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Shuttered -- Beat Sheet

Okay, before I post my two-page outline, lemme get a couple things out of the way. First, this movie is obviously inspired by another one. Besides the fact that the source of inspiration is a great movie, I also just figured this would be a great way to keep costs to a minimum, what with almost everything taking place in one location, with a very small cast.

Secondly, if you'd like to comment on this, I should let you know that I'm using the methods of Blake Snyder (Save the Cat!). If you're unfamiliar with his work, this page gives a great breakdown of how each of these beats are supposed to function: http://timstout.wordpress.com/story-structure/blake-snyders-beat-sheet/

Thirdly, I'm aware that a lot of people are not fond of Snyder's methods (or the many people who came before him that preach basically the same structure). That's fine, but this thread is not the place to discuss that.

That being said, I welcome all comments and thoughts, positive or negative. Thanks! :)

Shuttered

Opening Image: Extra-wide shot of Megan peering out her front door, from behind Venetian blinds.

Setup: Megan, mid-20s, lives in solitude, suffering from both OCD and extreme agoraphobia. Her psychiatrist makes weekly house-calls. Her mom visits weekly but usually just annoys Megan. Her only friend, Judith, a relic from her pre-agoraphobia days, is mostly unavailable, and often blows her off. Mom points out that friend of the family, Johnny Anderson has moved back into the neighborhood, and suggests that Megan befriend him. Megan balks, because Johnny has obviously developed some kind of personality disorder, spending every minute of every day dressed as, and assuming the identity of, a robot.

Theme Stated: Friendship is a behavior, not a social status that you can simply bestow upon someone.

Catalyst: After making a perfunctory visit to Megan, Judith accidentally leaves her phone behind. Megan picks it up and accidentally sees a text Judith had sent someone else, making it seem like she never really wanted to visit Megan and was doing it as an obligation. Judith returns for her phone and Megan erupts in anger. The two part ways, Megan bursts into tears. Moments later, Johnny arrives at Megan's door, introducing himself as B100. B100 noticed that Megan only gets her mail once per week, when Megan's mom brings it to her (mailbox is located on street, not on porch). B100 noticed that there was a package, and didn't want to risk it being stolen in-between now and Megan's next visit from her mom. Megan is gracious and thankful, but that is the end of their interaction.

Debate: As B100 walks away, Megan watches him through the blinds. Speaking to herself, Megan whispers, "Oh, this is stupid", before...

Break into Two: Megan opens the door and hollers at B100. She asks if he'd be willing to bring her mail to her again, tomorrow. B100 excitedly hurries back and affirms that he'd be happy to. They say goodbye, again, before Megan asks him if he plays chess (in a later conversation with Mom, we learn that she knew he played chess, because she and Johnny used to play it as children). B100 responds very positively to the implied invitation, and they agree to play chess the next day.

B Story: During Mom's weekly visit, she's surprised to see that there's no mail. This of course leads Megan to tell Mom about her interactions with B100. Though Megan and B100 are still kind of awkward with each other, Mom is proud of her for taking initiative. On a related note, Mom tries to dissuade Megan of her loyalty to Judith, and this irritates Megan to no end.

Promise of the Premise: Though initially tentative, Megan and B100 warm up to each other, and begin to really enjoy each other's company, with visits becoming longer and more frequent. When they aren't with each other, they communicate via texts and phone calls (B100 has seamlessly incorporated a stealth smart phone into his robot suit). One of their favorite activities is to spy on their neighbors (they deem themselves sheriff and deputy of the neighborhood watch). Mostly, they crack jokes at the expense of their neighbors, but grow increasingly more suspicious of the activities of one particular neighbor.

Midpoint: Super-Happy-Funtime Musical Montage! Megan and B100 do lots of fun stuff, including raising the stakes in their favorite spy-game, using B100 as their mobile eyes and ears.

Bad Guys Close In: Judith tries to make up for her past misgivings by arranging a small surprise-party, bringing their circle of friends from college. Initially freaked-out, Megan ends up having a good time seeing her old friends, but is (unintentionally) made to feel embarrassed about her friendship with a guy who dresses like a robot. During the party, Megan misses a number of communications B100 was trying to send her, flaking out on plans she had made with him.

