a film is a story recorded as a set of moving pictures to be shown on Television or at the cinema (OXFORD ADVANCED LEARNER'S DICTIONARY).
acting is the art or occupation of performing in a play, film, Television, etc. (OXFORD ADVANCED LEARNER'S DICTIONARY)
many people in the growing Ghanaian film industry have argued out reason why filmmakers are to go to learn film making. they have said several times that film making is ab art and for the reason, no one can teach art but rather nurture it.
on the 17th of June, 2011, Socrates Sarfo, the producer of Movie Africa and the director of the infamous movie,"HOT FORK" said on the THANK GOD ITS FRIDAY SHOW (TGIF)that, "there is no reason and sense in training people to become filmmakers but rather those who are already practicing the craft, should rather be trained even though he had said before that you can't train art but nurture it.
he said one disheartening problem for him is the laid down criteria one needs to to attain to be able to go to a film school. he sees no sense in the fact that one needs academic knowledge and credentials to go to a film school besides he was denied formal training when he failed to acquire those credentials.
he believes that the structures that are in place to teach filmmakers are wrong because it teaches people who want to become professional filmmakers instead of teaching those who are already filmmakers even though they don't understand the ethics of film making.
i find his disposition a very shameful one. the talent to act is just not enough, one needs discipline too. the processes one goes through to make a film is a very cumbersome one. the tools used in film making are not talent oriented. the camera is not a talent oriented device, the lighting techniques to simulate reality is not a talent oriented technique, directing is not talent but discipline, make up is not talent and even acting is not just talent but discipline.
standing before a camera to act is not about your talents but rather your knowledge of the tools used in the profession.
the film making process is one that needs careful training. film is a very powerful tool and it can make and unmake society. just because it is lucrative is not a necessity for every one to jump into it.
it is absurd to say that one doesn't need to be trained to become a filmmaker but rather one should practice it and then later be trained. if this is the assertion of Socrates Sarfo and his colleagues, then i fear for the future of the industry.
i do agree that those practicing already needs training to stop them from doing the wrong things they are already doing but the reality is that,
there must be structures to determine who can become a filmmaker and who can't.
the film bill must be revised and promulgated into a law to shape the industry to prevent the incidences of the ATTA MORTUARYMAN, HOT FORK, GREEDY BASTARDS, ETC.
ALBERT KYEI BAFFOUR
A STUDENT OF NAFTI!
Sunday, June 19, 2011
Saturday, June 18, 2011
tort of negligence
Asif Tufal
1
www.lawteacher.net
THE TORT OF NEGLIGENCE
1. DUTY OF
CARE
A duty of care was originally established by
applying Lord Atkin’s “Neighbour” Test from:
Donoghue v Stevenson (1932).
The modern three-stage test was laid down by
the HL in: Caparo Industries v Dickman
(1990). The court must now consider:
(C) Whether in all the
circumstances it would be
fair, just and reasonable
that the law should impose a
duty.
It was held not to be fair, just
and reasonable to impose a
duty on the police in:
Hill v C.C. of W. Yorkshire
(1988).
However, a duty was imposed
on the fire brigade in:
Capital v Hampshire County
Council (1997).
(B) Whether there is a
relationship of proximity
between the parties, ie a
legal relationship or
physical closeness.
For example, there was
proximity in:
Home Office v Dorset
Yacht Club (1970).
But not in:
Caparo v Dickman (1990).
(A) Whether the
consequences of the
defendant’s act were
reasonably foreseeable.
For example, damage or harm
was held to be reasonably
foreseeable in:
Kent v Griffiths (2000); and
Jolley v Sutton LBC (2000).
But not in:
Bourhill v Young (1943); or
Topp v London Country Bus
Ltd (1993)
DEFINITION - 1
The breach of a legal duty to take
care, resulting in damage to the
claimant which was not desired by
the defendant: L.B. Curzon,
Dictionary of Law.
DEFINITION - 2
“Negligence is the omission to do something
which a reasonable man, guided upon those
considerations which ordinarily regulate the
conduct of human affairs, would do, or doing
something which a prudent and reasonable man
would not do.” Per Alderson B., Blyth v
Birmingham Waterworks Co. (1856)
Asif Tufal
2
www.lawteacher.net
2. BREACH OF
DUTY
(A) The degree of risk
involved.
Here the court will consider the
likelihood of harm occurring.
There was either no known risk
or a low risk in:
Roe v Minister of Health (1954)
Bolton v Stone (1951).
There was a known risk in:
Haley v London Electricity
Board (1964).
The Standard Expected
Negligence is falling below the standard of the ordinary
reasonable person. Specific rules apply if the defendant is
a child, a learner or a professional:
* For children, see: Mullin v Richards (1998);
* For experts: Bolam v Friern Barnet Hospital (1957);
* For learners: Nettleship v Weston (1971), and Wilsher v
Essex Health Authority (1986).
In all other cases, the court will consider the following
four factors in deciding if there has been a breach of duty:
PROOF OF BREACH
The claimant must produce evidence which infers a lack of
reasonable care on the part of the defendant. However, if no such
evidence can be found, the necessary inference may be raised by
using the maxim res ipsa loquitur, ie the thing speaks for itself. See:
Scott v London & St Katherine Dock Co (1865)
(D) The social importance of the
risky activity.
If the defendant’s actions served a
socially useful purpose then he may
have been justified in taking greater
risks. See, for example:
Watt v Hertfordshire County
Council (1954).
(B) The practicability of taking
precautions.
The courts expect people to take
only reasonable precautions in
guarding against harm to others.
See, for example:
Latimer v AEC Ltd (1952).
(C) The seriousness of harm.
Sometimes, the risk of harm
may be low but this will be
counter-balanced by the gravity
of harm to a particularly
vulnerable claimant. See, for
example:
Paris v Stepney Borough
Council (1951).
Asif Tufal
3
www.lawteacher.net
3. DAMAGE
CAUSED BY
D’s BREACH
(C) Remoteness of Damage
The opinion of the Privy
Council was that a person is
responsible only for
consequences that could
reasonably have been
anticipated:
The Wagon Mound (1961).
The defendant will be
responsible for the harm
caused to a claimant with a
weakness or predisposition to a
particular injury or illness.
See:
Smith v Leech Brain & Co
(1961).
If harm is foreseeable but
occurs in an unforeseeable way
there may still be liability.
See:
Hughes v Lord Advocate
(1963).
However, there are two cases
which go against this decision:
Doughty v Turner
Manufacturing (1964); and
Crossley v Rawlinson (1981).
(B) Multiple Causes
Where there are a number of
possible causes of injury, the
claimant must prove that the
defendant’s breach of duty
caused the harm or was a
material contribution. See:
Wilsher v Essex AHA
(1988).
(A) Causation in Fact
The claimant must prove
that harm would not have
occurred ‘but for’ the
negligence of the
defendant. This test is
best illustrated by:
Barnett v Chelsea &
Kensington Hospital
(1968).
1
www.lawteacher.net
THE TORT OF NEGLIGENCE
1. DUTY OF
CARE
A duty of care was originally established by
applying Lord Atkin’s “Neighbour” Test from:
Donoghue v Stevenson (1932).
The modern three-stage test was laid down by
the HL in: Caparo Industries v Dickman
(1990). The court must now consider:
(C) Whether in all the
circumstances it would be
fair, just and reasonable
that the law should impose a
duty.
It was held not to be fair, just
and reasonable to impose a
duty on the police in:
Hill v C.C. of W. Yorkshire
(1988).
However, a duty was imposed
on the fire brigade in:
Capital v Hampshire County
Council (1997).
(B) Whether there is a
relationship of proximity
between the parties, ie a
legal relationship or
physical closeness.
For example, there was
proximity in:
Home Office v Dorset
Yacht Club (1970).
But not in:
Caparo v Dickman (1990).
(A) Whether the
consequences of the
defendant’s act were
reasonably foreseeable.
For example, damage or harm
was held to be reasonably
foreseeable in:
Kent v Griffiths (2000); and
Jolley v Sutton LBC (2000).
But not in:
Bourhill v Young (1943); or
Topp v London Country Bus
Ltd (1993)
DEFINITION - 1
The breach of a legal duty to take
care, resulting in damage to the
claimant which was not desired by
the defendant: L.B. Curzon,
Dictionary of Law.
DEFINITION - 2
“Negligence is the omission to do something
which a reasonable man, guided upon those
considerations which ordinarily regulate the
conduct of human affairs, would do, or doing
something which a prudent and reasonable man
would not do.” Per Alderson B., Blyth v
Birmingham Waterworks Co. (1856)
Asif Tufal
2
www.lawteacher.net
2. BREACH OF
DUTY
(A) The degree of risk
involved.
Here the court will consider the
likelihood of harm occurring.
There was either no known risk
or a low risk in:
Roe v Minister of Health (1954)
Bolton v Stone (1951).
There was a known risk in:
Haley v London Electricity
Board (1964).
The Standard Expected
Negligence is falling below the standard of the ordinary
reasonable person. Specific rules apply if the defendant is
a child, a learner or a professional:
* For children, see: Mullin v Richards (1998);
* For experts: Bolam v Friern Barnet Hospital (1957);
* For learners: Nettleship v Weston (1971), and Wilsher v
Essex Health Authority (1986).
In all other cases, the court will consider the following
four factors in deciding if there has been a breach of duty:
PROOF OF BREACH
The claimant must produce evidence which infers a lack of
reasonable care on the part of the defendant. However, if no such
evidence can be found, the necessary inference may be raised by
using the maxim res ipsa loquitur, ie the thing speaks for itself. See:
Scott v London & St Katherine Dock Co (1865)
(D) The social importance of the
risky activity.
If the defendant’s actions served a
socially useful purpose then he may
have been justified in taking greater
risks. See, for example:
Watt v Hertfordshire County
Council (1954).
(B) The practicability of taking
precautions.
The courts expect people to take
only reasonable precautions in
guarding against harm to others.
See, for example:
Latimer v AEC Ltd (1952).
(C) The seriousness of harm.
Sometimes, the risk of harm
may be low but this will be
counter-balanced by the gravity
of harm to a particularly
vulnerable claimant. See, for
example:
Paris v Stepney Borough
Council (1951).
Asif Tufal
3
www.lawteacher.net
3. DAMAGE
CAUSED BY
D’s BREACH
(C) Remoteness of Damage
The opinion of the Privy
Council was that a person is
responsible only for
consequences that could
reasonably have been
anticipated:
The Wagon Mound (1961).
The defendant will be
responsible for the harm
caused to a claimant with a
weakness or predisposition to a
particular injury or illness.
See:
Smith v Leech Brain & Co
(1961).
If harm is foreseeable but
occurs in an unforeseeable way
there may still be liability.
See:
Hughes v Lord Advocate
(1963).
However, there are two cases
which go against this decision:
Doughty v Turner
Manufacturing (1964); and
Crossley v Rawlinson (1981).
(B) Multiple Causes
Where there are a number of
possible causes of injury, the
claimant must prove that the
defendant’s breach of duty
caused the harm or was a
material contribution. See:
Wilsher v Essex AHA
(1988).
(A) Causation in Fact
The claimant must prove
that harm would not have
occurred ‘but for’ the
negligence of the
defendant. This test is
best illustrated by:
Barnett v Chelsea &
Kensington Hospital
(1968).
tort law
Tort law is a branch of the law which covers civil wrongs, such as defamation and trespassing, among many other transgressions. Under tort law, if someone suffers a physical, legal, or economic harm, he or she may be entitled to bring suit. If the suit is deemed valid, damages may be awarded to the victim to compensate for his or her troubles. Most tort laws are found in regional, state, and national civil codes, which often spell out limits on damages and the statute of limitations for tort cases.
Many people divide tort law into three rough categories: negligent torts, intentional torts, and strict liability torts. Torts arising out negligence are civil wrongs caused by negligent behavior or a failure to practice due diligence. For example, if you are playing soccer in the street and you accidentally kick the ball through someone's living room window, this may be a negligence tort. Medical malpractice and other forms of professional negligence are also covered under the umbrella of negligence torts.
Intentional torts are torts which involve a deliberate attempt to harm. Defamation is often viewed as an intentional tort, as is battery, fraud, false imprisonment, and interference with the economic operations of a company. Strict liability torts cover product liability; if a potato peeler takes your finger off when you operate it as directed, the manufacturer could be liable, for example.
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Tort law also covers issues like nuisances, such as noise pollution and loose livestock. In some countries, industrial pollution and releases of toxins are covered under tort law as “toxic torts,” allowing organizations and individuals to bring suit against companies which pollute. Nuisance torts can sometimes be challenging to prove, as the definition of a “nuisance” often varies from person to person.
As can be seen from some of the examples above, a tort doesn't have to cause physical injury or distress. It might cause economic damage, by forcing someone to replace something, interfering with someone's business, or causing someone to miss work. Or it may cause damage to someone's reputation or quality of life. In order for a tort case to succeed in court, the lawyers must generally be able to prove that the accused party had committed the wrong in question, and that the client suffered as a result. Damages may be awarded by a jury or a judge, depending on the case.
Incidentally, don't confuse “tort,” a branch of the law, with “torte,” a rich cake which typically includes a high volume of nuts or chocolate and eggs, with little to no flour.
Many people divide tort law into three rough categories: negligent torts, intentional torts, and strict liability torts. Torts arising out negligence are civil wrongs caused by negligent behavior or a failure to practice due diligence. For example, if you are playing soccer in the street and you accidentally kick the ball through someone's living room window, this may be a negligence tort. Medical malpractice and other forms of professional negligence are also covered under the umbrella of negligence torts.
Intentional torts are torts which involve a deliberate attempt to harm. Defamation is often viewed as an intentional tort, as is battery, fraud, false imprisonment, and interference with the economic operations of a company. Strict liability torts cover product liability; if a potato peeler takes your finger off when you operate it as directed, the manufacturer could be liable, for example.
Ads by Google
Intellectual Property Law
Advance Your Career w/ a Masters in Tech & Intellectual Property Law!
EducationDegreeSource.com/OnlineLLM
Study Law Masters (LLM)
Get LLM in Int. Business Law in 12 Month, Expert Law Tuition, London
www.LSBF.org.uk/LLM
International Arbitration
Dr.iuris Jan Havlicek, professional arbitrator for internat.arbitration
www.janhavlicek.com
Legal English Institute
Legal English for Lawyers, Students American University Law in D.C.
www.wcl.american.edu/SLEI
US Export Rules in Europe
Avoid Conflict With US Laws 10-13 Oct 2011 Seminar in Amsterdam
LearnExportCompliance.com/Amsterdam
Tort law also covers issues like nuisances, such as noise pollution and loose livestock. In some countries, industrial pollution and releases of toxins are covered under tort law as “toxic torts,” allowing organizations and individuals to bring suit against companies which pollute. Nuisance torts can sometimes be challenging to prove, as the definition of a “nuisance” often varies from person to person.
As can be seen from some of the examples above, a tort doesn't have to cause physical injury or distress. It might cause economic damage, by forcing someone to replace something, interfering with someone's business, or causing someone to miss work. Or it may cause damage to someone's reputation or quality of life. In order for a tort case to succeed in court, the lawyers must generally be able to prove that the accused party had committed the wrong in question, and that the client suffered as a result. Damages may be awarded by a jury or a judge, depending on the case.
Incidentally, don't confuse “tort,” a branch of the law, with “torte,” a rich cake which typically includes a high volume of nuts or chocolate and eggs, with little to no flour.
Tuesday, June 7, 2011
writing screenplay
Introduction
If you are new to screenwriting, planning to write a screenplay or script of any kind, the good news is that writing in screenplay format is easier and more intuitive today than at any time since first Lanier Word Processing Machine. Advances in screenwriting software now save the hours you would previously have spent learning how to write a screenplay in professional Hollywood format can now be allocated to polishing your plot, honing your dialogue, or learning screenplay structure. Some think screenplay writing is eclipsing the pursuit of the Great American Novel but it certainly isn't any easier. At any rate the making of movies is a collaborative process which demands that those in screenwriting produce a document in particular format, notation, and length called a 'script.'
This overview will begin acquaint you with the screenplay format writing rules and screenwriting etiquette you'll need to know about, and as you browse the following material you may notice the words 'don't', 'avoid' and '...' unless you are directing the movie.' Take that advice to heart. As you become more familiar with the world of screenwriting you'll understand why but for now the scope of this document prohibits a deeper explanation.
Learning how to write a screenplay involves many facets but I hope this basic information will give you a head start on your endeavors, including practical information to help you get your scripts read. And hopefully turned into movies.
Table of Contents
1. What Exactly Is a Script? What Makes Good Story?
2. Script Styles, Submission Scripts, and Shooting Scripts
3. Spec Screenplay Page Properties and Script Length
4. Script Elements and Scene Heading
5. Action
6. Character Name
7. Dialogue
8. Parenthetical
9. Extension
10. Transition
11. Shots
12. Page Breaking, Finer Points, Dual Dialogue, and Adlibs
13. Abbreviations and Montages
14. A Series of Shots and Short Lines/Poetry/Lyrics
15. Intercuts
16. Titles or Opening Credits, and Superimpose or Title
17. Title Page
18. Production Drafts, Top Continued and Bottom Continued
19. Locking Your Script Pages and Locking Your Scenes
20. Header, Do's and Don'ts
21. Other Script Formats
22. Title Page of TV Movies
Chapter 1
What Exactly Is a Script?
A script is a document that outlines every aural, visual, behavioral, and lingual element required to tell a story. Why "outlines"? Because film is a highly collaborative medium and the director, cast, editor, and production crew will, based on your "outline", interpret your story their way when it is filmed. They may consult you, or they may not. Other writers may be brought in or you may be asked to re-write the entire thing. That's life, in the world of screenwriting. But because so many people are involved in the making of a film, a script must conform to standards that all involved parties understand and thus has a specific format or layout, margins, notation, and other conventions. This document is intended to overview the typical elements used screenplay writing.
It is crucial to remember that film is a VISUAL medium. You don't tell your audience your story, you SHOW them. You must learn to write a screenplay VISUALLY. Write what they will SEE and what they will HEAR. You might love your characters and know what they are thinking, but the discipline of screenplay writing is how to show it on a screen. When it happens, it may be just done with a look, often improvised on the movie set. So just write the pictures, sounds, and speeches, and leave the rest for the filmmakers.
What Makes Good Story?
Let's hazard a guess. The movies you loved most featured characters that swept you up, who captivated your emotions, got you involved. The audience viewing a movie not only wants to be interested in and care about the people they see on the screen, they want to be PASSIONATE about them, whether they like them or not. Great heroes and heroines inspire us; great villains make us want to jump into the screen!
There is always something at stake in a good movie. Not just something someone wants, something that must be acquired, no matter what the risk, as in Indiana Jones and the Raiders of the Lost Ark. Or something highly desired by as many main characters as possible, like the small black statue in The Maltese Falcon. Some times it can be an intangible thing, like the freedom of a people in Lawrence of Arabia or Gandhi. All these things drive the character's quest, even gives the hero superhuman strength. It can be something personal (romance) or for the good of all (saving the world from aliens) but it must be powerful and grow more desperate as the story unfolds.
There are always obstacles, which provide that catchword that actors love so much -- CONFLICT. This is the heart of drama. Someone wants something and people and things keep getting in the way of them achieving the goal. At times, the obstacles can be common to both the hero and villain, and the ultimate goal a laudable one for both parties, as in Jingle All The Way. In that film, Arnold Schwarzenegger and Sinbad battle to achieve the same goal--the acquisition of the last popular action figure for sale that Christmas season. Both of them have promised their son, and they must not fail. Conflict and obstacles can be physical or emotional. But they have to be in your story or you don't really have a story. In most good stories, the protagonist will also have an inner obstacle, some mental or even spiritual problem, that will be resolved by the time s/he reaches the outward, physical goal of the story. Some people call this inner demon a "ghost," while others call in a "wound."
You need a hook. That's a songwriting term that describes that thing that catches the public's attention. A popular Hollywood term is a "high concept." A better idea might be a simple "What if?" In Galaxy Quest, for example, the concept is "What if the washed-up actors from the crew of a cancelled but still popular sci-fi TV show are pressed into a real war in space by aliens who think the TV show broadcasts they received were documentaries?" A good enough "what if?" will set your script apart from the pack. It is why people will leave the comfort of their homes and plunk down their hard-earned bucks at the local cineplex.
Hollywood buys genres. Agents, managers, and producers are drawn to and specialize in specific genres so approaching them with something they can recognize is a good idea. Successful stories have a fresh face but are identifiable. You know what makes your idea unique, but can you describe it quickly to others? Is it a fast-paced thriller, romantic comedy, action adventure?
Scripts have to look a certain way. I can't stress this point enough. You must present your work like an insider. The sheer volume of submissions makes it so that if ANYTHING about your script looks strange it's headed for the circular file. If you don't know the game they won't play. The scriptwriter has to adhere to conventions covering everything from how many pages to what font (Courier 12 pitch in the U.S.), and that's just the beginning. I recommend you follow those rules, unless you're independently wealthy and plan to finance, produce, and direct your movie. Even then, however, the people you'll need to work with will be accustomed to standard formats.
Chapter 2
Script Styles
Below is a listing of the most common script formats in use today. This document will be dealing with Feature Film/Television Movie of the Week which are very similar but the others are distinctly different. Their attributes complement the needs of production distinct to the medium, the working style of the actors, and production personnel:
In this document:
• Screenplay / Feature Film
• Television Movie of the Week
Not addressed:
• Stage Plays and Musicals
• Sitcoms (3-camera, 1-camera, tape and film)
• Soap Operas/Daytime Television
• Audio/Visual Scripts/Dual Column
• Multimedia
Scriptwriters for any of the above formats will present their work in either of the two variants below depending on whether they are trying to sell their work or have sold it and are working in the production part of the process.
Submission Scripts
AKA a Spec Script. This is a script written without being commissioned or bought, on the speculative hope that it will be sold. This overview will favor the philosophies of spec script writing which is to say, 'stay out of the way of the collaborative process'! The do's and don'ts you'll see here will reflect this philosophy.
Shooting Scripts
Once a script is purchased, it often goes through a series of rewrites before it is put into production. Once that happens, the script becomes a 'Shooting Script' or Production Script. All the scenes and shots of a shooting script are numbered and each scene and shot are broken down into all the component pieces required to film it. The production assistants and director can then arrange the order in which the scenes will be shot for the most efficient use of stage, cast, and location resources.
Since feature screenplay format is the most popular form of script today, we will begin by exploring that layout. Later, we'll discuss the other formats, building on what we've discovered here.
A general comment about script formatting: Although a certain format has become more and more standardized in recent years, there isn't ONE way, ONE set of margins, ONE style. There is a RANGE OF CORRECTNESS. All the software program formats and measurements fall within this range.
Chapter 3
Spec Screenplay Page Properties
The Rules:
Screenplays are traditionally written on 8 1/2" x 11" white 3-hole punched paper. A page number appears in the upper right hand corner (in the header). No page number is printed on the first page. The type style used is the Courier 12 font. The top and bottom margins are between .5" and 1". The left margin is between 1.2" and 1.6". The right margin is between .5" and 1".
The extra inch of white space on the left of a script page allows for binding with brads, yet still imparts a feeling of vertical balance of the text on the page.
The Courier 12 font is used for timing purposes. One script page in Courier 12 roughly averages 1 minute of onscreen film time. Experienced readers can detect a long script by merely weighing the stack of paper in their hand.
Writing Tip:
Script writing software is pre-programmed with all these rules right out of the box.
Script Length
The average feature screenplay, traditionally, is between 95 and 125 pages long. In Hollywood these days scripts generally don't run longer than 114 pages. Comedy scripts are typically shorter, dramas longer. There are, naturally, variations. You could be writing an action-packed film where your description takes only 10 seconds to read, but will take 45 seconds of film time. Here's an example:
Cpl. Owens sheds his pack and picks up the machine gun. He runs from doorway to
doorway, dodging enemy fire while shooting back, until he reaches the church
bell tower.
Writing Tip:
If you had a script full of scenes like this, you could come up with a short script in total pages... but that doesn't mean when it is filmed it would be short. By the same token, another writer could write the same scene and have it take up half a page. It just depends on the writing style of the individual writer.
125 page scripts are considered on the long side for a screenplay. Length is a very important component of the script. When you turn in a script to a producer, the very first thing s/he will do is fan through the pages and look at the last page to see how long it is. It doesn't matter if you've written the most incredible screenplay ever, if it's too long they may refuse to read it.
The Industry's aversion to long scripts is due to economic considerations. Films under two hours mean more showings per day in a theater, which means more revenue for the exhibitor, distributor, filmmaker, and possibly even you, the screenwriter.
When you realize your script is long and have to start cutting your work, keep in mind that if a scene can be removed and the story continues to work, that scene wasn't necessary. EVERY SCENE should not only move the story along to its conclusion; it should be an integral part of the path to the climax.
Chapter 4
Script Elements
These are the unique margin, case, and position attributes that give feature film script text the format and consistency expected by all participants. Once you are accustomed to them you'll be able to tell your story the way an industry reader is accustomed to seeing it. The elements for a script are:
• Scene Heading
• Action
• Character Name
• Dialogue
• Parenthetical
• Extensions
• Transition
• Shot
Scene Heading
Writing Tip:
Scene Heading are aligned flush left (which we learned is about 1.5" from the edge of the paper) and are rarely long enough to reach the page margin.
The Scene Heading is written in ALL CAPS. Use a period after the INT. or EXT., a hyphen between the other elements of the Slugline.
The Scene Heading, sometimes called Slugline, tells the reader of the script where the scene takes place. Are we indoors (INT.) or outdoors (EXT.)? Next name the location: BEDROOM, LIVING ROOM, at the BASEBALL FIELD, inside a CAR? And lastly it might include the time of day - NIGHT, DAY, DUSK, DAWN... information to "set the scene" in the reader's mind.
The Slugline can also include production information like CONTINUOUS ACTION, or ESTABLISHING SHOT or STOCK SHOT. Here are examples of Scene Headings:
INT. BEDROOM - MORNING
EXT. LAS VEGAS STRIP - SUNSET
INT. OFFICE - NIGHT - CONTINUOUS ACTION
EXT. KEY WEST MARINA - DAWN - ESTABLISHING
EXT. PASADENA - ROSE PARADE - STOCK FOOTAGE
Software Tip:
Script writing software will automatically file each new Scene Heading you use. This alleviates the need to retype the same text again and again, and it also helps you keep your script consistent. There is nothing more distracting to the reader than to see one Scene Heading read:
EXT. - OUTER SPACE RAIN FOREST - NIGHT
and two pages later:
EXT. - OUTER SPACE JUNGLE - NIGHT
Keeping Scene Headings consistent allows your reader to recognize locations and places and not have to figure out if this is a new set (location). You don't want to take the reader's mind off your story, ever.
Here is a sample in Scene Heading sample in script form:
FADE IN:
EXT. KEY WEST MARINA - DAWN - ESTABLISHING
We have 'established' that we're in a marina at dawn.
Chapter 5
Action
The Rules:
Action runs from left to right margin, the full width of the text on the page, the same as the Scene Heading. Be sure to use the word wrap function of your script writing software, to make editing and rewrites easy. Text is single-spaced and in mixed case.
When you introduce a speaking character for the first time, you should put the name in all caps.
Software Tip:
Script writing software intuitively formats the spacing and text between different paragraph styles for you as you type. All you worry about is your story!
The ACTION or Description sets the scene, describes the setting, and allows you to introduce your characters and set the stage for your story. Action is written in REAL TIME.
Writing Tip:
Every moment in a screenplay takes place NOW. Use the active voice (a window slams shut) not the passive voice (a window is slammed shut).
Always write in PRESENT TIME, not the past. (There are rare exceptions to this; for example, John Milius' The Wind and the Lion had description in past tense like a novel, but then, he also directed the film.)
Keep your paragraphs short... don't let them go on and on over 4 or 5 lines. The reader may scan long action paragraphs without really reading them.
FADE IN:
EXT. KEY WEST MARINA - DAWN - ESTABLISHING
Sailboats, yachts, and cabin cruisers all bob up and down in the warm blue
water.
INT. MASTER SUITE - MORNING
Expensive designer sheets and comforter covers the nude, shapely body of drop
dead gorgeous JULIE COOPER, 25. Sunlight filters through portholes over the
muscled, tan body of FRANKIE CAMPISI, 38. He pulls the comforter down and begins
kissing Julie's naked body.
The reader begins to form an idea about the setting and the action taking place. We know we're on a boat, two characters have been introduced to us, we have some idea about their physical appearance. And we have a clue to their relationship.
Avoid a compulsion to write camera angles and shots. If you must emphasize some shot, write it on a single line. Angles and shots are the domain of the director an will likely be added in the Shooting Script.
Expensive designer sheets and comforter covers the nude, shapely body of drop
dead gorgeous JULIE COOPER, 25. Sunlight filters through portholes over the
muscled, tan body of FRANKIE CAMPISI, 38. He pulls the comforter down and grins
at Julie's naked body. Suddenly, Frankie recoils.
There's a devil tattoo on her shoulder that he's never seen before.
Chapter 6
Character Name
The Rules:
The CHARACTER NAME is formatted in uppercase letters and indented 3.5" from the left margin.
Before a character can speak, the writer inserts a CHARACTER NAME to let the reader know this character's dialogue follows.
A character name can be an actual name (JOHN) or description (FAT MAN) or an occupation (DOCTOR). Sometimes, you might have COP #1 and then COP #2 speaking. It is okay to identify the speaking parts like this, but actors will like you more if you personalize their part with a name. Try to be consistent.
Software Tip:
When you use script writing software the use of long, difficult to type character names is a breeze. The programs automatically learn and keep track of the CHARACTER NAMES you use, allowing for consistency and ease. No need fear those JACQUELINEs and DR. FRANKENSTEINs; two quick keystrokes are all you will need to make them appear on the screen.
Script writing software will also insert the correct spacing from the previous paragraph style, saving you thousands of keystrokes during the writing process.
FADE IN:
EXT. KEY WEST MARINA - DAWN - ESTABLISHING
Sailboats, yachts, and cabin cruisers all bob up and down in the warm blue
water.
INT. MASTER SUITE - MORNING
Expensive designer sheets and comforter covers the nude, shapely body of drop
dead gorgeous JULIE COOPER, 25. Sunlight filters through portholes over the
muscled, tan body of FRANKIE CAMPISI, 38. He pulls the comforter down and begins
kissing Julie's naked body.
FRANKIE
Chapter 7
Dialogue
The Rules:
DIALOGUE margin is indented 2.5" from the left margin. A line of dialogue can be from 30 spaces to 35 spaces long, so the right margin is a bit more flexible, usually 2.0" to 2.5".
DIALOGUE rules apply when anyone on screen speaks. During a conversation between characters. When a character talks out loud to himself... even be when a character is off-screen and only a voice is heard.
Writing Tip:
Great dialogue is a window into the soul of your character. It sounds real... It's conversational. The audience feels like a fly on the wall, hearing natural interplay between characters. Great dialogue may use common language but express great passion, and even become a catch phrase in popular culture, as the line from Clint Eastwood's Dirty Harry Callahan "Go ahead. Make my day."
It's not a bad idea to read your dialogue aloud to see how it really sounds. If you have a difficult time reading a line, it may not be good dialogue. You'll definitely be able to tell if you organize a reading of your script and hear it that way (best with professional actors, like they do in Hollywood and on Broadway).
Software Tip:
Script writing software now has the capacity to read your dialogue back to you via your computer's sound system. You assign a gender to your character name, even different inflections, and you can have a staged reading of your script right there in your living room.
FADE IN:
EXT. KEY WEST MARINA - DAWN - ESTABLISHING
Sailboats, yachts, and cabin cruisers all bob up and down in the warm blue
water.
INT. MASTER SUITE - MORNING
Expensive designer sheets and comforter covers the nude, shapely body of drop
dead gorgeous JULIE COOPER, 25. Sunlight filters through portholes over the
muscled, tan body of FRANKIE CAMPISI, 38. He pulls the comforter down and begins
kissing Julie's naked body.
FRANKIE
Rise and shine, Bluebird. Time
to spread your wings and fly.
Chapter 8
Parenthetical
Parentheticals are left indented at 3.0" and the right margin is 3.5" although that is a bit flexible. As seen in our examples, a Parenthetical remark is NOT centered under the character name.
A Parenthetical remark can be an attitude, verbal direction or action direction for the actor who is speaking the part. Parentheticals should be short, to the point, descriptive, and only used when absolutely necessary.
These days, Parentheticals are generally disfavored, because they give direction to an actor that may not be appropriate once on the set. The slang term for them is "wrylies" as in:
FRANKIE
(wryly)
Good mornin', Bluebird.
JULIE
(sleepily)
What? What time is it?
FRANKIE
(getting out of bed)
After six. You're gonna be late
again and I don't want to hear
it.
Parentheticals are also used in some scripts as the (continuing) notation. If a character is speaking followed by an action line and then the same character continues speaking, this notation can be used, but the New Spec Script frowns on all such superfluously inserted notations.
FRANKIE
(getting out of bed)
After six. You're gonna be late
again and I don't want to hear
it.
Frankie pulls all the covers off of Julie. She sits up in bed, pulls on a long
T-shirt, and shuffles to the bathroom.
FRANKIE
(continuing)
You're welcome.
Software Tip:
Script writing programs may give you the option of placing the (continuing) as a parenthetical remark or on the same line as the Character name, looking much like an Extension.
FRANKIE
(getting out of bed)
After six. You're gonna be late
again and I don't want to hear
it.
Frankie pulls all the covers off of Julie. She sits up in bed, pulls on a long
T-shirt, then swings her legs onto the floor and shuffles off to the bathroom.
FRANKIE (CONT'D)
You're welcome.
Software Tip:
The (CONT'D) is entered automatically by the script writing software if that option is chosen.
It indicates that the character continues speaking throughout the action.
Chapter 9
Extension
• O.S. - Off-Screen
• V.O. - Voice Over
An Extension is a technical note placed directly to the right of the Character name that denotes HOW the character's voice will be heard by the audience. An Off-Screen voice can be heard from a character out of the camera range, or from another room altogether.
Frankie pulls all the covers off of Julie. She sits up in bed, pulls on a long
T-shirt, then swings her legs onto the floor and shuffles off to the bathroom.
FRANKIE
(continuing)
You're welcome.
(beat)
Hey, how long you gonna be? I've
got a meeting and I need to
shower.
JULIE (O.S.)
Twenty minutes.
Some writers use O.C. (off camera) in place of O.S. The "beat" used above simply denotes that Frankie pauses (perhaps formulating his next thought) before uttering his next bit of dialogue.
Another common extension is V.O. That stands for Voice Over. Think of a V.O. as a narration, or a character speaking while s/he isn't in the scene. Or s/he can be in the scene, but also acting as narrator, reflecting on and describing some time gone by. This dialogue is recorded and then laid in over the scene in editing.
FRANKIE (V.O.)
I knew I wasn't gonna get in
that shower for at least 45
minutes, so I went for a run.
Our character Frankie is reminiscing about the morning on the boat in a Voice Over.
Chapter 10
Transition
We must begin with this remark: Nowadays, in Spec Scripts, transitions are frowned upon, a waste of a couple of lines you could better use for brilliant dialogue, and are only used when absolutely necessary.
The Rules:
When you DO use a Transition, the left margin is at 6.5" and a right margin of 1.0". Transitions are formatted in all caps and almost always follow an Action and precede Scene Headings.
Transitions you may be familiar with are:
• CUT TO:
• DISSOLVE TO:
• SMASH CUT:
• QUICK CUT:
• FADE TO:
• FADE OUT (never at the end of the script)
Writing Tip:
The only time to use a Transition in a spec script is if it's integral to telling the story. For instance, you might use a TIME CUT: to indicate passage of time. More commonly, a DISSOLVE TO: indicates that time has passed. Or, you might need to use MATCH CUT: if you want to illustrate that there is some correlation between something we just saw and something in the new scene. The point is, unless you become quite skilled in screenwriting don't use these things unless absolutely necessary, because the director of the film will probably think of something different.
Software Tip:
Most Transitions are already programmed into script writing programs, capitalized and lined up for those rare occasions when you can't resist to use one.
Frankie pulls on a pair of shorts, slips into some running shoes and exits.
CUT TO:
(Remember, the Cut To: will probably be left out in most spec scripts these days. What it indicates is a complete change of location.)
Chapter 11
Shots
The Rules:
Shots are formatted like Scene Headings, flush left margin, all uppercase. Blank line before and after.
