- Major character conflicts
- Revelation moments
- Relationship-changing encounters
- Setup: Characters in position, tension present
- Escalation: Conflict builds through dialogue
- Turn: New information or power shift
- Resolution: Changed relationship status
INT. COFFEE SHOP - DAY
SARAH sits waiting. Checks her watch. JOHN arrives, late.
JOHN
Sorry, traffic was--
SARAH
Sit down.
He sits. A beat.
SARAH (CONT'D)
I know about the account.
JOHN
What account?
SARAH
(sliding paper across)
The one in the Caymans. The one you
opened a week before you proposed.
John stares at the paper. Doesn't touch it.
JOHN
(quiet)
I can explain.
SARAH
Can you?
Long pause.
JOHN
No. I can't.
- Public confrontation: Stakes raised by witnesses
- Interrupted confrontation: Cut before resolution
- Misdirected confrontation: Wrong target initially
- Protagonist finds key information
- Revelations that change understanding
- Investigation payoffs
- Approach: Character nearing discovery
- Discovery: The moment of finding
- Reaction: Physical/emotional response
- Implication: What this means
INT. FATHER'S STUDY - NIGHT
Sarah searches desk drawers. Nothing.
She pauses. Looks at the bookshelf.
One book is slightly out of place.
She pulls it. A CLICK. The shelf swings open.
Inside: A wall of photographs. Documents. A map.
Sarah's hand covers her mouth.
SARAH
(whispered)
My god.
On the map, red circles. One around their house.
- Physical conflict
- Chase scenes
- Stunts and spectacle
- Short paragraphs
- Strong verbs
- White space for pacing
- Beat-by-beat choreography
EXT. ROOFTOP - NIGHT
Sarah RUNS.
Behind her, FOOTSTEPS.
She reaches the edge. Looks down. Six stories.
Looks back. Three FIGURES emerge from the shadows.
No choice.
She JUMPS--
--lands on the next building--
--rolls--
--keeps running.
- Time passage
- Skill development
- Parallel action
- Relationship evolution
.MONTAGE - [DESCRIPTION]
- Location: Brief action
- Location: Brief action
- Location: Brief action
.END MONTAGE
.MONTAGE - SARAH'S INVESTIGATION
- Library: Sarah pores over old newspapers
- Street: She photographs a building, checks notes
- Bar: She slides cash to a BARTENDER who points somewhere
- Home: Photos pinned to a wall, red string connecting them
.END MONTAGE
- Reveal character backstory
- Show pivotal past events
- Create ironic juxtaposition
INT. PRESENT LOCATION - TIME
Present scene context.
DISSOLVE TO:
INT. PAST LOCATION - TIME (FLASHBACK)
Flashback content.
BACK TO:
INT. PRESENT LOCATION - TIME
Return to present.
INT. SARAH'S APARTMENT - NIGHT
Sarah stares at an old photograph. Her hand trembles.
DISSOLVE TO:
INT. CHILDHOOD HOME - DAY (FLASHBACK)
YOUNG SARAH (8) hides under the table. Through the
tablecloth, she sees LEGS. Hears VOICES arguing.
FATHER (O.S.)
You shouldn't have come here.
BACK TO:
INT. SARAH'S APARTMENT - NIGHT
A tear runs down Sarah's cheek.
- Simultaneous conversations
- Building tension across locations
- Real-time communication
INT. LOCATION A - TIME
Character A on phone.
INT. LOCATION B - SAME
Character B answers.
INTERCUT - PHONE CONVERSATION
Dialogue flows between locations.
INT. SARAH'S CAR - NIGHT
Sarah drives, phone to ear.
INT. JOHN'S OFFICE - SAME
John answers, looking out the window.
INTERCUT - PHONE CONVERSATION
SARAH
Where are you?
JOHN
At the office. Why?
SARAH
Get out. Now.
JOHN
What are you talking ab--
An EXPLOSION behind him. He ducks.
SARAH
John? JOHN!