A screenplay is just a build-up of a written story, arranged
in a format in which its elements have a unique rule of organization.
Elements of a Screenplay
NB: Just below every element that will be listed here, you
will find an illustration on how and where to apply it in a screenplay.
The screenplay;
Title; Secrets in two
homes,
Written by: Winston Oge; is a
concise screenplay. It contains all the main elements of a screenplay.
Its excerpts are used for these illustrations.
Here are the elements:
Formating: Aligned flush left from the edge of the paper. It’s also
known as Slug line)
EXT.
LAZON STREET – NIGHT
INT.
MATILDA’S HOUSE – LIVING ROOM – NIGHT
EXT.
IN CAR - DAY
Formating: Aligned flush left from the edge of the paper
Suddenly,
we see an SUV appear from one end of the street and drives slowly until it
stops in front of a building with the description, NO 7 on its front gate.
After
about five seconds, we hear the voice of a mature woman crying out
from inside of the SUV. The sound of her cry fades slowly until we can no
longer hear it.
The SUV’s back door opens forcefully. Two able bodied men; DIGA and BRUCE, who
have handkerchiefs partly covering their faces, jump down and pull MATILDA out.
Formating: Indented 3.5'' from left margin
Mrs.
Garcia quickly describes her destination to the driver.
MRS GARCIA
Ferry district, Lazon Street, house number 7.
Please drive as fast as possible
Formating: Indented 2.0'' from the left margin
We
see the inspector of police, INSPECPTOR HECTOR, relaxing in his seat.
Matilda
and Frank are sitting before him.
HECTOR
Matilda you have nothing to worry about.
Your father has discussed your fiancé with
me.
We are on top of the situation
MATILDA
Inspector I'm not taking this any longer.
The abductors have refused to call back for
negotiations and you are still telling me you've discussed it with my father
HECTOR
Yes, I have
- EXTENSIONS [off-screen (O.S.), voice over (V.O)]
Formating: Off-screen (O.S.) placed directly to
the right of the character name.
An Off-Screen voice can be heard from a
character out of the camera range, or from another room altogether)
Suddenly,
the front exit door opens, and Matilda gasps, drops the phone recklessly and
starts running to the inner room.
FRANK (O.S.)
It's me, Matilda!
It's me Frank!
[Voice over (V.O.)
Formating: Placed directly to the right of the
character name. A Voice Over is used in a narration or when the character
thinks aloud during reflection]
Matilda
is lying in the bed, fully awake but she looks unconscious.
MATILDA (V.O.)
Lugard you have to forgive me.
Just this night and it will never happen
again, I promise.
- TRANSITION [(cut to), (back to)
Formating: They often follow action and always
precede Scene heading. They are used to indicate transitions to scenes that are
related]
Mrs.
Garcia wakes up suddenly and sits up.
She
looks around the room in fear.
She
rubs her eyes with her hand; and then stands up off the bed, moves to the desk,
picks up the desk phone and dials a number.
CUT
TO:
INT.
MATILDA’S HOUSE – BEDROOM – NIGHT (SAME NIGHT)
The
desk phone beside the bed rings.
Matilda
opens her eyes.
The
phone rings again and she hops out of the bed quickly, looking very curious to
answer.
She
picks it up and answers.
MATILDA
Hello.
Mama!
BACK
TO:
INT.
GARCIA’S HOUSE – BEDROOM – NIGHT (SAME NIGHT)
Mrs.
Garcia is holding unto the phone firmly, looking very anxious.
MRS GARCIA
Matilda
Formating: Aligned flush left from the edge of the paper. It tells the
reader the focal point within a scene has changed]
ABLE D
No!!
Not anymore!
If you try any silly thing, I will shoot him!
ANGLE
ON – ABLE D’s PISTOL
his
finger poised on the trigger.
Everybody
is now panicky.
MR TYLER
No, no, you must not!
MRS TYLER
Please don't!
Formating: Just like in normal dialogue.
It is used when two of your characters speak
simultaneously
Suddenly,
the front exit door opens and Mrs. Garcia hurries in.
Everybody’s
attention turns to her.
MRS TYLER
Mrs. Garcia!
MATILDA
FRANK
Mama!
What happened to you!
Matilda
stands and quickly moves to her.
MATILDA
Mama, are you alright?
Formating: Just like in normal dialogue. Used for a crowd
The
women including some of the marketers now start shouting at Matilda and Frank
in annoyance.
CROWD
Learner! Beginner! Do you want to kill people
this afternoon?! Devil! Blood sucker!
Matilda
quickly starts the car and drives forward suddenly, hooting constantly.