A SHOT tells the reader the focal point within a scene has changed. Here are some examples of shots:
• ANGLE ON --
• EXTREME CLOSE UP --
• PAN TO --
• FRANKIE'S POV --
• REVERSE ANGLE --
Writing Tip:
As the writer, for reasons already mentioned you should be very judicious using a SHOT to redirect the reader's focus. Your "directing" runs the risk of interrupting the flow of your storytelling. If what you really want to do is direct films, do yourself a favor and DON'T do it in a script you're trying to sell... wait until it sells and try to negotiate a package deal with you on board as the director. This most often is a possibility after you've already had one of your screenplays filmed.
Once in a while, calling a shot is necessary. You want the reader to see something not obvious in the scene or you want to achieve a particular emotion or build to a climax. This device allows you to achieve this goal.
If you are describing a prison riot, with a prisoner holding a guard at knifepoint, and you want the audience to see a sharpshooter aiming at the prisoner, you might use a shot like this:
A PRISONER shoves a homemade shiv against the throat of a PRISON GUARD.
PRISONER
(trembling)
I'll kill him! I mean it.
PRISON GUARD
Take him out! Now! Do it!
ANGLE ON - A PRISON GUARD SHARP-SHOOTER
as he lines up the shot, finger poised on the trigger.
PRISONER
I want to talk to the Warden. NOW!
Another shot used from time to time is INSERT. INSERT is used solely as a direction - to focus on something integral to the scene, often something that the audience needs to read or what would otherwise be too small to be clearly seen in a full, wide scene.
INSERT - RANSOM NOTE
Writing Tip:
A well-constructed action paragraph or a single line might achieve the same goal without distracting the reader. Be vigilant of the flow of the story, and try not to interrupt it.
Chapter 12
Page Breaking
Software Tip:
If you still need convincing that script writing software is a useful tool for a screenwriter, page breaking will clinch it for you: If you've followed the program's simple directions while writing your script, then all of the following rules will automatically, dare we say magically?, self-execute right in front of your eyes, while you are writing. The software will
• Never end a page with a Scene Heading. The ONLY time this is acceptable is if another Scene Heading or Shot follows. (An example would be an Establishing shot and then an interior scene heading.)
• Never start a page with a Transition.
• Automatically place Continued: notations when it breaks an Action paragraph or a Dialogue.
• Never end a page with a Character Name line. At least two lines of Dialogue if there are that many (including a Parenthetical, if used) must follow.
• Never end a page at a Parenthetical. Dialogue MUST follow.
• If you have Dialogue, a Parenthetical and then Dialogue again, break the page BEFORE the Parenthetical.
Finer Points
Now you are familiar with the basic elements and directions for writing a spec script. With these elements, or simply using a script formatting software, you will write a standardly acceptable script. It will look professional, and the reader will not automatically assume you are an amateur storyteller because you don't know basic screenwriting rules. Now there are a few finer points we should discuss.
Dual Dialogue or Side-By-Side Dialogue
When two of your characters speak simultaneously, that's called dual dialogue or side by side dialogue. In the script we've been following, our characters might have this conversation:
Frankie and Julie are in a heated argument.
FRANKIE JULIE
Get out of my life! I can't Don't you yell at me! I'll leave
stand the sight of you any when I'm when I'm good and
more!! ready! Tough!!
Software Tip:
All of the script writing programs let you write this style of dialogue with ease, but you should probably avoid this device unless absolutely necessary.
Writing Tip:
Amateur screenwriters often do it in emulation of some old favorite scene, or to try to interject "conflict." However, you are more likely to distract the reader and disrupts the flow of the story. Don't give them a reason to put your script down by interjecting unclear scenes and dialogue.
Adlibs
Sometimes in a script it's acceptable or even necessary to have a crowd scene with ad lib dialogue. There are two basic ways of writing this.
The first way to do it is in an action line.
The CROWD in the bleachers taunts the pitcher: "You stink!" "Rubber arm!"
"Ball!" "You throw like my sister!"
The second choice is to do it is as a character and dialogue.
CROWD
You stink! Rubber arm! Ball! You
throw like my sister!!
Chapter 13
Abbreviations
The film industry uses several abbreviations as shortcuts in scripts. It's up to you whether you use these abbreviations or not. Some readers find them distracting, while others prefer the shorthand. We've already discussed several -- O.S., O.C., V.O. -- which are specific to scripts. Here are some others.
b.g. = background
b.g. is used in an action paragraph.
Frankie sits on the bed tying his shoes. In the b.g., Julie takes money out of
his wallet. She also pockets his car keys.
CGI = computer generated image
CGI denotes action that cannot be filmed normally and will require the use of computers to generate the full imagery, as used in films like The Matrix.
CGI: His mouth begins to melt, then disappears entirely.
f.g. = foreground
f.g. is used in action the same as b.g., except the action takes place in the foreground.
SFX = sound effects
SFX tells the sound people an effect is needed.
SFX: The BLAST of a train whistle
SPFX = special effects
SPFX announces that a special effect is necessary (one that might not require the use of CGI).
SPFX: A beam of light illuminates Frankie's face. His features slowly melt like
a wax figure.
M.O.S. = without sound
The story goes that a German-born director (perhaps Josef von Sternberg, who discovered Marlene Dietrich) wanted to shoot a scene without sound and told the crew to shoot "mit out sound," a phrase which the crew found humorous and thus proliferated it. It is most commonly used to show impending impact of some kind.
M.O.S. Horses stampeding down Main Street.
POV = point of view
The camera 'sees' the action from a specific character's position
JULIE'S POV - Frankie sits on the bed tying his shoes.
Montages
A MONTAGE is a cinematic device used to show a series of scenes, all related and building to some conclusion. Although a French word, it was created by Russian director Sergei Eisenstein as a "montage of attractions" to elicit emotions on several levels. Most often it is used as a passage of time device. Think of a baby being born, then rolling over, then taking its first steps, and finally running through the sprinklers. For example:
MONTAGE
1) Josh is born. The doctors clean him and hand him over to his smiling mother.
2) Josh rolls over in his playpen. His mother applauds.
3) Holding on to the coffee table, Josh takes his first steps. His mother
joyously hugs him.
4) Clad in droopy diapers, Josh runs gleefully through the sprinklers. His
mother sighs, and reaches for the diaper bag.
You can also number the scenes A), B), C) if you prefer. Either numbering format is correct. (Note that the mother's emotions change through the montage from joy to weariness, once Josh is completely ambulant there should be some element of the story that a montage will illustrate.)
The MONTAGE is formatted as a single shot, with the subsequent scenes action elements of the complete sequence. It isn't necessary, but some writers write END OF MONTAGE when the montage is completed.
Chapter 14
A Series of Shots
A SERIES OF SHOTS is similar to a Montage, but it usually takes place in one location and concerns the same action. Think of the movie Earthquake...
SERIES OF SHOTS
A) Store windows start to rattle and shake.
B) Hanging signs swing back and forth.
C) Bricks and shards of glass begin to fall onto the sidewalks.
D) People run for cover.
A SERIES OF SHOTS is formatted as a SHOT. Just like a Montage, the shot series are action paragraphs and may also be numbered 1) 2) 3).
A MATTER OF STYLE
Some writers will incorporate a series of shots into a script without noting it as such. This generally contributes to a smoother flow of the action. The action lines might be short, descriptive sentences on separate lines.
The Piazza de Palma is packed with Saturday shoppers.
A LOUD SHOT rings out.
Pigeons take flight, WINGS FLUTTERING EN MASSE.
Heads turn in the direction of ANOTHER GUNSHOT.
A frightened child drops his ice cream cone and CRIES.
A woman SCREAMS.
Another style for writing the sequence above is:
THE PIAZZA DE PALMA
is teaming with Saturday shoppers.
A LOUD SHOT
rings out. Pigeons take flight. Heads turn in the direction of ANOTHER GUNSHOT.
A FRIGHTENED CHILD
drops his ice cream cone and CRIES. A SCREAM is heard.
Writing Tip:
This particular style of writing takes more space on the page, but it also is a faster read. Why? Look at all the white space in the second example... the reader's eyes can read that passage very quickly.
Another style of writing has to do with EMPHASIS in the action element. Too often, readers will skim a script, particularly if the action paragraphs are overly long. Here's an option of how to get the necessary points across. Italics, bold or underlining are not used for emphasis.
Terry DROPS to the floor as a BEAM OF LIGHT sweeps across the room. He hears the
FLOOR SQUEAK in the outer office. Terry HOLDS HIS BREATH as a big, bulky
SECURITY GUARD enters.
Short Lines/Poetry/Lyrics
Once in a while, it's necessary to write dialogue with a series of SHORT LINES. One example might be if your character is reciting poetry, or singing a song.
JULIE
Roses are red,
Violets are blue,
I'm writing a script,
How 'bout you?
Song lyrics are typically written in all caps.
JULIE
(singing)
ROW, ROW, ROW YOUR BOAT
GENTLY DOWN THE STREAM
MERRILY, MERRILY, MERRILY, MERRILY
LIFE IS BUT A DREAM.
Chapter 15
Intercuts
Occasionally in a script, you might want to cut back and forth between two or more scenes. These scenes are occurring at the same time. Instead of repeating the Scene Heading for each scene over and over, an INTERCUT is used. This gives the reader the sense that the scene is moving rapidly back and forth between locations. There is a great sequence of intercuts in The Deer Hunter of shots of hunters out in the woods with a wedding going on simultaneously, at a different location. Here's another example:
INT. SHERRI'S APARTMENT - NIGHT
Sherri starts disrobing in front of her open bedroom window.
INT. LENNY'S APARTMENT - NIGHT
Lenny gets up to cross to the fridge to get a beer. He looks out his window and
catches a glimpse of Sherri across the courtyard. He freezes, watching her.
INTERCUT BETWEEN LENNY AND SHERRI
Sherri sits on the bed and unbuttons her double-breasted suit jacket.
Lenny moves closer to the window for a better vantage point.
Sherri stands, hopping a few feet, trying to step out of her skirt.
Lenny, eyes glued to Sherri, moves to keep her in view. He slams his bare foot
into a dumbbell on the floor.
LENNY
Ow!
Sherri hears the yelp and looks in Lenny's direction.
Lenny sees Sherri and DROPS from her view.
Another type of INTERCUT is used when two characters are on the phone and you don't want one half of the conversation to be O.S. - you want to show them both.
INT. LIVING ROOM - NIGHT
Sherri, comfy on the couch, is reading a book when the phone rings. She answers
it.
SHERRI
Hello?
EXT. PHONE BOOTH - REST AREA
Lenny sips a Coke as he talks.
LENNY
Hey Honey, I'm in Barstow.
INTERCUT BETWEEN LENNY and SHERRI
SHERRI
Oh, Honey, that's great...
you'll be here by morning.
LENNY
Yep... I've got the pedal to the
metal.
In older films it was common to use a split-screen to show such a conversation. It's not common these days, and unless you have a very good reason for writing it in, it is best to INTERCUT.
Chapter 16
Titles or Opening Credits
In some scripts you read, you'll see this notation:
BEGIN TITLES or BEGIN OPENING TITLES followed by END TITLES or OVER OPENING CREDITS followed by END OPENING CREDITS. An example:
FADE IN:
EXT. KEY WEST MARINA - DAWN - ESTABLISHING
Sailboats, yachts, and cabin cruisers all bob up and down in the warm blue
water.
EXT. BEACH - DAY
BEGIN TITLES
as hundreds of young, perfect bodies of college age kids frolic during spring
break.
Writing Tip:
Don't bother putting in Beginning and Ending titles. It is not usually done in a spec script, and you can't predict where the producer and director will want to insert the titles, the sequence of footage shot with the opening credits rolling over it. Don't give yourself the extra work.
Superimpose or Title
When the notation SUPERIMPOSE or TITLE OVER is used, text or an image is placed on top of the film footage. Most of the time, it contains information the director thinks the audience needs to know... like the place or time of the next scene.
EXT. BEACH - DAY
Hundreds of young, perfect bodies of college age kids frolic on the sand and in
the warm water.
SUPERIMPOSE: Daytona Beach, Spring Break, 1966
Only the text, "Daytona Beach, Spring Break, 1966" would appear toward the bottom of the screen.
Any text, like subtitles or translations of foreign signs, etc., fall into this category.
Do not use SUPERIMPOSE: unless there is a definite need for it. It has been so overused, it is some times spoofed, the way director Ron Howard did in Splash.
Chapter 17
Title Page
The TITLE PAGE has specific information on it. Type it in the same font as your script, Courier 12. It should not be on special paper, no graphics - it should just contain only the following information:
Centered on the page, vertically and horizontally - The title of your script in bold type if possible
Two lines below that, centered on the line - Written by
Two lines below that, centered on the line - Your Name (and co-writer, if any)
In the lower right hand corner your contact information (include agent or email address)
In the lower left-hand corner you can put Registered, WGA or a copyright notification.
The Good, The Bad, The Thin
Written by
Fatty Turner
Copyright © 2001 by Fatty Turner Fatty Turner
Registered, WGAw 1234 Lake St.
Anytown, CA 12345
(310) 555-1212
Writing Tip:
Authorities differ on whether or not you should note on your title page that you have registered your screenplay with the Writers Guild of America, west. Some people think it is the mark of an amateur, yet some producers insist upon it. Naturally, if you live east of the Mississippi River in the United States, you might have registered your script with the Writers Guild of America, east, and would thus note Registered, WGAe. One thing is certain, however. A U.S. copyright has much more legal standing that either registration. Note the copyright on the page. For more information about your legal protection in any creative work, see the U.S. Copyright Office Web page at http://www.copyright.gov/.
Chapter 18
Production Drafts
You've sold your script, and lo and behold, you're still the writer of the next phase! Time for Production drafts and revisions (a.k.a. Production Rewrite). All script formatting software available at The Writers Store are terrific at generating locked scripts (meaning the pages are finalized), A & B pages, numbered scenes and other specifics of the production draft.
One of the ways production drafts differ from spec scripts is NUMBERED SCENES. Your script-formatting program can do this automatically. It numbers the SCENE HEADINGS with numbers to the left and right of the scene heading. The purpose of scene numbers is to aid the work of the Assistant Director and Producer in their efforts of breaking down the scenes for scheduling, and budgeting the script for production.
REVISED April 30, 2001 BLUE 1.
FADE IN:
1 EXT. KEY WEST MARINA - DAWN - ESTABLISHING 1
Sailboats, yachts, and cabin cruisers all bob up and down in the warm blue
water.
2 EXT. BEACH - DAY 2
as hundreds of young, perfect bodies of college age kids enjoy spring break.
Top Continued and Bottom Continued
Software Tip:
Script formatting software can easily insert Top CONTINUED and Bottom CONTINUED into your script, IF YOU WANT THAT DONE. It depends on who you are submitting to and at what stage the project is in.
Writing Tip:
Top and Bottom CONTINUEDs were common practice in the past, a stodgy convention indicating that a scene continued beyond the page the reader just finished reading. Typically in spec scripts this is no longer done, and your benefit of that change are the extra four lines of text you have just gained to write a better script.
Chapter 19
Locking Your Script Pages
Once the script is "published" and handed out to the department heads and talent in preparation for production, the pages must be LOCKED so that any changes made after this time are easily tracked.
If any changes are made to the script after circulation, only the REVISED PAGES will be printed and distributed. The REVISED PAGES must be easily incorporated into the script without displacing or rearranging the original pages.
All of our script writing software is designed to break revised pages according to the rules listed above, and they are capable of "locking the pages" before revisions are made. Once you lock a script, if you add more material to a page than will fit on that page, the program will generate what's called an "A" page and the subsequent writing will be a "B" page, i.e. Page 110A or Page 110B.
Locking Your Scenes
In a published script, scene numbers must also remain the same. In other words, if a scene in OMITTED, though the number is retired, it remains in the script with the word OMITTED next to it. Any new scene must have a letter next to the number to indicate that it was added after the original scenes were locked.
If you add a scene to the script, the program will automatically generate an "A" scene number. Revisions will be automatically generated by script formatting software programs and marked with an asterisk in the right margin.
1 OMITTED 1*
2 INT. MASTER SUITE - MORNING 2
Expensive designer sheets and comforter covers the nude, shapely body of drop
dead gorgeous JULIE COOPER, 25. Sunlight filters through portholes over the
muscled, tan body of FRANKIE JONES, 38. He pulls the comforter down and begins
kissing Julie's naked body.
FRANKIE
Hey, Baby, rise and shine.
You've got to get up and outta
here.
JULIE
(sleepily)
What? What time is it?
2A INT. BATHROOM - DAY 2A*
The added INT. BATHROOM scene would show us what Julie is doing, while in the previously mentioned scene we only heard her O.S. as the camera remained on Frankie and the original room.
Chapter 20
Header
Another element of the production draft is the HEADER. A header occupies the same line as the page number, which is on the right and .5" from the top. Header information is printed on every script page. Information contained in the header includes the date of the revision and the color of the page. The header of the production draft of a script might look like this:
REVISED April 30, 2001 BLUE 1.
REVISED April 30, 2001 BLUE will print at the top of every single revised page, unless you tell your scriptwriting program to omit this information on the first page. On the first page of a production draft, however, you should include your header, if you have one. The page number will, of course, change.
Writing Tip:
Don't worry about what color of paper to use for subsequent changes to the same scene. If your still writing the revisions once the script is in production, they'll tell you what to use. This is determined by the production staff.
Do's and Don'ts
Do's
• Do proofread your script. Spelling is very important. Don't trust your spell checking program, it may miss grammatical errors and won't have some terms in its built-in dictionary.
• Do get someone else to proofread your script. A fresh pair of eyes will often catch something you continue to miss.
• Do get the best photocopy you can. No one wants to read a dirty page.
• Do use good quality brass brads to bind your script. Acco #5 brads are the best, because they are long enough to fit through the entire thickness of your script. Solid brass brads (as opposed to brass-plated brads) are preferable.
• Do register your script with the Writers Guild of America but don't forget to copyright it as well. A WGA registration expires quickly, while a copyright is good for decades.
• Do send a one-page (or less) cover letter with your script when you send it out. Make the letter short, concise and to the point. There are books and articles on the subject, but basically they simply want to know what the script is about and where to reach you.
• Do follow the rules unless you KNOW a darn good reason not to.
Don'ts
• Don't create a fancy Title page with giant fonts, colored letters, etc. A Title page has title and screenwriter's name(s) in the middle, and your contact information (address, phone number) at the lower right hand.
• Don't put a quotation on the title page. Most likely, no one but you will care.
• Don't put a date on your script, or the draft version.
• Don't put blank pages in the script to set things apart.
• Don't put a second page with the quotation that tells the theme of your screenplay.
• Don't do a page of character descriptions and back story. That's a convention from the theater that is inapplicable in Hollywood. If your script doesn't tell that story, you're in trouble.
• Don't include any illustrations, no matter how cute you think they are.
• Don't put the script title on the first page of the script.
• Don't use more than two brads, but use three-hole paper. Brads are used in top and bottom holes only.
• Don't use colored paper or anything but 20 pound 3 hole punch paper.
• Don't expect to have your script returned to you. Send it out, let it go. If a self-addressed, stamped envelope (SASE) is specified, include one. Then relax; a lot of people will have sent scripts to the same company.
Chapter 21
Other Script Formats
So far we've mostly discussed submission or spec screenplays. The same elements used in a screenplay are used in several other script formats. Only measurements and format vary here and there.
• MOW - Movies of the Week
• DTV - Direct TV Movie
• Hour Episodic TV Show
These formats are almost identical as the format of the spec screenplay. However, these scripts are broken into ACTS that are delineated within the body of the script. An act covers that part of the story that takes place between the commercials. Hence, an ACT BREAK is a commercial break.
When a MOW Act begins, note it this way:
ACT ONE
When an Act ends, note it this way:
END OF ACT ONE
MOW or DTV scripts usually have 7 acts. When a MOW ends, note it this way:
THE END
A MOW will also have a (roughly) three- to eight-minute "teaser" that begins the story, noted this way:
TEASER
A Teaser is not usually noted with END OF TEASER. Rather, the scene simply ends and a new page begins where Act One starts. A one-hour episodic script will also have a Teaser, albeit a shorter one than a MOW.
A MOW will also have a similar (but shorter) "Tag" scene at the end that caps off the story and keeps your audience riveted by the television until after the next set of commercials. This is usually not delineated as such.
A one-hour episodic program usually has 4 acts.
Page numbering is continuous for both forms.
Chapter 21
Other Script Formats
So far we've mostly discussed submission or spec screenplays. The same elements used in a screenplay are used in several other script formats. Only measurements and format vary here and there.
• MOW - Movies of the Week
• DTV - Direct TV Movie
• Hour Episodic TV Show
These formats are almost identical as the format of the spec screenplay. However, these scripts are broken into ACTS that are delineated within the body of the script. An act covers that part of the story that takes place between the commercials. Hence, an ACT BREAK is a commercial break.
When a MOW Act begins, note it this way:
ACT ONE
When an Act ends, note it this way:
END OF ACT ONE
MOW or DTV scripts usually have 7 acts. When a MOW ends, note it this way:
THE END
A MOW will also have a (roughly) three- to eight-minute "teaser" that begins the story, noted this way:
TEASER
A Teaser is not usually noted with END OF TEASER. Rather, the scene simply ends and a new page begins where Act One starts. A one-hour episodic script will also have a Teaser, albeit a shorter one than a MOW.
A MOW will also have a similar (but shorter) "Tag" scene at the end that caps off the story and keeps your audience riveted by the television until after the next set of commercials. This is usually not delineated as such.
A one-hour episodic program usually has 4 acts.
Page numbering is continuous for both forms.
Chapter 22
Title Page of TV Movies
In the TV movie formats it is customary to place the title of the script, the show and its episode on the first page at the top.
Lettering can be either uppercase or mixed case.
Place the title(s) in quotation marks.
Center the text on the line.
Fade In: follows the act title.
The following is an example of a MOW title page:
"A Day In The Life"
ACT ONE
FADE IN:
INT. BABY NURSERY - MORNING
Also, the end of each act is signaled with the FADE OUT: notation as well as the end of act notation.
FADE OUT.
END OF ACT ONE
=======FORCED PAGE BREAK==================
16
ACT TWO
FADE IN:
Software Tip:
When using script writing software you should always place a forced page break between acts. In other words, each act starts at the top of a new page.
Writing Tip:
Do not number the scenes. That's the job of the production office.
The Rules:
A MOW may also have a CAST LIST and on a separate page a SET LIST, much like in theatre scripts, but these forms change with the years. It's best to simply acquire a sample of a recently-aired MOW to learn the current convention.
The End
Well, that's as much as I've collected so far but I'll be adding more as I go. I hope this has been helpful and has assited you in finding the way to get to the next step in your screenwriting adventures.
If you are new to screenwriting, planning to write a screenplay or script of any kind, the good news is that writing in screenplay format is easier and more intuitive today than at any time since first Lanier Word Processing Machine. Advances in screenwriting software now save the hours you would previously have spent learning how to write a screenplay in professional Hollywood format can now be allocated to polishing your plot, honing your dialogue, or learning screenplay structure. Some think screenplay writing is eclipsing the pursuit of the Great American Novel but it certainly isn't any easier. At any rate the making of movies is a collaborative process which demands that those in screenwriting produce a document in particular format, notation, and length called a 'script.'
This overview will begin acquaint you with the screenplay format writing rules and screenwriting etiquette you'll need to know about, and as you browse the following material you may notice the words 'don't', 'avoid' and '...' unless you are directing the movie.' Take that advice to heart. As you become more familiar with the world of screenwriting you'll understand why but for now the scope of this document prohibits a deeper explanation.
Learning how to write a screenplay involves many facets but I hope this basic information will give you a head start on your endeavors, including practical information to help you get your scripts read. And hopefully turned into movies.
Table of Contents
1. What Exactly Is a Script? What Makes Good Story?
2. Script Styles, Submission Scripts, and Shooting Scripts
3. Spec Screenplay Page Properties and Script Length
4. Script Elements and Scene Heading
5. Action
6. Character Name
7. Dialogue
8. Parenthetical
9. Extension
10. Transition
11. Shots
12. Page Breaking, Finer Points, Dual Dialogue, and Adlibs
13. Abbreviations and Montages
14. A Series of Shots and Short Lines/Poetry/Lyrics
15. Intercuts
16. Titles or Opening Credits, and Superimpose or Title
17. Title Page
18. Production Drafts, Top Continued and Bottom Continued
19. Locking Your Script Pages and Locking Your Scenes
20. Header, Do's and Don'ts
21. Other Script Formats
22. Title Page of TV Movies
Chapter 1
What Exactly Is a Script?
A script is a document that outlines every aural, visual, behavioral, and lingual element required to tell a story. Why "outlines"? Because film is a highly collaborative medium and the director, cast, editor, and production crew will, based on your "outline", interpret your story their way when it is filmed. They may consult you, or they may not. Other writers may be brought in or you may be asked to re-write the entire thing. That's life, in the world of screenwriting. But because so many people are involved in the making of a film, a script must conform to standards that all involved parties understand and thus has a specific format or layout, margins, notation, and other conventions. This document is intended to overview the typical elements used screenplay writing.
It is crucial to remember that film is a VISUAL medium. You don't tell your audience your story, you SHOW them. You must learn to write a screenplay VISUALLY. Write what they will SEE and what they will HEAR. You might love your characters and know what they are thinking, but the discipline of screenplay writing is how to show it on a screen. When it happens, it may be just done with a look, often improvised on the movie set. So just write the pictures, sounds, and speeches, and leave the rest for the filmmakers.
What Makes Good Story?
Let's hazard a guess. The movies you loved most featured characters that swept you up, who captivated your emotions, got you involved. The audience viewing a movie not only wants to be interested in and care about the people they see on the screen, they want to be PASSIONATE about them, whether they like them or not. Great heroes and heroines inspire us; great villains make us want to jump into the screen!
There is always something at stake in a good movie. Not just something someone wants, something that must be acquired, no matter what the risk, as in Indiana Jones and the Raiders of the Lost Ark. Or something highly desired by as many main characters as possible, like the small black statue in The Maltese Falcon. Some times it can be an intangible thing, like the freedom of a people in Lawrence of Arabia or Gandhi. All these things drive the character's quest, even gives the hero superhuman strength. It can be something personal (romance) or for the good of all (saving the world from aliens) but it must be powerful and grow more desperate as the story unfolds.
There are always obstacles, which provide that catchword that actors love so much -- CONFLICT. This is the heart of drama. Someone wants something and people and things keep getting in the way of them achieving the goal. At times, the obstacles can be common to both the hero and villain, and the ultimate goal a laudable one for both parties, as in Jingle All The Way. In that film, Arnold Schwarzenegger and Sinbad battle to achieve the same goal--the acquisition of the last popular action figure for sale that Christmas season. Both of them have promised their son, and they must not fail. Conflict and obstacles can be physical or emotional. But they have to be in your story or you don't really have a story. In most good stories, the protagonist will also have an inner obstacle, some mental or even spiritual problem, that will be resolved by the time s/he reaches the outward, physical goal of the story. Some people call this inner demon a "ghost," while others call in a "wound."
You need a hook. That's a songwriting term that describes that thing that catches the public's attention. A popular Hollywood term is a "high concept." A better idea might be a simple "What if?" In Galaxy Quest, for example, the concept is "What if the washed-up actors from the crew of a cancelled but still popular sci-fi TV show are pressed into a real war in space by aliens who think the TV show broadcasts they received were documentaries?" A good enough "what if?" will set your script apart from the pack. It is why people will leave the comfort of their homes and plunk down their hard-earned bucks at the local cineplex.
Hollywood buys genres. Agents, managers, and producers are drawn to and specialize in specific genres so approaching them with something they can recognize is a good idea. Successful stories have a fresh face but are identifiable. You know what makes your idea unique, but can you describe it quickly to others? Is it a fast-paced thriller, romantic comedy, action adventure?
Scripts have to look a certain way. I can't stress this point enough. You must present your work like an insider. The sheer volume of submissions makes it so that if ANYTHING about your script looks strange it's headed for the circular file. If you don't know the game they won't play. The scriptwriter has to adhere to conventions covering everything from how many pages to what font (Courier 12 pitch in the U.S.), and that's just the beginning. I recommend you follow those rules, unless you're independently wealthy and plan to finance, produce, and direct your movie. Even then, however, the people you'll need to work with will be accustomed to standard formats.
Chapter 2
Script Styles
Below is a listing of the most common script formats in use today. This document will be dealing with Feature Film/Television Movie of the Week which are very similar but the others are distinctly different. Their attributes complement the needs of production distinct to the medium, the working style of the actors, and production personnel:
In this document:
• Screenplay / Feature Film
• Television Movie of the Week
Not addressed:
• Stage Plays and Musicals
• Sitcoms (3-camera, 1-camera, tape and film)
• Soap Operas/Daytime Television
• Audio/Visual Scripts/Dual Column
• Multimedia
Scriptwriters for any of the above formats will present their work in either of the two variants below depending on whether they are trying to sell their work or have sold it and are working in the production part of the process.
Submission Scripts
AKA a Spec Script. This is a script written without being commissioned or bought, on the speculative hope that it will be sold. This overview will favor the philosophies of spec script writing which is to say, 'stay out of the way of the collaborative process'! The do's and don'ts you'll see here will reflect this philosophy.
Shooting Scripts
Once a script is purchased, it often goes through a series of rewrites before it is put into production. Once that happens, the script becomes a 'Shooting Script' or Production Script. All the scenes and shots of a shooting script are numbered and each scene and shot are broken down into all the component pieces required to film it. The production assistants and director can then arrange the order in which the scenes will be shot for the most efficient use of stage, cast, and location resources.
Since feature screenplay format is the most popular form of script today, we will begin by exploring that layout. Later, we'll discuss the other formats, building on what we've discovered here.
A general comment about script formatting: Although a certain format has become more and more standardized in recent years, there isn't ONE way, ONE set of margins, ONE style. There is a RANGE OF CORRECTNESS. All the software program formats and measurements fall within this range.
Chapter 3
Spec Screenplay Page Properties
The Rules:
Screenplays are traditionally written on 8 1/2" x 11" white 3-hole punched paper. A page number appears in the upper right hand corner (in the header). No page number is printed on the first page. The type style used is the Courier 12 font. The top and bottom margins are between .5" and 1". The left margin is between 1.2" and 1.6". The right margin is between .5" and 1".
The extra inch of white space on the left of a script page allows for binding with brads, yet still imparts a feeling of vertical balance of the text on the page.
The Courier 12 font is used for timing purposes. One script page in Courier 12 roughly averages 1 minute of onscreen film time. Experienced readers can detect a long script by merely weighing the stack of paper in their hand.
Writing Tip:
Script writing software is pre-programmed with all these rules right out of the box.
Script Length
The average feature screenplay, traditionally, is between 95 and 125 pages long. In Hollywood these days scripts generally don't run longer than 114 pages. Comedy scripts are typically shorter, dramas longer. There are, naturally, variations. You could be writing an action-packed film where your description takes only 10 seconds to read, but will take 45 seconds of film time. Here's an example:
Cpl. Owens sheds his pack and picks up the machine gun. He runs from doorway to
doorway, dodging enemy fire while shooting back, until he reaches the church
bell tower.
Writing Tip:
If you had a script full of scenes like this, you could come up with a short script in total pages... but that doesn't mean when it is filmed it would be short. By the same token, another writer could write the same scene and have it take up half a page. It just depends on the writing style of the individual writer.
125 page scripts are considered on the long side for a screenplay. Length is a very important component of the script. When you turn in a script to a producer, the very first thing s/he will do is fan through the pages and look at the last page to see how long it is. It doesn't matter if you've written the most incredible screenplay ever, if it's too long they may refuse to read it.
The Industry's aversion to long scripts is due to economic considerations. Films under two hours mean more showings per day in a theater, which means more revenue for the exhibitor, distributor, filmmaker, and possibly even you, the screenwriter.
When you realize your script is long and have to start cutting your work, keep in mind that if a scene can be removed and the story continues to work, that scene wasn't necessary. EVERY SCENE should not only move the story along to its conclusion; it should be an integral part of the path to the climax.
Chapter 4
Script Elements
These are the unique margin, case, and position attributes that give feature film script text the format and consistency expected by all participants. Once you are accustomed to them you'll be able to tell your story the way an industry reader is accustomed to seeing it. The elements for a script are:
• Scene Heading
• Action
• Character Name
• Dialogue
• Parenthetical
• Extensions
• Transition
• Shot
Scene Heading
Writing Tip:
Scene Heading are aligned flush left (which we learned is about 1.5" from the edge of the paper) and are rarely long enough to reach the page margin.
The Scene Heading is written in ALL CAPS. Use a period after the INT. or EXT., a hyphen between the other elements of the Slugline.
The Scene Heading, sometimes called Slugline, tells the reader of the script where the scene takes place. Are we indoors (INT.) or outdoors (EXT.)? Next name the location: BEDROOM, LIVING ROOM, at the BASEBALL FIELD, inside a CAR? And lastly it might include the time of day - NIGHT, DAY, DUSK, DAWN... information to "set the scene" in the reader's mind.
The Slugline can also include production information like CONTINUOUS ACTION, or ESTABLISHING SHOT or STOCK SHOT. Here are examples of Scene Headings:
INT. BEDROOM - MORNING
EXT. LAS VEGAS STRIP - SUNSET
INT. OFFICE - NIGHT - CONTINUOUS ACTION
EXT. KEY WEST MARINA - DAWN - ESTABLISHING
EXT. PASADENA - ROSE PARADE - STOCK FOOTAGE
Software Tip:
Script writing software will automatically file each new Scene Heading you use. This alleviates the need to retype the same text again and again, and it also helps you keep your script consistent. There is nothing more distracting to the reader than to see one Scene Heading read:
EXT. - OUTER SPACE RAIN FOREST - NIGHT
and two pages later:
EXT. - OUTER SPACE JUNGLE - NIGHT
Keeping Scene Headings consistent allows your reader to recognize locations and places and not have to figure out if this is a new set (location). You don't want to take the reader's mind off your story, ever.
Here is a sample in Scene Heading sample in script form:
FADE IN:
EXT. KEY WEST MARINA - DAWN - ESTABLISHING
We have 'established' that we're in a marina at dawn.
Chapter 5
Action
The Rules:
Action runs from left to right margin, the full width of the text on the page, the same as the Scene Heading. Be sure to use the word wrap function of your script writing software, to make editing and rewrites easy. Text is single-spaced and in mixed case.
When you introduce a speaking character for the first time, you should put the name in all caps.
Software Tip:
Script writing software intuitively formats the spacing and text between different paragraph styles for you as you type. All you worry about is your story!
The ACTION or Description sets the scene, describes the setting, and allows you to introduce your characters and set the stage for your story. Action is written in REAL TIME.
Writing Tip:
Every moment in a screenplay takes place NOW. Use the active voice (a window slams shut) not the passive voice (a window is slammed shut).
Always write in PRESENT TIME, not the past. (There are rare exceptions to this; for example, John Milius' The Wind and the Lion had description in past tense like a novel, but then, he also directed the film.)
Keep your paragraphs short... don't let them go on and on over 4 or 5 lines. The reader may scan long action paragraphs without really reading them.
FADE IN:
EXT. KEY WEST MARINA - DAWN - ESTABLISHING
Sailboats, yachts, and cabin cruisers all bob up and down in the warm blue
water.
INT. MASTER SUITE - MORNING
Expensive designer sheets and comforter covers the nude, shapely body of drop
dead gorgeous JULIE COOPER, 25. Sunlight filters through portholes over the
muscled, tan body of FRANKIE CAMPISI, 38. He pulls the comforter down and begins
kissing Julie's naked body.
The reader begins to form an idea about the setting and the action taking place. We know we're on a boat, two characters have been introduced to us, we have some idea about their physical appearance. And we have a clue to their relationship.
Avoid a compulsion to write camera angles and shots. If you must emphasize some shot, write it on a single line. Angles and shots are the domain of the director an will likely be added in the Shooting Script.
Expensive designer sheets and comforter covers the nude, shapely body of drop
dead gorgeous JULIE COOPER, 25. Sunlight filters through portholes over the
muscled, tan body of FRANKIE CAMPISI, 38. He pulls the comforter down and grins
at Julie's naked body. Suddenly, Frankie recoils.
There's a devil tattoo on her shoulder that he's never seen before.
Chapter 6
Character Name
The Rules:
The CHARACTER NAME is formatted in uppercase letters and indented 3.5" from the left margin.