All is Lost: B100 continues to bring the mail, and they still play chess, but Megan has become stand-off-ish, often choosing to peer on her neighbors by herself. One day, B100 mentions that he's not sure if he should bring Megan her mail, and that maybe he should just escort her to the mailbox. With much prodding, B100 reveals that he worries he's being a codependent. Megan immediately flips her wig, pointing out the fact that he spends all day dressed as a robot and she accepts it, so if anything, she's the one being codependent. B100 points out that she's using the word wrong, and that just makes her more angry. She says many mean, hurtful things, and B100 leaves.

Dark Night of the Soul: Megan lives in solitude again, and shows signs of contemplating suicide.

Break into Three: Mom gives Megan a pep-talk, reminding her that between her two friends, only one really behaved like one. Megan agrees, and mom prods her that she, too, needs to behave like one. After Mom leaves, Megan calls B100, under the pretense that she is sheriff of neighborhood watch, commanding her deputy to return so that they may continue their investigations. B100 bounds to her door faster than she could imagine, and they resume surveillance of their shady neighbor.

Finale: Unable to get the necessary evidence through observation, they decide that B100 should infiltrate the shady neighbor's house, while he's away. Things of course go wrong, and Megan is forced to finally leave the confines of her house, in order to save her friend. During the obligatory physical confrontation, B100 loses his helmet, exposing the face of Johnny Anderson. After all the commotion has died down, and the bad guy apprehended, Megan retrieves B100's helmet, placing it back on his head, assuring him that she's his friend, no matter what. In the aftermath, with police, Mom, and Megan's psychiatrist, it is implied that Megan's very generous psychiatrist will begin treating Johnny/B100 as well.

Final Image: B100 holds Megan's hands, offering encouragement, as she bravely walks towards the mailbox.
 
Wow. Seems really good so far.

You made me laugh when you introduced B100. And then again a moment later. That's a hoot. And that's just reading the beat sheet. I have a feeling he might be stealing the show.

It's nice and neat how you use the subplot to force Megan to challenge her agoraphobia in order to save her best friend in the end. Seems like everything will be wrapped up in a satisfying way.

Really nice stuff. Thanks for sharing.


By the way. Knowing how important loglines were to Blake Snyder, do you have one to hit us with?
 
Really like it.

You're reworking one of my favourite movies, but you're doing it in much more original and fun way that Disturbia, for example. If you haven't seen Robot & Frank then I'd recommend that as a film which looks at human/robot interactions (even though he's an *actual* robot, the film still considers the line between human and AI (not to mention the fact it has an indie twee vibe that I think would work for your film (and a great performance by Fank Langella))).

The one thing I'd work on is the 'shady neighbour'. What's going on there? What's the tension and how does that feed into the climax?

I realise that, with Rear Window, the film isn't actually about solving the mystery of the guy killing his wife BUT that doesn't mean that that plot line isn't compelling (not to mention the fact that it mirrors the protagonist's commitment anxieties). So how does your 'shady neighbour' plot fit in?
 
Thanks for the input (and the encouraging words)!

richy, you're correct to point out the importance of a logline. It's worth noting that Snyder's methodology is primarily oriented towards spec writers, and that's not me, but I do think that a logline is important for maintaining focus.

To be honest, I'm having a really tough time with the logline. In my head, I know the story. I'm finding it damn-near impossible to sum it up in one sentence.

Nick, the shady neighbor is definitely VERY central to the plot. It's underplayed in this beat sheet because I have two plot-lines that interweave each other. One can't exist without the other, but I have to choose which one ultimately serves the other.

By the way, I have a number of friends who think I'm absolutely crazy for arguing that, in Rear Window, the murder mystery serves to further the romance. Regardless, in Shuttered, the murder mystery serves to further the blossoming friendship. One way that I want to make my movie different is that I want to REALLY nail it home that the story of friendship is what this is really about (there shall be no debate), but the murder mystery is definitely still there, and very much constantly on our minds (at least, shortly after we enter the 2nd act).

