The Joker’s Framework

As the story world evolves, it will journey through various phases, with each one of them playing a distinct role in the story.

The Initial State

Stories start within a particular world defined by a set of characteristics like the time period, the location, the characters, the general state of affairs, the events, etc. The Initial State is the current situation in the story world. It is the starting point for the story.

The Igniter

An event takes place. It sparks a reaction. It challenges the status quo and sets things into motion, triggering a series of incidents.

The Defining Incidents

The Igniter has forced the story world to evolve. The circumstances have changed and we can never go back to how it was. During this phase, a series of events will take place that will show how the story world is expanding, maturing and being challenged. These defining incidents will take us to the Tipping Point.

The Tipping Point

Everything that has taken place so far boils down to the tipping point. The Igniter has pushed everything to evolve and the Defining Incidents have showcased that transformation. Now we are faced with a larger situation that drives a major shift in the story world.

The New World

Finally, the story world has completely morphed into a new state. After everything that has happened, how can it not? This is the New World.

Deconstructing Argentina, 1985

Now that we have reviewed the framework, let’s see how (or if) it applies to Argentina, 1985.

The Initial State

The story starts at a significant time in Argentinian history. After years under a brutal dictatorship, an opportunity for justice finally arises.

A National commission on the disappearance of Argentinians during the dictatorship has been established and the possibility of a trial against the victimizing commanders is in the air. 

Two distinct narratives plague the nation. In the first, the brutalized are not considered victims, but terrorists and subversive forces. In the second, they are actual victims who suffered unspeakable violence under this regime. 

This is the initial state of the story world. At this point, we don’t know if a trial will happen. There is uncertainty. Will justice be done? This leads us to the Igniter.

The Igniter

As we head into page 17 and the Supreme Council of the Armed Forces submits their ruling informing that “according to its investigation, the decrees, directives, orders, and military procedures to combat the stateless subversion were, in both their content and form, unobjectionable”, the federal court is compelled to act. It is therefore decided that a trial will take place, not by a war tribunal this time, but by a civil one. This is our Igniter. It challenges the status quo and triggers a set of Defining Incidents.

The Defining Incidents

Allowing for a trial has forced the story world to evolve. What we knew to be true at the beginning of the story is bound to go through a transformation. The Defining Incidents show us “how the story world is expanding, maturing, and being challenged”.

A sense of danger

A sense of danger is omnipresent throughout the story, but as the trial is announced, threats are a common occurrence. There is no doubt that our main character’s safety is no longer guaranteed. 

The threats were sure to come.

His team isn’t exempted from the dangers of seeking the truth.

The Deputy-Prosecutor has a taste of it too. 

Given that the case relies heavily on the victims’ testimonials, it isn’t a surprise they are targeted as well.

It was bound to have an effect on them.

And the bomb threats…

The Divide

As mentioned previously, there are two opposing narratives that divide the nation between those who believe the victims and those who consider them terrorists, convinced that the commanders fought against subversion. Luis’ family is part of the latter and serves in this story as a guiding parameter for the divide.

Her change of heart is a strong Defining Incident representing change. The story world is mutating.

The News Coverage

For a country that went through years of a dictatorship with journalists being heavily persecuted, the press coverage of the trial becomes a Defining Incident. Free press in this new fragile democracy may not be without bounds, but it heralds a departure from the dictatorship.

The coverage by the press has been fair so far, stating the facts and facing the truth. 

The Testimonials

The trial provides an opportunity to the victims to share their experiences and to challenge the oppressive narratives against them.

The Tipping Point

Once we arrive at the Tipping Point we are faced with a major shift in the story world. In Argentina 1985, the sentencing is the Tipping Point. The investigation, the trial, and every single challenge has taken us to this point, what we have been waiting for.

It may not be what they were hoping for, but it shows that the story world has evolved beyond recognition.

The New World

Argentina has gone through a serious transformation, from a dictatorship where justice was a foreign concept to this new world where the members of the military juntas can be brought to civil court, be prosecuted, and sent to jail. It’s a New World. However, the battle isn’t over yet and the main character sets a new goal for himself.

Conclusion

Testing out the framework we explored for the transformation of Joker’s story world was a blast and I’m glad to see it still applies to Argentina, 1985 even though the evolution was much starker in Joker. Argentina, 1985 presented a more subtle transformation. Maybe it’s because the story style is quite different or maybe it indicates that the evolution of the story world could have been further developed, but then again, I’m not sure it would have added greater depth or interest to the story.

The Trailer

The Screenplay

Character Introductions

By page four, we have been introduced to Katherine Goble as an 8-year-old, a math genius, but we have yet to meet her adult self, as well as the other major characters.

Katherine Goble

Since the previous pages were all about Katherine, we already have an idea of who she is, so less weight is given to her introduction. However, even the little that is offered is enough to provide a telling description. 

With a few words, the writers paint the image of a pensive character in her own world, which is soon confirmed down a few lines when she is too lost in her thoughts to hear Dorothy calling out to her.

Dorothy Vaughan

Having a woman in 1961 “slide out from under [a] car” on the side of a road is quite a powerful image to introduce a character. 

Although the writers mention that she is “mechanically gifted”, her diagnosis of what’s wrong with the car does all the talking… 

… And  when she fixes it, no help is needed!

Mary Jackson

From these three characters, Mary Jackson is the most clearly defined in this scene.

Those personality traits are evident in her manner of speaking.

And as a police car approaches, the most likely to get them in trouble is Mary.

It seems the warning from Dorothy fell on deaf ears.