Before a character can speak, the writer inserts a CHARACTER NAME to let the reader know this character's dialogue follows.
A character name can be an actual name (JOHN) or description (FAT MAN) or an occupation (DOCTOR). Sometimes, you might have COP #1 and then COP #2 speaking. It is okay to identify the speaking parts like this, but actors will like you more if you personalize their part with a name. Try to be consistent.
Software Tip:
When you use script writing software the use of long, difficult to type character names is a breeze. The programs automatically learn and keep track of the CHARACTER NAMES you use, allowing for consistency and ease. No need fear those JACQUELINEs and DR. FRANKENSTEINs; two quick keystrokes are all you will need to make them appear on the screen.
Script writing software will also insert the correct spacing from the previous paragraph style, saving you thousands of keystrokes during the writing process.
FADE IN:
EXT. KEY WEST MARINA - DAWN - ESTABLISHING
Sailboats, yachts, and cabin cruisers all bob up and down in the warm blue
water.
INT. MASTER SUITE - MORNING
Expensive designer sheets and comforter covers the nude, shapely body of drop
dead gorgeous JULIE COOPER, 25. Sunlight filters through portholes over the
muscled, tan body of FRANKIE CAMPISI, 38. He pulls the comforter down and begins
kissing Julie's naked body.
FRANKIE
Chapter 7
Dialogue
The Rules:
DIALOGUE margin is indented 2.5" from the left margin. A line of dialogue can be from 30 spaces to 35 spaces long, so the right margin is a bit more flexible, usually 2.0" to 2.5".
DIALOGUE rules apply when anyone on screen speaks. During a conversation between characters. When a character talks out loud to himself... even be when a character is off-screen and only a voice is heard.
Writing Tip:
Great dialogue is a window into the soul of your character. It sounds real... It's conversational. The audience feels like a fly on the wall, hearing natural interplay between characters. Great dialogue may use common language but express great passion, and even become a catch phrase in popular culture, as the line from Clint Eastwood's Dirty Harry Callahan "Go ahead. Make my day."
It's not a bad idea to read your dialogue aloud to see how it really sounds. If you have a difficult time reading a line, it may not be good dialogue. You'll definitely be able to tell if you organize a reading of your script and hear it that way (best with professional actors, like they do in Hollywood and on Broadway).
Software Tip:
Script writing software now has the capacity to read your dialogue back to you via your computer's sound system. You assign a gender to your character name, even different inflections, and you can have a staged reading of your script right there in your living room.
FADE IN:
EXT. KEY WEST MARINA - DAWN - ESTABLISHING
Sailboats, yachts, and cabin cruisers all bob up and down in the warm blue
water.
INT. MASTER SUITE - MORNING
Expensive designer sheets and comforter covers the nude, shapely body of drop
dead gorgeous JULIE COOPER, 25. Sunlight filters through portholes over the
muscled, tan body of FRANKIE CAMPISI, 38. He pulls the comforter down and begins
kissing Julie's naked body.
FRANKIE
Rise and shine, Bluebird. Time
to spread your wings and fly.
Chapter 8
Parenthetical
Parentheticals are left indented at 3.0" and the right margin is 3.5" although that is a bit flexible. As seen in our examples, a Parenthetical remark is NOT centered under the character name.
A Parenthetical remark can be an attitude, verbal direction or action direction for the actor who is speaking the part. Parentheticals should be short, to the point, descriptive, and only used when absolutely necessary.
These days, Parentheticals are generally disfavored, because they give direction to an actor that may not be appropriate once on the set. The slang term for them is "wrylies" as in:
FRANKIE
(wryly)
Good mornin', Bluebird.
JULIE
(sleepily)
What? What time is it?
FRANKIE
(getting out of bed)
After six. You're gonna be late
again and I don't want to hear
it.
Parentheticals are also used in some scripts as the (continuing) notation. If a character is speaking followed by an action line and then the same character continues speaking, this notation can be used, but the New Spec Script frowns on all such superfluously inserted notations.
FRANKIE
(getting out of bed)
After six. You're gonna be late
again and I don't want to hear
it.
Frankie pulls all the covers off of Julie. She sits up in bed, pulls on a long
T-shirt, and shuffles to the bathroom.
FRANKIE
(continuing)
You're welcome.
Software Tip:
Script writing programs may give you the option of placing the (continuing) as a parenthetical remark or on the same line as the Character name, looking much like an Extension.
FRANKIE
(getting out of bed)
After six. You're gonna be late
again and I don't want to hear
it.
Frankie pulls all the covers off of Julie. She sits up in bed, pulls on a long
T-shirt, then swings her legs onto the floor and shuffles off to the bathroom.
FRANKIE (CONT'D)
You're welcome.
Software Tip:
The (CONT'D) is entered automatically by the script writing software if that option is chosen.
It indicates that the character continues speaking throughout the action.
Chapter 9
Extension
• O.S. - Off-Screen
• V.O. - Voice Over
An Extension is a technical note placed directly to the right of the Character name that denotes HOW the character's voice will be heard by the audience. An Off-Screen voice can be heard from a character out of the camera range, or from another room altogether.
Frankie pulls all the covers off of Julie. She sits up in bed, pulls on a long
T-shirt, then swings her legs onto the floor and shuffles off to the bathroom.
FRANKIE
(continuing)
You're welcome.
(beat)
Hey, how long you gonna be? I've
got a meeting and I need to
shower.
JULIE (O.S.)
Twenty minutes.
Some writers use O.C. (off camera) in place of O.S. The "beat" used above simply denotes that Frankie pauses (perhaps formulating his next thought) before uttering his next bit of dialogue.
Another common extension is V.O. That stands for Voice Over. Think of a V.O. as a narration, or a character speaking while s/he isn't in the scene. Or s/he can be in the scene, but also acting as narrator, reflecting on and describing some time gone by. This dialogue is recorded and then laid in over the scene in editing.
FRANKIE (V.O.)
I knew I wasn't gonna get in
that shower for at least 45
minutes, so I went for a run.
Our character Frankie is reminiscing about the morning on the boat in a Voice Over.
Chapter 10
Transition
We must begin with this remark: Nowadays, in Spec Scripts, transitions are frowned upon, a waste of a couple of lines you could better use for brilliant dialogue, and are only used when absolutely necessary.
The Rules:
When you DO use a Transition, the left margin is at 6.5" and a right margin of 1.0". Transitions are formatted in all caps and almost always follow an Action and precede Scene Headings.
Transitions you may be familiar with are:
• CUT TO:
• DISSOLVE TO:
• SMASH CUT:
• QUICK CUT:
• FADE TO:
• FADE OUT (never at the end of the script)
Writing Tip:
The only time to use a Transition in a spec script is if it's integral to telling the story. For instance, you might use a TIME CUT: to indicate passage of time. More commonly, a DISSOLVE TO: indicates that time has passed. Or, you might need to use MATCH CUT: if you want to illustrate that there is some correlation between something we just saw and something in the new scene. The point is, unless you become quite skilled in screenwriting don't use these things unless absolutely necessary, because the director of the film will probably think of something different.
Software Tip:
Most Transitions are already programmed into script writing programs, capitalized and lined up for those rare occasions when you can't resist to use one.
Frankie pulls on a pair of shorts, slips into some running shoes and exits.
CUT TO:
(Remember, the Cut To: will probably be left out in most spec scripts these days. What it indicates is a complete change of location.)
Chapter 11
Shots
The Rules:
Shots are formatted like Scene Headings, flush left margin, all uppercase. Blank line before and after.
A SHOT tells the reader the focal point within a scene has changed. Here are some examples of shots:
• ANGLE ON --
• EXTREME CLOSE UP --
• PAN TO --
• FRANKIE'S POV --
• REVERSE ANGLE --
Writing Tip:
As the writer, for reasons already mentioned you should be very judicious using a SHOT to redirect the reader's focus. Your "directing" runs the risk of interrupting the flow of your storytelling. If what you really want to do is direct films, do yourself a favor and DON'T do it in a script you're trying to sell... wait until it sells and try to negotiate a package deal with you on board as the director. This most often is a possibility after you've already had one of your screenplays filmed.
Once in a while, calling a shot is necessary. You want the reader to see something not obvious in the scene or you want to achieve a particular emotion or build to a climax. This device allows you to achieve this goal.
If you are describing a prison riot, with a prisoner holding a guard at knifepoint, and you want the audience to see a sharpshooter aiming at the prisoner, you might use a shot like this:
A PRISONER shoves a homemade shiv against the throat of a PRISON GUARD.
PRISONER
(trembling)
I'll kill him! I mean it.
PRISON GUARD
Take him out! Now! Do it!
ANGLE ON - A PRISON GUARD SHARP-SHOOTER
as he lines up the shot, finger poised on the trigger.
PRISONER
I want to talk to the Warden. NOW!
Another shot used from time to time is INSERT. INSERT is used solely as a direction - to focus on something integral to the scene, often something that the audience needs to read or what would otherwise be too small to be clearly seen in a full, wide scene.
INSERT - RANSOM NOTE
Writing Tip:
A well-constructed action paragraph or a single line might achieve the same goal without distracting the reader. Be vigilant of the flow of the story, and try not to interrupt it.
Chapter 12
Page Breaking
Software Tip:
If you still need convincing that script writing software is a useful tool for a screenwriter, page breaking will clinch it for you: If you've followed the program's simple directions while writing your script, then all of the following rules will automatically, dare we say magically?, self-execute right in front of your eyes, while you are writing. The software will
• Never end a page with a Scene Heading. The ONLY time this is acceptable is if another Scene Heading or Shot follows. (An example would be an Establishing shot and then an interior scene heading.)
• Never start a page with a Transition.
• Automatically place Continued: notations when it breaks an Action paragraph or a Dialogue.
• Never end a page with a Character Name line. At least two lines of Dialogue if there are that many (including a Parenthetical, if used) must follow.
• Never end a page at a Parenthetical. Dialogue MUST follow.
• If you have Dialogue, a Parenthetical and then Dialogue again, break the page BEFORE the Parenthetical.
Finer Points
Now you are familiar with the basic elements and directions for writing a spec script. With these elements, or simply using a script formatting software, you will write a standardly acceptable script. It will look professional, and the reader will not automatically assume you are an amateur storyteller because you don't know basic screenwriting rules. Now there are a few finer points we should discuss.
Dual Dialogue or Side-By-Side Dialogue
When two of your characters speak simultaneously, that's called dual dialogue or side by side dialogue. In the script we've been following, our characters might have this conversation:
Frankie and Julie are in a heated argument.
FRANKIE JULIE
Get out of my life! I can't Don't you yell at me! I'll leave
stand the sight of you any when I'm when I'm good and
more!! ready! Tough!!
Software Tip:
All of the script writing programs let you write this style of dialogue with ease, but you should probably avoid this device unless absolutely necessary.
Writing Tip:
Amateur screenwriters often do it in emulation of some old favorite scene, or to try to interject "conflict." However, you are more likely to distract the reader and disrupts the flow of the story. Don't give them a reason to put your script down by interjecting unclear scenes and dialogue.
Adlibs
Sometimes in a script it's acceptable or even necessary to have a crowd scene with ad lib dialogue. There are two basic ways of writing this.
The first way to do it is in an action line.
The CROWD in the bleachers taunts the pitcher: "You stink!" "Rubber arm!"
"Ball!" "You throw like my sister!"
The second choice is to do it is as a character and dialogue.
CROWD
You stink! Rubber arm! Ball! You
throw like my sister!!
Chapter 13
Abbreviations
The film industry uses several abbreviations as shortcuts in scripts. It's up to you whether you use these abbreviations or not. Some readers find them distracting, while others prefer the shorthand. We've already discussed several -- O.S., O.C., V.O. -- which are specific to scripts. Here are some others.
b.g. = background
b.g. is used in an action paragraph.
Frankie sits on the bed tying his shoes. In the b.g., Julie takes money out of
his wallet. She also pockets his car keys.
CGI = computer generated image
CGI denotes action that cannot be filmed normally and will require the use of computers to generate the full imagery, as used in films like The Matrix.
CGI: His mouth begins to melt, then disappears entirely.
f.g. = foreground
f.g. is used in action the same as b.g., except the action takes place in the foreground.
SFX = sound effects
SFX tells the sound people an effect is needed.
SFX: The BLAST of a train whistle
SPFX = special effects
SPFX announces that a special effect is necessary (one that might not require the use of CGI).
SPFX: A beam of light illuminates Frankie's face. His features slowly melt like
a wax figure.
M.O.S. = without sound
The story goes that a German-born director (perhaps Josef von Sternberg, who discovered Marlene Dietrich) wanted to shoot a scene without sound and told the crew to shoot "mit out sound," a phrase which the crew found humorous and thus proliferated it. It is most commonly used to show impending impact of some kind.
M.O.S. Horses stampeding down Main Street.
POV = point of view
The camera 'sees' the action from a specific character's position
JULIE'S POV - Frankie sits on the bed tying his shoes.
Montages
A MONTAGE is a cinematic device used to show a series of scenes, all related and building to some conclusion. Although a French word, it was created by Russian director Sergei Eisenstein as a "montage of attractions" to elicit emotions on several levels. Most often it is used as a passage of time device. Think of a baby being born, then rolling over, then taking its first steps, and finally running through the sprinklers. For example:
MONTAGE
1) Josh is born. The doctors clean him and hand him over to his smiling mother.
2) Josh rolls over in his playpen. His mother applauds.
3) Holding on to the coffee table, Josh takes his first steps. His mother
joyously hugs him.
4) Clad in droopy diapers, Josh runs gleefully through the sprinklers. His
mother sighs, and reaches for the diaper bag.
You can also number the scenes A), B), C) if you prefer. Either numbering format is correct. (Note that the mother's emotions change through the montage from joy to weariness, once Josh is completely ambulant there should be some element of the story that a montage will illustrate.)
The MONTAGE is formatted as a single shot, with the subsequent scenes action elements of the complete sequence. It isn't necessary, but some writers write END OF MONTAGE when the montage is completed.
Chapter 14
A Series of Shots
A SERIES OF SHOTS is similar to a Montage, but it usually takes place in one location and concerns the same action. Think of the movie Earthquake...
SERIES OF SHOTS
A) Store windows start to rattle and shake.
B) Hanging signs swing back and forth.
C) Bricks and shards of glass begin to fall onto the sidewalks.
D) People run for cover.
A SERIES OF SHOTS is formatted as a SHOT. Just like a Montage, the shot series are action paragraphs and may also be numbered 1) 2) 3).
A MATTER OF STYLE
Some writers will incorporate a series of shots into a script without noting it as such. This generally contributes to a smoother flow of the action. The action lines might be short, descriptive sentences on separate lines.
The Piazza de Palma is packed with Saturday shoppers.
A LOUD SHOT rings out.
Pigeons take flight, WINGS FLUTTERING EN MASSE.
Heads turn in the direction of ANOTHER GUNSHOT.
A frightened child drops his ice cream cone and CRIES.
A woman SCREAMS.
Another style for writing the sequence above is:
THE PIAZZA DE PALMA
is teaming with Saturday shoppers.
A LOUD SHOT
rings out. Pigeons take flight. Heads turn in the direction of ANOTHER GUNSHOT.
A FRIGHTENED CHILD
drops his ice cream cone and CRIES. A SCREAM is heard.
Writing Tip:
This particular style of writing takes more space on the page, but it also is a faster read. Why? Look at all the white space in the second example... the reader's eyes can read that passage very quickly.
Another style of writing has to do with EMPHASIS in the action element. Too often, readers will skim a script, particularly if the action paragraphs are overly long. Here's an option of how to get the necessary points across. Italics, bold or underlining are not used for emphasis.
Terry DROPS to the floor as a BEAM OF LIGHT sweeps across the room. He hears the
FLOOR SQUEAK in the outer office. Terry HOLDS HIS BREATH as a big, bulky
SECURITY GUARD enters.
Short Lines/Poetry/Lyrics
Once in a while, it's necessary to write dialogue with a series of SHORT LINES. One example might be if your character is reciting poetry, or singing a song.
JULIE
Roses are red,
Violets are blue,
I'm writing a script,
How 'bout you?
Song lyrics are typically written in all caps.
JULIE
(singing)
ROW, ROW, ROW YOUR BOAT
GENTLY DOWN THE STREAM
MERRILY, MERRILY, MERRILY, MERRILY
LIFE IS BUT A DREAM.
Chapter 15
Intercuts
Occasionally in a script, you might want to cut back and forth between two or more scenes. These scenes are occurring at the same time. Instead of repeating the Scene Heading for each scene over and over, an INTERCUT is used. This gives the reader the sense that the scene is moving rapidly back and forth between locations. There is a great sequence of intercuts in The Deer Hunter of shots of hunters out in the woods with a wedding going on simultaneously, at a different location. Here's another example:
INT. SHERRI'S APARTMENT - NIGHT
Sherri starts disrobing in front of her open bedroom window.
INT. LENNY'S APARTMENT - NIGHT
Lenny gets up to cross to the fridge to get a beer. He looks out his window and
catches a glimpse of Sherri across the courtyard. He freezes, watching her.
INTERCUT BETWEEN LENNY AND SHERRI
Sherri sits on the bed and unbuttons her double-breasted suit jacket.
Lenny moves closer to the window for a better vantage point.
Sherri stands, hopping a few feet, trying to step out of her skirt.
Lenny, eyes glued to Sherri, moves to keep her in view. He slams his bare foot
into a dumbbell on the floor.
LENNY
Ow!
Sherri hears the yelp and looks in Lenny's direction.
Lenny sees Sherri and DROPS from her view.
Another type of INTERCUT is used when two characters are on the phone and you don't want one half of the conversation to be O.S. - you want to show them both.
INT. LIVING ROOM - NIGHT
Sherri, comfy on the couch, is reading a book when the phone rings. She answers
it.
SHERRI
Hello?
EXT. PHONE BOOTH - REST AREA
Lenny sips a Coke as he talks.
LENNY
Hey Honey, I'm in Barstow.
INTERCUT BETWEEN LENNY and SHERRI
SHERRI
Oh, Honey, that's great...
you'll be here by morning.
LENNY
Yep... I've got the pedal to the
metal.
In older films it was common to use a split-screen to show such a conversation. It's not common these days, and unless you have a very good reason for writing it in, it is best to INTERCUT.
Chapter 16
Titles or Opening Credits
In some scripts you read, you'll see this notation:
BEGIN TITLES or BEGIN OPENING TITLES followed by END TITLES or OVER OPENING CREDITS followed by END OPENING CREDITS. An example:
FADE IN:
EXT. KEY WEST MARINA - DAWN - ESTABLISHING
Sailboats, yachts, and cabin cruisers all bob up and down in the warm blue
water.
EXT. BEACH - DAY
BEGIN TITLES
as hundreds of young, perfect bodies of college age kids frolic during spring
break.
Writing Tip:
Don't bother putting in Beginning and Ending titles. It is not usually done in a spec script, and you can't predict where the producer and director will want to insert the titles, the sequence of footage shot with the opening credits rolling over it. Don't give yourself the extra work.
Superimpose or Title
When the notation SUPERIMPOSE or TITLE OVER is used, text or an image is placed on top of the film footage. Most of the time, it contains information the director thinks the audience needs to know... like the place or time of the next scene.
EXT. BEACH - DAY
Hundreds of young, perfect bodies of college age kids frolic on the sand and in
the warm water.
SUPERIMPOSE: Daytona Beach, Spring Break, 1966
Only the text, "Daytona Beach, Spring Break, 1966" would appear toward the bottom of the screen.
Any text, like subtitles or translations of foreign signs, etc., fall into this category.
Do not use SUPERIMPOSE: unless there is a definite need for it. It has been so overused, it is some times spoofed, the way director Ron Howard did in Splash.
Chapter 17
Title Page
The TITLE PAGE has specific information on it. Type it in the same font as your script, Courier 12. It should not be on special paper, no graphics - it should just contain only the following information:
Centered on the page, vertically and horizontally - The title of your script in bold type if possible
Two lines below that, centered on the line - Written by
Two lines below that, centered on the line - Your Name (and co-writer, if any)
In the lower right hand corner your contact information (include agent or email address)
In the lower left-hand corner you can put Registered, WGA or a copyright notification.
The Good, The Bad, The Thin
Written by
Fatty Turner
Copyright © 2001 by Fatty Turner Fatty Turner
Registered, WGAw 1234 Lake St.
Anytown, CA 12345
(310) 555-1212
Writing Tip:
Authorities differ on whether or not you should note on your title page that you have registered your screenplay with the Writers Guild of America, west. Some people think it is the mark of an amateur, yet some producers insist upon it. Naturally, if you live east of the Mississippi River in the United States, you might have registered your script with the Writers Guild of America, east, and would thus note Registered, WGAe. One thing is certain, however. A U.S. copyright has much more legal standing that either registration. Note the copyright on the page. For more information about your legal protection in any creative work, see the U.S. Copyright Office Web page at http://www.copyright.gov/.
Chapter 18
Production Drafts
You've sold your script, and lo and behold, you're still the writer of the next phase! Time for Production drafts and revisions (a.k.a. Production Rewrite). All script formatting software available at The Writers Store are terrific at generating locked scripts (meaning the pages are finalized), A & B pages, numbered scenes and other specifics of the production draft.
One of the ways production drafts differ from spec scripts is NUMBERED SCENES. Your script-formatting program can do this automatically. It numbers the SCENE HEADINGS with numbers to the left and right of the scene heading. The purpose of scene numbers is to aid the work of the Assistant Director and Producer in their efforts of breaking down the scenes for scheduling, and budgeting the script for production.
REVISED April 30, 2001 BLUE 1.
FADE IN:
1 EXT. KEY WEST MARINA - DAWN - ESTABLISHING 1
Sailboats, yachts, and cabin cruisers all bob up and down in the warm blue
water.
2 EXT. BEACH - DAY 2
as hundreds of young, perfect bodies of college age kids enjoy spring break.
Top Continued and Bottom Continued
Software Tip:
Script formatting software can easily insert Top CONTINUED and Bottom CONTINUED into your script, IF YOU WANT THAT DONE. It depends on who you are submitting to and at what stage the project is in.
Writing Tip:
Top and Bottom CONTINUEDs were common practice in the past, a stodgy convention indicating that a scene continued beyond the page the reader just finished reading. Typically in spec scripts this is no longer done, and your benefit of that change are the extra four lines of text you have just gained to write a better script.
Chapter 19
Locking Your Script Pages
Once the script is "published" and handed out to the department heads and talent in preparation for production, the pages must be LOCKED so that any changes made after this time are easily tracked.
If any changes are made to the script after circulation, only the REVISED PAGES will be printed and distributed. The REVISED PAGES must be easily incorporated into the script without displacing or rearranging the original pages.
All of our script writing software is designed to break revised pages according to the rules listed above, and they are capable of "locking the pages" before revisions are made. Once you lock a script, if you add more material to a page than will fit on that page, the program will generate what's called an "A" page and the subsequent writing will be a "B" page, i.e. Page 110A or Page 110B.
Locking Your Scenes
In a published script, scene numbers must also remain the same. In other words, if a scene in OMITTED, though the number is retired, it remains in the script with the word OMITTED next to it. Any new scene must have a letter next to the number to indicate that it was added after the original scenes were locked.
If you add a scene to the script, the program will automatically generate an "A" scene number. Revisions will be automatically generated by script formatting software programs and marked with an asterisk in the right margin.
1 OMITTED 1*
2 INT. MASTER SUITE - MORNING 2
Expensive designer sheets and comforter covers the nude, shapely body of drop
dead gorgeous JULIE COOPER, 25. Sunlight filters through portholes over the
muscled, tan body of FRANKIE JONES, 38. He pulls the comforter down and begins
kissing Julie's naked body.
FRANKIE
Hey, Baby, rise and shine.
You've got to get up and outta
here.
JULIE
(sleepily)
What? What time is it?
2A INT. BATHROOM - DAY 2A*
The added INT. BATHROOM scene would show us what Julie is doing, while in the previously mentioned scene we only heard her O.S. as the camera remained on Frankie and the original room.
Chapter 20
Header
Another element of the production draft is the HEADER. A header occupies the same line as the page number, which is on the right and .5" from the top. Header information is printed on every script page. Information contained in the header includes the date of the revision and the color of the page. The header of the production draft of a script might look like this:
REVISED April 30, 2001 BLUE 1.
REVISED April 30, 2001 BLUE will print at the top of every single revised page, unless you tell your scriptwriting program to omit this information on the first page. On the first page of a production draft, however, you should include your header, if you have one. The page number will, of course, change.
Writing Tip:
Don't worry about what color of paper to use for subsequent changes to the same scene. If your still writing the revisions once the script is in production, they'll tell you what to use. This is determined by the production staff.
Do's and Don'ts
Do's
• Do proofread your script. Spelling is very important. Don't trust your spell checking program, it may miss grammatical errors and won't have some terms in its built-in dictionary.
• Do get someone else to proofread your script. A fresh pair of eyes will often catch something you continue to miss.
• Do get the best photocopy you can. No one wants to read a dirty page.
• Do use good quality brass brads to bind your script. Acco #5 brads are the best, because they are long enough to fit through the entire thickness of your script. Solid brass brads (as opposed to brass-plated brads) are preferable.
• Do register your script with the Writers Guild of America but don't forget to copyright it as well. A WGA registration expires quickly, while a copyright is good for decades.
• Do send a one-page (or less) cover letter with your script when you send it out. Make the letter short, concise and to the point. There are books and articles on the subject, but basically they simply want to know what the script is about and where to reach you.
• Do follow the rules unless you KNOW a darn good reason not to.
Don'ts
• Don't create a fancy Title page with giant fonts, colored letters, etc. A Title page has title and screenwriter's name(s) in the middle, and your contact information (address, phone number) at the lower right hand.
• Don't put a quotation on the title page. Most likely, no one but you will care.
• Don't put a date on your script, or the draft version.
• Don't put blank pages in the script to set things apart.
• Don't put a second page with the quotation that tells the theme of your screenplay.
• Don't do a page of character descriptions and back story. That's a convention from the theater that is inapplicable in Hollywood. If your script doesn't tell that story, you're in trouble.
• Don't include any illustrations, no matter how cute you think they are.
• Don't put the script title on the first page of the script.
• Don't use more than two brads, but use three-hole paper. Brads are used in top and bottom holes only.
• Don't use colored paper or anything but 20 pound 3 hole punch paper.
• Don't expect to have your script returned to you. Send it out, let it go. If a self-addressed, stamped envelope (SASE) is specified, include one. Then relax; a lot of people will have sent scripts to the same company.
Chapter 21
Other Script Formats
So far we've mostly discussed submission or spec screenplays. The same elements used in a screenplay are used in several other script formats. Only measurements and format vary here and there.
• MOW - Movies of the Week
• DTV - Direct TV Movie
• Hour Episodic TV Show
These formats are almost identical as the format of the spec screenplay. However, these scripts are broken into ACTS that are delineated within the body of the script. An act covers that part of the story that takes place between the commercials. Hence, an ACT BREAK is a commercial break.
When a MOW Act begins, note it this way:
ACT ONE
When an Act ends, note it this way:
END OF ACT ONE
MOW or DTV scripts usually have 7 acts. When a MOW ends, note it this way:
THE END
A MOW will also have a (roughly) three- to eight-minute "teaser" that begins the story, noted this way:
TEASER
A Teaser is not usually noted with END OF TEASER. Rather, the scene simply ends and a new page begins where Act One starts. A one-hour episodic script will also have a Teaser, albeit a shorter one than a MOW.
A MOW will also have a similar (but shorter) "Tag" scene at the end that caps off the story and keeps your audience riveted by the television until after the next set of commercials. This is usually not delineated as such.
A one-hour episodic program usually has 4 acts.
Page numbering is continuous for both forms.
Chapter 21
Other Script Formats
So far we've mostly discussed submission or spec screenplays. The same elements used in a screenplay are used in several other script formats. Only measurements and format vary here and there.
• MOW - Movies of the Week
• DTV - Direct TV Movie
• Hour Episodic TV Show
These formats are almost identical as the format of the spec screenplay. However, these scripts are broken into ACTS that are delineated within the body of the script. An act covers that part of the story that takes place between the commercials. Hence, an ACT BREAK is a commercial break.
When a MOW Act begins, note it this way:
ACT ONE
When an Act ends, note it this way:
END OF ACT ONE
MOW or DTV scripts usually have 7 acts. When a MOW ends, note it this way:
THE END
A MOW will also have a (roughly) three- to eight-minute "teaser" that begins the story, noted this way:
TEASER
A Teaser is not usually noted with END OF TEASER. Rather, the scene simply ends and a new page begins where Act One starts. A one-hour episodic script will also have a Teaser, albeit a shorter one than a MOW.
A MOW will also have a similar (but shorter) "Tag" scene at the end that caps off the story and keeps your audience riveted by the television until after the next set of commercials. This is usually not delineated as such.
A one-hour episodic program usually has 4 acts.
Page numbering is continuous for both forms.
Chapter 22
Title Page of TV Movies
In the TV movie formats it is customary to place the title of the script, the show and its episode on the first page at the top.
Lettering can be either uppercase or mixed case.
Place the title(s) in quotation marks.
Center the text on the line.
Fade In: follows the act title.
The following is an example of a MOW title page:
"A Day In The Life"
ACT ONE
FADE IN:
INT. BABY NURSERY - MORNING
Also, the end of each act is signaled with the FADE OUT: notation as well as the end of act notation.
FADE OUT.
END OF ACT ONE
=======FORCED PAGE BREAK==================
16
ACT TWO
FADE IN:
Software Tip:
When using script writing software you should always place a forced page break between acts. In other words, each act starts at the top of a new page.
Writing Tip:
Do not number the scenes. That's the job of the production office.
The Rules:
A MOW may also have a CAST LIST and on a separate page a SET LIST, much like in theatre scripts, but these forms change with the years. It's best to simply acquire a sample of a recently-aired MOW to learn the current convention.
The End
Well, that's as much as I've collected so far but I'll be adding more as I go. I hope this has been helpful and has assited you in finding the way to get to the next step in your screenwriting adventures.
Robert Mckee's note on screenplay
If you're interested in screenwriting then the first thing you have to come terms with is that film history is littered with good manuscripts that never got made. The director fell out with the producer. The star got pneumonia. The distribution company got cold feet.
It's possible to make quite a tidy sum out of writing screenplays that will be never be seen by a single paying punter. Somewhat demoralising, you may think, but before you worry about all that, you have to write the manuscript in the first place.
We asked two successful screenwriters, Shane Connaughton and Robert McKee, for guidance on how to write an effective screenplay.
Starting points - immediate advice for aspiring screenwriters
Remember that a good screenplay is a story and stories are critically important - they offer people equipment for living. Write about what is familiar to you and what you are passionate about.
"It's the storyteller - be it for the stage, page or screen, who civilises us. The art of writing makes meaning out of life. So screenwriting is not to be taken light-heartedly. It's a serious business."
Robert McKee
"Write about what you know and what you care about. I want to say to people who read my screenplays or see my films - this is what it was for me on the planet when I was alive."
Shane Connaughton
The first step - writing a treatment
A treatment can mean different things - it can refer to an outline of the plot, or to a detailed plan that you use to help you write the screenplay.
"A true treatment is something that you would never show anyone! It's an elaborate plan which describes scene by scene what the characters say and do, and what they're thinking and feeling. It should be about 80-100 pages long. It's a tool that the writer uses to build toward the screenplay."
Robert McKee
"I've learned over the course of practice that the shorter a treatment is, the better."
Shane Connaughton
How to structure a screen play
The famous French film maker, Jean Luc-Godard said, "All stories should have a beginning, a middle and an end, but not necessarily in that order."
Robert McKee outlines the structure of any story like this:
1. a key event or an inciting incident
2. a struggle against all the forces of life
3. a crisis
4. a climax
5. a resolution.
"Having a clear idea of possible beginnings, middles and ends, is a big help for me. But if the story is strong enough within you, you'll be pressurised a certain way and the story will tell itself. Beginnings and middles and ends are a very good way of trying to work it out in advance. Don't do anything on a whim or because you want to feel really fancy - it just doesn't work. Lies are soon found out. You can't fool an audience."
Shane Connnaughton
"Remember a story expresses how and why life changes from one condition at the beginning, to another condition at the end. For example, take that wonderful screenplay by Shane Connaughton and Jim Sheridan, My Left Foot: A man in utter poverty, suffering from a dreadful disease, leading a virtually meaningless and painful life, eventually finds meaning and achievement in life despite everything against him because he has an enormous will to change.
This story went from the negative to the positive; your story might go from the positive to the negative. You need a key event that throws things out of balance at the beginning of the story, then a struggle against all the forces of life, passing points of no return in terms of the central character's effort, until there comes a moment called the crisis. The crisis is when there is only one possible further choice of action for the character to achieve their desire. When the character takes that action, we call that moment the climax. Then you need a brief resolution at the end to bring things back to normal for the audience! That's the rhythm of any story."
Robert McKee
Writing exposition
The exposition is the facts of your story. It's all the facts about the characterisation, the history, the society, the physical setting and so on.
You only need to include the facts that the audience need to know at any given time - and no more!
Remember to dramatise these facts when you include them in your screenplay.
"I think of exposition as the clues to the characters and to what is going on in a film. For example, if your opening scene is a man digging potatoes in a field, you simply write: A man, Thomas Larkin, age 60, 6 foot 6 inches tall, is digging potatoes in a field. Then think of any other important details. Perhaps the field is by a river. Perhaps there's an army approaching the field. Imagine you're telling the story to a child at bedtime and you're trying to keep their interest."
Shane Connaughton
"I was given this advice by my writing tutor: Convert exposition to ammunition. For example, don't give the characters unnatural dialogue in which they tell each other things they already know about each other. The famous axiom that should guide you is: Show don't tell."
Robert McKee
Creating characters and dialogue
Write detailed notes on the history of your characters but follow the same principles given for exposition. Remember some characters will need depth; what they say and do may be very different from their secret desires.
To help you write realistic sounding dialogue, listen carefully to people around you.
Write dialogue last and remember that the real drama of a film is underneath what is being said and done.
"As I come from a theatre background, I always do build up a detailed picture of a character - I ask myself: what's their favourite colour, where did they go to school, who was their mother and so on. I always listen to people as I walk around. A young writer must listen, that's for sure. You have to have an interest in people; you have to have interest in humanity to be a writer - it goes without saying."
Shane Connaughton
"The key to character is desire. Ask yourself: What does my character want consciously and unconsciously? When you have a complex character, and you can answer those two questions clearly, suddenly your ability to create your character takes a huge leap forward. Remember that dialogue is the last step in the process of writing a screenplay, it's the frosting on the cake, because how do you know what a character is going to say until you know what that character is doing? And how do you know what the character is doing until you know what the character wants? So write your screenplay from the inside out, not the outside in."
Robert McKee
Reviewing and rewriting
Pare down your dialogue!
Read your screenplay aloud to hear if it flows well.
Remember film is all about images.
"If you don't cut down your dialogue somebody else will and they'll be less merciful than you! Cut to the quick. Cut to the chase all the time."
Shane Connaughton
"Any time you write a line of dialogue that you think is really wonderful, that's the first sign it should be cut! For the screenwriter, dialogue is the regretful second choice. Check that you have tried throughout to write in a purely visual way."
Robert McKee
It's possible to make quite a tidy sum out of writing screenplays that will be never be seen by a single paying punter. Somewhat demoralising, you may think, but before you worry about all that, you have to write the manuscript in the first place.
We asked two successful screenwriters, Shane Connaughton and Robert McKee, for guidance on how to write an effective screenplay.
Starting points - immediate advice for aspiring screenwriters
Remember that a good screenplay is a story and stories are critically important - they offer people equipment for living. Write about what is familiar to you and what you are passionate about.
"It's the storyteller - be it for the stage, page or screen, who civilises us. The art of writing makes meaning out of life. So screenwriting is not to be taken light-heartedly. It's a serious business."
Robert McKee
"Write about what you know and what you care about. I want to say to people who read my screenplays or see my films - this is what it was for me on the planet when I was alive."
Shane Connaughton
The first step - writing a treatment
A treatment can mean different things - it can refer to an outline of the plot, or to a detailed plan that you use to help you write the screenplay.
"A true treatment is something that you would never show anyone! It's an elaborate plan which describes scene by scene what the characters say and do, and what they're thinking and feeling. It should be about 80-100 pages long. It's a tool that the writer uses to build toward the screenplay."