How, exactly, does it play out? I'm yet to figure that out. I'm currently spending a lot of brain-power on just imagining cool scenes (specifically related to the shady neighbor), and how I can tie those scenes together into a plot that makes sense. Both for legal reasons, and artistic, I obviously can't just copy what has already been done. And so yeah, that's a challenge for me right now.

Thanks again for your thoughts, I'd love to hear more! :)
 
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Hi Cracker, I think it's great overall. My thought, like Nick's, was that you need to breadcrumb the crime piece a little earlier. Also, I'm not clear how B100 (Johnny) and Megan initially get together. While just a sketch, the Judith/Megan/Johnny piece needs to be neatly worked out or it will come across as forced.

How you might handle that would be to have Judith as the one trying to get Johnny and Megan together which is what causes the blow-up. Megan's mom probably wouldn't want her agoraphobic daughter hanging out with a schizotypal boy. I'd think her mom would be the initial wedge who changes her heart after seeing the benefit. Judith's phone call to Johnny might be that tie-in.

You could also use the mis-delivered package as a tie-in to the neighbor's crime. The only other piece I'd probably breadcrumb is the helmet removal. Judith might mention he had an accident that left him scarred. She might make it sound almost freakishly bad. It could become a small conversation point in the "Bad Guys close in" segment which leads to their 'cool down'. That's when mom can kind of step in. When he does remove the helmet, it's only a minor facial scar which he's magnified in his own mind.

I think it's a great idea. I'd just disentangle the beginning and drop the hints about the crime earlier instead of waiting until the B plot. You might even have the mother pass the neighbor as she leaves her daughter's. It helps to seed elements that will be significant later. This can be done visually without dialogue. Of course, in the final image, he should also be helmet-less. :)

I like it. It would be a fun short.
 
SciFi, thanks for your thoughts! I suppose it could be a fun short. But I plan on making it a fun, impassioned, thrilling feature. :D

I don't agree with everything you say, but your suggestion that I should drop more breadcrumbs, earlier, is really resonating with me. Initially, I hadn't planned on showing the shady neighbor until the 2nd act. But that doesn't mean I can't foreshadow in the 1st act! Yes, foreshadowing, I like it. Breadcrumbs! Thank you for all of your suggestions, but specifically for that one. :)

Johnny and Megan were friends as kids. We don't know that he is schizophrenic, and he probably isn't, but he's got some kinda something that he has developed since they were kids. Well, Megan has also developed some kinda something since they were kids. Mom and Megan both trust him because they knew him when he wore diapers, it's that simple.

As for the helmet-removal? I've already said too much!

Please feel free to ask any questions, and make any comments. I've already got 3 solid ideas from 3 people who commented. :)
 
I really like it a lot!

I'm going to echo SciFi on wanting a few breadcrumbs earlier. You haven't mentioned (probably intentionally) what crime the shady neighbor may be up to, but I'm picturing some sort of cyber-crime, perhaps identity theft or otherwise stealing money electronically.
 
Spitballing:

Breadcrumb #1 - Early in the first act, there's a background TV or radio report which says that a spate of bank robberies have been committed by a person who disguises themselves by wearing masks of various basketball players.

Breadcrumb #2 - Megan and B100 spot the Mr Shady-Next-Door looking shifty and heading into his backyard with a black duffel bag and spade.

Breadcrumb #3 - Whilst spying with her binoculars, Megan spots that Mr SND's trash bag has ripped open and, from that, she notices the edge of a Jeremy Lin mask! Megan and B100 start to put the pieces together...

Breadcrumb #4 aka The Whole Damn Loaf - Unable to get the evidence from observation, B100 sneaks into the garden and spies a patch of freshly dug up grass. He starts digging down, but whilst his back is turned, Megan spies Mr SND approaching behind him, carrying the spade...
 
I haven't read any of the replies yet, so this is just my response to the OP.

That was awesome! It's very cute (cute charming, not cute trite). I'm not sure what film you were inspired by but it reminded me of Robot and Frank, an imperfect film but one that I loved.

Even with just the beats, I could really visualize it in my head. Which, IMHO, is the mark of a story that works. And better still, it's something that I definitely think could be made on a super small budget.

