Audry du Montreal

{"cards":[{"_id":"53a59bfde6602af8186c0a7d","treeId":"53a59bfde6602af8186c0a7c","seq":173817,"position":1,"parentId":null,"content":"##  How to use this template\n\nEach card describes what that scene or act should contain. Edit the cards, and replace the description with your own story elements.\n###### *Template based on Blake Snyder's Beat Sheet. To read more, read his book [Save the Cat!](http://www.amazon.com/Save-Last-Book-Screenwriting-Youll/dp/1932907009/ref=sr_1_1_ha?ie=UTF8&qid=1373547401&sr=8-1&keywords=save+the+cat)*\n\n######*It's not as pretentious as other books on screenwriting, but it has a wealth of information.*"},{"_id":"53a59bfde6602af8186c0a7e","treeId":"53a59bfde6602af8186c0a7c","seq":179363,"position":2,"parentId":null,"content":"Audry du Montreal\nA play about a love triangle between Mary, Audrey, and a partying pilgrim Brendan. \nHe quits his internship at BMW in an existential crisis planning to go to Guadalupe, but then gets sent to Fatima by his mother. He gets side tracked meeting a very seductive but very shallow woman, Audrey in Spain. They both end up on the same train and tavel together for a while in Portugal. He meets various distractions (horny young women) along the way moving him this way and that way. Eventually he makes it to Fatima but feels nothing. Goes back to Spain exploring the south and then meets Audrey again he falls in love and try's to meet up with her again in Barcelona but fails to see her. During this time he stops sleeping in hostels because people are having sex in them. Then he ventures through benelux and Berlin delusionaly living in a dream, with loss of sleep and lonllyness starting from rehersing how to talk to Audrdy again. Eventually ends up in Amsterdam looking to buy prostitutes with cash in hand but restains himsel and blows off his hornyness just seeing a peepshow."},{"_id":"53a59bfde6602af8186c0a7f","treeId":"53a59bfde6602af8186c0a7c","seq":188478,"position":1,"parentId":"53a59bfde6602af8186c0a7e","content":"## Act I\nAudrey du Montreal\nPrologue\nMuse lets sing a story that the fates said clear,\nCerveza\nAbout beauties and serial bombings of\nBeer\nStruck between two women the most particular menage\nMasaje\nEt trois, but from either I couldn't even get a \nMassage\nThe mother of that jealous one, I just couldn't respond, \nbut I still am imprisoned to that facially fond.\nOh,\nAUDREY\nQuebequoi Tourists: Du Montreal\n>>Title screen like wall passes though the stage\n>>Change to night club scene\nShort ensemble dance\n>>Another title screen passes through stage\n>>Audrey and Brendan in front and center. Ensemble dances freely but with noticable submission to the music.\nAudrey: Oooh Oui! he dances. Do you like this song?\nBrendan: Yeah, I love this song. What's your name?\nAudrey: Oh yes, this part. Like this.\n>>Audrey sings and dances alone\nChante la pomme\nChun et Blonde\nJemais\nmais je debarque antes de amor\nCest le fun \n\nScene 1:\nBrendan: Ah hear it is, all the boxes full on the checklist. The grades, the high paying internship, the resume fluffed to absurdity. It's my master piece it is now. All the sections loaded with inflated excellence and more societal membership than that one could ever contribute to. Greek letters of honor applied to every course. Looser handouts of honor than the girl scouts can come up with. Oh but the all the honor itself, no show of work, no portfolio necessary just a horde of credentials and they fell for it! And because they fall for it, I fall for it. uugh, I remember the days when art and invention was enough, I didn't need to flash around anything. But its hard right to live that life of making your talents feed you. How could I ever know really when everyone around me does not know about the other side. They only know of salaries pastimes and tour guided vacations. From the uncle, to the aunt, to mom and pop, to nanny and grandpa, all that's known is salaries pastimes and tour guided vacations. Even the friends, but, at least with them I see little candles of risk taking and artisanship to give me light as I do what I can to put my candle out, and marry a 3 series BMW, big screen tv, and wife raised in a country club, one of Cinderellas step sisters. But I want Cinderella! That beauty who could appreciate a shack in the woods as long as she is free from dictation! Prince charming doesn't live the life of a well paid courtier with a knack for numbers, then why am I here? Forget it, I'm walled in socially. To many discussions to put up with if I would leave. \"What about the people who don't have jobs? How selfish.\", they would all say. Bless them! There lucky to be away from these small portals into dehumanizing dystopia. And was Saint Francis selfish? I could reason with them this way and that way but they'll just run around in circles. At least I have the tubes to numb me. That easy fix to protect me from bothering to be with Cinderella's step sister. \n>>Types on the keyboard:\nSensual, on the beach. threesome.