Robert McKee
"I've learned over the course of practice that the shorter a treatment is, the better."
Shane Connaughton
How to structure a screen play
The famous French film maker, Jean Luc-Godard said, "All stories should have a beginning, a middle and an end, but not necessarily in that order."
Robert McKee outlines the structure of any story like this:
1. a key event or an inciting incident
2. a struggle against all the forces of life
3. a crisis
4. a climax
5. a resolution.
"Having a clear idea of possible beginnings, middles and ends, is a big help for me. But if the story is strong enough within you, you'll be pressurised a certain way and the story will tell itself. Beginnings and middles and ends are a very good way of trying to work it out in advance. Don't do anything on a whim or because you want to feel really fancy - it just doesn't work. Lies are soon found out. You can't fool an audience."
Shane Connnaughton
"Remember a story expresses how and why life changes from one condition at the beginning, to another condition at the end. For example, take that wonderful screenplay by Shane Connaughton and Jim Sheridan, My Left Foot: A man in utter poverty, suffering from a dreadful disease, leading a virtually meaningless and painful life, eventually finds meaning and achievement in life despite everything against him because he has an enormous will to change.
This story went from the negative to the positive; your story might go from the positive to the negative. You need a key event that throws things out of balance at the beginning of the story, then a struggle against all the forces of life, passing points of no return in terms of the central character's effort, until there comes a moment called the crisis. The crisis is when there is only one possible further choice of action for the character to achieve their desire. When the character takes that action, we call that moment the climax. Then you need a brief resolution at the end to bring things back to normal for the audience! That's the rhythm of any story."
Robert McKee
Writing exposition
The exposition is the facts of your story. It's all the facts about the characterisation, the history, the society, the physical setting and so on.
You only need to include the facts that the audience need to know at any given time - and no more!
Remember to dramatise these facts when you include them in your screenplay.
"I think of exposition as the clues to the characters and to what is going on in a film. For example, if your opening scene is a man digging potatoes in a field, you simply write: A man, Thomas Larkin, age 60, 6 foot 6 inches tall, is digging potatoes in a field. Then think of any other important details. Perhaps the field is by a river. Perhaps there's an army approaching the field. Imagine you're telling the story to a child at bedtime and you're trying to keep their interest."
Shane Connaughton
"I was given this advice by my writing tutor: Convert exposition to ammunition. For example, don't give the characters unnatural dialogue in which they tell each other things they already know about each other. The famous axiom that should guide you is: Show don't tell."
Robert McKee
Creating characters and dialogue
Write detailed notes on the history of your characters but follow the same principles given for exposition. Remember some characters will need depth; what they say and do may be very different from their secret desires.
To help you write realistic sounding dialogue, listen carefully to people around you.
Write dialogue last and remember that the real drama of a film is underneath what is being said and done.
"As I come from a theatre background, I always do build up a detailed picture of a character - I ask myself: what's their favourite colour, where did they go to school, who was their mother and so on. I always listen to people as I walk around. A young writer must listen, that's for sure. You have to have an interest in people; you have to have interest in humanity to be a writer - it goes without saying."
Shane Connaughton
"The key to character is desire. Ask yourself: What does my character want consciously and unconsciously? When you have a complex character, and you can answer those two questions clearly, suddenly your ability to create your character takes a huge leap forward. Remember that dialogue is the last step in the process of writing a screenplay, it's the frosting on the cake, because how do you know what a character is going to say until you know what that character is doing? And how do you know what the character is doing until you know what the character wants? So write your screenplay from the inside out, not the outside in."
Robert McKee
Reviewing and rewriting
Pare down your dialogue!
Read your screenplay aloud to hear if it flows well.
Remember film is all about images.
"If you don't cut down your dialogue somebody else will and they'll be less merciful than you! Cut to the quick. Cut to the chase all the time."
Shane Connaughton
"Any time you write a line of dialogue that you think is really wonderful, that's the first sign it should be cut! For the screenwriter, dialogue is the regretful second choice. Check that you have tried throughout to write in a purely visual way."
Robert McKee
Saturday, April 16, 2011
RIGOURS OF SKUUL LIFE
CHARACTERS:
1. Essel – Charity’s school daughter.
2. Jones – Felix’s school son.
3. Exzibit – Entertainment Prefect.
4. Vivian – a form one student.
5. Charity – S. U. Vice President.
6. Felix – S. U. President
7. Madam Gladys – Snr. House Mistress.
8. Mr. Asante – Snr. House Master.
9. Mr. Oduro – House Master
10. Miss Johnson – House Mistress
11. Francisca – girls prefect
12. Michael – boys prefect
13. Ruth – A form 2 student
14. Chantal – Form 3 student ( Queenie)
15. Capon – Occult leader
16. Cindy – Chantal’s friend
17. Henry – form 3 student (book long)
18. Prisca – a form three student
19. Prince – a form 1 student
20. Jade – a gangster on campus (subject of Capon)
21. Addo – a gangster on campus (subject of Capon)
22. James – a fresher
23. Ishmael – a fresher
Episode one!
Scene 1:
X’ters: Felix & Charity & Ruth Ext/day
Synopsis: - Felix and Charity meet to plan for the coming form one students who were to be on campus the next day. The fear of they being mislead by the bad ones is the problem they have but hope not to encounter with any such difficulty knowing God is on their side.
SP: - CAMERA OPENS ON STUDENTS ON CAMPUS ATTENDING TO VARIOUS DUTIES. SOME OF THE STUDENTS ENTERING INTO CLASSROOMS, SOME COMING OUT OF CLASSROOMS, SOME ENTERING THE DINNERHALL WHILES OTHERS ROAMING ON CAMPUS. FELIX, THE S.U. PRESIDENT COMES FROM HIS CLASSROOM WITH HIS BOOKS IN HAND HEADING FOR THE DOMITORY MEETS THE VICE PRESIDENT OF THE S.U.
Felix:
SP: - walking briskly towards the dormitory. He walks pass Charity without realizing it.
Charity:
SP: - looks at Felix and drops her books from her hand. She runs after him and catches up with him.
DL: - Felix! Didn’t you see me when you passed me by?
Felix:
SP: - realizing what he had done.
DL: - oh Charity, I am sorry my mind is far from here.
SP: - greets her
DL: - S.U.!
Charity:
DL: - Arise and shine. And what at all could be your headache?
Felix:
DL: - you know very that the form ones are coming to school tomorrow and we need to receive them.
Charity:
SP: - nods head in acceptance
Felix:
DL: - I just realized that we have not prepared anything for them and so I want to go put one and two together for them.
Charity:
DL: - you are very right Felix. Can you believe it skipped me too? Anyway, let me leave you go do what you need to do. I would meet you later
Ruth:
SP: - walks towards the two seniors with Charity’s books in hand
DL: - Sister Charity, your books
Charity:
SP: - turns to Ruth who was holding in hand her fallen books
DL: - oh, thank you Ruth.
Felix:
DL: - how are you Ruth?
Ruth:
DL: - I am fine thank you senior Felix.
Felix:
DL: - anyway, I will leave you now. See you later
SP: - leave Charity before she could say a word.
Charity:
DL: - Okay Felix.
SP: - Turns to Ruth as they walk towards the girls dormitory
DL: - so where were you coming from?
Ruth:
DL: - from the class room…
FADE TO:
Scene2:
X’ters: Capon & Jade & Addo & Seth int/day
Synopsis: Capon meets his people knowing very well that the task at hand is not an easy one since the form ones are ignorant and might fall into the hands of the Scripture Union. The desire to be on top of the school and to flout all authorities would be much adhered to if the number is great.
SP: - CAMERA ZOOMS INTO A DOMITORY REVEALING SOME STUDENTS SITTING ON THE BED AND SOME ON THE TRUNKS. SEATED ON A TOP BED WAS A STUDENT WHO WOULD LATER BE REVEALED AS MARTIN ASARE POPURLALRY CALLED CAPON SHARBLY DRESSED. ALL LOOKING SO SERIOUS AS THOUGH SOME ONE HAD HURT THEM.
Jade:
SP: - looking into the faces of the guys in the room with him then looks up to Capon.
DL: - Capon, we have been here for more than 10 minutes, yet nothing is said. We want to know why you look so disturb.
Guys:
SP: - nods head in acceptance
Capon:
SP: - looks into their face and ten bows his head again.
Addo:
DL: - Capon, what ever it is let it out; we are strong enough to take what ever bomb you have in you.
Seth:
DL: - that is right.
Capon:
SP: - looks into the gangs’ faces and then gets down from the bed and goes to jade looking him straight in the face
DL: - as long as they are still having influence in the steering of affairs on campus, we would not have it easy.
Jade:
SP: - looking confuse
Capon:
SP: - smiles an leaves Jade’s side
DL: - tomorrow, the strangers arrive and we need to stay on top so as to be the Bosses.
Addo:
DL: - that definitely is happening tomorrow Capon.
Capon:
SP: - with rage facing Addo
DL: - where would the S.U. be? Where would Felix and his people be?
SP: - relaxing a bit
DL: - I thought Michael was going to be easy to manipulate, but no. we have to act on our own
Seth:
DL: - Capon, we are still the Killer Instincts on Campus.
Jade:
DL: - never do we forget it Capon. We are always here with you and ever would be.
Addo:
DL: - that is true Capon
Capon:
SP: - looks into their faces and reads some courage and loyalty in there. He pulls out his “layal” as they chant out the strength of the Killer Instinct
FADES OUT
Scene 3
Synopsis: The Snr. House Master, Mr. Asante, meets the prefects and cautions them to not to maltreat the form ones that are coming into the school the next day since they represent the administration.
SP: -CAMERA OPENS ON MR. ASANTE AND THE HOUSE PREFECTS AND THE SNR. PREFECTS IN HIS HOUSE. HE LOOKS VERY STERN AT THIS TIME AS THOUGH HE SENSED DANGER BUT THE STUDENTS LOOKED SINCE THEY HAD SEEN MORE THAN WHAT THEY WERE SEEING. THEY SAT CALM WATCHING THE SNR. HOUSE MASTER SAY ALL HE HAD.
Mr. Asante:
DL: - I believe I know very well what to expect but hear me out all of you, you are the representative of the administration in the midst of the students so you must know how to perform. Don’t forget the form ones coming are humans like you. We needn’t have them send any bad news about the school, at least not for the first term. Do I make myself clear?
Prefects:
DL: - yes Sir!
Mr. Asante:
DL: - more importantly, don’t let your colleagues influence them with their negative life. Do you hear me?
Michael:
DL: - how do you mean Sir?
Mr. Asante:
DL: - you know very well what I mean so don’t let me speak more than I am to.
Prefects:
SP: - laughs and taps each other having enjoyed the meeting and hoping no bad happens.
FADE OUT:
Scene 4:
Arrival of form ones into the school. The students were lead into their various dormitories. Capon and his gang watch with a keen eye making their selections before any one could dare overtake them.
SP: - SHOT OPENS ON CAMPUS REVEALING STUDENTS COMNG INTO SCHOOL WITH THEIR BAGS AND BAGGAGES HEADING FOR THE ADMINISTRATION BLOCK WHILES SOME HEAD FOR THE DORMITORY. THE HOUSE MASTER AND HOUSE MISTRESS DIRECTS THEM TO THEIR VARIOUS BLOCKS.
Scene 5:
Synopsis: Jade calls all the form one students to the “Sahara” and introduces them to the school. He makes them understand that life on campus was no easy thing but they had to be focused. He made them understand that they had left their homes to a jungle where survival of the fitters meant so much.
SP: - SHOT OPENS ON JADE, ADDO AND SETH WITH SOME COLLEAGUES WITH THEM UP THE BLOCK. SOME STUDENTS WALK IN AND OUT OF THE BLOCK PREPARING FOR SUPPER. CAPON SIGNALS JADE TO SURMON THE STUDENTS.
Jade:
SP: - claps his hand to call the attention of the students.
DL: - All S. S. S. one boys in the block down, form one boys in the block down before the count of 3!
Form ones:
SP; - running down from the top to the Sahara whiles some come from the outside to the block, all gathering at the Sahara.
Seth & Addo:
SP: - laugh at the student who obeyed them as though the world had come to an end.
Jade:
SP: - raises his hand to command some silence.
Michael:
SP: - comes out of his room and stands at the entrance of his room to watch.
Jade:
SP: - seeing Michael, then smiles
DL: - welcome to the new world, the world of your own. Welcome to the place you have not visited before. This part of the world is where your mama told is no go zone, this part of the world is where your papa told you is no fine place, but you believe in it so you are here, therefore let me welcome you all to “K.I. Zone”, the great school, Mariners Senior High School.
Students:
SP: - cheer Jade up for the splendid speech.
Michael:
DL: - enough of the talk, it is supper time, hurry and go.
Capon:
SP: - looks at Michael with a stern look
Jade:
DL: - go on, you head the S.P., go for supper.
Students:
SP: - run out for supper.
Jade & Seth & Addo:
SP: - walk towards Capon looking straight into the eyes of Michael
Michael:
SP: - locked in eye contact with Jade.
FADE OFF
Scene 6:
Synopsis: Chantal meets the form one girl and welcomes them to school. She informs them to study very hard and understand that school is not just about books but more. She made a choice of a school daughter who Charity made her aware was her school daughter.
SP: - SHOT OPENS ON CHANTAL TALKING OT THE FORM ONE GIRLS WHO STOOD DOWNSTAIRS. NEXT TO HER STOOD HER BESTFRIEND CINDY AND TWO OTHER GIRL FRIENDS. CHARITY COMES INTO SHOT LATER TO TAKE ESSEL AWAY.
Chantal:
DL: - so like I was saying, all you have to do is respect your seniors and do your work at the right time, and you would have no trouble. Is that clear?
Form one girls:
DL: - Yes Sister.
Chantal:
SP: - sees Essel and picks a keen look on her
DL: - girl!
SP: - pointing at Essel
Essel:
SP: - wondering if she was the one she was talking to.
Chantal:
DL: - yes you girl, I like you and would want you to be my school daughter.
Charity:
SP: - coming from room
DL: - Chantal, take your eyes off her, she is my school daughter.
SP: - goes to pull her from the midst of the girls.
Form one girls:
SP: - wondering and murmuring what was going on.
Chantal:
SP: - looking calm and collected
DL: - there is no problem. You all should go for dinning
Students:
SP: - disperse slowly for the dinning hall
Cindy:
DL: - don’t you worry, you are the Queenie.
Chantal:
SP: - Smiling to herself
FADE OFF
Scene 7:
Synopsis: Capon meets Henry going to learn and teases him but Henry pays no attention to him. Capon goes to meet Chantal who tells him of what happened between her and Charity pisses off Capon.
SP: - camera opens on capon and his guys heading to the dining hall. Camera puns to Henry with his books going to the classroom going to learn. Capon speaks with him and leaves him for the dining hall with his friends following up. HENRY WALKS TO THE CLASSROOM UNDISTURBED.
Capon & Seth & Addo:
SP: - walks happily from the dormitory for the dinning hall cheat chatting.
Henry:
SP: - heading for the classroom with his books in hand.
Addo:
SP: - pointing to Henry
Capon:
DL: - holy shit! Henry, where in God’s name are you going to?
Henry:
DL: - where does it look like I am going?
Capon:
DL: - take it easy big man. I thought it was dining?
Henry:
DL: -I a not hungry and prefer going to learn than stay here doing nothing.
Addo:
DL: - that is very thoughtful of you Henry.
Capon:
DL: - suit yourself;
Capon & Seth & Addo:
SP: - leave him and walks on to the dining hall.
Henry:
SP: - looks at them go, shakes his head and moves on to the classroom.
Capon & Seth & Addo:
SP: - walks briskly to the dining hall.
CUT TO:
Scene 8:
Synopsis: Essel finds out from Charity the meaning of what happened but Francisca tells her not to worry for things like this happens for she would take care of it in her own way.
SP: - CAMERA OPENS ON CHARITY AND ESSEL GOING FOR DINING. ESSEL LOOKS DISTURBED WHILES CHARITY TRIES TO CONSOLE HER.
Charity:
DL: - don’t worry Essel, nothing would happen to you
Essel:
DL: - why did she look at me like that? She scares me.
Charity:
DL: - nothing would happen to you. Just stay cool okay.
Essel:
SP: - Still not convince and worried of the uncertainty.
Scene 9:
Charity meets Capon and his guys in front of the dining hall and tells him of her experience with Charity and what she intends to do to her.
SP: - shot opens on Chantal and Cindy standing in front of the dining hall. Shot puns on capon with his guys heading towards Chantal. Some section of the students heading for the dining hall whiles others stand in front of the hall.
Chantal & Cindy:
SP: - stand watching out for Capon whiles chatting some friends.
Capon & Guys:
SP: - heading towards Chantal
Chantal:
DL: - what kept you so long?
Capon:
DL: - do I owe you that?
Jade:
DL: - please let not start…
Chantal:
DL: - and who invited you into our conversation. Anyway, I am not ready for any fight this time.
Jade:
SP: - breathes a sigh of relief
Chantal:
DL: - can you imaging the impudence of Charity.
Capon:
DL: - listen, I don’t have time for your petty quarrels. Girls have their fantasies, so live it.
SP: -signals his guys to follow up
Capon & Guys:
SP: - walk away to the dining hall.
Cindy:
DL: - don’t take Martin for serious, you know him too well.
Chantal & Cindy:
SP: - walks back to the dormitory.
CUT TO:
Scene 10:
The form ones had their first ever dining experience on campus. Essel made new friends who were very much interested in her. Her extreme beauty was the jealousy of the seniors. The form ones started advancing each other.
SP: - camera shot opens on students sited in the dining hall ready to eat. Camera puns on Jones and James who were trying to get acquainted with the school life and puns back to Essel and her new found friends.
Jones & James:
SP: - sitting on the bench chatting whiles some wait eagerly for their food.
Essel:
SP: - holding her fork and knife wondering who to talk to.
Vivian:
SP: - pulls close to Essel.
DL: - Hi!
Essel:
SP: - looks at her and then smiles
DL: - hi,
Vivian:
DL: - my name is Vivian and I know you are Essel.
Essel:
DL: - I believe everybody knows me.
Vivian:
DL: - anyway, I believe you are the target of that one.
SP: - watches at Cindy who was watching them with keen interest.
Cindy:
SP: - watching at Essel with keen interest.
Essel:
SP: - gets eye locked with Cindy.
END OF EPISODE 1
Episode 2:
Scene 1.
Synopsis: Francisca calls all to leave for morning assembly. Chantal tries causing havoc but Francisca tells her not to try her temper that morning for she was not in the mood.
SP: - Shot opens on Francisca at the top floor of the dormitory banging for the students to leave for the morning assembly. The form ones run off as though they were far late whiles the seniors relaxed. Camera puns to the boys section to see the boys also heading for the morning assembly.
Francisca:
SP:- claps her hand several times calling the attention of the student.
DL: - all students in the block should leave for morning assembly; all students are to leave for morning assembly.
Students:
SP: - the students move from all dormitories heading for the assembly hall.
Chantal:
SP: - walks out of her dormitory lazily towards the assembly hall.
Francisca:
SP: - looks at Chantal with some disgust and speaks to herself.
DL: - they all are in school to keep the number growing.
SP: - descends to the assembly hall.
Students:
SP: - walking to the assembly hall
CAMERA PUNS TO:
Boys:
SP: - walks from their dormitory to the assembly. The juniors run to the assembly after been pursued by the seniors.
PUN TO:
Girls:
SP: - Running for the assembly hall.
Scene 2
Synopsis: Administrators of the school welcome the form ones to the school and warns them of the things to expect especially that of the bad boys who call themselves gangsters of the school
SP: - camera opens on the students sitting in the hall chatting, whiles some are anxious to know what it is for the first, realities of campus was. Camera puns on Capon who comes on shortly after Snr. House Master had started his speech.
Student:
SP: - the student gather at the assembly hall waiting to hear from the authorities and know the order of the day.
Mr. Asante:
SP: - gets up from his eat and walks to the podium.
Students:
SP: - sits in groups talking to each other.
Mr. Asante:
SP: - hits the microphone to call for attention.
Students:
SP: - silence breaks out.
Mr. Asante:
DL: - good morning school.
Students:
DL: - good morning sir.
Mr. Asante:
DL: - I would like to seize this opportunity to welcome the first year students to school. I must state here and now that, there is no time to waste. Therefore, the orientation for the form ones would be commencing right after this meeting. In the mean time, continuing students should…
Capon:
SP: - walks in shabbily not respecting the school authorities.
Mr. Asante:
SP: - sees Martin and angrily calls him.
DL: - Martin!
Capon:
SP: - stops calmly and looks at the master.
Mr. Asante:
SP: - angrily he speaks to him.
DL: - I wonder why you are still in this school. You are a nuisance to the school and your parents think you are that diamond to them.
SP: - to the students, speaking to the form ones
DL: - form one students, you see some one like this, resist from him and don’t you emulate his footsteps if you want to enjoy your stay here in school.
Capon:
SP: - walks away to sis down
Mr. Asante:
DL: - like I was saying before I was rudely interrupted…
Students:
SP: - burst into laughter.
Capon:
SP: - looks at the faces of some of them who simultaneously stop laughing.
Mr. Asante:
DL: - you are to move to your classrooms leaving the form ones and the prefects here.
Students:
SP: - the continuing students get up to go leaving the fresh ones behind.
Capon:
SP: - gets up and go out to the classroom
James:
SP: - shocked and scared looking at the Capon;
FADE OUT:
Scene 3
Synopsis: Philip and Prisca sits in the hall chatting. Prisca warns Philip to stay away from the form one girl who he swore never to try any.
SP: - camera opens on Philip and Prisca chatting in the hall. Prisca looked more worried than Philip who was under immense pressure
Prisca:
DL: - you hardly call me to come talk to. May I know the reason.
Philip:
SP: - tensed up
DL: - nothing
Prisca:
DL: - I hope you are not seeing any of the form one girl…
Philip:
SP: - sharply cuts her with quilt all over his face
DL: - no. I am not
Prisca:
DL: - let hope so because if you do, Philip… you would not like it.
Philip:
SP: -looks so tensed and frightened.
CUT TO:
Scene 4
Charity introduces her school daughter to Felix, her colleague S. U. executive and tells him of her experience with Chantal the previous day.
SP: - camera shot opens on Charity and Essel standing at the doorpost. Camera puns to Felix who walks towards Charity and engage in friendly conversation.
Charity & Essel:
SP: - stands at the doorpost calm and chatting.
Felix:
SP: -walks towards Charity with smiles on is face;
DL: - Hell Charity!
Charity:
SP: - sees Felix;
DL: - oh, Felix,
Felix:
DL: - I thought you didn’t come for morning assembly so I was about sending for you.
SP: - realizes the presence of a company;
DL: - and who is that?
Chantal:
SP: - realizing Felix was talking about Essel;
DL: - you mean Essel? That is my school daughter.
SP: - introduces Essel to Felix
DL: - Essel, meets my friend and colleague, the S. U. President, Snr. Felix Assan.
Essel:
SP: - shy’s off from Felix
Felix:
DL: - hello Essel, don’t be shy of me.
Essel:
SP: - smiles shyly
Felix:
DL: - anyway, I have to see the chaplain. I would meet you in class.
Charity:
DL: - okay, extends my regards to him
Felix:
SP: - taps Easel’s shoulders and says to her
DL: - before I leave, please don’t follow any one out of school without exeat; especially to Pano I would see you later.
SP: - walks the direction leading to the chaplain.
Charity:
DL: - don’t be shy of him, and don’t go out of school. I would be in my class, so if you need anything,
Essel:
DL: - okay sister.
SP: - watches Charity walks off.
Vivian:
SP: - stands behind Essel and speaks into her ears
DL: - it is time you learn how to live without your school mother.
Essel:
SP: - realizing Vivian had been watching her all that while. Pulls her jokingly to get somewhere to sit
CUT TO:
Scene 5
Synopsis: Mr. Oduro meets Exzibit, the entertainment prefect who he always sees as the bad nut amongst the student and lashes out words of demeaning to him upon cautioning him not to maltreat the students.
SP: - camera opens on Exzibit sitting with some of his friends under a tree chatting cynically. Camera puns to Mr. Oduro who walks with a cane in hand. He stops in front of the boys and speaks to Exzibit who despises the conversation.
Students:
SP: - sit under a tree talking cynically, probably teasing the fresh students who were alienated to the real activities of the school.
Mr. Oduro:
SP: - whispers and swings his cane as he walks to the classroom
Philip:
SP: - sees Mr. Oduro and signals him to the friends.
DL: - see who is coming?
Students:
SP: - all look towards the direction Philip pointed and beginning to laugh
Mr. Oduro:
SP: - realizes the students sitting were laughing obviously a t him, stops in front of them
DL: - what is there that is so funny that you so happily laugh of?
Exzibit:
DL: - nothing sir.
Mr. Oduro:
DL: - I knew you were the very person to answer me. Listen, I know you boys to well and believe you me, I am watching your every step.
Addo:
DL: - what have we done wrong this time.
Mr. Oduro:
DL: - where exactly are you to be now? Would you move to you classroom!
Students:
SP: - moves shyly and shabbily to the classroom.
Mr. Oduro:
DL: - look at them. They would go sit for the exams only to boom and we would be blamed.
SP: - moves on to his direction.
Scene 6
Synopsis: Francisca upon going to her classroom meets Ruth who had come from her class to the dining hall to join the juniors for orientation. Francisca engages in conversation with her and leaves her for her class.
SP: - camera opens on Francisca who walks from the senior block to the complex block. She walks hastily and stops by Ruth who was heading towards the hall where the juniors were. She speaks fumbling but allowed to get off the hook.
Francisca:
SP: - walking from the class to the complex block with a file in hand. Stops by the passing by Ruth
DL: - may I know were you are of to?
Ruth:
DL: - to the hall, we’ve been asked to orient the form ones.
Francisca:
D: - I see, anyway don’t forget to come to S. U. today.
Ruth: -
SP: - hastily responds
DL: - I sure would not.
Francisca:
DL: - I hope so; anyway I must be on my way.
SP: - they both parted and headed their separate ways.
Scene 7
Synopsis: Exzibit informs Cindy and Capon of what Mr. Oduro did to them some few minutes ago under the tree. Capon shuns away from the idea of they calling tat small boy Mr. and tells them to concentrate on their various separate lives rather than worrying. Chantal comes to Capon who does not seem ready for her trouble.
SP: - camera opens on Exzibit and friends entering the class. Capon and Cindy sits chatting when Exzibit joins them they talk for sometime then Chantal enters with her nagging welcoming the unwelcome snare of Capon.
Capon & Cindy:
SP: - discuss some few things from the book.
PUN TO:
Exzibit & Friends:
SP: - walks into the class with daring calm faces and walks towards the Capon;
Cindy:
SP: - raises the head to see the sorry looking faces of the boys.
DL: - can I guess what is going on in your mind.
Capon:
SP: - raises his head to see the boys and relaxes sticking into his mouth a toothpick
Exzibit:
DL: - Mr. Oduro is getting on my nerves you know. Can you imaging the embarrassment he caused us in front of the hall?
Addo:
DL: - Capon, that man is a pain in the butt.
Philip:
DL: - I don’t know what wrong we’ve done him, ever since he came to this school, he is been the Mr. all know all.
Capon:
DL: - would you people stop calling that boy Mister! Listen, stay away from him and let him fall into your trap, then we can hunt him down.
Addo:
DL: - as if we were in his way, we did him no trouble. It is time we taught him what to do and who not to mess around him.
Cindy:
SP: - she sees Chantal and bows to her;
SP: - queenie.
Chantal:
SP: - she ignores the greeting and look to Capon
DL: - I want to talk to you.
Capon:
DL: - since when did I become your commanding toy to order around.
Scene 8
Synopsis: Ruth leave the hall for the class and meets charity who she tells of her disappointment in not being able to orient the form ones who she had seriously wanted but only gets the message on consolation not only from charity but also from Francisca.
SP: - Shot opens on Ruth coming from the hall to the classroom where she meets Charity. Francisca comes into shot and pulls charity away. Ruth walks sadly to the classroom
Ruth:
SP: - walking from the hall to the classroom sad.
PUN TO:
Charity:
SP: - sees Ruth and realizes she was sad and wonders what the problem could be. She meets her
DL: - Ruth, what is wrong with you?
Ruth:
DL: - I was supposed to orient the form ones but go there only to be told it had ended.
Charity:
DL: - how?
Ruth:
DL: - who else would do that to me if not for Prisca; she had gone to orient them already.
Francisca:
SP: - walks to where the two girls were talking smiling
DL: - don’t blame anyone Ruth, you are just ambitious.
Ruth:
DL: - Sister Francisca! How do you mean?
Francisca:
DL: - anyway, I don’t know how I would interpret for you but right now we have a meeting so…
SP: - pulls Charity away with her
Ruth:
SP: - looks at the two sisters leave and turn to head for her class.
Scene 9
Synopsis: Henry with Michael in the class studying together when Felix comes to tell Michael Snr. House master was after him in the block
SP: - camera opens on Henry and Michael in the classroom studying. They were enjoying the studies. Felix rushes in to inform Michael the Snr. House Master was in the block looking for him.
Michael & Henry:
SP: - reading a note and sharing ideas.
Felix:
SP: - rushes into the classroom scaring Michael and Henry
Michael:
DL: - Felix, what is the matter? Why do you barge in like that?
Felix:
DL: - you need to be in the block now; Snr. House Master is looking for.
Michael:
DL: - is something wrong in the block?
Felix:
DL: - we are not helping the situation talking.
Michael:
SP: - sensing danger picks his book and follows him out of the class.
Henry:
SP: - wondering what could be wrong, opens his book to read and sops instantly to follow the two boys.
Scene 10
Synopsis: Michael and Felix walk pass Essel and Vivian without recognizing the presence of the girls. Essel calls Felix but gets a wiper and wonders what could be wrong. The girls walk away.
SP: - camera opens on Michael and Felix who were in haste towards the dormitory of the boys. They walk pass Essel and Vivian without recognizing them
Essel & Vivian:
SP: - looks at the two prefects in haste, Essel calls Felix
Essel:
DL: - Snr. Felix
Felix: -
SP: - gives her a wiper without stopping.
Essel:
SP: - turns to look at Vivian and asks her
DL: -what could be the matter?
Vivian: -
SP: - raising her shoulder up signaling ignorance
SP: - both girls walk way from the scene
PUN TO:
Michael & Felix:
SP: - walk on to the dormitory without stopping.
Scene 11
Synopsis: capon punishes Prince for no apparent reason, the guys of his all watch on having and shouting on top of their voice but no one dare to stop. Michael and Felix barges to the room to see for themselves the scene.
SP: - camera opens on Prince motorcycling I Capon’s room. Capon and his guys watch on having fun. Some section of the students stand outside panicking when it would be their time. Michael and Felix enter the room.
Prince:
SP: - motorcycling and sweating. Tears stripping down his face
Gangsters:
SP: -laughing loud at the poor innocent boy who is defenseless.
Capon: SP: - sitting on his bed watching on silently with piercing eyes.
Students:
SP: - peeping into the room with fear gripping them.
Michael:
SP: -enter the room with rage and shocked.
DL: - what is the meaning of this!
THE END
EPISODE 3
Scene 1
Synopsis: Michael and Henry gets irritated of what Martin had done to Prince and picks Prince his dormitory where Michael attends to his wounds and threatens to deal with him.
SP: - camera opens on Michael massaging Prince, Henry sits by watching keenly as Prince groans in pains.
Michael:
SP: - irritated whiles massaging Prince.
DL: - until somebody teaches that boy a lesson, he would continue misbehaving. Just see what he has done to the poor boy. How would I explain to the Snr. house master, eh!
Henry:
SP: - shakes his head
DL: - do you think that boy is in school to learn at all? I wonder how he manages to pass the exams.
Prince:
SP: - groans in pain.
Michael:
DL: - only God knows.
SP: - massages Prince cursing words.
Scene 2
Synopsis: James and Jones argue out who the boss is amongst the senior whiles they were in class trying to make some lessons go through.
James & Jones:
SP: - reading a text book they took from their respective school fathers.
Michael:
SP: - comes out of the dormitory heading for the hall
James:
SP: - looks out seeing Michael pass by then turns to Jones
DL: - Jones
Jones:
SP: - still looking into his books, responds
DL: -hm
James:
DL: - who do you think is the boss amongst the seniors?
Jones:
SP: -stops reading and looks up to James wondering
DL: - why such a question?
James:
DL: - haven’t you realized that Capon is more of a god?
Jones: DL: - who is Capon?
James:
DL: - don’t you know the Capon? Where have you been?
James:
DL: - who is Capon besides I don’t think any of the seniors is more powerful than Snr. Michael, S.P.
Jones:
DL: - I don’t think so. When Capon speaks all is final. I really would have loved to be his school son
Jones:
DL: - why? Don’t you like Snr. Henry?
James:
DL: - I didn’t say that. All I said was I would have much like Capon to Henry.
Jones:
DL: - all that glitters is not gold.
James:
DL: - I beg, spare me that.
SP: - looks into his book, stops reading and gets out from the class leaving Jones starring
Scene 3
Synopsis: Essel looking for her school mother found herself peeping into Chantal’s classroom but was lucky as she was not seen.
SP: - camera opens on Chantal and Cindy at the back seat of their class. Camera puns to Essel coming into the classroom where she meets Chantal. With mix feelings, they chat and later she leaves.
Chantal & Cindy:
SP: - conversing. They looked happy talking of what ever it was they were talking of
Essel:
SP: - looking around as though in search of some one. Peeping into two classrooms and then finally to the third classroom. She looked shocked as she saw Chantal but quickly drew her head back. Lucky for her Chantal did not see her.
Cindy:
SP: - looks straight to the window
Chantal: SP: - looks at the window then back to Cindy
DL: - what is it?
Cindy:
DL: - I thought I saw some one peeping in.
Essel:
SP: - gets scared
Chantal:
SP: - looks at the window which seemed clear.
DL: - you saw someone? I don’t want to believe you are seeing things.
Cindy:
DL; - I thought… never mind
Essel:
SP: - breathes a sigh of relief and dabbles her steps out of sight
Scene 4
Synopsis: capon and Jade sits in the bush smoking herbs. They looked serious and angry for fight
SP: - camera opens on a thick smoke obviously from a mouth, then another smoke is in shot from a different mouth, then zooms out to reveals Capon and Jade sitting in the bush smoking. Both looked angry for fight. Camera picks a smoke off into the sky and then fades off.
Scene 5
Synopsis: Madam Gladys goes Mr. Asante to talk with him over school affairs. They had not received any bad reports so far about the students.
SP: - camera opens on Mr. Asante in front of his bungalow then puns to Madam Gladys coming from the girl’s dormitory walking tiredly to her bungalow. Stops at Mr. Asante’s end and talk for a while then continues her walking
Mr. Asante:
SP: - stands at the corridor of his bungalow looking into the school
PUNS TO:
Madam Gladys:
SP: - walking tiredly from the girls dormitory
PUNS TO:
Mr. Asante:
SP: - sees Madam Gladys and smiles at him, teasingly calls her
DL: - Snr. House mistress
Madam Gladys:
DL: - Mr. Asante
Mr. Asante:
DL: - where are you coming from?
Madam Gladys:
DL: - from the girls
Mr. Asante:
DL: -I hope there is no trouble.
Madam Gladys:
DL: - not this time. The girls have at least comported themselves this time round. I only pray they continue like this
Mr. Asante:
DL: - same with these boys. Let’s hope they remain this way.
Madam Gladys:
DL: - let’s hope so. They would start disturbing us with this their S.U. prayers and shouting. Let me go rest for I am very tired.
Mr. Asante:
DL: - I need not be told, I can see it for myself.
Madam Gladys:
SP; - laughs and then leaves for her bungalow
Mr. Asante:
DL: -take it easy
SP: - shakes his head and smiles to himself till camera fades on him
Scene 6
Synopsis: the Scripture Union of the school meets in one of the classroom to pray and worship.
SP: - camera opens on the S.U. singing praises to God. Camera reveals the some of the fresh students like Jones, Essel, Vivian, Prince as well as Ruth, Henry singing intensely. They turn into worship…
CUT TO:
Scene 7
Synopsis: Capon and his gang had gathered in the thick chanting to their god.
SP: -the gang of Addo, Seth, Jade, Chantal, Cindy and Capon stood in the thick of the night in the valley calling on their god to strengthen them stands the test of time. They chanted till they were soaked with their sweats.
