)
Overman...

GUARD
(steps into room)
Sir?

BRADLEY
(walks to door)
Report to the mediator that I won’t
be able to attend the remaining
negotiations. Urgent matters.

GUARD
Sir!?

BRADLEY
Carry on, that’s an order.

The Guard looks mystified, then leaves. Jeremy walks over to

Bradley.

JEREMY
Sir?

BRADLEY
(quiet)
How soon can we end this without
ticking off the delegates?
(MORE)
 3.

BRADLEY (cont'd)
I want to stop by sector 481 on our
way to Rana 4.

JEREMY
They... are in different
directions, sir...

BRADLEY
(nonchalant)
You don’t say...?

JEREMY
(confidential smile)
I’ll make the necessary
preparations.

Jeremy leaves. Bradley ponders her next move, then walks out.
“CHANGE OF PLANS” Blocking Diagram

GUARD

RFM

STAND UP
JEREMY
BRADLEY

DN-UP

Script and blocking diagram © 2004 Hollywood Camera Work

“UNDER ATTACK” Script

INT. CYGNI - BRIDGE - CONTINUOUS

Bradley and Ashida rush onto the bridge as the ship shutters.

BRADLEY
Status.

JONATHAN
We can’t see a thing. The shots are
coming from empty space. There
could be more than one ship.

JEREMY
(at control panel)
We lost latitude controls at the
first hit and the shields are
crumbling. We’re a sitting duck,
sir.

BRADLEY
Any other ships nearby?

JA’AN
All com energy is being absorbed by
the blackout.

The ship shakes heavily...

BRADLEY
Ja’an, prepare full spectrum
neutron shells. All bays on my
mark.

JA’AN
But Sir, we’ve got nothing to aim
for.

ASHIDA
I’ve reconfigured the forward grid
to emit a stream of axion
particles. By these readings, it
should light up their shields.

BRADLEY
Do it.

Ashida pushes the final button. On the viewscreen, two

warships suddenly become visible.
 2.

JEREMY
There they are!

JA’AN
Locked and ready.

Bradley steps forwards.

BRADLEY
Fire!
“UNDER ATTACK” Blocking Diagram

ASHIDA

BRADLEY

JA’AN

3. HAND-OFF

HAND-OFF
JEREMY

1. SHIFT -> JA’AN

2. STEP IN

JONATHAN

DN

UP UP

DN

VIEWSCREEN

Script and blocking diagram © 2004 Hollywood Camera Work

“NOT A SUSPECT” Script

INT. SURGICAL WING - ICU 2 - AFTERNOON

Henry, dressed in scrubs, walks past the stationed guard,

into the ICU, and approaches Solomon who is preparing some
instruments.

HENRY
(irritated)
Sol, they refused me at the door.
You know, I was told to be here
this morning and...

SOLOMON
Who refused you?

HENRY
Hoskin and Slater.

SOLOMON
Sorry Henry, you know that Slater
has the final word.

HENRY
But why? I passed all the tests, it
is preposterous at this point to
assume I pose any danger.

SOLOMON
We can’t take any chances Henry.

HENRY
I didn’t cause it, Sol.

SOLOMON
You’ve got to understand that this
is a routine investigation, it’s
not about you personally.

HENRY
Then why am I not in there
operating right now?

SOLOMON
Nobody suspects you, Henry.

Henry spies Taylor giving some fluid medication to a patient,

and storms over.
 2.

HENRY
(angry)
What did you just do?

TAYLOR
What?

HENRY
That's my patient, nurse. You
better have a damn good reason for
what you just did.

TAYLOR
I was taking the patient’s pulse.

HENRY
No, you were giving her something.

TAYLOR
Just her vitamins.

HENRY
Tell me what you gave her.

TAYLOR
Nothing, just the vitamins.

HENRY
Don't you dare lie to me, I saw the
whole thing!

Solomon enters.

SOLOMON
What is going on in here?

TAYLOR
Nothing Dr. Solomon.

HENRY
I caught her giving something to my
patient!

TAYLOR
Only vitamins, Dr. Solomon, just
the daily routine.

HENRY
Give me the bottle.

Taylor gives him the bottle.

 3.

Henry (cont'd)
Aha! No label!

Henry races over to a pile of medical paperwork and digs

through it, looking for the label.

SOLOMON
(warning)
Henry!

Henry finds a vitamin label. He gets up and slowly moves a

couple of steps backwards.

HENRY
I’m sorry, I thought... Sorry
nurse, will you please excuse me.

Henry turns around and leaves, embarrassed.