\nOh that's good. \neh\nNuru massage.\nooh yes that's better.\n>>Slams laptop shut as room mate comes in, Brendan speaks nervously temporarily, being struck with a small surge of adrenaline.\nRoomate 1: Hey Brendan, why are you here so early.\nBrendan: Oh, they let me off early, I guess the only thing on the list today was orientation.\nRoommate 1: Oh nice. So the NBA finals are on tonight so we're going to have all the guys over to watch. You cool with that?\nBrendan: Uh, yeah. That would be fine.\nScene II:\nThey have no choice but to continue into Act II.\n"},{"_id":"53a59bfde6602af8186c0a80","treeId":"53a59bfde6602af8186c0a7c","seq":173777,"position":1,"parentId":"53a59bfde6602af8186c0a7f","content":"### Opening Image\n###### page 1\nIf you had to choose a photo to establish what \"the world\" is like before your story starts, this is it.\n\nMake it stand out, because first impressions matter. They set the tone and mood and scope, and hook the audience (or reader).\n\nIf it's a vast epic, the opening image should be grand. If it's a small intricate family drama, the opening images are small and subdued."},{"_id":"53a59bfde6602af8186c0a81","treeId":"53a59bfde6602af8186c0a7c","seq":173778,"position":2,"parentId":"53a59bfde6602af8186c0a7f","content":"### Theme Stated\n###### page 5\nIt might not be clear at first, but your story should have a theme.\n\nYou can think of the theme as an argument, that the rest of the movie has to prove.\n\nRemember that a theme is there to guide you as a story writer, and provide a strong undercurrent to your story. It's not a restriction, it's **a fountain** for your imagination. If you ever get stuck, go back to your theme and you will find your answer there."},{"_id":"53a59bfde6602af8186c0a82","treeId":"53a59bfde6602af8186c0a7c","seq":173779,"position":3,"parentId":"53a59bfde6602af8186c0a7f","content":"### Set-up\n###### pgs 1-10\n\nBy the first 10 pages (or 12 at most), you need to have set up your story.\n\nIf you think of your story as a cannon shot, by page 10 the cannon needs to be loaded, aimed, and ready to be fired."},{"_id":"53a59bfde6602af8186c0a83","treeId":"53a59bfde6602af8186c0a7c","seq":173780,"position":4,"parentId":"53a59bfde6602af8186c0a7f","content":"### Catalyst\n###### pg 12\nAgain, with the cannon analogy: Your cannon is aimed in pages 1-10, it needs to actually fire by page 12.\n\nHere again, the size and scope of the catalyst event must match the size of your story. If it's a small drama, it could be a phone call announcing a death in the family, or it could be a breakup.\n\nIf it's a sprawling epic, it should be something grander. The outbreak of war, or the destruction of a planet."},{"_id":"53a59bfde6602af8186c0a84","treeId":"53a59bfde6602af8186c0a7c","seq":173781,"position":5,"parentId":"53a59bfde6602af8186c0a7f","content":"### Debate\n###### pgs 12-25\nIf your hero starts moving towards his goal immediately, it'll seem as though he's just reacting to what happens around him.\n\nNo one wants to see a hero react, they want to see him or her *act*.\n\nThat's what the debate section is for. This is where the hero shows that he/she knows that it'll be a long road, but consciously decides to act.\n\n"},{"_id":"4489befc0c43a7f96800001b","treeId":"53a59bfde6602af8186c0a7c","seq":178911,"position":1.5,"parentId":"53a59bfde6602af8186c0a7e","content":""},{"_id":"53a59bfde6602af8186c0a85","treeId":"53a59bfde6602af8186c0a7c","seq":173782,"position":2,"parentId":"53a59bfde6602af8186c0a7e","content":"## Act II a\n#### *Rising Action*\n\nIn the beginning of Act II, we get to explore the \"new world\" of the story. We meet its characters, as the hero is put through greater and greater challenges, until..."},{"_id":"53a59bfde6602af8186c0a86","treeId":"53a59bfde6602af8186c0a7c","seq":173783,"position":1,"parentId":"53a59bfde6602af8186c0a85","content":"### Break into Two\n###### pg 25\nOnce the hero decides to act, it's time to step through a membrane, and enter the world of Act II.\n\nFor example, in *Star Wars*, the catalyst is Luke's parents being killed, but the Act II event occurs when they board Han's ship, and the journey begins."},{"_id":"53a59bfde6602af8186c0a87","treeId":"53a59bfde6602af8186c0a7c","seq":173784,"position":2,"parentId":"53a59bfde6602af8186c0a85","content":"### B Story\n###### pg 30\nThe audience has been through a lot of turmoil to get to this point. Introduce a secondary story to give them a rest.\n\nThis B story usually involves a romance, or a new friendship, or some other relationship with a character from the \"new world\" of Act II.\n\nIt also serves two useful tools for you as a writer:\n1. It lets you have a second storyline to \"cut to\", when needed. It's like having a second camera to cut to when editing.