Scene 8
Synopsis: Essel was been chase by some boys from the school into the thick where she knew not were she was going. She fell down and when about to be stroked by one of the unknown guys to her, she screamed and woke up to realize it was all a dream.
SP: - camera opens on Essel being chased by some guys. Camera puns to the guys with their scary looking faces as their pursued her. She ran and fell on the ground. The guys stood by her with cutlass as she begged crying.
Essel:
SP: - running towards the field with fear written all over her face.
PUNS TO:
Guys:
SP: - holding cutlasses chasing Essel with their fierce looking faces
PUNS TO:
Essel:
SP: - runs and tumbles. She falls on the ground
Guys:
SP: -stands by her with cutlasses about to strike her.
Essel:
SP: -begging with tears in her eyes crying
CUT TO:
Scene 9:
Synopsis: Essel lying on her bed and then all of a sudden screams waking up from a dream
SP: - Camera opens on Essel rolling on her bed having difficulty sleeping. Zooms to her face, with tears as she struggles in a dream she wakes up with a scream.
THE END
EPISODE 4
Scene 1
Synopsis: Mr. Oduro teaches the class of Capon. The class refuses to learn as they refuse to answer any question asked. He fumes and gets out of the class.
SP: - camera opens on Capon with Mr. Oduro’s voice (OS) then zooms out the whole class with Mr. Oduro teaching.
Capon:
SP: - stuffed his pen in his mouth as he watched straight to the board
Mr. Oduro:
OS: - you must never fail to evaluate your answer…
Class:
SP: - zoomed out listening to Mr. Oduro
Mr. Oduro:
SP: - looking at the class
DL: - are you people listening to all that I am saying.
Class:
DL: - yes Sir.
Mr. Oduro:
SP: - points to one student dozing
DL: - you, tell me what I just said?
Student:
SP: - dozing
Mr. Oduro:
SP: - throws a chalk which hits Capon instead and fumes leaving the class
Capon:
SP: - looks at him with stern eyes.
DL: - let him go
Class:
SP: - disappointed in the teacher who was on a national service.
CUT TO:
Scene 2:
Synopsis: Essel walked into Charity’s class and ends up entertaining the class. Capon fancies her and looks at her with keen interest.
SP: - camera opens on the class having nothing serious to do then reveals Essel who enters and is stopped to talk by Francisca. Camera puns to Capon who looked at her and fancied her.
Class:
SP: - everyone was busily talking to one another.
Essel:
SP – walks into the class and greets
DL: - good afternoon Seniors.
Class:
SP: - refuses to respond
Capon:
SP: - looks at her and admires her
Essel:
SP: - moves a step towards the school mother but was stopped by Francisca
Francisca:
DL: - who are you looking for?
Essel:
SP: - smiles
Capon:
SP: - still admiring her
Henry:
DL: - is some one laughing with you? Who are you looking for?
Essel:
DL: - my school mother.
Francisca:
DL: - did you bring any mother from the house. Do you think we look like nursing mothers.
Charity:
Laughs and puts her head on the table
Essel: - sister Charity.
Capon:
SP: - marveled at the revelation
Henry:
DL: - so you would be osofo maame. Please go see her.
Charity:
SP: -gets up to take her outside
Capon:
SP: - looks at the girl till she leaves the class.
Charity & Essel:
SP: - stand out for some few seconds and leaves
Henry:
SP: -sees Essel leaving and calls after her
DL: -won’t you come to say goodbye.
Essel:
SP: - runs away not looking back
Class:
SP: - laughs at her
Capon:
SP: - smiles to himself
Scene 3
Synopsis: Mr. Oduro goes to Mr. Asante to report the class to him but Mr. Asante admonishes him to take it easy believing he was new to the system
SP: - camera opens on Mr. Oduro Standing in front of Mr. Asante’s desk in his office. Mr. Asante types and advices him to take it easy with the students
Mr. Oduro:
DL: - sir, this is not the first time this students have done this. I don’t seem to understand them
Mr. Asante:
DL: - Mr. Oduro, you know how students are, obviously because you are still new to them probably they are learning how to adapt to you so take it easy with them.
Mr. Oduro:
SP: - if you say so, I hear you sir.
SP: -not satisfied with the responds but had to leave quietly
Mr. Asante:
SP: - picks his pen and goes through his files till camera fades on him.
Scene 4
Synopsis: Capon and his guys go to the school canteen to eat where they are nothing spoken to except those who would like to hail them. James found more admiration in the Capon.
SP: - camera opens on Capon and his gangs heading for the canteen, follows Capon closely to the canteen. Camera puns to Addo who moved forward to buy them food. Every one leaves the sellers end for Addo. Camera puns back to Capon silently looking into the sky. Camera reveals James and Jones with excitement written all the face of James as he admired Capon
Capon & gang:
SP: - walking towards the canteen when others were in the dining hall
PUNS TO:
Students:
SP: - some buying food from different sellers whiles others stand chatting.
Capon & gang:
SP: - stop at a distance from the rice seller. Capon signals Addo to move.
Addo:
SP: - walks towards the banku seller
Form 1 & 2 Students:
SP: - all go back for Addo to buy his food.
Form 3 students:
SP: - though not gone yet none complain watching Addo make his buy.
Addo:
DL: -madam, give us 2GH¢ banku with 5GH¢ meat.
Seller:
SP: - with no complain attended to the order.
CUT TO:
Capon:
SP: - looking away from the students with his face towards the sky.
Jade & Seth:
SP: - looking at the students around them with smiles written all over their faces.
CUT TO:
Addo:
SP: - carrying the poly bag with the food in it. Goes to the Capon
SP: -they head for the dormitory speechless.
CUT TO:
James:
SP: - looks at the Capon and his gang go with smiles written all over his face with his Jones indifferent
DL: - this is what I am talking about
Jones:
DL: - my friend, shut up before any senior hears of you.
SP: - James keeps smiling whiles Jones wonders who he really was till camera fades on Jones.
Scene 5
Synopsis: Michael was in the SRC office studying whiles Ruth, enters unaware only to ask an irrelevant question leaving Michael in doubts
SP: -camera shot opens on Michael in the SRC office studying then puns to the gate revealing Ruth who comes in. Michael gets confused with the sort of question she came asking wondering what she was up to then fades on Michael
Michael:
SP: -studying his notes seriously, hears the door opens and looks there
Ruth:
SP: - opens the door and walks in as though had an in feel.
Michael:
SP: - wondering what she was up to
DL: what can I do for you??
Ruth:
DL: - Snr. Michael, I wanted you to help me solve some science questions.
Michael:
SP: -surprised at her request
DL: -science questions? You know I am not a science student so why me?
Ruth:
DL: - I thought the SP was intelligent.
Michael:
DL: - well I am studying so if you don’t mind…
SP: - pointing to the door.
Ruth:
DL: - are you sacking me Snr. Michael?
Michael:
DL: - what else does it look like I am doing?
Ruth:
SP: - with shame all over her, quietly walks out of the already opened door.
Michael:
DL: - what in God’s name are this girls thinking.
SP: - wonders and stairs into the sky till camera fade on him
Scene 6
Synopsis: Vivian and Essel came out of the classroom heading for the dining hall to meet Charity then meet Jones who was also heading the same direction to meet his school father. The three students walk together to the hall.
SP: - camera opens on Vivian and Essel from their classroom heading towards the hall. Jones comes in shot and walk with tem to the all
Vivian & Essel:
SP: - chatting from their classroom to the hall
Essel:
DL: - I pray sister Charity irons for me today.
Vivian:
DL: - you have a good school mother. Let’s pray it is not just for the short while.
Essel:
DL: - she is the SU vice president…
CUT TO:
Jones:
SP: - runs from his dormitory entrance to meet the girls.
DL: wait up Essel
Essel:
SP: - turns to see Jones close to them
DL: - hey, and where to? No siesta for you today?
Jones:
DL: - not really, I am going to meet my school father at the hall.
Essel:
DL: - same here, then lets go
Essel &Vivian & Jones:
SP: - all walk together to the hall chatting.
Scene 7
Synopsis: Felix introduces his school son formerly to Charity at the hall.
SP: -camera opens on Felix and Charity sitting on a bench in the hall chatting then comes into shot Jones, Essel & Vivian. They spoke for a while then exeunt Vivian.
Felix & Charity:
SP: -sits at the hall chatting in the hall
PUN TO:
Jones, Essel & Vivian:
SP: - come through the door in front of the two prefects. Hey walk straight to them.
Charity:
SP: - look at the daughter’s face cynically
Felix:
SP: - smiles at the two girls and then breaks the silence
DL: - Charity, meet Jones my school son.
Charity:
DL: - he is nice. Anyway enough of the pleasantries, we have worked to do
SP: - gets up and exeunt with the two girls leaving behind Felix and Jones
Jones:
SP: - sits by his school watch the sister and girls leave, then turns to the school father
DL: - is that my school mother?
Felix:
SP: - looked stunned at the question of the boy
CUT TO:
Scene 8
Synopsis: Exzibit chats Cindy at the canteen after school trying to make their relationship work whiles Cindy also tries convincing him to join the K.I. sect but responds not affirmative
SP: - Camera opens on Exzibit and Cindy sitting on a bench at the deserted canteen. Holding in hand is a sachet of water seriously talking over their future
Cindy:
DL: -I don’t seem to understand you most at times ‘Zibit. You are a strong boy so what is your fear?
Exzibit:
DL: - it is not about my fears sweet, I just don’t think I want to be part of the K.I.!
Cindy:
DL: - reason still not given!
Exzibit:
SP: - okay, let me think about it and I will let you have my responds
Cindy:
DL: - that still convinces me not. You are being soft man.
Exzibit:
DL: - I know where you are driving at.
Cindy:
SP: - looks at him cynically
DL: - driving at what?
Exzibit:
DL: - please don’t give me that look. You miss it
SP: - licks his lip
Cindy:
SP: - couldn’t deny it no more, begins pulling her legs back slowly
Exzibit:
DL: - I knew it; I am going to give it to you tonight.
Cindy:
SP: - softly nods and speaks to him
DL: - you still must consider my proposal
Exzibit:
SP: - speaks proudly
DL: - I will
FADES OFF:
Scene 9
Synopsis: shot opens on Philip inside the hall reading then sees Ruth passing by. He sends Prince to call her for him after which he proposed love to her.
SP: - camera opens on Philip studying then puns to Ruth from the dormitory then back to Philip who had seen her. Prince comes into the shot being sent by Philip to fetch Ruth.
Philp:
SP: - reading his book raises his head to look outside and sees Ruth
PUN TO:
Ruth:
SP: - heading towards the class room
PUN TO:
Philip:
SP: - yearns for her and calls Prince who was learning
CUT TO:
Prince:
SP: - wondering if he is the one and realizing he was the one goes to Philip
PUN TO:
Philip:
SP: - pointing to Ruth who was going to the classroom and orders him anxiously
DL: - go call me that sister going.
Prince:
SP: - without further question runs off.
CUT TO:
Scene 10
Synopsis: Prince runs after Ruth who he catches up with in the classroom and informs her of Philip who she agrees to go see.
SP: - camera opens on Prince running towards Ruth then cuts to Ruth climbing the stairs then back to Prince who gets to her in the class panting. Speaks to Ruth and both return to the hall
Prince:
SP: running heavily to catch up with Ruth
Ruth:
SP: - climbing the stairs and branching to one of the classrooms
Prince:
SP: -runs climb the stairs and sees her about sitting down. Goes to the window and calls her softly panting.
DL: - sister Ruth
Ruth:
SP: -turns to look at him wit shock
Prince:
DL: - one senior by name is Philip is calling you at the hall
Ruth:
SP: - asks of the name again to be sure
DL: - Philip?
Prince:
SP: - nods his head
Ruth:
DL: - what have I done this time. I hope I haven’t wronged anybody.
SP: - leaves her books under the desk and comes out to go with him
CUT TO:
Scene 11
Synopsis: Philip looks into the bars sees Prince coming with Ruth, he clears his face and rehearse what to tell. Prince comes with Ruth and leaves her to go back to his table. Unfortunately for him, his secret admirer happens to come by
SP: - camera opens on Philip looking into the bars and getting all excited, then back to his table. Cuts to the door revealing Prince and Ruth entering. Prince points to Philip and goes to his table whiles Ruth goes to Philip whiles proposing, Prisca pounds on them.
Philip:
SP: - looks into the bars and sees Prince and Ruth coming. Prepares his speech
CUT TO:
Ruth & Prince:
SP: - walks into the hall. Prince point to Philip and goes to his table
Ruth:
SP: - walks to Philip. Stands in front of him.
Philip:
SP: -pretends not to recognize her presence.
Ruth:
SP; - tired of standing
DL: - Snr. Philip, you sent for me.
Philip: -
SP: - now realizing the presence of Ruth
DL: -oh Ruth, sorry I didn’t notice your presence…
Ruth:
SP: - cuts in to stop him from speaking too much
DL: - now you have
Philip:
DL: - yes, please sit down.
Ruth:
SP: - sits and looks at him attentively
Philip:
SP: - brings out a sachet of water
DL: - you don’t mind…
Ruth:
SP: - says nothing and looks away
Philip:
SP: - realizing she was not interested in the scene been created and so thinks of hitting it once
DL: - Ruth, I actually called you here to ask you…
SP: - sees Prisca at the door post of the hall and then fumbles with words
Prisca:
SP: - stands at the doorpost searching for Philip
Philip:
DL: - how are you?
Ruth :
SP: - stands up furiously and leaves
Prisca:
SP: - sees Ruth leaving Philip’s sight and gasps
Philip:
SP: - gets all tensed up
THE END
EPISODE 5
Scene 1
Synopsis: Michael speaks to Prince who wanted to know of the place called Pano. Michael tells him not to fancy the idea of going there since it could lead to his withdrawal from school unless he has permit to go by exeat.
SP: - camera opens on Prince sitting on the bed with Michael packing his books into on his bed.
Prince:
SP: - sitting on the top bed watching Michael pack his books
DL: - snr. Michael
Michael:
SP: - continues packing and responds
DL: - yes
Prince:
DL: - is it true we are not to go to Pano?
Michael:
SP: - shocked he already knew of Pano but had to tell him the truth
DL: - who told you that.
Prince:
SP: - says nothing looking at him
Michael:
DL: - listen to me Prince, you are the school son of the School Prefect. You must understand that going out of school without permit is an offence. Why do you ask?
Prince:
DL: - Snr. Felix told Essel that.
Michael:
SP: - wondering who she was
DL: - who is Essel?
Prince:
DL: - sister Charity’s school daughter and a class mate.
Michael:
SP: - not sure he knew her but less interested
Prince:
SP: - laid down on bed
FADE OFF:
Scene 2
Synopsis:
capon, Seth and Addo go to Pano to eat, there they saw James, a form one boy there at an odd time.
SP: - camera opens on Capon and friends at Pano then puns to James eating then back to Capon who interrogates him and sacks him from there.
Capon & Seth & Addo:
SP: - walk chatting to Pano where they see James
PUN TO:
James:
SP: - eating a bowl of banku
PUN TO:
Seth:
DL: - see who is here.
James:
SP: - panics then pulls himself up and then greets him
DL: - good afternoon Capon
Addo:
DL; - by the end count of 3, I want you out of here
James:
SP: - stands up and runs off…
Capon:
SP: - looks at him run off then goes to sit to get his order.
Gang:
SP: - order for their food and enjoy themselves till camera fades on them
Scene 3
Synopsis: Charity and Francisca sit on bed chatting. They talk of how to control Chantal and make it impossible for she to influence the students
SP: - camera opens on Charity and Francisca sitting on bed.
Francisca:
DL: - I just cant believe that girl thinks she is running this school.
Charity:
DL: - I don’t seem to blame no one. Right from the first day we got here, I knew Chantal was evil.
Francisca:
DL: - if I had my way out I would have withdrawn her.
Charity:
DL: - the only thing we can do now is to pray for her, nothing more.
Francisca:
SP: - getting down from her bed
DL: - God would block his ears when her name is called out.
Charity:
SP: -laugh at the statement made by Francisca
Francisca:
DL: - let me fetch for my girl.
SP: - steps outside and camera cuts from Charity.
Scene 4
Synopsis: Capon and his men came through the bush way having finished eating in town with little no fear at all
SP: - camera opens on Capon and his gangs coming from the bush heading for the dormitory. They cared less who saw them besides no one could do nothing to them.
Scene 5
Synopsis: Ruth advices Essel upon being careful with the guys on campus especially the seniors who would sooner or later be chasing her and rather concentrates on her books.
SP: - camera opens on Ruth and Essel sitting on bed talking.
Ruth:
DL: - you are here for one thing, and that is to learn so be careful of the seniors. They are devils
Essel:
SP: - smiles when Ruth said the seniors were devils
Ruth:
DL: - I am serious about what I am saying
Essel:
DL: - thank you sister Ruth
Ruth:
DL: - you are welcome
SP: - gets up to go take her bath
DL: - let me go bath for supper
Essel:
SP: - watches her go and smiles at herself till camera fades on her
Scene 6
Synopsis: Vivian goes to madam Gladys house to speak with her concerning her provision she was asked to keep only a few quantity because the seniors might bully her and take it from her.
SP: - camera opens on Vivian at the porch of Madam Gladys’ house waiting for her.
Vivian:
SP: - stands in front of the house desperately waiting for Madam Gladys
Madam Gladys:
SP: - comes out of her room with a poly bag of provision and hands them over to Vivian
DL: - you wouldn’t need all your stuffs so keep these ones. When you are done with them then you can come from the rest or else the seniors would bully you for them.
Vivian:
SP: - nods her head in acceptance
DL: - yes madam. Thank you
SP: turns and leaves the madam
Madam Gladys:
SP: - turns back to her room.
Scene 7
Synopsis: Henry with Michael and Felix sit in the SRC’s office and hold a mini meeting with which they agreed on common terms.
SP: - camera opens on Felix and Henry chatting in the office then puns to the door in which Michael comes from and sits with them to continue the meeting.
Henry & Felix:
SP: - sits calculating some figures and comparing information
PUNS TO:
Michael:
SP: - who opens the door and comes in with a pen in hand
DL: - sorry for keeping long. How far have you gone.
Henry:
DL: - as far as possible.
Michael:
SP: - sits on his seat
DL: - where are we?
Felix:
DL: - the second agendum for the meeting.
Michael:
DL: - we would talk about indiscipline amongst the students. We all know the sort of life Martin and his friends are living and therefore we must make sure they don’t affect the form ones with it…
SP: - camera zooms out on them then fades off
Scene 8
Synopsis: Addo sits in class learning when he sees Essel pass by. He calls her and speaks to her but says nothing funny because Essel didn’t give him the face to try it.
SP: - Camera opens on Addo reading a notebook then raises his face to see Essel passing by. Calls her and chats her.
Addo:
SP: - reading his note book raises his head and see Essel passing
DL: - hello
Essel:
SP: - asking him if she was the one being called.
Addo:
DL: - yes you.
Essel:
SP: - goes close to him
Addo:
DL: what is your name?
Essel:
DL: - my name is Essel Acheampong.
Addo:
DL: - Essel! That is a beautiful name. I believe you are a form one girl?
Essel:
DL:- affirmative.
Addo:
SP: - thinking of what to say again, then the words all come to him
DL: - who is your school mother?
Essel:
DL: - sister Charity Tetteh
Addo:
SP: - realizing it was not going to be easy to say it now allowed her to go
DL: -nice I am Addo, I want to be your friend.
Essel:
DL: - no problem
Addo:
DL: - when you see me, you can all me okay?
Essel:
SP: - nods her head affirmatively then turns and leaves.
Addo:
SP:- watched her till she disappeared
DL: - wow, it is not going to be easy
SP: - gets back to his books. Camera fades on him
Scene 9
Synopsis: Mr. Asante summons Michael and informs him to prepare the students for grounds work.
SP: - camera opens on Michael in Mr. Asante’s Office taking orders from him
Michael:
SP: -standing with his hands behind him listening to Mr. Asante
Mr. Asante:
DL: - I don’t like the way and manner the boys sits is weedy, you must make sure that the students clean the place this weekend. It is not pleasing at all.
Michael:
DL: - I would make sure they do exactly that.
Mr. Asante:
DL: - that is the only reason for my calling you. You can leave.
Michael:
DL: -yes sir.
SP: - leaves the office and goes to the block
Scene 10
Synopsis: Capon and his guys sit in Capon’s room to talk of James who they believe is a good fellow to be introduced into the K.I. sect
SP: - camera opens on Capon and his fellows in his room
Addo:
DL: - the boy has guts. He went out without exeat,
Seth:
DL: - I thought he was going to leave when he saw us.
Capon:
DL: - I believe he has what it takes to be in the K.I.
Jade:
SP: - lost amongst the guys
DL: - who are you guys talking about
Addo:
DL: - Capon’s latest discovery
Jade:
SP: - still confused and looks at the Capon
Capon:
SP: - lies on his bed
DL: - you would meet him soon
Jade:
SP: - he looks at his friends wishing any of them would help him out
Guys:
SP: - all not willing to say a thing.
THE END
EPISODE 6
Scene 1
Synopsis: the students were mage to weed the school which was weedy
SP: - camera opens on students weeding. The form ones had mingled with the form twos to clear the school of the weed. Camera cuts to
Scene 2
Synopsis: Michael catches James hiding in the hall whiles the other students when other students were weeding and drags him out
SP: - camera opens on James sitting at a corner in the hall not wanting to be seen then cuts to Michael entering the hall and seeing James. Drags him out of the hall
James:
SP: - spying through the bars looking at the colleagues weed.
CUT TO:
Michael:
SP: - enters the hall and looks around for hiding students then see James who was trying to hide
DL: - hey, are you not a form one student?
James:
SP: - could say nothing
Michael:
DL: - you have started playing pranks at this time, only God knows what you would do when you get to form three. Come out here!
James:
SP: - goes out to him
Michael:
SP: - hold him by the wrist and sends him to the block
CUT TO:
Scene 3
Synopsis: Chantal and Cindy sits on the wall watching Essel weed and wish to have her in their cult meanwhile Vivian was in the room stuffing herself with food
SP: - camera opens on Chantal and Cindy watching Essel weeding
Chantal & Cindy:
SP: watches Essel with Keen interest as she weeds
CUT TO:
Vivian:
SP: - stuffing herself with food
CUT TO:
Cindy:
SP: - still watching Essel without missing a glance
DL: - she is a beauty.
Chantal:
DL: - she is worth a lot of substance only if we have her if not, she is valueless
Cindy:
DL – how do we get here on board. Charity is a hard nut to crack
Chantal:
DL: - we will get a remedy to her but for the mean time I must see the guys to know what is up tonight
CUT TO:
Vivian:
SP: - realizes some one was coming and then stops eating and pushes her food under the bed and goes out
Chantal & Vivian:
SP: - they bypass each other
Chantal:
SP: - looks at her go and shakes her head cynically
DL: - green horns
SP: - goes to her bed. Camera fades on her
Scene 4
Synopsis: Michael sends James to the block and apportions him a bigger portion to weed with which he does so with disgust. Capon and Jades stands upstairs watching
SP: - camera opens on Michael sending James to the field and apportioning him a portion
Michael:
SP: - holding him by the hand on the weedy compound
DL: - this is your portion, make sure you are done before supper and don’t give me the opportunity to relinquish my anger on you, bad boy
James:
SP: - frowns and bends to weed
Capon & Jade:
SP: - watch from upstairs and looks at James with smiles on their faces. Camera fades
Scene 5
Synopsis: Prisca stops Ruth from going to the classroom to go back to weed.
SP – camera opens on Prisca who sees Ruth coming towards her with a book in hand obviously to learn and stops her to go back to weed.
Prisca:
SP: - coming from the classroom to the block and sees Ruth
Ruth:
SP: - with a book in hand to the class
Prisca:
DL: - where do you think you are off to? Whiles your colleagues are working, you have your books in hand as though you were the only student on campus
Ruth:
SP: - shuns way from her
Prisca:
DL; - would you go back to work! Lazy girl
Ruth:
SP: - returns to the block sadly and embarrassed
Prisca:
SP: - follows her with a stern face.
Scene 6
Synopsis: Exzibit goes to room to room to sack those hiding to go work and finds Prince sleeping claiming to be sick but sacks her to go work.
SP: camera opens on Exzibit opening doors and sacking form ones to go work
Exzibit:
SP: - opens doors and then opens Michael’s door
Prince:
SP: - sleeping in the room shivering
Exzibit:
DL: - hey, your colleagues are out there weeding and you lie down here ‘cos your school father is S.P. get out.
Prince:
DL: - I am sick senior
Exzibit:
DL: - whether you are sick or not, you would work
SP: -strips the cloth from him and sacks him out.
Prince:
SP: -goes out without complaining
CUT TO:
Scene 7
Synopsis: Exzibit sends Prince to the field to join his colleagues to work. He sends him to join James to weed his portion.
SP: - camera opens on Exzibit pulling Prince to the field, sending him to join James
Exzibit:
SP: - pulls Prince to the field
Prince:
SP:- follows up calmly with his cutlass in hand
Ezxibit:
SP: - stands besides James with Prince and shoves him to the field
DL: - your father is out there fetching people and you are sleeping. Join him to weed.
James:
SP: - ignores the scene and continues weeding
Prince:
SP: - bends to weed the opposite o f James
Exzibit:
SP: - leave the two boys to weed.
Scene 8
Synopsis: Chantal sits in front of the hall waiting for any of the gangs to come inform her of the latest development for the meeting
SP: - camera opens on Chantal sitting in front of the hall. Addo walks into the shot and sits by her.
Chantal:
SP: - sits in front the hall and looks for her people. She sees Addo
PUN TO
Addo:
SP: - walks to her and sits by her. He looked dull
Chantal:
DL: - why do you look dull? Is everything alright?
Addo:
SP: - says nothing.
Chantal:
DL: - where is Martin?
Addo:
DL: - he said I should tell you we would be having a guest tonight at the sitting.
Chantal:
SP: - shocked and stunned
DL: - what do you mean by a guest?
Addo:
DL: - that is all I know, just have it in mind.
SP: - wakes up and runs off to the dormitory
Chantal:
SP: - looks at him go and looked so worried not knowing who it was.
THE END
EPISODE 7
Scene 1
Synopsis: Capon and his boys meet to call on their god, and then introduce James to the cult.
SP: - camera opens on K.I. in the thick chanting whiles others were at prep. Addo brings James in to show them of their latest member
Gang:
SP: - chant out the words of the strong powers of their god
Capon:
SP: - comes to the meeting with his face seriously stern.
Gang:
SP: - they all look into the sky as the Capon entered.
Capon:
SP: - chanting some enchantments, then stops and looks at the faces of the gang and greet them
Gang:
SP: - respond to the greeting still looking into the sky
Capon:
SP: - clears his mouth with his palm and looks straight to his gang
DL: - you all bear me witness that this Institution of ours has all sort and manners of people, people you can trample upon, people you can order, people you can manipulate
SP: - pauses here and looks into their eyes and stops in front of Jade to continue
DL: - people you can not buy.
SP: - walks away and continues talking
DL: - many at times, we are not being understood, we are misread and misinterpreted but that is not our concern. Today, we have in our midst, one who would become the third generation of the Killer Instincts on campus.
Chantal:
SP: - looks into the face of Capon wondering
Capon:
DL: - He is tried and tested. He is my chosen disciple amongst the form ones>
SP: - signals some one from the dark to come
James:
SP: - comes from the dark not all that bold but prepared for what he is in to
Capon:
SP: - puts his hand on his shoulders
DL: - here I present to you, he who they call James, but I call him shocker.
Gang:
SP: - look at him critically
Capon:
DL: - welcome to the new world, the world of the K.I.
Scene 2
Synopsis: James who feels all too new to this experience o the K.I. sits in class thinking of the new group. He sees future glory and smiles to himself but his friends fail to understand him
SP: - camera opens on James in class sitting at a corner in class smiling to himself and puns to the other students enjoying themselves but no one knew what was wrong with him
James:
SP: - sits in deep thought
Prince & Jones & Essel & Vivian:
SP: - chatting and enjoying themselves
James:
SP: - smiles to himself still looking into the ceiling
Jones:
SP: - realizes James has been the way he was for more than 30 minutes and calls the attention of the others
DL: - do you people think James is alright
Prince & Jones & Essel & Vivian:
SP: - all turn to look at James
Vivian:
SP: -draws his attention
DL: - James!
James:
SP: - obviously not in the class with them
Vivian:
SP: - calls him again, this time with more intensity
DL – James!!
James:
SP: - realizes the scene he had created and then comes to his senses
Vivian:
DL: - is all well with you?
James:
SP: - nods his head affirmatively
Essel:
DL: - allow him to dream if he says all is well.
Prince & Jones & Essel & Vivian:
SP: - concentrate on what they were discussing
James:
SP: - smiles and puts his head on the table
Scene 3
Synopsis: Miss Johnson, a national service teacher posted to Mariners Senior High School shows her posting letter to Mr. Asante, who welcomes her to the school
SP: - camera opens on Miss Johnson sitting in front of Mr. Asante in his office whiles Mr. Asante reads a letter which he seemed interested in.
Miss Johnson:
SP: - sitting in front of Mr. Asante’s desk with her bag on her lap
Mr. Asante:
SP: - reading a letter with his spectacle drawn to his nose. He smiles as he liked what he was seeing
DL: _ wow, that is nice. I must say you are most welcome. Having an old girl from here wanting to teach her is laudable.
Miss Johnson:
DL: thank you sir
Mr. Asante
DL: - I would have to send you to the classes to have you introduced to them.
SP: - prepares and picks his file and leads her out of the office
Scene 4
Synopsis: madam Gladys finds Cindy in the dormitory whiles others were in class and sacks her to go join her colleagues learn, Ruth sees all and runs off
SP: - camera opens on Madam Gladys inspecting the empty dormitories to be sure all was well then puns to Cindy who was sitting on the wall reading a story book then cut to Ruth then back to Madam Gladys and Cindy
Madam Gladys:
SP: - camera opens on Madam Gladys who walked the blocks through
PUNS TO:
Cindy:
SP: - sitting on the wall reading a story book
Madam Gladys:
SP: - sees Cindy and screams on her
DL: - what are you doing here?
Cindy:
SP: - panics as she jumps down from the wall
CUT TO
Ruth:
SP: - sees Madam Gladys shouting on Cindy and runs back to the school
Madam Gladys:
DL: - would you leave for the class…
Cindy:
SP: - runs off to the classroom
Madam Gladys:
DL: - thief! This is what you do to steal people’s things. Let me see you here again and you would see the viper in me
Scene 5
Synopsis: Francisca and Michael read a book discussing some questions whiles Capon sits back there paying with a phone. Mr. Asante comes to the class with Miss Johnson and introduces her to the class who the guys admire
SP: - camera opens on Michael and Francisca discussing some points then puns to Henry reading whiles Felix and Charity reads a bible then puns to Capon and his friends playing fun at the back seat. Camera cuts to Mr. Asante and Miss Johnson entering the class
Michael & Francisca:
SP: - discussing and solving questions
CUT TO
Henry:
SP: - reading his notes
CUT TO
Felix & Charity:
SP: - reading the bible
CUT TO
Capon and Guys:
SP: - playing fun behind the
CUT TO
Mr. Asante & Miss Johnson:
SP: - enters into the class
Mr. Asante:
DL: -good afternoon student
Class:
DL: - good afternoon sir
Mr. Asante:
DL: - I actually don’t have enough time to let me go straight. Here with me is Miss Johnson, she is a national service teacher. She is here to help our biological science department, in effect, she would be taking you through your biology class
Class:
DL – oooooo
Capon:
SP: - waves her trying to get her attention
Miss Johnson:
DL: - smiles and waves Capon who waved her
Mr. Asante:
DL: - so from tomorrow, she would be in your class
Jade:
DL: - why not now sir?
Mr. Asante:
DL: - silly students
Class:
SP: - laughs at the responds to Jade
Mr. Asante:
SP: - walks out to the other classes with Miss Johnson
Class:
SP: - all seemed to like the young teacher
Capon:
SP: - sees her to be a threat to his relationship with Chantal since she is beautiful
Scene 6
Synopsis: all leave class after school except Capon who said he was on his way to seeing Chantal in her class
SP: - camera opens on students leaving the class after the siren had blown except Capon who waits to see Chantal.
Class:
SP: - they were reading quietly. When the siren blew they packed to go
Jade:
SP: - packing his books and realizing capon was not packing
DL: - are we not going to the dorm today?
Capon:
DL: - not yet, I am going to see Chantal in her class so I would be with you later
Jade:
DL: - okay, see you
SP: - leaves Capon who picks his bag and goes the opposite way towards Chantal’s class
Scene 7
Synopsis: Jade and Addo walk to the dorm and meets Essel and Vivian from their class to their dorm.
SP: - camera opens on Jade and Addo then puns to Essel and Vivian then two come in shot after which each took to the different route.
Jade & Addo:
SP: - walk to the dorm chatting
Essel & Vivian:
SP: - also walk from the class to their dormitory
Addo:
SP: locks eye with Essel
DL : - how are you Essel?
Essel:
DL: - fine thank you
SP: - goes on without stopping
Vivian:
DL: - who was that?
Essel:
DL: - a new friend of mine
Jade:
DL: - is that your latest discovery?
Addo:
DL: - I beg I am not there yet
SP: - Jade teases him as the walk to the dorm
Scene 8
Synopsis: camera opens Ruth and Chantal on the corridors of Chantal’s classroom talking. Ruth tells her of what happened to Cindy. Capon comes to see Chantal
SP: - camera opens Ruth telling Chantal of what happened to Cindy then reveals Capon into shot. Ruth excuses them
Ruth:
DL: - I was lucky to have escaped. The way Madam Gladys who angry, if she had seen me, only God knows what would happen to me
Chantal:
DL: - so where did Cindy pass?
Ruth:
DL: - I couldn’t wait to see the outcome of the incidence, I took to my heels
Capon:
SP: - climbs the stairs and sees Ruth with Chantal
Chantal:
SP: - sees Capon and welcomes him
DL: - hi Martin
Ruth:
SP: - sees Capon and excuses the two
DL: - hey Capon, I am off to the dormitory
Capon and Chantal:
SP: - enter into the classroom
Scene 9
Synopsis: Jones and James stand at the balcony wondering where Prince could be
SP: - camera opens on Jones and James at the balcony.
Jones:
DL: - where could Prince be by now?
James:
DL; - by now, with his school father.
Jones:
DL: - or he is being punished by some one?
James:
SP: - leaving for his dormitory
DL: - always, you guys are thinking of some one punishing you. Be there
Jones:
DL: - where are you going to?
James:
SP: - leave without responding
Jones:
DL: - what sort of person is he.
Scene 10
Synopsis: Capon and Chantal play romance in Chantal empty class when Prince pounds on them
SP: - camera opens on the lips of Capon & Chantal kissing then reveals the two people then cuts to Prince who pounds on them.
THE END
EPISODE 8
Scene 1
Synopsis: Prince was seen by Capon who worried not and continued his pleasure leaving Prince scared
SP: - camera opens on Prince starring at Capon and Chantal Kissing and puns to Capon who saw him but stopped not, Prince runs off
Prince:
SP: - looks at Capon with his mouth wide open
Capon:
SP: - still kissing Chantal then sees Prince but stops not
Prince:
SP: - gets frightened and runs off
Capon & Chantal:
SP: - continue playing their romance
Scene 2
Synopsis: Prince runs to the dorm shaking and not willing to tell Jones what he saw for the fear of the uncertainty
SP: - camera opens on Prince running into his Dorm then heading straight to bed, and then cuts to Jones who entered from the balcony to see Prince crying and shivering
Prince:
SP: - runs into the dorm and jumps to the bed shivering
Jones:
SP: - opens the balcony door entering and seeing Prince shivering
DL: - what is chasing?
Prince:
SP: - still shivering and scared to tell Jones what he saw
Jones:
DL: - what is wrong with you Prince
SP: - watches around for any clues but finds nothing then jumps to Prince to console him
Scene 3
Synopsis: Essel talks to Francisca and Charity of her classes that day and how the students welcomed Miss Johnson
SP: - Camera opens on Essel in Francisca Dorm with Charity, both sitting on bed whiles Essel sits on the trunk
Essel:
DL: - we had an interesting classes today.
Francisca & charity:
SP: - were concentrating on their album watch
Essel:
SP: - thinks of getting their attention. She calls
DL: - sister Charity,
Charity:
SP: - raises the head to look at her
Essel:
DL: - today, they introduced to us a new teacher, we understand she is on national service
Francisca:
DL: - that could be Miss Johnson.