CUT TO:
“NOT A SUSPECT” Blocking Diagram

TAYLOR

PICKUP

HAND-OFF HENRY

SOLOMON

WINDOW WINDOW 1
3
24 PIV

7
6

Script and blocking diagram © 2004 Hollywood Camera Work

“SYSTEM FAILURE” Script

INT. CONTROL ROOM - NIGHT

Raymond stares flabergasted at the computer screen as rows of

warning lights flare up.

RAYMOND
Hang on, what the hell is going on
here?

HOWARD
What?

RAYMOND
The security perimeter is going
down across the board.

HOWARD
(to John, annoyed)
Go find Nigel.

RAYMOND
OK, the power is going down.

John stops short of the door as the whole control room

suddenly shuts off. They all freeze in their tracks,
realizing the seriousness.

HOWARD
(to Raymond)
Well, get it back up! Use Nigel’s
terminal.

Raymond quickly rolls his chair to Nigel’s screen.

RAYMOND
Why’s this one still on?

John steps forward, alarmed.

JOHN
Tell me the containment field isn’t
down.

RAYMOND
(checks)
No, it’s still on.

HOWARD
Why the hell would he turn the
perimeter off?!
“SYSTEM FAILURE” Blocking Diagram

L. RFM

CONSOLE

POSTER
HOWARD

HAND-OFF

JOHN
RAYMOND

1
3

CON
SOLE SOLE
CON

Script and blocking diagram © 2004 Hollywood Camera Work

“CUSTODY” Script

INT. COURTROOM - DAY

Rawlings addresses Martin.

RAWLINGS
Mr. Sanford, were you in any way
forced out of your home or
pressured by your wife to leave?

MARTIN
No.

RAWLINGS
(addressing the jury with
a wry smile)
I am sure we all can see the logic
of why Mr. Sanford, without any
prior warning, would leave his wife
and children, to go off somewhere
and vanish for five years!

HEYDEN
Objection.

RAWLINGS
(changing direction)
Mr. Sanford, now that you,
suddenly, and out of the blue, have
returned to Chicago, do you plan to
be a responsible parent?

MARTIN
Yes, I do.

RAWLINGS
How can you expect anyone to
believe you, given that you
abandoned your own children?

MARTIN
I don't know...
(suddenly defiant)
Does it matter? They are still my
children... I made a mistake, but
now I want to be there for them
100%.

RAWLINGS
Do you Mr. Sanford? Will you please
tell us all
(MORE)
 2.

RAWLINGS (cont'd)
(motioning towards the
jury)
how you came to the conclusion,
that you all of a sudden are ready
for that kind of commitment. Did
your many affairs leave you lonely?
Your last girlfriend ditched you
less than a month ago, isn’t that
correct Mr. Sanford?

Heyden jumps up from his seat.

HEYDEN
Objection!

JUDGE
Overruled. The witness will answer
the question.

MARTIN
(barely audible)
That has nothing to do with it.

RAWLINGS
And isn’t it true, Mr. Sanford,
that your constant philandering has
started to bore you and that
‘responsible parenting’ is nothing
but your latest fad?

HEYDEN
(furious)
Objection!

JUDGE
Objection sustained, please
rephrase the question Mrs.
Rawlings.

RAWLINGS
Mr. Sanford, is your wish to resume
your role as a responsible parent a
fad?

MARTIN
(loud)
No!

RAWLINGS
(a new attack)
Mr. Sanford, how can you expect
this court to grant you full
custody of two children you barely
know?
(MORE)
 3.

RAWLINGS (cont'd)
Your wife is, and has been, an
excellent mother, so doesn’t that
strike you as a crazy demand?
(jokingly)
And I don’t recall you having plead
temporary insanity, at least not
yet.

HEYDEN
Objection! The prosecution will
stop harassing the witness.

JUDGE
Sustained. Please make your point.

RAWLINGS
No further questions, Your Honor.

JUDGE
The witness may be excused.

Rawlings sits down next to Karen.

KAREN
(leaning over and
whispering)
Did you really have to ridicule him
like that?

RAWLINGS
(tough and businesslike)
If you want to keep full custody of
your children, Mrs. Sanford.

Martin gets down from the witness stand and walks to the
prosecution’s table, momentarily exchanging looks with Karen.
“CUSTODY” Blocking Diagram

JUDGE MARTIN

RFM JURY

RFM
L 2 3
RAWLINGS 1

4 RFM

KAREN 5 HEYDEN

STAND / SIT

Script and blocking diagram © 2004 Hollywood Camera Work

“A TERRIBLE MISTAKE” Script

INT. AVX - SAMANTHA’S OFFICE - NIGHT

The rain beats the window pane. Anthony is sitting on a sofa,

Samantha is walking around restlessly.

ANTHONY
Just for the record, I didn’t come
on to you, YOU came on to ME.

SAMANTHA
I most certainly did not.

ANTHONY
Did too.

SAMANTHA
Did not.