I'll have to give it some more thought to come up with criticism if that's what you're looking for, but for now, well done!!!
 
I'm not as enamored of it as the other commenters, perhaps because I'm having trouble visualising it, but it could be fun.

I'm intrigued, though, about B100. Is that based on a real person or a case you heard about?
 
Thanks, Nick and Mara, for those ideas! I didn't mention what the shady neighbor is up to because in my head, it's a given.

Muuurrrddeerrrrrr! (I tried to find a youtube clip of Frazier saying it, in his overdramatic fashion)

It's a given because, well, source-material. I have to force myself to not make the victim his wife, whom everybody assumes is just on vacation. ;)

Plus, murderers are scary. They'll kill your ass! I'm leaning towards making Megan and Shady next-door neighbors, and there'll be one scene in which Megan cowers inside, while hearing foot-steps just outside her windows.

Dready, the source-material is Rear Window. I think I'm safe to say that because mine will be different enough both to justify it artistically, and to legally be a completely different movie. No harm in naming inspirations and movies that you admire, right?

And since you mention Robot & Frank, that reminds me, I forgot to respond to Nick on that subject. I LOVE THAT MOVIE!!! A few of you know me well enough to know that I tend to favorite big Hollywood blockbusters, and I make no apology for that. For what it's worth, Robot & Frank made it onto my top-10 list the year it was released.

maz, I appreciate your honesty. To answer your question, B100 is purely fiction. I'm a big fan of South Park. A couple years ago, I dressed up as AWESOM-O for Halloween. I posted my Halloween pics on indietalk, and one of my friends on here imagined a slew of movies that would be hilarious with AWESOM-O in them.

Ever since then, I've wanted to make a movie with a character who dresses up as a robot. I think it fits in this story because our hero, Megan, struggles with letting people in. Conversely, B100 is kinda neutral, not a "real" person, making it easier for Megan to let him in. But he also needs to break down his walls. Plus, there might be some symbology in there, but I won't explain it, cuz that'd be like explaining a joke, and that ruins it. I hope you'll get it when it's finished. :)

And for the record, with Megan, I want her psychological afflictions to reflect what actually happens in real life. But B100 is more whimsical, I have no desire to make his afflictions realistic. He exists to further Megan's transformation.
 
Just to clarify. "Schizotypal" is not "schizophrenic". A "schizotypal" person is someone who basically is normal except for some odd behaviors or beliefs they use to compensate for other areas of their lives. In this case dressing like a robot and denying his feelings while being normal in other ways would be an example. Technically, it consists of
Code:
perceptual distortions and eccentricities of behavior, beginning by early adulthood 
and present in a variety of contexts, as indicated by: 
(4) odd thinking and speech 
(5) suspiciousness or paranoid ideation 
(7) behavior or appearance that is odd, eccentric, or peculiar 
(8) lack of close friends or confidants other than first-degree relatives 
(excerpted from the DSM-IV-TR for Schizotypal Personality Disorder)
Will be interested in how "Shuttered" moves from script to screen. Best wishes.
 
maz, I appreciate your honesty. To answer your question, B100 is purely fiction. I'm a big fan of South Park. A couple years ago, I dressed up as AWESOM-O for Halloween. I posted my Halloween pics on indietalk, and one of my friends on here imagined a slew of movies that would be hilarious with AWESOM-O in them.

Ever since then, I've wanted to make a movie with a character who dresses up as a robot. I think it fits in this story because our hero, Megan, struggles with letting people in. Conversely, B100 is kinda neutral, not a "real" person, making it easier for Megan to let him in. But he also needs to break down his walls. Plus, there might be some symbology in there, but I won't explain it, cuz that'd be like explaining a joke, and that ruins it. I hope you'll get it when it's finished. :)

Interesting. I suspect that's one reason I'm not on board with it - the B100 thing doesn't ring true. For me, it's just a step too quirky to have a character with a quirk, and for the quirk to be quite so random and not based on human experience. But that's just me.

I guess the only way it would work is if it had a real fairy-tale sensibility (like, say, Edward Scissorhands), but that's not the impression I get from the beat sheet.