Essel:
SP: - quickly comes in to confirm
DL: - that was the name
Charity:
DL: - she was brought to our class too. Anyway, go get us some sachet water from the shop
Essel:
SP: - gets out to go get the water
Charity & Francisca:
SP: - gets back to the photo album watch
Scene 4
Synopsis: Felix and Henry in the S.U. office praying immensely for the students and the S.U.
SP: - camera opens on Felix and Henry praying earnestly in the S.U. office
Scene 5
Synopsis: Capon comes to the dorm not too happy of what happened early concerning Prince
SP: - camera opens on Capon entering the dorm not too lively then cuts to the friends who were wondering what could be eating him up
Jade & Addo:
SP: - lying on t he bed talking
Jade:
DL: - men, that girl is fresh
Capon:
SP: - enters the dorm
Jade & Addo:
SP: - all look at the door then watches Capon till he sits on bed
Jade:
DL: - what’s up man
Capon:
SP: - signals him he was not ready to talk
Jade & Addo:
SP: - gets back to bed silently
Capon:
SP: - looks at the ceiling in deep thought
Scene 6
Synopsis: Exzibit and James do a few rap contests.
SP: - camera opens on Ezxibit rapping in the dorm, next sitting to him was James who was singing with him whiles comes to see James singing
Exzibit:
SP: - raps and gets involved with the song he was doing
James:
SP: - taps his feet and claps for Exzibit
Exzibit:
SP: - sings on and stops. Calls James to start his
James:
SP: - starts singing beautifully
Philip:
SP: - walks into the room and sees James and marvels
Exzibit:
SP: - sees Philip standing at the door
DL: - do you feel my boy?
Philip:
SP: - ignores him and goes away
Exzibit:
SP: - turns to James shaking his head to the rhythm of the song
DL: - go on boy don’t mind him
James:
SP: - continues singing
Scene 7
Synopsis: Michael and Capon meets on the staircase and engages in eye combat
SP: - camera opens on Michael climbing the staircase, Capon comes into shot whiles the two look straight into the eyes of the other
Michael:
SP: - climbing the staircase. He stops at the corner of the stairs as he looked into the eyes Capon
Capon:
SP: - stops at the corner looking into the eyes of Michael
Michael:
SP: -strays himself pass Capon and heads for the dorm
Capon:
SP: - smiles to himself and descends the stair
Scene 8
Synopsis: Addo and Jade wondering what was wrong with Capon
SP: - camera opens on Jade and Addo sitting on bed
Jade:
DL: - what do you think could be wrong with Capon
Addo:
DL: - I cant put a finger to it. Could he had trouble with any one out there?
Jade:
SP: - cynically he says teasingly
DL: - who could easily torment Capon. He might be having trouble with Chantal
Addo:
DL: - that is not funny Jade. This is serious matters
Jade:
DL: - let Capon fight his fight
SP: - gets up and goes to the balcony
Addo:
SP: - lies on the bed
Scene 9
Synopsis: Prince tries to tell Michael what he saw but after seeing Capon at the door tells him he is just feeling cold
SP: - camera opens on Michael entering the room and seeing Prince shivering
Prince:
SP: - lies on bed crying
Michael:
SP: - opens the door and sees Prince shivering. Runs to him leaving the door open
DL: - what is wrong with you
Prince:
SP: - realizing Michael was with him and tries telling him what he saw
Capon:
SP: - stands at the door looking at Prince in the eyes
Prince:
SP: - sees Capon looking at him
Michael:
SP: - looks at the door seeing no one there
DL: - what is wrong with you
Prince:
DL: -I am suffering from malaria
Michael:
SP: - calming down to sit by him
DL: - you might be homesick
SP: - lies him down and covers him with the bedspread
THE END
EPISODE 9
Scene 1
Synopsis: Miss Johnson has her first class with Capon’s class where the boys took advantage of her ignorance to make fun of her youthfulness, especially Capon
SP: - camera opens on Capon’s class with Johnson in front teaching them for the first time
Class:
SP: - listening to a teacher attentively
Miss Johnson:
SP: - stands in front of the class and talks to them
DL: - I know you guys all might have studied a lot when comes to biology so lets try our thinking cup. What do you know about insects?
Jade:
SP: - raises his hands to gain early favor
Miss Johnson:
SP: - points to Jade
Jade:
SP; - insects are parasites who would not spare you of the little you have
Class:
SP: - burst into laughter
Miss Johnson:
DL: - that is a funny answer but I don’t think that is what is in your book.
Henry:
SP: - raises the hand
Miss Johnson:
SP: - gives Henry the opportunity to try
Henry:
DL: - any of numerous small invertebrate animals that are more or less obviously segmented.
Class:
SP: - all shout out Henry’s cooperate name
DL: - agyenkesea
Miss Johnson:
DL: - wow, that is well defined, you must all know that, they are of any of a class (Insecta) of arthropods (as bugs or bees) with well-defined head, thorax, and abdomen, only three pairs of legs, and typically one or two pairs of wings…
Capon:
SP: - looks at the young teacher with keen interest
Miss Johnson:
DL: - please read your text books for more information, during our next lessons we would do more writing than talking.
SP: - she picks her bag and leaves
Class:
SP: - murmur amongst themselves as Miss Johnson leaves
Capon:
SP : - smiles to himself and picks his book to read
Scene 2
Synopsis: Mr. Asante and Michael prepare a timetable for the school and tell Mr. Asante what happened to Prince and receives his pity
SP: - camera opens on Michael and Mr. Asante with Michael receiving information from the Master.
Michael:
SP: - writing in a note book standing in front of Mr. Asante
Mr. Asante:
DL: - there will be a symposium on the 6th week and we are inviting the Bishop to talk on that day.
Michael:
SP: - stops writing
DL: - yes sir.
SP: - makes a move to leave the office
Mr. Asante:
DL: - I understand your school was sick yesterday
Michael:
SP: - stops and turns to face the master
DL: - yes sir, actually he is fine now, I believe he is homesick
Mr. Asante:
SP: - laughs at him
Michael:
SP: - smiles and takes his leave
Scene 3
Synopsis: Essel’s class waits for the teacher to come teach them and takes advantage of the absence to disturb. Mr. Oduro comes in and asks Essel to see him in the bungalow after school
SP: - camera opens on Essel and her colleagues in class talking and then puns to Mr. Oduro entering the class
Class:
SP: - disturbingly talking
Mr. Oduro:
SP:- enters and stands at the back of the class watching them
DL: - would you students ever have the knowledge to stop misbehaving?
Class:
SP: - all go dead silent
Mr. Oduro:
SP: - walks to the front of the class and points to Essel
DL: - I thought you were an angel, not knowing you are worse. See me after school
Essel:
SP: - burry’s her head in shame
Mr. Oduro:
DL: - pick your exercise books and do this for me
SP” – turns to the board and begins writing some works on the board
Class:
SP: - picks up book and start writing
Scene 4
Synopsis: Prince passes by Capon’s class. Capon tells his friends what happened the previous day when Prince saw him and Chantal
SP: - camera opens on Prince heading for the junior block and Capon sees him in his class
Prince:
SP: - walks pass Capon’s class
Capon:
SP: - sees Prince passing the class and turns to his friends
DL: -do you guys see that boy?
SP: - pointing to Prince who was almost out of sight from the class
Jade & Addo:
SP: - stretches out to see Prince then back to Capon
Capon:
DL: -he saw Chantal and I doing the rituals in the class yesterday
Jade:
DL: - you don’t mean it?
Capon:
DL: - I am telling you.
Addo:
DL: - holy shit
Capon:
DL: - the shit is not holy
Scene 5
Synopsis: Cindy hides under the desk as madam Gladys speaks to the students to comport themselves and study hard, when she left she then came out but Chantal forced her into hiding again when Prince entered and Chantal made her to believe it was Madam Gladys
SP: - camera opens on Madam Gladys talking to the class then cuts to Cindy hiding. Camera then opens on Prince entering after madam Gladys had left
Madam Gladys
SP: - stands before the class
DL: - you guys are still growing. I don’t want you students to follow the precedence set by your predecessors
Cindy:
SP: - hides under her desk
Chantal:
SP: - uses her leg to hit Cindy to stay cool
Madam Gladys:
DL: - you have only few days to stay here then your stay would be over so please study hard and don’t be roaming when others are learning
Class:
SP: - yes madam
Madam Gladys:
SP: - goes out of the class
Chantal:
SP: - hits her to come out of her hide out
Cindy:
SP: - moves to coming out of under the desk
Prince:
SP: - enters the class
Chantal:
SP: - sees Prince and fakes Cindy
Madam Gladys
Cindy:
SP: - runs back under the desk
Class:
SP: - laughs at Cindy
Scene 6
Synopsis: Essel goes to Mr. Oduro’ apartment as ordered to do and made to sit in his room
SP: - camera opens on Mr. Oduro in his room, Essel enters the room after a knock
Mr. Oduro:
SP: - writing his lesson notes for the next day, hears a knock on the door
DL: - yes come in
Essel:
SP: - enters the room with her bag in hand
DL: - good evening sir.
Mr. Oduro:
DL: - oh Essel, it is you. You are welcome. Please sit down
Essel:
SP: - she sits in the sofa
Mr. Oduro:
DL: - I will be with you in a short while
SP: - leaves the room and goes out
Essel:
SP: - stares the room
Scene 7
Synopsis: Charity finds out from Jones and Vivian the where about of Essel and finds out she was in Mr. Oduro’s house
SP: - camera opens on Charity in front of the dining hall and then comes into shot is Jones and Vivian from whom she enquired of the where about of Essel
Charity:
SP: - stands in front the hall waiting for Essel
Jones & Vivian:
SP: - walks towards the hall and near Charity
Charity:
SP: - sees Vivian and Jones and calls them
DL: - have you guys seen Essel?
Vivian:
DL: - Mr. Oduro asked her to see him at his place after class today so I believe she is there
charity:
DL: - really. Okay thank you.
Vivian & Jones:
SP: - continue to the school library
Charity:
SP: - sits down waiting for the girl
Scene 8
Synopsis: Vivian informs Ruth of Essel’s visitation to Mr. Oduro’s house after being asked to but Ruth sensed foul play as she knew what male teachers were capable of
SP: - camera opens of Ruth washing her plate and then comes Vivian in shot telling her of where Essel went
Ruth:
SP: - washing her plate outside preparing for supper
Vivian:
SP: - walks to her in her school uniform
DL: - sister Ruth, are you preparing for dining already?
Ruth:
SP: - shuts her up cynically
DL: - shut up. Anyway where is Essel
Vivian:
DL: - Mr. Oduro asked her to see him so she went to him
Ruth:
SP: - getting more interested
DL: - really! So she is in his house now?
Vivian:
DL: - I believe so but…
Ruth:
DL: - that is great news
SP: - continue washing her plate with much more delight
Vivian:
DL: - why is every one acting funny like that?
SP: - goes to the dorm
Ruth:
SP: - smiles washing her plate and heads to the dorm
Scene 9
Synopsis: Mr. Oduro forces himself on Essel who managed to escape the trap unharmed and runs off leaving Mr. Oduro helpless and shameless in his room.
SP: - camera opens on Essel desperately waiting for Mr. Oduro in his room as he comes into shot with a drink in hand to offer to her
Essel:
SP: - waits desperately for Mr. Oduro
Mr. Oduro:
SP: comes into the room with a bottle of coke in hand
DL: - sorry for keeping you waiting. Here you are, feel free
Essel:
SP: - thank but no thanks, I must go prepare for supper, my school mother would be waiting
Mr. Oduro:
DL: - what do you mean. Essel you are a nice girl and I can do you more…
SP: - starts touching her body
DL: - favor and help only if…
Essel:
SP: - brushes him off
DL: - I don’t like what you are doing. I must leave
SP: -runs off the room
Mr. Oduro:
SP: - tries to stop her but she had gone
DL: - shit! That was close.
THE END
EPISODE 10
Scene 1
Synopsis: Charity in forms Francisca of the mood in which Essel came to the dorm with after closing from school
SP: - camera opens on Charity and Francisca in the dorm of Francisca where Charity tells her of what happened to Essel
Charity:
DL: - I still don’t understand the attitude of Essel.
Francisca:
DL: - what about her attitude?
Charity:
DL: - she went to see Mr. Oduro and afterwards she is been acting funny. I saw her crying, when I asked her she said she was not crying
Francisca:
SP: - looks into the eyes of the friend and softly speaks to her
DL: - don’t let your mind travel far my dear. For all you know…
Charity:
DL: - yeah I know, she is just being childish.
Francisca:
DL: - good. Wait till she says it for herself
SP: - continue going through her books
Charity:
SP: - not all that convinced but not ready to argue more so lies on the bed
Scene 2
Synopsis: Capon warns James to be careful with the girls on campus as they can make you reveal your secrets.
SP: - camera opens on James with his head bowed as he listens to Capon who looked so angry
James:
SP: - with head bowed in shame
Capon:
SP: - speaks to him with seriousness
DL: - you are a part of a deadly cult. You are a member of the Killer Instincts. We are not loved by all so you are to shut your beak, especially when talking to you girlfriends. Do you understand
James:
SP: - raises his head and looks at him
DL: - I am sorry Capon. I will be careful
Capon:
DL: - that is all
James:
SP: - leaves the room
Capon:
SP: - looks at the door as it shut behind by James
Scene 3
Synopsis: - Prince and Jones leave for Prep and find out that the light in the SRC office was on and there was a funny movement going on with the shadows moving only but couldn’t find out who were there
SP: - camera opens on Jones and Prince going for Prep with their books in hand then puns on the window to the SRC office inviting into shot Prince and Jones
Prince & Jones:
SP: - walking to prep with their books in hand
Jones:
DL: - I must really study my head out tonight
Prince:
DL: - I beg, are you the only one here for books…
Jones:
SP: - seeing the shadow movement in the SRC office then calls Prince’s attention to it
Prince:
SP: - sees it and wonders but gets the message and both run to the window
Jones & Prince:
SP: - look into the invisible window and perceive the fact that there was a sex activity going on and runs off.
Scene 4
Synopsis: Essel studies with Vivian and is been confronted by Ruth who finds out from her what Mr. Oduro wanted from her
SP: - camera opens on Essel and Vivian studying then comes into shot Ruth who seemed so inquisitive but is stopped by Francisca who stormed into the room
Vivian & Essel:
SP: - studying their notes at prep
Ruth:
SP: - comes into shot and bends on the table
DL: - may I ask a question
Vivian:
DL: - what is it?
Ruth:
DL: - not you my dear, I mean Essel
Essel:
DL: - what is it sister Ruth?
Ruth:
DL: - what did he ask from you when he invited you?
Essel:
DL: - what do you mean?
Ruth:
DL: l understand Mr. Oduro invited you…
Francisca:
SP: - stands at the entrance to the hall
DL: - what is going on here?
Ruth:
SP: - sees Francisca and moves to sit down
Essel & Vivian:
SP: -gets back to the book
Francisca:
DL: - I don’t want to come see you people misbehaving
SP: - leaves the hall which was engulfed with silence
Scene 5
Synopsis: Chantal studies with Cindy in the classroom and misses Capon badly that she leaves for the room
SP: - camera opens on Chantal and Cindy with their colleagues studying
Chantal:
SP: - stops reading and looks into the sky
Cindy:
SP: - realizes that Chantal was not learning
DL: - what is wrong Chantal?
Chantal:
DL: - I miss Capon
Cindy:
DL: - Queenie, you must read
Chantal:
SP: - getting pissed
DL: - don’t irritate me, I said I miss Capon…
Prisca:
SP: - signaling Chantal to keep quiet
Chantal
P: - reigning harsh words on Prisca
DL: - shut up. Who are you to tell me what to do.
SP: - picks her book and leaves
Cindy:
SP: - follows her out
Scene6
Synopsis: Vivian stays in the bathroom inserting her finger into herself whiles all were at prep. Chantal and Cindy pounds on her and threatens to report her but she begs
SP: - camera opens on the face of Vivian in the bath house then reveals her body inserting her hand in her private part enjoying it then cuts to Chantal and Cindy who catches her
Vivian:
SP: - masturbating in the bathroom
Chantal & Cindy:
SP: - walks on the corridor and hears funny sounds from the bathroom
Cindy:
DL: - who do you think is there
Chantal & Cindy:
SP: - walks to the bathroom and peeve who was there
Vivian:
SP: - realizes that Chantal and Cindy had seen her and gets scared
Scene 7
Synopsis: Jones and Prince talk of what they saw and get themselves being punished for disturbing the others by Henry
SP: - camera opens on Prince and Jones studying and start discussing what they saw and then comes into shot Henry who punishes them
Jones:
DL: - who do you think was in the office?
Prince:
DL: - how am I suppose to know. But come to think of it, do you think they are still there?
Jones:
DL: - why not report to Snr. Francis?
Henry:
SP: - stands at the window to the class
DL: - may I know what you two are talking of?
Jones & Prince:
SP: - realizes they were in trouble but could not talk
Henry:
DL: - climb you r tables with your eyes closed
Jones:
SP: - trying to seek for mercy
DL: - Snr. Henry please…
Henry:
SP: - moves to the class talking
DL: - don’t get me so angry
Prince & Jones:
SP: - climbs the table with haste with eyes close
Henry:
DL: - silly students.
SP: - gets out
Class:
SP: - laughs at the two
Scene 8
Synopsis: Michael go check all the rooms to find out if any one had stayed behind whiles others were studying and finds Capon and Jade with Addo in the room and leaves them. James comes from his hide out to join them after they had gone.
SP: - canmera opens on Michael chcking the rooms to find out those who not at prep but could not see James who was hiding in Capon’s room
Michael:
SP: - runs the doors finding no ne then opens Capon’s door seeing him on bed
DL: - Martin, why didn’t you go for prep?
Capon:
SP: - looks him in the face
DL: -are you at Prep?
Michael:
SP: - gets pissed and leaves
James:
SP: - comes from the back of the balcony door
Capon:
SP: - laughs at James
DL: - that was a narrow escape
James:
SP: - sits on the bed and breathes heavily
Scene 9
Synopsis: Vivian jumps to bed and feels so uneasy not knowing what Chantal and Cindy would do to her
SP: - camera opens on Vivian lying on bed so uneasy then comes into shot Ruth who was wondering what was wrong with Vivian
Vivian:
SP; - thinks deeply of what to do?
Ruth:
SP: - walks to Vivian wondering what was wrong
DL: - what is wrong with you?
Vivian:
SP: - looks into her face
DL: - nothing to worry about
Ruth:
DL: - what ever you say.
SP: - walks off
Vivian:
SP: - looks into the ceiling with fear written all over her face
THE END
EPISODE 11
Scene 1
Synopsis: Vivian feels so uneasy in class with what happened to her the previous night still tormenting her
Scene 2
Synopsis: Miss Johnson teaches the class of Capon for the second time and gets tension rising between her and Capon after realizing he was the hottest guy on campus
Scene 3
Synopsis: Michael confines in Felix. He tells him of the condom he found behind the SRC office the morning and the fear that some people were doing their own thing with the office and putting his reputation into disrepute
Scene 4
Synopsis: Jade finds out from Philip where he was the previous evening during prep whiles Cindy also complains of not seeing Prisca at prep the same night
Scene 5
Synopsis: Miss Johnson and Capon meet at a junction around the science lab where Capon gives Miss Johnson a hard look making her get confuse
Scene 6
Synopsis: Mr. Oduro goes to Essel’s class to teach and finds it uneasy with Essel that he punished her with no apparent reason, Cindy comes to fetch Vivian that she was wanted by the Snr. House Mistress
Scene 7
Cindy and Vivian sees Madam Gladys and Vivian panics but Cindy re-informs her there is change of plan only if she comports herself
Scene 8
Synopsis: Miss Johnson teaches Chantal’s class and finds he class interesting. Chantal seems not to like her since she was a threat to her ruling but leaves to see Vivian before class could end
Scene 9
Synopsis: Vivian finds herself in the bush where she wonders what she was doing there but gets more frightened seeing Chantal there
Scene 10
Synopsis: Prince and Jones finds out from Essel why she thinks she was punished but Mr. Oduro gets scared not knowing what she was telling them and scares her off
THE END
EPISODE 12
Scene 1
1. Essel – Charity’s school daughter.
2. Jones – Felix’s school son.
3. Exzibit – Entertainment Prefect.
4. Vivian – a form one student.
5. Charity – S. U. Vice President.
6. Felix – S. U. President
7. Madam Gladys – Snr. House Mistress.
8. Mr. Asante – Snr. House Master.
9. Mr. Oduro – House Master
10. Miss Johnson – House Mistress
11. Francisca – girls prefect
12. Michael – boys prefect
13. Ruth – A form 2 student
14. Chantal – Form 3 student ( Queenie)
15. Capon – Occult leader
16. Cindy – Chantal’s friend
17. Henry – form 3 student (book long)
18. Prisca – a form three student
19. Prince – a form 1 student
20. Jade – a gangster on campus (subject of Capon)
21. Addo – a gangster on campus (subject of Capon)
22. James – a fresher
23. Ishmael – a fresher
Episode one!
Scene 1:
X’ters: Felix & Charity & Ruth Ext/day
Synopsis: - Felix and Charity meet to plan for the coming form one students who were to be on campus the next day. The fear of they being mislead by the bad ones is the problem they have but hope not to encounter with any such difficulty knowing God is on their side.
SP: - CAMERA OPENS ON STUDENTS ON CAMPUS ATTENDING TO VARIOUS DUTIES. SOME OF THE STUDENTS ENTERING INTO CLASSROOMS, SOME COMING OUT OF CLASSROOMS, SOME ENTERING THE DINNERHALL WHILES OTHERS ROAMING ON CAMPUS. FELIX, THE S.U. PRESIDENT COMES FROM HIS CLASSROOM WITH HIS BOOKS IN HAND HEADING FOR THE DOMITORY MEETS THE VICE PRESIDENT OF THE S.U.
Felix:
SP: - walking briskly towards the dormitory. He walks pass Charity without realizing it.
Charity:
SP: - looks at Felix and drops her books from her hand. She runs after him and catches up with him.
DL: - Felix! Didn’t you see me when you passed me by?
Felix:
SP: - realizing what he had done.
DL: - oh Charity, I am sorry my mind is far from here.
SP: - greets her
DL: - S.U.!
Charity:
DL: - Arise and shine. And what at all could be your headache?
Felix:
DL: - you know very that the form ones are coming to school tomorrow and we need to receive them.
Charity:
SP: - nods head in acceptance
Felix:
DL: - I just realized that we have not prepared anything for them and so I want to go put one and two together for them.
Charity:
DL: - you are very right Felix. Can you believe it skipped me too? Anyway, let me leave you go do what you need to do. I would meet you later
Ruth:
SP: - walks towards the two seniors with Charity’s books in hand
DL: - Sister Charity, your books
Charity:
SP: - turns to Ruth who was holding in hand her fallen books
DL: - oh, thank you Ruth.
Felix:
DL: - how are you Ruth?
Ruth:
DL: - I am fine thank you senior Felix.
Felix:
DL: - anyway, I will leave you now. See you later
SP: - leave Charity before she could say a word.
Charity:
DL: - Okay Felix.
SP: - Turns to Ruth as they walk towards the girls dormitory
DL: - so where were you coming from?
Ruth:
DL: - from the class room…
FADE TO:
Scene2:
X’ters: Capon & Jade & Addo & Seth int/day
Synopsis: Capon meets his people knowing very well that the task at hand is not an easy one since the form ones are ignorant and might fall into the hands of the Scripture Union. The desire to be on top of the school and to flout all authorities would be much adhered to if the number is great.
SP: - CAMERA ZOOMS INTO A DOMITORY REVEALING SOME STUDENTS SITTING ON THE BED AND SOME ON THE TRUNKS. SEATED ON A TOP BED WAS A STUDENT WHO WOULD LATER BE REVEALED AS MARTIN ASARE POPURLALRY CALLED CAPON SHARBLY DRESSED. ALL LOOKING SO SERIOUS AS THOUGH SOME ONE HAD HURT THEM.
Jade:
SP: - looking into the faces of the guys in the room with him then looks up to Capon.
DL: - Capon, we have been here for more than 10 minutes, yet nothing is said. We want to know why you look so disturb.
Guys:
SP: - nods head in acceptance
Capon:
SP: - looks into their face and ten bows his head again.
Addo:
DL: - Capon, what ever it is let it out; we are strong enough to take what ever bomb you have in you.
Seth:
DL: - that is right.
Capon:
SP: - looks into the gangs’ faces and then gets down from the bed and goes to jade looking him straight in the face
DL: - as long as they are still having influence in the steering of affairs on campus, we would not have it easy.
Jade:
SP: - looking confuse
Capon:
SP: - smiles an leaves Jade’s side
DL: - tomorrow, the strangers arrive and we need to stay on top so as to be the Bosses.
Addo:
DL: - that definitely is happening tomorrow Capon.
Capon:
SP: - with rage facing Addo
DL: - where would the S.U. be? Where would Felix and his people be?
SP: - relaxing a bit
DL: - I thought Michael was going to be easy to manipulate, but no. we have to act on our own
Seth:
DL: - Capon, we are still the Killer Instincts on Campus.
Jade:
DL: - never do we forget it Capon. We are always here with you and ever would be.
Addo:
DL: - that is true Capon
Capon:
SP: - looks into their faces and reads some courage and loyalty in there. He pulls out his “layal” as they chant out the strength of the Killer Instinct
FADES OUT
Scene 3
Synopsis: The Snr. House Master, Mr. Asante, meets the prefects and cautions them to not to maltreat the form ones that are coming into the school the next day since they represent the administration.
SP: -CAMERA OPENS ON MR. ASANTE AND THE HOUSE PREFECTS AND THE SNR. PREFECTS IN HIS HOUSE. HE LOOKS VERY STERN AT THIS TIME AS THOUGH HE SENSED DANGER BUT THE STUDENTS LOOKED SINCE THEY HAD SEEN MORE THAN WHAT THEY WERE SEEING. THEY SAT CALM WATCHING THE SNR. HOUSE MASTER SAY ALL HE HAD.
Mr. Asante:
DL: - I believe I know very well what to expect but hear me out all of you, you are the representative of the administration in the midst of the students so you must know how to perform. Don’t forget the form ones coming are humans like you. We needn’t have them send any bad news about the school, at least not for the first term. Do I make myself clear?
Prefects:
DL: - yes Sir!
Mr. Asante:
DL: - more importantly, don’t let your colleagues influence them with their negative life. Do you hear me?
Michael:
DL: - how do you mean Sir?
Mr. Asante:
DL: - you know very well what I mean so don’t let me speak more than I am to.
Prefects:
SP: - laughs and taps each other having enjoyed the meeting and hoping no bad happens.
FADE OUT:
Scene 4:
Arrival of form ones into the school. The students were lead into their various dormitories. Capon and his gang watch with a keen eye making their selections before any one could dare overtake them.
SP: - SHOT OPENS ON CAMPUS REVEALING STUDENTS COMNG INTO SCHOOL WITH THEIR BAGS AND BAGGAGES HEADING FOR THE ADMINISTRATION BLOCK WHILES SOME HEAD FOR THE DORMITORY. THE HOUSE MASTER AND HOUSE MISTRESS DIRECTS THEM TO THEIR VARIOUS BLOCKS.
Scene 5:
Synopsis: Jade calls all the form one students to the “Sahara” and introduces them to the school. He makes them understand that life on campus was no easy thing but they had to be focused. He made them understand that they had left their homes to a jungle where survival of the fitters meant so much.
SP: - SHOT OPENS ON JADE, ADDO AND SETH WITH SOME COLLEAGUES WITH THEM UP THE BLOCK. SOME STUDENTS WALK IN AND OUT OF THE BLOCK PREPARING FOR SUPPER. CAPON SIGNALS JADE TO SURMON THE STUDENTS.
Jade:
SP: - claps his hand to call the attention of the students.
DL: - All S. S. S. one boys in the block down, form one boys in the block down before the count of 3!
Form ones:
SP; - running down from the top to the Sahara whiles some come from the outside to the block, all gathering at the Sahara.
Seth & Addo:
SP: - laugh at the student who obeyed them as though the world had come to an end.
Jade:
SP: - raises his hand to command some silence.
Michael:
SP: - comes out of his room and stands at the entrance of his room to watch.
Jade:
SP: - seeing Michael, then smiles
DL: - welcome to the new world, the world of your own. Welcome to the place you have not visited before. This part of the world is where your mama told is no go zone, this part of the world is where your papa told you is no fine place, but you believe in it so you are here, therefore let me welcome you all to “K.I. Zone”, the great school, Mariners Senior High School.
Students:
SP: - cheer Jade up for the splendid speech.
Michael:
DL: - enough of the talk, it is supper time, hurry and go.
Capon:
SP: - looks at Michael with a stern look
Jade:
DL: - go on, you head the S.P., go for supper.
Students:
SP: - run out for supper.
Jade & Seth & Addo:
SP: - walk towards Capon looking straight into the eyes of Michael
Michael:
SP: - locked in eye contact with Jade.
FADE OFF
Scene 6:
Synopsis: Chantal meets the form one girl and welcomes them to school. She informs them to study very hard and understand that school is not just about books but more. She made a choice of a school daughter who Charity made her aware was her school daughter.
SP: - SHOT OPENS ON CHANTAL TALKING OT THE FORM ONE GIRLS WHO STOOD DOWNSTAIRS. NEXT TO HER STOOD HER BESTFRIEND CINDY AND TWO OTHER GIRL FRIENDS. CHARITY COMES INTO SHOT LATER TO TAKE ESSEL AWAY.
Chantal:
DL: - so like I was saying, all you have to do is respect your seniors and do your work at the right time, and you would have no trouble. Is that clear?
Form one girls:
DL: - Yes Sister.
Chantal:
SP: - sees Essel and picks a keen look on her
DL: - girl!
SP: - pointing at Essel
Essel:
SP: - wondering if she was the one she was talking to.
Chantal:
DL: - yes you girl, I like you and would want you to be my school daughter.
Charity:
SP: - coming from room
DL: - Chantal, take your eyes off her, she is my school daughter.
SP: - goes to pull her from the midst of the girls.
Form one girls:
SP: - wondering and murmuring what was going on.
Chantal:
SP: - looking calm and collected
DL: - there is no problem. You all should go for dinning
Students:
SP: - disperse slowly for the dinning hall
Cindy:
DL: - don’t you worry, you are the Queenie.
Chantal:
SP: - Smiling to herself
FADE OFF
Scene 7:
Synopsis: Capon meets Henry going to learn and teases him but Henry pays no attention to him. Capon goes to meet Chantal who tells him of what happened between her and Charity pisses off Capon.
SP: - camera opens on capon and his guys heading to the dining hall. Camera puns to Henry with his books going to the classroom going to learn. Capon speaks with him and leaves him for the dining hall with his friends following up. HENRY WALKS TO THE CLASSROOM UNDISTURBED.
Capon & Seth & Addo:
SP: - walks happily from the dormitory for the dinning hall cheat chatting.
Henry:
SP: - heading for the classroom with his books in hand.
Addo:
SP: - pointing to Henry
Capon:
DL: - holy shit! Henry, where in God’s name are you going to?
Henry:
DL: - where does it look like I am going?
Capon:
DL: - take it easy big man. I thought it was dining?
Henry:
DL: -I a not hungry and prefer going to learn than stay here doing nothing.
Addo:
DL: - that is very thoughtful of you Henry.
Capon:
DL: - suit yourself;
Capon & Seth & Addo:
SP: - leave him and walks on to the dining hall.
Henry:
SP: - looks at them go, shakes his head and moves on to the classroom.
Capon & Seth & Addo:
SP: - walks briskly to the dining hall.
CUT TO:
Scene 8:
Synopsis: Essel finds out from Charity the meaning of what happened but Francisca tells her not to worry for things like this happens for she would take care of it in her own way.
SP: - CAMERA OPENS ON CHARITY AND ESSEL GOING FOR DINING. ESSEL LOOKS DISTURBED WHILES CHARITY TRIES TO CONSOLE HER.
Charity:
DL: - don’t worry Essel, nothing would happen to you
Essel:
DL: - why did she look at me like that? She scares me.
Charity:
DL: - nothing would happen to you. Just stay cool okay.
Essel:
SP: - Still not convince and worried of the uncertainty.
Scene 9:
Charity meets Capon and his guys in front of the dining hall and tells him of her experience with Charity and what she intends to do to her.
SP: - shot opens on Chantal and Cindy standing in front of the dining hall. Shot puns on capon with his guys heading towards Chantal. Some section of the students heading for the dining hall whiles others stand in front of the hall.
Chantal & Cindy:
SP: - stand watching out for Capon whiles chatting some friends.
Capon & Guys:
SP: - heading towards Chantal
Chantal:
DL: - what kept you so long?
Capon:
DL: - do I owe you that?
Jade:
DL: - please let not start…
Chantal:
DL: - and who invited you into our conversation. Anyway, I am not ready for any fight this time.
Jade:
SP: - breathes a sigh of relief
Chantal:
DL: - can you imaging the impudence of Charity.
Capon:
DL: - listen, I don’t have time for your petty quarrels. Girls have their fantasies, so live it.
SP: -signals his guys to follow up
Capon & Guys:
SP: - walk away to the dining hall.
Cindy:
DL: - don’t take Martin for serious, you know him too well.
Chantal & Cindy:
SP: - walks back to the dormitory.
CUT TO:
Scene 10:
The form ones had their first ever dining experience on campus. Essel made new friends who were very much interested in her. Her extreme beauty was the jealousy of the seniors. The form ones started advancing each other.
SP: - camera shot opens on students sited in the dining hall ready to eat. Camera puns on Jones and James who were trying to get acquainted with the school life and puns back to Essel and her new found friends.
Jones & James:
SP: - sitting on the bench chatting whiles some wait eagerly for their food.
Essel:
SP: - holding her fork and knife wondering who to talk to.
Vivian:
SP: - pulls close to Essel.
DL: - Hi!
Essel:
SP: - looks at her and then smiles
DL: - hi,
Vivian:
DL: - my name is Vivian and I know you are Essel.
Essel:
DL: - I believe everybody knows me.
Vivian:
DL: - anyway, I believe you are the target of that one.
SP: - watches at Cindy who was watching them with keen interest.
Cindy:
SP: - watching at Essel with keen interest.
Essel:
SP: - gets eye locked with Cindy.
END OF EPISODE 1
Episode 2:
Scene 1.
Synopsis: Francisca calls all to leave for morning assembly. Chantal tries causing havoc but Francisca tells her not to try her temper that morning for she was not in the mood.
SP: - Shot opens on Francisca at the top floor of the dormitory banging for the students to leave for the morning assembly. The form ones run off as though they were far late whiles the seniors relaxed. Camera puns to the boys section to see the boys also heading for the morning assembly.
Francisca:
SP:- claps her hand several times calling the attention of the student.
DL: - all students in the block should leave for morning assembly; all students are to leave for morning assembly.
Students:
SP: - the students move from all dormitories heading for the assembly hall.
Chantal:
SP: - walks out of her dormitory lazily towards the assembly hall.
Francisca:
SP: - looks at Chantal with some disgust and speaks to herself.
DL: - they all are in school to keep the number growing.
SP: - descends to the assembly hall.
Students:
SP: - walking to the assembly hall
CAMERA PUNS TO:
Boys:
SP: - walks from their dormitory to the assembly. The juniors run to the assembly after been pursued by the seniors.
PUN TO:
Girls:
SP: - Running for the assembly hall.
Scene 2
Synopsis: Administrators of the school welcome the form ones to the school and warns them of the things to expect especially that of the bad boys who call themselves gangsters of the school
SP: - camera opens on the students sitting in the hall chatting, whiles some are anxious to know what it is for the first, realities of campus was. Camera puns on Capon who comes on shortly after Snr. House Master had started his speech.
Student:
SP: - the student gather at the assembly hall waiting to hear from the authorities and know the order of the day.
Mr. Asante:
SP: - gets up from his eat and walks to the podium.
Students:
SP: - sits in groups talking to each other.
Mr. Asante:
SP: - hits the microphone to call for attention.
Students:
SP: - silence breaks out.
Mr. Asante:
DL: - good morning school.
Students:
DL: - good morning sir.