The
women and some others on Matilda's way quickly give the way.
Matilda
drives off with speed.
CROWD
Demons! Go and crash yourselves! Go and die!
Formating: Formatted as a single shot.
It’s a series of scenes related and
building to one conclusion
Mrs.
Garcia lays LITTLE LUGARD on the bed and begins to change his diapers.
MONTAGE
a)
Little Lugard rolls over in his playpen. Mrs. Garcia smiles happily.
b)
Little Lugard crawls around the room. Mrs. Garcia watches him amazingly.
c)
Holding unto the coffee table, Little Lugard stands up and start toddling. Mrs.
Garcia shouts up in joy.
d)
Mrs. Garcia hugs TEENAGE LUGARD passionately.
He
lifts his travel bag and waves at his mother.
She
stands in the balcony and happily watches him leave through the gate.
END
OF MONTAGE
Formating: Just like normal dialogue. Song lyrics are written in all caps. Others
are often in short lines)
The
door opens and Frank steps in.
He
is putting on just his inner wears, boxers and singlet.
He
looks at Matilda and smiles.
He
then starts singing.
FRANK
DO YOU KNOW WHAT HAPPENS WHEN TWO GOOD
FRIENDS ARE ALL ALONE?
DO YOU KNOW WHAT HAPPENS WHEN TWO LOVERS ARE
IN ONE ROOM?
IF YOU DON'T KNOW, JUST WAIT LET ME TELL YOU;
THEY HOLD EACH OTHER, THEY KISS EACH OTHER,
THEY SHARE THEIR DREAMS, THEY DANCE AND THEN THEY MAKE GOOD LOVE.
GOOD LOVE! GOOD LOVE! GOOD LOVE!
Matilda
smiles broadly.
MATILDA
Wow!
Good song
FRANK
Yes, baby
Formating: Just like in scene heading. Used instead of repeating scene headings,
or cutting back and forth between two scenes. Often used during a phone call
session)
INT.
MATILDA’S HOUSE – BEDROOM – NIGHT
The
phone rings again and Matilda hops out of the bed quickly, looking very curious
to answer.
She
picks it up and answers.
MATILDA
Hello.
Mama!
INT.
GARCIA’S HOUSE – BEDROOM – NIGHT
Mrs.
Garcia is holding unto the phone firmly, looking very anxious.
MRS GARCIA
Matilda
INTERCUT
BETWEEN MRS GARCIA AND MATILDA
MATILDA
Yes Mama
MRS GARCIA
I want to speak with Lugard.
Is he sleeping?
Matilda
looks puzzled.
MRS GARCIA
I had a bad dream a moment ago
Formating: Aligned flush left from the edge of the paper)
INT.
GARCIA’S HOUSE – BEDROOM - NIGHT
Mrs.
Garcia's bedroom is dark.
She
is sitting on a chair close to the wall.
She
is in a thoughtful mood, but she is not weeping.
She
still has traces of the wounds she had from the accident.
BEGIN
FLASHBACK
EXT.
HOUSE – BALCONY - DAY
Mrs.
Garcia hugs TEENAGE LUGARD passionately.
He
lifts his travel bag and waves at his mother.
She
stands in the balcony and happily watches him leave through the gate.
END
FLASHBACK
INT.
GARCIA’S HOUSE – BEDROOM – NIGHT (SAME NIGHT)
Mrs.
Garcia sighs, stands up wearily and exits.
Formating: Aligned flush left from the edge of the paper
BEGIN
DREAM SEQUENCE:
EXT.
ROAD - NIGHT
Indistinctively,
we see a man running exhaustively from one dark end of the lonely road.
Finally,
we see him clearly. He is LUGARD.
But
suddenly, we see four able bodied men running very closely and fiercely after
him.
They
have among them; rods, knives and long sticks.
Lugard,
31, is struggling to maintain enough gaps between him and them as he looks back
continuously.
He
has bruises on his face.
He
looks tattered.
The
able bodied men continue the massive chase on him until the gaps between them
and him is no more.
Lugard
turns back swiftly. Seeming to lose hope, he groans and then slows down and
steers to the corner of the road where he now jumps into the gutter.
The
men follow quickly and pounce on him.
They
hit him with the rods and sticks.
Lugard
cries out so painfully.
END
DREAM SEQUENCE:
INT.
GARCIA’S HOUSE – BEDROOM – NIGHT (SAME NIGHT)
We
see MRS GARCIA lying in her bed with her eyes closed.
She
then speaks out in pains.
MRS GARCIA
Don't kill my son!
Don't kill my son!
Lugard!!
She
wakes up suddenly and sits up.
She
looks around the room in fear.