This is just my immediate reaction though, and I'm sure it'll be great in the end :)
 
Thanks for the input (and the encouraging words)!

richy, you're correct to point out the importance of a logline. It's worth noting that Snyder's methodology is primarily oriented towards spec writers, and that's not me, but I do think that a logline is important for maintaining focus.

To be honest, I'm having a really tough time with the logline. In my head, I know the story. I'm finding it damn-near impossible to sum it up in one sentence.

Eh, then you probably shouldn't sweat it. Like you say, you're not writing a spec script. And, even Snyder fans on I.T. have said that you don't need to follow his program slavishly.

I don't agree with everything you say, but your suggestion that I should drop more breadcrumbs, earlier, is really resonating with me. Initially, I hadn't planned on showing the shady neighbor until the 2nd act. But that doesn't mean I can't foreshadow in the 1st act! Yes, foreshadowing, I like it. Breadcrumbs! Thank you for all of your suggestions, but specifically for that one. :)

Running with Snyder's Rules, didn't he say that you need to introduce all main players, like, right away? By such-and-such a page, whatever, but in the first act, at least? ;)

Maybe I didn't read him right. But it's been on my mind since, when thinking about stories. It seems to me an annoying difficulty/challenge to manage that. But I think I get its importance in film.

Apologies, just wanted something American.

Maybe a hamburger mask...

Pfff! :lol: Okay, you...
 
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Final final image before credits roll: Safely back on her own doorstep, a giddy Megan lifts up B100's mask, gives Johnny the briefest of pecks on the cheek, pulls his mask back down.
She darts into house, he ambles down walkway, pushes up the mask grinning.


Great story, Joseph.

Also, rewatch 'Lars and the Real Girl.'
http://www.imdb.com/title/tt0805564/?ref_=fn_al_tt_1
It's the subversive sensitivity that works strongest in mental health stories like this.

Same as in 'Safety Not Guaranteed.'
 
maz, thanks again for your insight. The idea of a person who spends all day dressed as a robot is really not realistic. And you are correct to read that I don't plan to go for a fantasy-feel, a la Edward Scissor Hands. I can see how you would be turned off by a story that is on one hand trying to be a realistic human drama, while on the other hand, incorporating a story element that doesn't really happen in real life.

I still very much like the concept of it, and particularly, I like the whimsical nature of B100. I kind of think of him as a Manic Pixie Dream Robot, except I'd like to give him a little more depth than the average Manic Pixie Dream Girl. Either way, your comments challenge me to find a way to add humanity to a character that doesn't actually exist in real life, so thank you for that.

Ray, Mom isn't a widow, not sure where you got that. Either way, the only non-Megan characters I want interacting with each other are B100 and Psychiatrist, and only at the end of the movie.

And yes, Richy, Snyder has many annoying rules, though he does dispense a lot of sage advice. If I remember correctly, all major players are supposed to be introduced within the first 10 pages. Rules are made to be broken, but should I choose to follow that one (probably will), I think Shady Neighbor's introduction will be really brief foreshadowing.

Thanks again, everybody, for sharing your thoughts! :)
 
Okay, so I've got this bit I wanna use, but I'm not sure if I'm going to far.

I was thinking that instead of being a voyeur (which is kinda creepy), our hero Megan is a photographer, for fun. She takes pictures of birds, stray cats, and passers-by, in an artistic fashion, and she's good at it. She's also old school, which of course means she uses actual film and develops it herself, in her darkroom.

One day, while developing a picture that she took of a bird, or whatever, she notices something in the background. It kinda looks like someone dragging a dead body. Is she imagining this, or is that really what she's looking at?

Besides the fact that I think this could be a really cool scene to hurtle our hero into the second act, I also like the idea of making her an artist, not a creepy voyeur.

But then I remembered, oh crap, Jimmy Stewart's character is a photographer. That aspect of his character is used in a different way than I want to use it with my character, but nonetheless, it's a pretty big similarity.

What do you think? Too close to the original? I kinda think it could it be seen as a loving tribute. Hell, I could even throw in one or two shots that would make it clear that I'm paying homage! :D

Agree? Disagree?
 
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