Mr. Asante:
DL: - I would like to seize this opportunity to welcome the first year students to school. I must state here and now that, there is no time to waste. Therefore, the orientation for the form ones would be commencing right after this meeting. In the mean time, continuing students should…
Capon:
SP: - walks in shabbily not respecting the school authorities.
Mr. Asante:
SP: - sees Martin and angrily calls him.
DL: - Martin!
Capon:
SP: - stops calmly and looks at the master.
Mr. Asante:
SP: - angrily he speaks to him.
DL: - I wonder why you are still in this school. You are a nuisance to the school and your parents think you are that diamond to them.
SP: - to the students, speaking to the form ones
DL: - form one students, you see some one like this, resist from him and don’t you emulate his footsteps if you want to enjoy your stay here in school.
Capon:
SP: - walks away to sis down
Mr. Asante:
DL: - like I was saying before I was rudely interrupted…
Students:
SP: - burst into laughter.
Capon:
SP: - looks at the faces of some of them who simultaneously stop laughing.
Mr. Asante:
DL: - you are to move to your classrooms leaving the form ones and the prefects here.
Students:
SP: - the continuing students get up to go leaving the fresh ones behind.
Capon:
SP: - gets up and go out to the classroom
James:
SP: - shocked and scared looking at the Capon;
FADE OUT:
Scene 3
Synopsis: Philip and Prisca sits in the hall chatting. Prisca warns Philip to stay away from the form one girl who he swore never to try any.
SP: - camera opens on Philip and Prisca chatting in the hall. Prisca looked more worried than Philip who was under immense pressure
Prisca:
DL: - you hardly call me to come talk to. May I know the reason.
Philip:
SP: - tensed up
DL: - nothing
Prisca:
DL: - I hope you are not seeing any of the form one girl…
Philip:
SP: - sharply cuts her with quilt all over his face
DL: - no. I am not
Prisca:
DL: - let hope so because if you do, Philip… you would not like it.
Philip:
SP: -looks so tensed and frightened.
CUT TO:
Scene 4
Charity introduces her school daughter to Felix, her colleague S. U. executive and tells him of her experience with Chantal the previous day.
SP: - camera shot opens on Charity and Essel standing at the doorpost. Camera puns to Felix who walks towards Charity and engage in friendly conversation.
Charity & Essel:
SP: - stands at the doorpost calm and chatting.
Felix:
SP: -walks towards Charity with smiles on is face;
DL: - Hell Charity!
Charity:
SP: - sees Felix;
DL: - oh, Felix,
Felix:
DL: - I thought you didn’t come for morning assembly so I was about sending for you.
SP: - realizes the presence of a company;
DL: - and who is that?
Chantal:
SP: - realizing Felix was talking about Essel;
DL: - you mean Essel? That is my school daughter.
SP: - introduces Essel to Felix
DL: - Essel, meets my friend and colleague, the S. U. President, Snr. Felix Assan.
Essel:
SP: - shy’s off from Felix
Felix:
DL: - hello Essel, don’t be shy of me.
Essel:
SP: - smiles shyly
Felix:
DL: - anyway, I have to see the chaplain. I would meet you in class.
Charity:
DL: - okay, extends my regards to him
Felix:
SP: - taps Easel’s shoulders and says to her
DL: - before I leave, please don’t follow any one out of school without exeat; especially to Pano I would see you later.
SP: - walks the direction leading to the chaplain.
Charity:
DL: - don’t be shy of him, and don’t go out of school. I would be in my class, so if you need anything,
Essel:
DL: - okay sister.
SP: - watches Charity walks off.
Vivian:
SP: - stands behind Essel and speaks into her ears
DL: - it is time you learn how to live without your school mother.
Essel:
SP: - realizing Vivian had been watching her all that while. Pulls her jokingly to get somewhere to sit
CUT TO:
Scene 5
Synopsis: Mr. Oduro meets Exzibit, the entertainment prefect who he always sees as the bad nut amongst the student and lashes out words of demeaning to him upon cautioning him not to maltreat the students.
SP: - camera opens on Exzibit sitting with some of his friends under a tree chatting cynically. Camera puns to Mr. Oduro who walks with a cane in hand. He stops in front of the boys and speaks to Exzibit who despises the conversation.
Students:
SP: - sit under a tree talking cynically, probably teasing the fresh students who were alienated to the real activities of the school.
Mr. Oduro:
SP: - whispers and swings his cane as he walks to the classroom
Philip:
SP: - sees Mr. Oduro and signals him to the friends.
DL: - see who is coming?
Students:
SP: - all look towards the direction Philip pointed and beginning to laugh
Mr. Oduro:
SP: - realizes the students sitting were laughing obviously a t him, stops in front of them
DL: - what is there that is so funny that you so happily laugh of?
Exzibit:
DL: - nothing sir.
Mr. Oduro:
DL: - I knew you were the very person to answer me. Listen, I know you boys to well and believe you me, I am watching your every step.
Addo:
DL: - what have we done wrong this time.
Mr. Oduro:
DL: - where exactly are you to be now? Would you move to you classroom!
Students:
SP: - moves shyly and shabbily to the classroom.
Mr. Oduro:
DL: - look at them. They would go sit for the exams only to boom and we would be blamed.
SP: - moves on to his direction.
Scene 6
Synopsis: Francisca upon going to her classroom meets Ruth who had come from her class to the dining hall to join the juniors for orientation. Francisca engages in conversation with her and leaves her for her class.
SP: - camera opens on Francisca who walks from the senior block to the complex block. She walks hastily and stops by Ruth who was heading towards the hall where the juniors were. She speaks fumbling but allowed to get off the hook.
Francisca:
SP: - walking from the class to the complex block with a file in hand. Stops by the passing by Ruth
DL: - may I know were you are of to?
Ruth:
DL: - to the hall, we’ve been asked to orient the form ones.
Francisca:
D: - I see, anyway don’t forget to come to S. U. today.
Ruth: -
SP: - hastily responds
DL: - I sure would not.
Francisca:
DL: - I hope so; anyway I must be on my way.
SP: - they both parted and headed their separate ways.
Scene 7
Synopsis: Exzibit informs Cindy and Capon of what Mr. Oduro did to them some few minutes ago under the tree. Capon shuns away from the idea of they calling tat small boy Mr. and tells them to concentrate on their various separate lives rather than worrying. Chantal comes to Capon who does not seem ready for her trouble.
SP: - camera opens on Exzibit and friends entering the class. Capon and Cindy sits chatting when Exzibit joins them they talk for sometime then Chantal enters with her nagging welcoming the unwelcome snare of Capon.
Capon & Cindy:
SP: - discuss some few things from the book.
PUN TO:
Exzibit & Friends:
SP: - walks into the class with daring calm faces and walks towards the Capon;
Cindy:
SP: - raises the head to see the sorry looking faces of the boys.
DL: - can I guess what is going on in your mind.
Capon:
SP: - raises his head to see the boys and relaxes sticking into his mouth a toothpick
Exzibit:
DL: - Mr. Oduro is getting on my nerves you know. Can you imaging the embarrassment he caused us in front of the hall?
Addo:
DL: - Capon, that man is a pain in the butt.
Philip:
DL: - I don’t know what wrong we’ve done him, ever since he came to this school, he is been the Mr. all know all.
Capon:
DL: - would you people stop calling that boy Mister! Listen, stay away from him and let him fall into your trap, then we can hunt him down.
Addo:
DL: - as if we were in his way, we did him no trouble. It is time we taught him what to do and who not to mess around him.
Cindy:
SP: - she sees Chantal and bows to her;
SP: - queenie.
Chantal:
SP: - she ignores the greeting and look to Capon
DL: - I want to talk to you.
Capon:
DL: - since when did I become your commanding toy to order around.
Scene 8
Synopsis: Ruth leave the hall for the class and meets charity who she tells of her disappointment in not being able to orient the form ones who she had seriously wanted but only gets the message on consolation not only from charity but also from Francisca.
SP: - Shot opens on Ruth coming from the hall to the classroom where she meets Charity. Francisca comes into shot and pulls charity away. Ruth walks sadly to the classroom
Ruth:
SP: - walking from the hall to the classroom sad.
PUN TO:
Charity:
SP: - sees Ruth and realizes she was sad and wonders what the problem could be. She meets her
DL: - Ruth, what is wrong with you?
Ruth:
DL: - I was supposed to orient the form ones but go there only to be told it had ended.
Charity:
DL: - how?
Ruth:
DL: - who else would do that to me if not for Prisca; she had gone to orient them already.
Francisca:
SP: - walks to where the two girls were talking smiling
DL: - don’t blame anyone Ruth, you are just ambitious.
Ruth:
DL: - Sister Francisca! How do you mean?
Francisca:
DL: - anyway, I don’t know how I would interpret for you but right now we have a meeting so…
SP: - pulls Charity away with her
Ruth:
SP: - looks at the two sisters leave and turn to head for her class.
Scene 9
Synopsis: Henry with Michael in the class studying together when Felix comes to tell Michael Snr. House master was after him in the block
SP: - camera opens on Henry and Michael in the classroom studying. They were enjoying the studies. Felix rushes in to inform Michael the Snr. House Master was in the block looking for him.
Michael & Henry:
SP: - reading a note and sharing ideas.
Felix:
SP: - rushes into the classroom scaring Michael and Henry
Michael:
DL: - Felix, what is the matter? Why do you barge in like that?
Felix:
DL: - you need to be in the block now; Snr. House Master is looking for.
Michael:
DL: - is something wrong in the block?
Felix:
DL: - we are not helping the situation talking.
Michael:
SP: - sensing danger picks his book and follows him out of the class.
Henry:
SP: - wondering what could be wrong, opens his book to read and sops instantly to follow the two boys.
Scene 10
Synopsis: Michael and Felix walk pass Essel and Vivian without recognizing the presence of the girls. Essel calls Felix but gets a wiper and wonders what could be wrong. The girls walk away.
SP: - camera opens on Michael and Felix who were in haste towards the dormitory of the boys. They walk pass Essel and Vivian without recognizing them
Essel & Vivian:
SP: - looks at the two prefects in haste, Essel calls Felix
Essel:
DL: - Snr. Felix
Felix: -
SP: - gives her a wiper without stopping.
Essel:
SP: - turns to look at Vivian and asks her
DL: -what could be the matter?
Vivian: -
SP: - raising her shoulder up signaling ignorance
SP: - both girls walk way from the scene
PUN TO:
Michael & Felix:
SP: - walk on to the dormitory without stopping.
Scene 11
Synopsis: capon punishes Prince for no apparent reason, the guys of his all watch on having and shouting on top of their voice but no one dare to stop. Michael and Felix barges to the room to see for themselves the scene.
SP: - camera opens on Prince motorcycling I Capon’s room. Capon and his guys watch on having fun. Some section of the students stand outside panicking when it would be their time. Michael and Felix enter the room.
Prince:
SP: - motorcycling and sweating. Tears stripping down his face
Gangsters:
SP: -laughing loud at the poor innocent boy who is defenseless.
Capon: SP: - sitting on his bed watching on silently with piercing eyes.
Students:
SP: - peeping into the room with fear gripping them.
Michael:
SP: -enter the room with rage and shocked.
DL: - what is the meaning of this!
THE END
EPISODE 3
Scene 1
Synopsis: Michael and Henry gets irritated of what Martin had done to Prince and picks Prince his dormitory where Michael attends to his wounds and threatens to deal with him.
SP: - camera opens on Michael massaging Prince, Henry sits by watching keenly as Prince groans in pains.
Michael:
SP: - irritated whiles massaging Prince.
DL: - until somebody teaches that boy a lesson, he would continue misbehaving. Just see what he has done to the poor boy. How would I explain to the Snr. house master, eh!
Henry:
SP: - shakes his head
DL: - do you think that boy is in school to learn at all? I wonder how he manages to pass the exams.
Prince:
SP: - groans in pain.
Michael:
DL: - only God knows.
SP: - massages Prince cursing words.
Scene 2
Synopsis: James and Jones argue out who the boss is amongst the senior whiles they were in class trying to make some lessons go through.
James & Jones:
SP: - reading a text book they took from their respective school fathers.
Michael:
SP: - comes out of the dormitory heading for the hall
James:
SP: - looks out seeing Michael pass by then turns to Jones
DL: - Jones
Jones:
SP: - still looking into his books, responds
DL: -hm
James:
DL: - who do you think is the boss amongst the seniors?
Jones:
SP: -stops reading and looks up to James wondering
DL: - why such a question?
James:
DL: - haven’t you realized that Capon is more of a god?
Jones: DL: - who is Capon?
James:
DL: - don’t you know the Capon? Where have you been?
James:
DL: - who is Capon besides I don’t think any of the seniors is more powerful than Snr. Michael, S.P.
Jones:
DL: - I don’t think so. When Capon speaks all is final. I really would have loved to be his school son
Jones:
DL: - why? Don’t you like Snr. Henry?
James:
DL: - I didn’t say that. All I said was I would have much like Capon to Henry.
Jones:
DL: - all that glitters is not gold.
James:
DL: - I beg, spare me that.
SP: - looks into his book, stops reading and gets out from the class leaving Jones starring
Scene 3
Synopsis: Essel looking for her school mother found herself peeping into Chantal’s classroom but was lucky as she was not seen.
SP: - camera opens on Chantal and Cindy at the back seat of their class. Camera puns to Essel coming into the classroom where she meets Chantal. With mix feelings, they chat and later she leaves.
Chantal & Cindy:
SP: - conversing. They looked happy talking of what ever it was they were talking of
Essel:
SP: - looking around as though in search of some one. Peeping into two classrooms and then finally to the third classroom. She looked shocked as she saw Chantal but quickly drew her head back. Lucky for her Chantal did not see her.
Cindy:
SP: - looks straight to the window
Chantal: SP: - looks at the window then back to Cindy
DL: - what is it?
Cindy:
DL: - I thought I saw some one peeping in.
Essel:
SP: - gets scared
Chantal:
SP: - looks at the window which seemed clear.
DL: - you saw someone? I don’t want to believe you are seeing things.
Cindy:
DL; - I thought… never mind
Essel:
SP: - breathes a sigh of relief and dabbles her steps out of sight
Scene 4
Synopsis: capon and Jade sits in the bush smoking herbs. They looked serious and angry for fight
SP: - camera opens on a thick smoke obviously from a mouth, then another smoke is in shot from a different mouth, then zooms out to reveals Capon and Jade sitting in the bush smoking. Both looked angry for fight. Camera picks a smoke off into the sky and then fades off.
Scene 5
Synopsis: Madam Gladys goes Mr. Asante to talk with him over school affairs. They had not received any bad reports so far about the students.
SP: - camera opens on Mr. Asante in front of his bungalow then puns to Madam Gladys coming from the girl’s dormitory walking tiredly to her bungalow. Stops at Mr. Asante’s end and talk for a while then continues her walking
Mr. Asante:
SP: - stands at the corridor of his bungalow looking into the school
PUNS TO:
Madam Gladys:
SP: - walking tiredly from the girls dormitory
PUNS TO:
Mr. Asante:
SP: - sees Madam Gladys and smiles at him, teasingly calls her
DL: - Snr. House mistress
Madam Gladys:
DL: - Mr. Asante
Mr. Asante:
DL: - where are you coming from?
Madam Gladys:
DL: - from the girls
Mr. Asante:
DL: -I hope there is no trouble.
Madam Gladys:
DL: - not this time. The girls have at least comported themselves this time round. I only pray they continue like this
Mr. Asante:
DL: - same with these boys. Let’s hope they remain this way.
Madam Gladys:
DL: - let’s hope so. They would start disturbing us with this their S.U. prayers and shouting. Let me go rest for I am very tired.
Mr. Asante:
DL: - I need not be told, I can see it for myself.
Madam Gladys:
SP; - laughs and then leaves for her bungalow
Mr. Asante:
DL: -take it easy
SP: - shakes his head and smiles to himself till camera fades on him
Scene 6
Synopsis: the Scripture Union of the school meets in one of the classroom to pray and worship.
SP: - camera opens on the S.U. singing praises to God. Camera reveals the some of the fresh students like Jones, Essel, Vivian, Prince as well as Ruth, Henry singing intensely. They turn into worship…
CUT TO:
Scene 7
Synopsis: Capon and his gang had gathered in the thick chanting to their god.
SP: -the gang of Addo, Seth, Jade, Chantal, Cindy and Capon stood in the thick of the night in the valley calling on their god to strengthen them stands the test of time. They chanted till they were soaked with their sweats.
Scene 8
Synopsis: Essel was been chase by some boys from the school into the thick where she knew not were she was going. She fell down and when about to be stroked by one of the unknown guys to her, she screamed and woke up to realize it was all a dream.
SP: - camera opens on Essel being chased by some guys. Camera puns to the guys with their scary looking faces as their pursued her. She ran and fell on the ground. The guys stood by her with cutlass as she begged crying.
Essel:
SP: - running towards the field with fear written all over her face.
PUNS TO:
Guys:
SP: - holding cutlasses chasing Essel with their fierce looking faces
PUNS TO:
Essel:
SP: - runs and tumbles. She falls on the ground
Guys:
SP: -stands by her with cutlasses about to strike her.
Essel:
SP: -begging with tears in her eyes crying
CUT TO:
Scene 9:
Synopsis: Essel lying on her bed and then all of a sudden screams waking up from a dream
SP: - Camera opens on Essel rolling on her bed having difficulty sleeping. Zooms to her face, with tears as she struggles in a dream she wakes up with a scream.
THE END
EPISODE 4
Scene 1
Synopsis: Mr. Oduro teaches the class of Capon. The class refuses to learn as they refuse to answer any question asked. He fumes and gets out of the class.
SP: - camera opens on Capon with Mr. Oduro’s voice (OS) then zooms out the whole class with Mr. Oduro teaching.
Capon:
SP: - stuffed his pen in his mouth as he watched straight to the board
Mr. Oduro:
OS: - you must never fail to evaluate your answer…
Class:
SP: - zoomed out listening to Mr. Oduro
Mr. Oduro:
SP: - looking at the class
DL: - are you people listening to all that I am saying.
Class:
DL: - yes Sir.
Mr. Oduro:
SP: - points to one student dozing
DL: - you, tell me what I just said?
Student:
SP: - dozing
Mr. Oduro:
SP: - throws a chalk which hits Capon instead and fumes leaving the class
Capon:
SP: - looks at him with stern eyes.
DL: - let him go
Class:
SP: - disappointed in the teacher who was on a national service.
CUT TO:
Scene 2:
Synopsis: Essel walked into Charity’s class and ends up entertaining the class. Capon fancies her and looks at her with keen interest.
SP: - camera opens on the class having nothing serious to do then reveals Essel who enters and is stopped to talk by Francisca. Camera puns to Capon who looked at her and fancied her.
Class:
SP: - everyone was busily talking to one another.
Essel:
SP – walks into the class and greets
DL: - good afternoon Seniors.
Class:
SP: - refuses to respond
Capon:
SP: - looks at her and admires her
Essel:
SP: - moves a step towards the school mother but was stopped by Francisca
Francisca:
DL: - who are you looking for?
Essel:
SP: - smiles
Capon:
SP: - still admiring her
Henry:
DL: - is some one laughing with you? Who are you looking for?
Essel:
DL: - my school mother.
Francisca:
DL: - did you bring any mother from the house. Do you think we look like nursing mothers.
Charity:
Laughs and puts her head on the table
Essel: - sister Charity.
Capon:
SP: - marveled at the revelation
Henry:
DL: - so you would be osofo maame. Please go see her.
Charity:
SP: -gets up to take her outside
Capon:
SP: - looks at the girl till she leaves the class.
Charity & Essel:
SP: - stand out for some few seconds and leaves
Henry:
SP: -sees Essel leaving and calls after her
DL: -won’t you come to say goodbye.
Essel:
SP: - runs away not looking back
Class:
SP: - laughs at her
Capon:
SP: - smiles to himself
Scene 3
Synopsis: Mr. Oduro goes to Mr. Asante to report the class to him but Mr. Asante admonishes him to take it easy believing he was new to the system
SP: - camera opens on Mr. Oduro Standing in front of Mr. Asante’s desk in his office. Mr. Asante types and advices him to take it easy with the students
Mr. Oduro:
DL: - sir, this is not the first time this students have done this. I don’t seem to understand them
Mr. Asante:
DL: - Mr. Oduro, you know how students are, obviously because you are still new to them probably they are learning how to adapt to you so take it easy with them.
Mr. Oduro:
SP: - if you say so, I hear you sir.
SP: -not satisfied with the responds but had to leave quietly
Mr. Asante:
SP: - picks his pen and goes through his files till camera fades on him.
Scene 4
Synopsis: Capon and his guys go to the school canteen to eat where they are nothing spoken to except those who would like to hail them. James found more admiration in the Capon.
SP: - camera opens on Capon and his gangs heading for the canteen, follows Capon closely to the canteen. Camera puns to Addo who moved forward to buy them food. Every one leaves the sellers end for Addo. Camera puns back to Capon silently looking into the sky. Camera reveals James and Jones with excitement written all the face of James as he admired Capon
Capon & gang:
SP: - walking towards the canteen when others were in the dining hall
PUNS TO:
Students:
SP: - some buying food from different sellers whiles others stand chatting.
Capon & gang:
SP: - stop at a distance from the rice seller. Capon signals Addo to move.
Addo:
SP: - walks towards the banku seller
Form 1 & 2 Students:
SP: - all go back for Addo to buy his food.
Form 3 students:
SP: - though not gone yet none complain watching Addo make his buy.
Addo:
DL: -madam, give us 2GH¢ banku with 5GH¢ meat.
Seller:
SP: - with no complain attended to the order.
CUT TO:
Capon:
SP: - looking away from the students with his face towards the sky.
Jade & Seth:
SP: - looking at the students around them with smiles written all over their faces.
CUT TO:
Addo:
SP: - carrying the poly bag with the food in it. Goes to the Capon
SP: -they head for the dormitory speechless.
CUT TO:
James:
SP: - looks at the Capon and his gang go with smiles written all over his face with his Jones indifferent
DL: - this is what I am talking about
Jones:
DL: - my friend, shut up before any senior hears of you.
SP: - James keeps smiling whiles Jones wonders who he really was till camera fades on Jones.
Scene 5
Synopsis: Michael was in the SRC office studying whiles Ruth, enters unaware only to ask an irrelevant question leaving Michael in doubts
SP: -camera shot opens on Michael in the SRC office studying then puns to the gate revealing Ruth who comes in. Michael gets confused with the sort of question she came asking wondering what she was up to then fades on Michael
Michael:
SP: -studying his notes seriously, hears the door opens and looks there
Ruth:
SP: - opens the door and walks in as though had an in feel.
Michael:
SP: - wondering what she was up to
DL: what can I do for you??
Ruth:
DL: - Snr. Michael, I wanted you to help me solve some science questions.
Michael:
SP: -surprised at her request
DL: -science questions? You know I am not a science student so why me?
Ruth:
DL: - I thought the SP was intelligent.
Michael:
DL: - well I am studying so if you don’t mind…
SP: - pointing to the door.
Ruth:
DL: - are you sacking me Snr. Michael?
Michael:
DL: - what else does it look like I am doing?
Ruth:
SP: - with shame all over her, quietly walks out of the already opened door.
Michael:
DL: - what in God’s name are this girls thinking.
SP: - wonders and stairs into the sky till camera fade on him
Scene 6
Synopsis: Vivian and Essel came out of the classroom heading for the dining hall to meet Charity then meet Jones who was also heading the same direction to meet his school father. The three students walk together to the hall.
SP: - camera opens on Vivian and Essel from their classroom heading towards the hall. Jones comes in shot and walk with tem to the all
Vivian & Essel:
SP: - chatting from their classroom to the hall
Essel:
DL: - I pray sister Charity irons for me today.
Vivian:
DL: - you have a good school mother. Let’s pray it is not just for the short while.
Essel:
DL: - she is the SU vice president…
CUT TO:
Jones:
SP: - runs from his dormitory entrance to meet the girls.
DL: wait up Essel
Essel:
SP: - turns to see Jones close to them
DL: - hey, and where to? No siesta for you today?
Jones:
DL: - not really, I am going to meet my school father at the hall.
Essel:
DL: - same here, then lets go
Essel &Vivian & Jones:
SP: - all walk together to the hall chatting.
Scene 7
Synopsis: Felix introduces his school son formerly to Charity at the hall.
SP: -camera opens on Felix and Charity sitting on a bench in the hall chatting then comes into shot Jones, Essel & Vivian. They spoke for a while then exeunt Vivian.
Felix & Charity:
SP: -sits at the hall chatting in the hall
PUN TO:
Jones, Essel & Vivian:
SP: - come through the door in front of the two prefects. Hey walk straight to them.
Charity:
SP: - look at the daughter’s face cynically
Felix:
SP: - smiles at the two girls and then breaks the silence
DL: - Charity, meet Jones my school son.
Charity:
DL: - he is nice. Anyway enough of the pleasantries, we have worked to do
SP: - gets up and exeunt with the two girls leaving behind Felix and Jones
Jones:
SP: - sits by his school watch the sister and girls leave, then turns to the school father
DL: - is that my school mother?
Felix:
SP: - looked stunned at the question of the boy
CUT TO:
Scene 8
Synopsis: Exzibit chats Cindy at the canteen after school trying to make their relationship work whiles Cindy also tries convincing him to join the K.I. sect but responds not affirmative
SP: - Camera opens on Exzibit and Cindy sitting on a bench at the deserted canteen. Holding in hand is a sachet of water seriously talking over their future
Cindy:
DL: -I don’t seem to understand you most at times ‘Zibit. You are a strong boy so what is your fear?
Exzibit:
DL: - it is not about my fears sweet, I just don’t think I want to be part of the K.I.!
Cindy:
DL: - reason still not given!
Exzibit:
SP: - okay, let me think about it and I will let you have my responds
Cindy:
DL: - that still convinces me not. You are being soft man.
Exzibit:
DL: - I know where you are driving at.
Cindy:
SP: - looks at him cynically
DL: - driving at what?
Exzibit:
DL: - please don’t give me that look. You miss it
SP: - licks his lip
Cindy:
SP: - couldn’t deny it no more, begins pulling her legs back slowly
Exzibit:
DL: - I knew it; I am going to give it to you tonight.
Cindy:
SP: - softly nods and speaks to him
DL: - you still must consider my proposal
Exzibit:
SP: - speaks proudly
DL: - I will
FADES OFF:
Scene 9
Synopsis: shot opens on Philip inside the hall reading then sees Ruth passing by. He sends Prince to call her for him after which he proposed love to her.
SP: - camera opens on Philip studying then puns to Ruth from the dormitory then back to Philip who had seen her. Prince comes into the shot being sent by Philip to fetch Ruth.
Philp:
SP: - reading his book raises his head to look outside and sees Ruth
PUN TO:
Ruth:
SP: - heading towards the class room
PUN TO:
Philip:
SP: - yearns for her and calls Prince who was learning
CUT TO:
Prince:
SP: - wondering if he is the one and realizing he was the one goes to Philip
PUN TO:
Philip:
SP: - pointing to Ruth who was going to the classroom and orders him anxiously
DL: - go call me that sister going.
Prince:
SP: - without further question runs off.
CUT TO:
Scene 10
Synopsis: Prince runs after Ruth who he catches up with in the classroom and informs her of Philip who she agrees to go see.
SP: - camera opens on Prince running towards Ruth then cuts to Ruth climbing the stairs then back to Prince who gets to her in the class panting. Speaks to Ruth and both return to the hall
Prince:
SP: running heavily to catch up with Ruth
Ruth:
SP: - climbing the stairs and branching to one of the classrooms
Prince:
SP: -runs climb the stairs and sees her about sitting down. Goes to the window and calls her softly panting.
DL: - sister Ruth
Ruth:
SP: -turns to look at him wit shock
Prince:
DL: - one senior by name is Philip is calling you at the hall
Ruth:
SP: - asks of the name again to be sure
DL: - Philip?
Prince:
SP: - nods his head
Ruth:
DL: - what have I done this time. I hope I haven’t wronged anybody.
SP: - leaves her books under the desk and comes out to go with him
CUT TO:
Scene 11
Synopsis: Philip looks into the bars sees Prince coming with Ruth, he clears his face and rehearse what to tell. Prince comes with Ruth and leaves her to go back to his table. Unfortunately for him, his secret admirer happens to come by
SP: - camera opens on Philip looking into the bars and getting all excited, then back to his table. Cuts to the door revealing Prince and Ruth entering. Prince points to Philip and goes to his table whiles Ruth goes to Philip whiles proposing, Prisca pounds on them.
Philip:
SP: - looks into the bars and sees Prince and Ruth coming. Prepares his speech
CUT TO:
Ruth & Prince:
SP: - walks into the hall. Prince point to Philip and goes to his table
Ruth:
SP: - walks to Philip. Stands in front of him.
Philip:
SP: -pretends not to recognize her presence.
Ruth:
SP; - tired of standing
DL: - Snr. Philip, you sent for me.
Philip: -
SP: - now realizing the presence of Ruth
DL: -oh Ruth, sorry I didn’t notice your presence…
Ruth:
SP: - cuts in to stop him from speaking too much
DL: - now you have
Philip:
DL: - yes, please sit down.
Ruth:
SP: - sits and looks at him attentively
Philip:
SP: - brings out a sachet of water
DL: - you don’t mind…
Ruth:
SP: - says nothing and looks away
Philip:
SP: - realizing she was not interested in the scene been created and so thinks of hitting it once
DL: - Ruth, I actually called you here to ask you…
SP: - sees Prisca at the door post of the hall and then fumbles with words
Prisca:
SP: - stands at the doorpost searching for Philip
Philip:
DL: - how are you?
Ruth :
SP: - stands up furiously and leaves
Prisca:
SP: - sees Ruth leaving Philip’s sight and gasps
Philip:
SP: - gets all tensed up
THE END
EPISODE 5
Scene 1
Synopsis: Michael speaks to Prince who wanted to know of the place called Pano. Michael tells him not to fancy the idea of going there since it could lead to his withdrawal from school unless he has permit to go by exeat.
SP: - camera opens on Prince sitting on the bed with Michael packing his books into on his bed.
Prince:
SP: - sitting on the top bed watching Michael pack his books
DL: - snr. Michael
Michael:
SP: - continues packing and responds
DL: - yes
Prince:
DL: - is it true we are not to go to Pano?
Michael:
SP: - shocked he already knew of Pano but had to tell him the truth
DL: - who told you that.
Prince:
SP: - says nothing looking at him
Michael:
DL: - listen to me Prince, you are the school son of the School Prefect. You must understand that going out of school without permit is an offence. Why do you ask?
Prince:
DL: - Snr. Felix told Essel that.
Michael:
SP: - wondering who she was
DL: - who is Essel?
Prince:
DL: - sister Charity’s school daughter and a class mate.
Michael:
SP: - not sure he knew her but less interested
Prince:
SP: - laid down on bed
FADE OFF:
Scene 2
Synopsis:
capon, Seth and Addo go to Pano to eat, there they saw James, a form one boy there at an odd time.
SP: - camera opens on Capon and friends at Pano then puns to James eating then back to Capon who interrogates him and sacks him from there.
Capon & Seth & Addo:
SP: - walk chatting to Pano where they see James
PUN TO:
James:
SP: - eating a bowl of banku
PUN TO:
Seth:
DL: - see who is here.
James:
SP: - panics then pulls himself up and then greets him
DL: - good afternoon Capon
Addo:
DL; - by the end count of 3, I want you out of here
James:
SP: - stands up and runs off…
Capon:
SP: - looks at him run off then goes to sit to get his order.
Gang:
SP: - order for their food and enjoy themselves till camera fades on them
Scene 3
Synopsis: Charity and Francisca sit on bed chatting. They talk of how to control Chantal and make it impossible for she to influence the students
SP: - camera opens on Charity and Francisca sitting on bed.
Francisca:
DL: - I just cant believe that girl thinks she is running this school.
Charity:
DL: - I don’t seem to blame no one. Right from the first day we got here, I knew Chantal was evil.
Francisca:
DL: - if I had my way out I would have withdrawn her.
Charity:
DL: - the only thing we can do now is to pray for her, nothing more.
Francisca:
SP: - getting down from her bed
DL: - God would block his ears when her name is called out.
Charity:
SP: -laugh at the statement made by Francisca
Francisca:
DL: - let me fetch for my girl.
SP: - steps outside and camera cuts from Charity.
Scene 4
Synopsis: Capon and his men came through the bush way having finished eating in town with little no fear at all
SP: - camera opens on Capon and his gangs coming from the bush heading for the dormitory. They cared less who saw them besides no one could do nothing to them.
Scene 5
Synopsis: Ruth advices Essel upon being careful with the guys on campus especially the seniors who would sooner or later be chasing her and rather concentrates on her books.
SP: - camera opens on Ruth and Essel sitting on bed talking.
Ruth:
DL: - you are here for one thing, and that is to learn so be careful of the seniors. They are devils
Essel:
SP: - smiles when Ruth said the seniors were devils
Ruth:
DL: - I am serious about what I am saying
Essel:
DL: - thank you sister Ruth
Ruth:
DL: - you are welcome
SP: - gets up to go take her bath
DL: - let me go bath for supper
Essel:
SP: - watches her go and smiles at herself till camera fades on her
Scene 6
Synopsis: Vivian goes to madam Gladys house to speak with her concerning her provision she was asked to keep only a few quantity because the seniors might bully her and take it from her.
SP: - camera opens on Vivian at the porch of Madam Gladys’ house waiting for her.
Vivian:
SP: - stands in front of the house desperately waiting for Madam Gladys
Madam Gladys:
SP: - comes out of her room with a poly bag of provision and hands them over to Vivian
DL: - you wouldn’t need all your stuffs so keep these ones. When you are done with them then you can come from the rest or else the seniors would bully you for them.
Vivian:
SP: - nods her head in acceptance
DL: - yes madam. Thank you
SP: turns and leaves the madam
Madam Gladys:
SP: - turns back to her room.
Scene 7
Synopsis: Henry with Michael and Felix sit in the SRC’s office and hold a mini meeting with which they agreed on common terms.
SP: - camera opens on Felix and Henry chatting in the office then puns to the door in which Michael comes from and sits with them to continue the meeting.
Henry & Felix:
SP: - sits calculating some figures and comparing information
PUNS TO:
Michael:
SP: - who opens the door and comes in with a pen in hand
DL: - sorry for keeping long. How far have you gone.
Henry:
DL: - as far as possible.
Michael:
SP: - sits on his seat
DL: - where are we?
Felix:
DL: - the second agendum for the meeting.
Michael:
DL: - we would talk about indiscipline amongst the students. We all know the sort of life Martin and his friends are living and therefore we must make sure they don’t affect the form ones with it…
SP: - camera zooms out on them then fades off
Scene 8
Synopsis: Addo sits in class learning when he sees Essel pass by. He calls her and speaks to her but says nothing funny because Essel didn’t give him the face to try it.
SP: - Camera opens on Addo reading a notebook then raises his face to see Essel passing by. Calls her and chats her.
Addo:
SP: - reading his note book raises his head and see Essel passing
DL: - hello
Essel:
SP: - asking him if she was the one being called.
Addo:
DL: - yes you.
Essel:
SP: - goes close to him
Addo:
DL: what is your name?
Essel:
DL: - my name is Essel Acheampong.
Addo:
DL: - Essel! That is a beautiful name. I believe you are a form one girl?
Essel:
DL:- affirmative.
Addo:
SP: - thinking of what to say again, then the words all come to him
DL: - who is your school mother?
Essel:
DL: - sister Charity Tetteh
Addo:
SP: - realizing it was not going to be easy to say it now allowed her to go
DL: -nice I am Addo, I want to be your friend.
Essel:
DL: - no problem
Addo:
DL: - when you see me, you can all me okay?
Essel:
SP: - nods her head affirmatively then turns and leaves.
Addo:
SP:- watched her till she disappeared
DL: - wow, it is not going to be easy
SP: - gets back to his books. Camera fades on him
Scene 9
Synopsis: Mr. Asante summons Michael and informs him to prepare the students for grounds work.
SP: - camera opens on Michael in Mr. Asante’s Office taking orders from him
Michael:
SP: -standing with his hands behind him listening to Mr. Asante
Mr. Asante:
DL: - I don’t like the way and manner the boys sits is weedy, you must make sure that the students clean the place this weekend. It is not pleasing at all.
Michael:
DL: - I would make sure they do exactly that.
Mr. Asante:
DL: - that is the only reason for my calling you. You can leave.
Michael:
DL: -yes sir.