\n2. It's an avenue you can use to discuss the theme.\n\nThis is where the B Story starts, but it runs throughout the rest of the movie."},{"_id":"53a59bfde6602af8186c0a88","treeId":"53a59bfde6602af8186c0a7c","seq":173785,"position":3,"parentId":"53a59bfde6602af8186c0a85","content":"### Fun and Games\n###### pgs 30-55\nThis is where you get to have fun (yes, even in a serious drama).\n\nWith your logline, you asked a question: \"What would happen if ____?\"\nThis is where you answer that question.\n\nYou've set up your story, your characters, and propelled them along in their journey. This is where you get to explore what happens.\n\nIf there was a teaser for your movie, most scenes will come from this section.\n"},{"_id":"53a59bfde6602af8186c0a89","treeId":"53a59bfde6602af8186c0a7c","seq":178910,"position":3,"parentId":"53a59bfde6602af8186c0a7e","content":"## Act II b\n####*Raise the Stakes*\nSomething drastic happens, to change the course of the hero's journey. Where before things felt like \"rising action\", now it feels like \"spiraling out of control\". The challenges seem insurmountable, and the hero is beat down, again and again."},{"_id":"53a59bfde6602af8186c0a8a","treeId":"53a59bfde6602af8186c0a7c","seq":173787,"position":1,"parentId":"53a59bfde6602af8186c0a89","content":"### Midpoint\n###### pg 55\nYour cannonball has reached it's peak. The fun and games are over. There's no better way to put this, than: \"Shit just got serious!\"\n\nThe midpoint is where the stakes are raised.\nIf people are to die in your story, this is where the first character dies. If it's a smaller drama, a bombshell is dropped here.\n\nSomething important has to happen at the midpoint."},{"_id":"53a59bfde6602af8186c0a8b","treeId":"53a59bfde6602af8186c0a7c","seq":173788,"position":2,"parentId":"53a59bfde6602af8186c0a89","content":"### Bad Guys Close In !!\n###### pgs 55-75\nThings get progressively worse... the challenges are getting harder, while the hero is getting more downtrodden.\n\nDon't hold back, or feel sorry for your hero. Give 'em hell."},{"_id":"53a59bfde6602af8186c0a8c","treeId":"53a59bfde6602af8186c0a7c","seq":173789,"position":3,"parentId":"53a59bfde6602af8186c0a89","content":"### All is Lost\n###### pg 75\n.. until it seems there's no hope. This is the darkest part of the screenplay, where the hero realizes how bad things are. If there's no death in your story, you might give a \"whiff of death\" here (even in comedies)."},{"_id":"53a59bfde6602af8186c0a8d","treeId":"53a59bfde6602af8186c0a7c","seq":173790,"position":4,"parentId":"53a59bfde6602af8186c0a89","content":"### Dark Night of the Soul\n###### pgs 75-85\nHow does your character feel about the darkness around him/her?\n\nEven if it's brief, this moment is critical. The hero is not only beaten, but he/she *knows* it. Your hero must admit defeat, and must learn humility.\n\nOnly then can your hero..."},{"_id":"53a59bfde6602af8186c0a8e","treeId":"53a59bfde6602af8186c0a7c","seq":173791,"position":4,"parentId":"53a59bfde6602af8186c0a7e","content":"## Act III\n#### The Resolution\n\nThe resolution of the story and its subplots. The climax is the scene or sequence in which the main tensions of the story are brought to their most intense point and the dramatic question answered, leaving the protagonist and other characters with a new sense of who they really are."},{"_id":"53a59bfde6602af8186c0a8f","treeId":"53a59bfde6602af8186c0a7c","seq":173792,"position":1,"parentId":"53a59bfde6602af8186c0a8e","content":"### Break Into Three\n###### pg 85\nFind the solution!\n\nBecause of everything that's happened so far, and with the help of B story characters, the hero finds his last best effort to find a solution.\n\nThe idea for the solution is at hand."},{"_id":"53a59bfde6602af8186c0a90","treeId":"53a59bfde6602af8186c0a7c","seq":173793,"position":2,"parentId":"53a59bfde6602af8186c0a8e","content":"### Finale\n###### pgs 85-110\nWrap it up.\nThe climax must be the *result* of the entire chain of events leading up to this point. A chain that should be linked by the words \"therefore\" or \"but\"... it's not enough for Y to follow X, Y must happen because of X.\n\nYour climax is the result of\n\n1. Who your hero is.\n2. How your hero has changed.\n3. The events leading up to this point.\n\nDispatch all the bad guys (literal or figurative), in ascending order. At the end, a new world is born.\n\nNot only must the hero suceed, but he/she must change the world."},{"_id":"53a59bfde6602af8186c0a91","treeId":"53a59bfde6602af8186c0a7c","seq":173794,"position":3,"parentId":"53a59bfde6602af8186c0a8e","content":"### Final Image\n###### pg 110\nThe opening image is your \"before\" shot, this is the \"after\".\n\nThe world must have changed, and the difference between the opening image and the closing is the proof of this change."}],"tree":{"_id":"53a59bfde6602af8186c0a7c","name":"Audry du Montreal","publicUrl":"audry-du-montreal"}}