ANTHONY
Did too.

SAMANTHA
We can’t handle this like babies,
Anthony.

ANTHONY
What’s there to handle?

SAMANTHA
You know just as well as I that
this can never happen.

ANTHONY
You didn’t like it?

Samantha sits down opposite Anthony.

SAMANTHA
I didn’t say I didn’t like it.

ANTHONY
You didn’t act like someone who
didn’t like it.

SAMANTHA
(more serious)
Anthony... I need you to not tell
anyone about this.
 2.

ANTHONY
Why not?

SAMANTHA
You just can’t.

ANTHONY
You’re gonna have to do better than
that.

SAMANTHA
Anthony, I’m happily married, I
have two children, I’m CEO of a
Fortune 500 corporation.
(understatement)
This wouldn’t look good on my
resume.

Anthony gets up and walks around, agitated.

ANTHONY
Well, crap, you should have thought
of this a little sooner. Is this
some standard corporate procedure?
Bring in the up-and-comer, mess
around with his feelings and then
issue a gag-order? What about me,
huh? Where do I fit in?

SAMANTHA
I’m really sorry.

ANTHONY
Yeah, you’re sorry all right. Just
for the wrong reasons.

SAMANTHA
I made a terrible mistake, OK?

He’s not used to being labelled a “terrible mistake”.

SAMANTHA (cont’d)
Anthony, if people find out, I’m
ruined. The stock will plummet,
I’ll be forced to resign, my family
will break up, I’ll have to sell my
house. I’ll loose everything. I
can’t believe that’s what you want.

He’s still angry, but that’s a heavy consequence.

 3.

ANTHONY
I should blackmail the hell out of
you.

SAMANTHA
I’m hoping you won’t.

CUT TO:
“A TERRIBLE MISTAKE” Blocking Diagram

WINDOW WINDOW WINDOW

SAMANTHA OPEN
SPACE
PICKUP

HAND-
OFF
RFM SIT ANTHONY

PIV
PICKUP

Script and blocking diagram © 2004 Hollywood Camera Work

“THE CURSE” Script

EXT. FOREST CLEARING - NIGHT

Helen and Edward are sitting close together near the

campfire. The forest is getting chilly as night falls.

HELEN
Why do you think they took off like
that?

EDWARD
(slightly drunk)
Probably late for a dentist
appointment. Have you ever seen
their teeth?

Helen giggles.

The sound of moving foliage and branches cracking. Helen and

Edward turn around, startled. They are relieved to see James
emerge from the bushes.

JAMES
It looks like the German expedition
is having some trouble of their
own. All their porters have
disappeared too.

HELEN
Don’t tell me... The curse.

JAMES
The curse.

HELEN
I can’t believe it, you are grown
human beings! How can you believe
in some bloody superstition?

JAMES
Doesn’t it strike you as odd that
everybody who’s seen the statue is
dead?

EDWARD
(drunken interruption)
Except us.

JAMES
I’m very aware of that fact.
 2.

HELEN
Maybe they just tripped and fell.
Look, it’s the same with the people
who uncovered the Pharao’s grave.
There’s always a perfectly sensible
explanation.

James gives her a look while he gets some large bullets and
begins loading his rifle.

EDWARD
(sarcastic)
Woohoo! Look, I am big ugly statue
of some guy who’s been dead for
10,000 years.

Helen giggles.

EDWARD (cont’d)
Fear my wrath!

JAMES
Shhh!

EDWARD
What?

They hear intense wood-cracking from above. Louder and

louder. Suddenly, a massive log of rotten wood whooshes down
and SLAMS into the ground, scattering the campfire. It
becomes darker.

EDWARD (cont’d)
(leaps back)
Aaaaaa! Holy crap!

James looks intently to Helen.

HELEN
What? Oh, come on, branches break
all the time.

JAMES
Edward I told you not to harrass
the Gods.

EDWARD
Sorry.

HELEN
What, you can’t seriously believe
this is caused by a curse?
(MORE)
 3.

HELEN (cont'd)
For Christ’s sake Jim, you are a
civilized man.

James cocks his rifle.

JAMES
Not so civilized I’ve lost my
instincts.

James suddenly turns around. A beat. Then gunfire is heard

coming from the German camp.

JAMES (cont’d)
Stay here!

He disappears into the bushes. Helen stands for a moment,

then runs after him.

EDWARD
Helen, come back here. Didn’t you
hear what he just said?

Edward realizes how dark it is, then runs after them, scared.

CUT TO:
“THE CURSE” Blocking Diagram

BUSHES

GERMAN
CAMP

HAND-OFF

JAMES
STATUE
EDWARD
FIRE
HELEN UP

DN

PIV

Script and blocking diagram © 2004 Hollywood Camera Work