SP: - leaves the office and goes to the block
Scene 10
Synopsis: Capon and his guys sit in Capon’s room to talk of James who they believe is a good fellow to be introduced into the K.I. sect
SP: - camera opens on Capon and his fellows in his room
Addo:
DL: - the boy has guts. He went out without exeat,
Seth:
DL: - I thought he was going to leave when he saw us.
Capon:
DL: - I believe he has what it takes to be in the K.I.
Jade:
SP: - lost amongst the guys
DL: - who are you guys talking about
Addo:
DL: - Capon’s latest discovery
Jade:
SP: - still confused and looks at the Capon
Capon:
SP: - lies on his bed
DL: - you would meet him soon
Jade:
SP: - he looks at his friends wishing any of them would help him out
Guys:
SP: - all not willing to say a thing.
THE END
EPISODE 6
Scene 1
Synopsis: the students were mage to weed the school which was weedy
SP: - camera opens on students weeding. The form ones had mingled with the form twos to clear the school of the weed. Camera cuts to
Scene 2
Synopsis: Michael catches James hiding in the hall whiles the other students when other students were weeding and drags him out
SP: - camera opens on James sitting at a corner in the hall not wanting to be seen then cuts to Michael entering the hall and seeing James. Drags him out of the hall
James:
SP: - spying through the bars looking at the colleagues weed.
CUT TO:
Michael:
SP: - enters the hall and looks around for hiding students then see James who was trying to hide
DL: - hey, are you not a form one student?
James:
SP: - could say nothing
Michael:
DL: - you have started playing pranks at this time, only God knows what you would do when you get to form three. Come out here!
James:
SP: - goes out to him
Michael:
SP: - hold him by the wrist and sends him to the block
CUT TO:
Scene 3
Synopsis: Chantal and Cindy sits on the wall watching Essel weed and wish to have her in their cult meanwhile Vivian was in the room stuffing herself with food
SP: - camera opens on Chantal and Cindy watching Essel weeding
Chantal & Cindy:
SP: watches Essel with Keen interest as she weeds
CUT TO:
Vivian:
SP: - stuffing herself with food
CUT TO:
Cindy:
SP: - still watching Essel without missing a glance
DL: - she is a beauty.
Chantal:
DL: - she is worth a lot of substance only if we have her if not, she is valueless
Cindy:
DL – how do we get here on board. Charity is a hard nut to crack
Chantal:
DL: - we will get a remedy to her but for the mean time I must see the guys to know what is up tonight
CUT TO:
Vivian:
SP: - realizes some one was coming and then stops eating and pushes her food under the bed and goes out
Chantal & Vivian:
SP: - they bypass each other
Chantal:
SP: - looks at her go and shakes her head cynically
DL: - green horns
SP: - goes to her bed. Camera fades on her
Scene 4
Synopsis: Michael sends James to the block and apportions him a bigger portion to weed with which he does so with disgust. Capon and Jades stands upstairs watching
SP: - camera opens on Michael sending James to the field and apportioning him a portion
Michael:
SP: - holding him by the hand on the weedy compound
DL: - this is your portion, make sure you are done before supper and don’t give me the opportunity to relinquish my anger on you, bad boy
James:
SP: - frowns and bends to weed
Capon & Jade:
SP: - watch from upstairs and looks at James with smiles on their faces. Camera fades
Scene 5
Synopsis: Prisca stops Ruth from going to the classroom to go back to weed.
SP – camera opens on Prisca who sees Ruth coming towards her with a book in hand obviously to learn and stops her to go back to weed.
Prisca:
SP: - coming from the classroom to the block and sees Ruth
Ruth:
SP: - with a book in hand to the class
Prisca:
DL: - where do you think you are off to? Whiles your colleagues are working, you have your books in hand as though you were the only student on campus
Ruth:
SP: - shuns way from her
Prisca:
DL; - would you go back to work! Lazy girl
Ruth:
SP: - returns to the block sadly and embarrassed
Prisca:
SP: - follows her with a stern face.
Scene 6
Synopsis: Exzibit goes to room to room to sack those hiding to go work and finds Prince sleeping claiming to be sick but sacks her to go work.
SP: camera opens on Exzibit opening doors and sacking form ones to go work
Exzibit:
SP: - opens doors and then opens Michael’s door
Prince:
SP: - sleeping in the room shivering
Exzibit:
DL: - hey, your colleagues are out there weeding and you lie down here ‘cos your school father is S.P. get out.
Prince:
DL: - I am sick senior
Exzibit:
DL: - whether you are sick or not, you would work
SP: -strips the cloth from him and sacks him out.
Prince:
SP: -goes out without complaining
CUT TO:
Scene 7
Synopsis: Exzibit sends Prince to the field to join his colleagues to work. He sends him to join James to weed his portion.
SP: - camera opens on Exzibit pulling Prince to the field, sending him to join James
Exzibit:
SP: - pulls Prince to the field
Prince:
SP:- follows up calmly with his cutlass in hand
Ezxibit:
SP: - stands besides James with Prince and shoves him to the field
DL: - your father is out there fetching people and you are sleeping. Join him to weed.
James:
SP: - ignores the scene and continues weeding
Prince:
SP: - bends to weed the opposite o f James
Exzibit:
SP: - leave the two boys to weed.
Scene 8
Synopsis: Chantal sits in front of the hall waiting for any of the gangs to come inform her of the latest development for the meeting
SP: - camera opens on Chantal sitting in front of the hall. Addo walks into the shot and sits by her.
Chantal:
SP: - sits in front the hall and looks for her people. She sees Addo
PUN TO
Addo:
SP: - walks to her and sits by her. He looked dull
Chantal:
DL: - why do you look dull? Is everything alright?
Addo:
SP: - says nothing.
Chantal:
DL: - where is Martin?
Addo:
DL: - he said I should tell you we would be having a guest tonight at the sitting.
Chantal:
SP: - shocked and stunned
DL: - what do you mean by a guest?
Addo:
DL: - that is all I know, just have it in mind.
SP: - wakes up and runs off to the dormitory
Chantal:
SP: - looks at him go and looked so worried not knowing who it was.
THE END
EPISODE 7
Scene 1
Synopsis: Capon and his boys meet to call on their god, and then introduce James to the cult.
SP: - camera opens on K.I. in the thick chanting whiles others were at prep. Addo brings James in to show them of their latest member
Gang:
SP: - chant out the words of the strong powers of their god
Capon:
SP: - comes to the meeting with his face seriously stern.
Gang:
SP: - they all look into the sky as the Capon entered.
Capon:
SP: - chanting some enchantments, then stops and looks at the faces of the gang and greet them
Gang:
SP: - respond to the greeting still looking into the sky
Capon:
SP: - clears his mouth with his palm and looks straight to his gang
DL: - you all bear me witness that this Institution of ours has all sort and manners of people, people you can trample upon, people you can order, people you can manipulate
SP: - pauses here and looks into their eyes and stops in front of Jade to continue
DL: - people you can not buy.
SP: - walks away and continues talking
DL: - many at times, we are not being understood, we are misread and misinterpreted but that is not our concern. Today, we have in our midst, one who would become the third generation of the Killer Instincts on campus.
Chantal:
SP: - looks into the face of Capon wondering
Capon:
DL: - He is tried and tested. He is my chosen disciple amongst the form ones>
SP: - signals some one from the dark to come
James:
SP: - comes from the dark not all that bold but prepared for what he is in to
Capon:
SP: - puts his hand on his shoulders
DL: - here I present to you, he who they call James, but I call him shocker.
Gang:
SP: - look at him critically
Capon:
DL: - welcome to the new world, the world of the K.I.
Scene 2
Synopsis: James who feels all too new to this experience o the K.I. sits in class thinking of the new group. He sees future glory and smiles to himself but his friends fail to understand him
SP: - camera opens on James in class sitting at a corner in class smiling to himself and puns to the other students enjoying themselves but no one knew what was wrong with him
James:
SP: - sits in deep thought
Prince & Jones & Essel & Vivian:
SP: - chatting and enjoying themselves
James:
SP: - smiles to himself still looking into the ceiling
Jones:
SP: - realizes James has been the way he was for more than 30 minutes and calls the attention of the others
DL: - do you people think James is alright
Prince & Jones & Essel & Vivian:
SP: - all turn to look at James
Vivian:
SP: -draws his attention
DL: - James!
James:
SP: - obviously not in the class with them
Vivian:
SP: - calls him again, this time with more intensity
DL – James!!
James:
SP: - realizes the scene he had created and then comes to his senses
Vivian:
DL: - is all well with you?
James:
SP: - nods his head affirmatively
Essel:
DL: - allow him to dream if he says all is well.
Prince & Jones & Essel & Vivian:
SP: - concentrate on what they were discussing
James:
SP: - smiles and puts his head on the table
Scene 3
Synopsis: Miss Johnson, a national service teacher posted to Mariners Senior High School shows her posting letter to Mr. Asante, who welcomes her to the school
SP: - camera opens on Miss Johnson sitting in front of Mr. Asante in his office whiles Mr. Asante reads a letter which he seemed interested in.
Miss Johnson:
SP: - sitting in front of Mr. Asante’s desk with her bag on her lap
Mr. Asante:
SP: - reading a letter with his spectacle drawn to his nose. He smiles as he liked what he was seeing
DL: _ wow, that is nice. I must say you are most welcome. Having an old girl from here wanting to teach her is laudable.
Miss Johnson:
DL: thank you sir
Mr. Asante
DL: - I would have to send you to the classes to have you introduced to them.
SP: - prepares and picks his file and leads her out of the office
Scene 4
Synopsis: madam Gladys finds Cindy in the dormitory whiles others were in class and sacks her to go join her colleagues learn, Ruth sees all and runs off
SP: - camera opens on Madam Gladys inspecting the empty dormitories to be sure all was well then puns to Cindy who was sitting on the wall reading a story book then cut to Ruth then back to Madam Gladys and Cindy
Madam Gladys:
SP: - camera opens on Madam Gladys who walked the blocks through
PUNS TO:
Cindy:
SP: - sitting on the wall reading a story book
Madam Gladys:
SP: - sees Cindy and screams on her
DL: - what are you doing here?
Cindy:
SP: - panics as she jumps down from the wall
CUT TO
Ruth:
SP: - sees Madam Gladys shouting on Cindy and runs back to the school
Madam Gladys:
DL: - would you leave for the class…
Cindy:
SP: - runs off to the classroom
Madam Gladys:
DL: - thief! This is what you do to steal people’s things. Let me see you here again and you would see the viper in me
Scene 5
Synopsis: Francisca and Michael read a book discussing some questions whiles Capon sits back there paying with a phone. Mr. Asante comes to the class with Miss Johnson and introduces her to the class who the guys admire
SP: - camera opens on Michael and Francisca discussing some points then puns to Henry reading whiles Felix and Charity reads a bible then puns to Capon and his friends playing fun at the back seat. Camera cuts to Mr. Asante and Miss Johnson entering the class
Michael & Francisca:
SP: - discussing and solving questions
CUT TO
Henry:
SP: - reading his notes
CUT TO
Felix & Charity:
SP: - reading the bible
CUT TO
Capon and Guys:
SP: - playing fun behind the
CUT TO
Mr. Asante & Miss Johnson:
SP: - enters into the class
Mr. Asante:
DL: -good afternoon student
Class:
DL: - good afternoon sir
Mr. Asante:
DL: - I actually don’t have enough time to let me go straight. Here with me is Miss Johnson, she is a national service teacher. She is here to help our biological science department, in effect, she would be taking you through your biology class
Class:
DL – oooooo
Capon:
SP: - waves her trying to get her attention
Miss Johnson:
DL: - smiles and waves Capon who waved her
Mr. Asante:
DL: - so from tomorrow, she would be in your class
Jade:
DL: - why not now sir?
Mr. Asante:
DL: - silly students
Class:
SP: - laughs at the responds to Jade
Mr. Asante:
SP: - walks out to the other classes with Miss Johnson
Class:
SP: - all seemed to like the young teacher
Capon:
SP: - sees her to be a threat to his relationship with Chantal since she is beautiful
Scene 6
Synopsis: all leave class after school except Capon who said he was on his way to seeing Chantal in her class
SP: - camera opens on students leaving the class after the siren had blown except Capon who waits to see Chantal.
Class:
SP: - they were reading quietly. When the siren blew they packed to go
Jade:
SP: - packing his books and realizing capon was not packing
DL: - are we not going to the dorm today?
Capon:
DL: - not yet, I am going to see Chantal in her class so I would be with you later
Jade:
DL: - okay, see you
SP: - leaves Capon who picks his bag and goes the opposite way towards Chantal’s class
Scene 7
Synopsis: Jade and Addo walk to the dorm and meets Essel and Vivian from their class to their dorm.
SP: - camera opens on Jade and Addo then puns to Essel and Vivian then two come in shot after which each took to the different route.
Jade & Addo:
SP: - walk to the dorm chatting
Essel & Vivian:
SP: - also walk from the class to their dormitory
Addo:
SP: locks eye with Essel
DL : - how are you Essel?
Essel:
DL: - fine thank you
SP: - goes on without stopping
Vivian:
DL: - who was that?
Essel:
DL: - a new friend of mine
Jade:
DL: - is that your latest discovery?
Addo:
DL: - I beg I am not there yet
SP: - Jade teases him as the walk to the dorm
Scene 8
Synopsis: camera opens Ruth and Chantal on the corridors of Chantal’s classroom talking. Ruth tells her of what happened to Cindy. Capon comes to see Chantal
SP: - camera opens Ruth telling Chantal of what happened to Cindy then reveals Capon into shot. Ruth excuses them
Ruth:
DL: - I was lucky to have escaped. The way Madam Gladys who angry, if she had seen me, only God knows what would happen to me
Chantal:
DL: - so where did Cindy pass?
Ruth:
DL: - I couldn’t wait to see the outcome of the incidence, I took to my heels
Capon:
SP: - climbs the stairs and sees Ruth with Chantal
Chantal:
SP: - sees Capon and welcomes him
DL: - hi Martin
Ruth:
SP: - sees Capon and excuses the two
DL: - hey Capon, I am off to the dormitory
Capon and Chantal:
SP: - enter into the classroom
Scene 9
Synopsis: Jones and James stand at the balcony wondering where Prince could be
SP: - camera opens on Jones and James at the balcony.
Jones:
DL: - where could Prince be by now?
James:
DL; - by now, with his school father.
Jones:
DL: - or he is being punished by some one?
James:
SP: - leaving for his dormitory
DL: - always, you guys are thinking of some one punishing you. Be there
Jones:
DL: - where are you going to?
James:
SP: - leave without responding
Jones:
DL: - what sort of person is he.
Scene 10
Synopsis: Capon and Chantal play romance in Chantal empty class when Prince pounds on them
SP: - camera opens on the lips of Capon & Chantal kissing then reveals the two people then cuts to Prince who pounds on them.
THE END
EPISODE 8
Scene 1
Synopsis: Prince was seen by Capon who worried not and continued his pleasure leaving Prince scared
SP: - camera opens on Prince starring at Capon and Chantal Kissing and puns to Capon who saw him but stopped not, Prince runs off
Prince:
SP: - looks at Capon with his mouth wide open
Capon:
SP: - still kissing Chantal then sees Prince but stops not
Prince:
SP: - gets frightened and runs off
Capon & Chantal:
SP: - continue playing their romance
Scene 2
Synopsis: Prince runs to the dorm shaking and not willing to tell Jones what he saw for the fear of the uncertainty
SP: - camera opens on Prince running into his Dorm then heading straight to bed, and then cuts to Jones who entered from the balcony to see Prince crying and shivering
Prince:
SP: - runs into the dorm and jumps to the bed shivering
Jones:
SP: - opens the balcony door entering and seeing Prince shivering
DL: - what is chasing?
Prince:
SP: - still shivering and scared to tell Jones what he saw
Jones:
DL: - what is wrong with you Prince
SP: - watches around for any clues but finds nothing then jumps to Prince to console him
Scene 3
Synopsis: Essel talks to Francisca and Charity of her classes that day and how the students welcomed Miss Johnson
SP: - Camera opens on Essel in Francisca Dorm with Charity, both sitting on bed whiles Essel sits on the trunk
Essel:
DL: - we had an interesting classes today.
Francisca & charity:
SP: - were concentrating on their album watch
Essel:
SP: - thinks of getting their attention. She calls
DL: - sister Charity,
Charity:
SP: - raises the head to look at her
Essel:
DL: - today, they introduced to us a new teacher, we understand she is on national service
Francisca:
DL: - that could be Miss Johnson.
Essel:
SP: - quickly comes in to confirm
DL: - that was the name
Charity:
DL: - she was brought to our class too. Anyway, go get us some sachet water from the shop
Essel:
SP: - gets out to go get the water
Charity & Francisca:
SP: - gets back to the photo album watch
Scene 4
Synopsis: Felix and Henry in the S.U. office praying immensely for the students and the S.U.
SP: - camera opens on Felix and Henry praying earnestly in the S.U. office
Scene 5
Synopsis: Capon comes to the dorm not too happy of what happened early concerning Prince
SP: - camera opens on Capon entering the dorm not too lively then cuts to the friends who were wondering what could be eating him up
Jade & Addo:
SP: - lying on t he bed talking
Jade:
DL: - men, that girl is fresh
Capon:
SP: - enters the dorm
Jade & Addo:
SP: - all look at the door then watches Capon till he sits on bed
Jade:
DL: - what’s up man
Capon:
SP: - signals him he was not ready to talk
Jade & Addo:
SP: - gets back to bed silently
Capon:
SP: - looks at the ceiling in deep thought
Scene 6
Synopsis: Exzibit and James do a few rap contests.
SP: - camera opens on Ezxibit rapping in the dorm, next sitting to him was James who was singing with him whiles comes to see James singing
Exzibit:
SP: - raps and gets involved with the song he was doing
James:
SP: - taps his feet and claps for Exzibit
Exzibit:
SP: - sings on and stops. Calls James to start his
James:
SP: - starts singing beautifully
Philip:
SP: - walks into the room and sees James and marvels
Exzibit:
SP: - sees Philip standing at the door
DL: - do you feel my boy?
Philip:
SP: - ignores him and goes away
Exzibit:
SP: - turns to James shaking his head to the rhythm of the song
DL: - go on boy don’t mind him
James:
SP: - continues singing
Scene 7
Synopsis: Michael and Capon meets on the staircase and engages in eye combat
SP: - camera opens on Michael climbing the staircase, Capon comes into shot whiles the two look straight into the eyes of the other
Michael:
SP: - climbing the staircase. He stops at the corner of the stairs as he looked into the eyes Capon
Capon:
SP: - stops at the corner looking into the eyes of Michael
Michael:
SP: -strays himself pass Capon and heads for the dorm
Capon:
SP: - smiles to himself and descends the stair
Scene 8
Synopsis: Addo and Jade wondering what was wrong with Capon
SP: - camera opens on Jade and Addo sitting on bed
Jade:
DL: - what do you think could be wrong with Capon
Addo:
DL: - I cant put a finger to it. Could he had trouble with any one out there?
Jade:
SP: - cynically he says teasingly
DL: - who could easily torment Capon. He might be having trouble with Chantal
Addo:
DL: - that is not funny Jade. This is serious matters
Jade:
DL: - let Capon fight his fight
SP: - gets up and goes to the balcony
Addo:
SP: - lies on the bed
Scene 9
Synopsis: Prince tries to tell Michael what he saw but after seeing Capon at the door tells him he is just feeling cold
SP: - camera opens on Michael entering the room and seeing Prince shivering
Prince:
SP: - lies on bed crying
Michael:
SP: - opens the door and sees Prince shivering. Runs to him leaving the door open
DL: - what is wrong with you
Prince:
SP: - realizing Michael was with him and tries telling him what he saw
Capon:
SP: - stands at the door looking at Prince in the eyes
Prince:
SP: - sees Capon looking at him
Michael:
SP: - looks at the door seeing no one there
DL: - what is wrong with you
Prince:
DL: -I am suffering from malaria
Michael:
SP: - calming down to sit by him
DL: - you might be homesick
SP: - lies him down and covers him with the bedspread
THE END
EPISODE 9
Scene 1
Synopsis: Miss Johnson has her first class with Capon’s class where the boys took advantage of her ignorance to make fun of her youthfulness, especially Capon
SP: - camera opens on Capon’s class with Johnson in front teaching them for the first time
Class:
SP: - listening to a teacher attentively
Miss Johnson:
SP: - stands in front of the class and talks to them
DL: - I know you guys all might have studied a lot when comes to biology so lets try our thinking cup. What do you know about insects?
Jade:
SP: - raises his hands to gain early favor
Miss Johnson:
SP: - points to Jade
Jade:
SP; - insects are parasites who would not spare you of the little you have
Class:
SP: - burst into laughter
Miss Johnson:
DL: - that is a funny answer but I don’t think that is what is in your book.
Henry:
SP: - raises the hand
Miss Johnson:
SP: - gives Henry the opportunity to try
Henry:
DL: - any of numerous small invertebrate animals that are more or less obviously segmented.
Class:
SP: - all shout out Henry’s cooperate name
DL: - agyenkesea
Miss Johnson:
DL: - wow, that is well defined, you must all know that, they are of any of a class (Insecta) of arthropods (as bugs or bees) with well-defined head, thorax, and abdomen, only three pairs of legs, and typically one or two pairs of wings…
Capon:
SP: - looks at the young teacher with keen interest
Miss Johnson:
DL: - please read your text books for more information, during our next lessons we would do more writing than talking.
SP: - she picks her bag and leaves
Class:
SP: - murmur amongst themselves as Miss Johnson leaves
Capon:
SP : - smiles to himself and picks his book to read
Scene 2
Synopsis: Mr. Asante and Michael prepare a timetable for the school and tell Mr. Asante what happened to Prince and receives his pity
SP: - camera opens on Michael and Mr. Asante with Michael receiving information from the Master.
Michael:
SP: - writing in a note book standing in front of Mr. Asante
Mr. Asante:
DL: - there will be a symposium on the 6th week and we are inviting the Bishop to talk on that day.
Michael:
SP: - stops writing
DL: - yes sir.
SP: - makes a move to leave the office
Mr. Asante:
DL: - I understand your school was sick yesterday
Michael:
SP: - stops and turns to face the master
DL: - yes sir, actually he is fine now, I believe he is homesick
Mr. Asante:
SP: - laughs at him
Michael:
SP: - smiles and takes his leave
Scene 3
Synopsis: Essel’s class waits for the teacher to come teach them and takes advantage of the absence to disturb. Mr. Oduro comes in and asks Essel to see him in the bungalow after school
SP: - camera opens on Essel and her colleagues in class talking and then puns to Mr. Oduro entering the class
Class:
SP: - disturbingly talking
Mr. Oduro:
SP:- enters and stands at the back of the class watching them
DL: - would you students ever have the knowledge to stop misbehaving?
Class:
SP: - all go dead silent
Mr. Oduro:
SP: - walks to the front of the class and points to Essel
DL: - I thought you were an angel, not knowing you are worse. See me after school
Essel:
SP: - burry’s her head in shame
Mr. Oduro:
DL: - pick your exercise books and do this for me
SP” – turns to the board and begins writing some works on the board
Class:
SP: - picks up book and start writing
Scene 4
Synopsis: Prince passes by Capon’s class. Capon tells his friends what happened the previous day when Prince saw him and Chantal
SP: - camera opens on Prince heading for the junior block and Capon sees him in his class
Prince:
SP: - walks pass Capon’s class
Capon:
SP: - sees Prince passing the class and turns to his friends
DL: -do you guys see that boy?
SP: - pointing to Prince who was almost out of sight from the class
Jade & Addo:
SP: - stretches out to see Prince then back to Capon
Capon:
DL: -he saw Chantal and I doing the rituals in the class yesterday
Jade:
DL: - you don’t mean it?
Capon:
DL: - I am telling you.
Addo:
DL: - holy shit
Capon:
DL: - the shit is not holy
Scene 5
Synopsis: Cindy hides under the desk as madam Gladys speaks to the students to comport themselves and study hard, when she left she then came out but Chantal forced her into hiding again when Prince entered and Chantal made her to believe it was Madam Gladys
SP: - camera opens on Madam Gladys talking to the class then cuts to Cindy hiding. Camera then opens on Prince entering after madam Gladys had left
Madam Gladys
SP: - stands before the class
DL: - you guys are still growing. I don’t want you students to follow the precedence set by your predecessors
Cindy:
SP: - hides under her desk
Chantal:
SP: - uses her leg to hit Cindy to stay cool
Madam Gladys:
DL: - you have only few days to stay here then your stay would be over so please study hard and don’t be roaming when others are learning
Class:
SP: - yes madam
Madam Gladys:
SP: - goes out of the class
Chantal:
SP: - hits her to come out of her hide out
Cindy:
SP: - moves to coming out of under the desk
Prince:
SP: - enters the class
Chantal:
SP: - sees Prince and fakes Cindy
Madam Gladys
Cindy:
SP: - runs back under the desk
Class:
SP: - laughs at Cindy
Scene 6
Synopsis: Essel goes to Mr. Oduro’ apartment as ordered to do and made to sit in his room
SP: - camera opens on Mr. Oduro in his room, Essel enters the room after a knock
Mr. Oduro:
SP: - writing his lesson notes for the next day, hears a knock on the door
DL: - yes come in
Essel:
SP: - enters the room with her bag in hand
DL: - good evening sir.
Mr. Oduro:
DL: - oh Essel, it is you. You are welcome. Please sit down
Essel:
SP: - she sits in the sofa
Mr. Oduro:
DL: - I will be with you in a short while
SP: - leaves the room and goes out
Essel:
SP: - stares the room
Scene 7
Synopsis: Charity finds out from Jones and Vivian the where about of Essel and finds out she was in Mr. Oduro’s house
SP: - camera opens on Charity in front of the dining hall and then comes into shot is Jones and Vivian from whom she enquired of the where about of Essel
Charity:
SP: - stands in front the hall waiting for Essel
Jones & Vivian:
SP: - walks towards the hall and near Charity
Charity:
SP: - sees Vivian and Jones and calls them
DL: - have you guys seen Essel?
Vivian:
DL: - Mr. Oduro asked her to see him at his place after class today so I believe she is there
charity:
DL: - really. Okay thank you.
Vivian & Jones:
SP: - continue to the school library
Charity:
SP: - sits down waiting for the girl
Scene 8
Synopsis: Vivian informs Ruth of Essel’s visitation to Mr. Oduro’s house after being asked to but Ruth sensed foul play as she knew what male teachers were capable of
SP: - camera opens of Ruth washing her plate and then comes Vivian in shot telling her of where Essel went
Ruth:
SP: - washing her plate outside preparing for supper
Vivian:
SP: - walks to her in her school uniform
DL: - sister Ruth, are you preparing for dining already?
Ruth:
SP: - shuts her up cynically
DL: - shut up. Anyway where is Essel
Vivian:
DL: - Mr. Oduro asked her to see him so she went to him
Ruth:
SP: - getting more interested
DL: - really! So she is in his house now?
Vivian:
DL: - I believe so but…
Ruth:
DL: - that is great news
SP: - continue washing her plate with much more delight
Vivian:
DL: - why is every one acting funny like that?
SP: - goes to the dorm
Ruth:
SP: - smiles washing her plate and heads to the dorm
Scene 9
Synopsis: Mr. Oduro forces himself on Essel who managed to escape the trap unharmed and runs off leaving Mr. Oduro helpless and shameless in his room.
SP: - camera opens on Essel desperately waiting for Mr. Oduro in his room as he comes into shot with a drink in hand to offer to her
Essel:
SP: - waits desperately for Mr. Oduro
Mr. Oduro:
SP: comes into the room with a bottle of coke in hand
DL: - sorry for keeping you waiting. Here you are, feel free
Essel:
SP: - thank but no thanks, I must go prepare for supper, my school mother would be waiting
Mr. Oduro:
DL: - what do you mean. Essel you are a nice girl and I can do you more…
SP: - starts touching her body
DL: - favor and help only if…
Essel:
SP: - brushes him off
DL: - I don’t like what you are doing. I must leave
SP: -runs off the room
Mr. Oduro:
SP: - tries to stop her but she had gone
DL: - shit! That was close.
THE END
EPISODE 10
Scene 1
Synopsis: Charity in forms Francisca of the mood in which Essel came to the dorm with after closing from school
SP: - camera opens on Charity and Francisca in the dorm of Francisca where Charity tells her of what happened to Essel
Charity:
DL: - I still don’t understand the attitude of Essel.
Francisca:
DL: - what about her attitude?
Charity:
DL: - she went to see Mr. Oduro and afterwards she is been acting funny. I saw her crying, when I asked her she said she was not crying
Francisca:
SP: - looks into the eyes of the friend and softly speaks to her
DL: - don’t let your mind travel far my dear. For all you know…
Charity:
DL: - yeah I know, she is just being childish.
Francisca:
DL: - good. Wait till she says it for herself
SP: - continue going through her books
Charity:
SP: - not all that convinced but not ready to argue more so lies on the bed
Scene 2
Synopsis: Capon warns James to be careful with the girls on campus as they can make you reveal your secrets.
SP: - camera opens on James with his head bowed as he listens to Capon who looked so angry
James:
SP: - with head bowed in shame
Capon:
SP: - speaks to him with seriousness
DL: - you are a part of a deadly cult. You are a member of the Killer Instincts. We are not loved by all so you are to shut your beak, especially when talking to you girlfriends. Do you understand
James:
SP: - raises his head and looks at him
DL: - I am sorry Capon. I will be careful
Capon:
DL: - that is all
James:
SP: - leaves the room
Capon:
SP: - looks at the door as it shut behind by James
Scene 3
Synopsis: - Prince and Jones leave for Prep and find out that the light in the SRC office was on and there was a funny movement going on with the shadows moving only but couldn’t find out who were there
SP: - camera opens on Jones and Prince going for Prep with their books in hand then puns on the window to the SRC office inviting into shot Prince and Jones
Prince & Jones:
SP: - walking to prep with their books in hand
Jones:
DL: - I must really study my head out tonight
Prince:
DL: - I beg, are you the only one here for books…
Jones:
SP: - seeing the shadow movement in the SRC office then calls Prince’s attention to it
Prince:
SP: - sees it and wonders but gets the message and both run to the window
Jones & Prince:
SP: - look into the invisible window and perceive the fact that there was a sex activity going on and runs off.
Scene 4
Synopsis: Essel studies with Vivian and is been confronted by Ruth who finds out from her what Mr. Oduro wanted from her
SP: - camera opens on Essel and Vivian studying then comes into shot Ruth who seemed so inquisitive but is stopped by Francisca who stormed into the room
Vivian & Essel:
SP: - studying their notes at prep
Ruth:
SP: - comes into shot and bends on the table
DL: - may I ask a question
Vivian:
DL: - what is it?
Ruth:
DL: - not you my dear, I mean Essel
Essel:
DL: - what is it sister Ruth?
Ruth:
DL: - what did he ask from you when he invited you?
Essel:
DL: - what do you mean?
Ruth:
DL: l understand Mr. Oduro invited you…
Francisca:
SP: - stands at the entrance to the hall
DL: - what is going on here?
Ruth:
SP: - sees Francisca and moves to sit down
Essel & Vivian:
SP: -gets back to the book
Francisca:
DL: - I don’t want to come see you people misbehaving
SP: - leaves the hall which was engulfed with silence
Scene 5
Synopsis: Chantal studies with Cindy in the classroom and misses Capon badly that she leaves for the room
SP: - camera opens on Chantal and Cindy with their colleagues studying
Chantal:
SP: - stops reading and looks into the sky
Cindy:
SP: - realizes that Chantal was not learning
DL: - what is wrong Chantal?
Chantal:
DL: - I miss Capon
Cindy:
DL: - Queenie, you must read
Chantal:
SP: - getting pissed
DL: - don’t irritate me, I said I miss Capon…
Prisca:
SP: - signaling Chantal to keep quiet
Chantal
P: - reigning harsh words on Prisca
DL: - shut up. Who are you to tell me what to do.
SP: - picks her book and leaves
Cindy:
SP: - follows her out
Scene6
Synopsis: Vivian stays in the bathroom inserting her finger into herself whiles all were at prep. Chantal and Cindy pounds on her and threatens to report her but she begs
SP: - camera opens on the face of Vivian in the bath house then reveals her body inserting her hand in her private part enjoying it then cuts to Chantal and Cindy who catches her
Vivian:
SP: - masturbating in the bathroom
Chantal & Cindy:
SP: - walks on the corridor and hears funny sounds from the bathroom
Cindy:
DL: - who do you think is there
Chantal & Cindy:
SP: - walks to the bathroom and peeve who was there
Vivian:
SP: - realizes that Chantal and Cindy had seen her and gets scared
Scene 7
Synopsis: Jones and Prince talk of what they saw and get themselves being punished for disturbing the others by Henry
SP: - camera opens on Prince and Jones studying and start discussing what they saw and then comes into shot Henry who punishes them
Jones:
DL: - who do you think was in the office?
Prince:
DL: - how am I suppose to know. But come to think of it, do you think they are still there?
Jones:
DL: - why not report to Snr. Francis?
Henry:
SP: - stands at the window to the class
DL: - may I know what you two are talking of?
Jones & Prince:
SP: - realizes they were in trouble but could not talk
Henry:
DL: - climb you r tables with your eyes closed
Jones:
SP: - trying to seek for mercy
DL: - Snr. Henry please…
Henry:
SP: - moves to the class talking
DL: - don’t get me so angry
Prince & Jones:
SP: - climbs the table with haste with eyes close
Henry:
DL: - silly students.
SP: - gets out
Class:
SP: - laughs at the two
Scene 8
Synopsis: Michael go check all the rooms to find out if any one had stayed behind whiles others were studying and finds Capon and Jade with Addo in the room and leaves them. James comes from his hide out to join them after they had gone.
SP: - canmera opens on Michael chcking the rooms to find out those who not at prep but could not see James who was hiding in Capon’s room
Michael:
SP: - runs the doors finding no ne then opens Capon’s door seeing him on bed
DL: - Martin, why didn’t you go for prep?
Capon:
SP: - looks him in the face
DL: -are you at Prep?
Michael:
SP: - gets pissed and leaves
James:
SP: - comes from the back of the balcony door
Capon:
SP: - laughs at James
DL: - that was a narrow escape
James:
SP: - sits on the bed and breathes heavily
Scene 9
Synopsis: Vivian jumps to bed and feels so uneasy not knowing what Chantal and Cindy would do to her
SP: - camera opens on Vivian lying on bed so uneasy then comes into shot Ruth who was wondering what was wrong with Vivian
Vivian:
SP; - thinks deeply of what to do?
Ruth:
SP: - walks to Vivian wondering what was wrong
DL: - what is wrong with you?
Vivian:
SP: - looks into her face
DL: - nothing to worry about
Ruth:
DL: - what ever you say.
SP: - walks off
Vivian:
SP: - looks into the ceiling with fear written all over her face
THE END
EPISODE 11
Scene 1
Synopsis: Vivian feels so uneasy in class with what happened to her the previous night still tormenting her
Scene 2
Synopsis: Miss Johnson teaches the class of Capon for the second time and gets tension rising between her and Capon after realizing he was the hottest guy on campus
Scene 3
Synopsis: Michael confines in Felix. He tells him of the condom he found behind the SRC office the morning and the fear that some people were doing their own thing with the office and putting his reputation into disrepute
Scene 4
Synopsis: Jade finds out from Philip where he was the previous evening during prep whiles Cindy also complains of not seeing Prisca at prep the same night
Scene 5
Synopsis: Miss Johnson and Capon meet at a junction around the science lab where Capon gives Miss Johnson a hard look making her get confuse
Scene 6
Synopsis: Mr. Oduro goes to Essel’s class to teach and finds it uneasy with Essel that he punished her with no apparent reason, Cindy comes to fetch Vivian that she was wanted by the Snr. House Mistress
Scene 7
Cindy and Vivian sees Madam Gladys and Vivian panics but Cindy re-informs her there is change of plan only if she comports herself
Scene 8
Synopsis: Miss Johnson teaches Chantal’s class and finds he class interesting. Chantal seems not to like her since she was a threat to her ruling but leaves to see Vivian before class could end
Scene 9
Synopsis: Vivian finds herself in the bush where she wonders what she was doing there but gets more frightened seeing Chantal there
Scene 10
Synopsis: Prince and Jones finds out from Essel why she thinks she was punished but Mr. Oduro gets scared not knowing what she was telling them and scares her off
THE END
EPISODE 12
Scene 1
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