Establishing the Story World

As brilliant as this scene is in introducing the main characters, it also serves the purpose of  defining the story world. There are multiple elements used to expose this world, some more subtle than others.

The Titles

From this simple piece of information, we can deduce all the implications and realities specific to this location and time period.

The Racism

Multiple pieces of dialogue uncover the intricacies of the story world the characters evolve in, the blatant racism of the time being one of them. 

When the police show up, the situation becomes instantly tense. 

He asks for identification albeit there being no justifiable reason for the request.

The Place of Women

When the cop shows surprise at the idea of them working for NASA and Dorothy responds that “there are quite a few women working in the Space Program”, even though they all knew that is not what he was referring to, it nonetheless expresses the place women held in society at the time. 

The Political Climate

The tense relationship between the United States and the Soviet Union, as well as the race for space superiority, which are major realities of the time, are also explored here.

With barely a few pieces of dialogue we draw an accurate portrait of the time period. 

Lessons Learned

Choose the strongest image to introduce a character

These women are strong, capable, and ambitious, going against the grain at a time when all odds were against them. Such characters can’t be introduced mildly. When we see Dorothy under the car fixing it, it may not be earth shattering in today’s world, but that’s one strong image for 1961. Choosing the strongest way to introduce a character definitely pays off!

Back up character descriptions with corresponding action and dialogue

One thing is to describe a character, another is to describe a character and then proceed to prove it with corresponding action and dialogue. Dorothy may be defined as “mechanically gifted”, but her actions indicate that it is actually true. Mary may be characterized as “free-tongued”, but her pieces of dialogue show that it is indeed a personality trait.

Use the most significant aspects of a time period and/or location to build the story world

The writers make it look easy. They effortlessly sprinkle dialogue befitting the time period, providing an accurate portrait of what the characters’ world must have been like. As we have seen, they achieve that by selecting the most noteworthy elements of the time and building the scene around it.

Conclusion

I believe this scene is one to keep readily available as a reference. In a few pages, the reader/viewer is introduced to the main characters and the story world. Brilliantly effective!

***

For today’s deconstruction, I thought we could explore the elements that turn a mission into an impossible one and Top Gun: Maverick written by Ehren Kruger, Eric Warren Singer, and Christopher McQuarrie (story by Peter Craig and Justin Marks) seems like the perfect screenplay to delve into. 

In this post, we will consider three Elements of Impossibility and their Exacerbators. Although these are not official screenwriting jargon, I thought they fitted nicely into the context of an impossible mission.

The Elements of Impossibility & Their Exacerbators

An Element of Impossibility is a story component that greatly diminishes the feasibility and successful achievement of our characters’ main objective. In this case, we will examine the use of a Ticking Clock, a Fierce Opponent, and One Humanly Impossible Option.

As for Exacerbators, their aim is to reduce even further the probability that our characters will end triumphantly. 

The Deconstruction

A Ticking Clock

Ticking clocks are a regular fixture in screenplays. Adding a ticking clock is a simple but powerful tool to not only raise tension, but in the case of Top Gun: Maverick it can turn a mission into an impossible one. That’s our first Element of Impossibility. 

| By page 25, we learn that the team has three weeks to complete their mission.

WARLOCK

The target is an unsanctioned uranium enrichment plant, constructed in violation of a unilateral NATO treaty. The uranium produced there represents a direct threat to our allies in the region. The Pentagon has tasked us with assembling a strike team and taking it out before it becomes fully operational.

[…]

MAVERICK

How soon until the plant becomes operational?

WARLOCK

Three weeks. Maybe less.

Then, as if that short time frame to get it done was not enough to cast heavy doubts on the achievability of this mission, the allotted time is further reduced. That’s the Exacerbator.

WARLOCK (PRELAP)

Morning… The uranium enrichment plant that is your target will be operational earlier than expected. Raw uranium will be delivered to the plant in ten days time.

INT. TACTICAL AUDITORIUM – DAY

Warlock addresses the class. Maverick is off to one side.

WARLOCK

To avoid contaminating the target valley with radiation, your mission has been moved up one week.

Reactions from the class. This is bad.

COYOTE

Sir, no one here has successfully flown the low level course.

WARLOCK

Nevertheless, you have been ordered to move on. Captain.

As the class absorbs this, Warlock nods to Maverick.

MAVERICK

We have one week left to focus on phase two – the most difficult stage of the mission: a pop-up strike with a steep dive requiring nothing less than two consecutive miracles.

A Fierce Opponent

Our second Element of Impossibility is having a fierce opponent. If our characters had the upperhand in this battle, the mission would be anything but impossible. Instead, they have one fierce opponent in front of them. They may be the top Top Gun graduates, but the enemy has the technological advance with their new fifth generation fighters, for which they have little information about. On the other hand, the opponent knows everything there is to know about the aircraft our characters will use. It’s going to be an uphill battle. 

WARLOCK

Good morning. Take your seats.

(they do)

I’m Admiral Bates, NAWDC Commander. Welcome to your special training detachment. You’re all Top Gun graduates, the elite, best of the best. That was yesterday. You’ve all spent your careers flying close air support for troops on the ground with little to no air-to-air threat.

Rooster and Phoenix share a look and sit up as Warlock reveals the image of a new enemy fighter.

WARLOCK

The enemy’s new fifth generation fighter has leveled the playing field. Details are few, but you can be sure we no longer possess the technological advantage. Success, now more than ever, comes down to the man or woman in the box.

Warlock says it best: “Success, now more than ever, comes down to the man or woman in the box.” This brings us to our Exacerbator for this Element of Impossibility. If the difference in the accomplishment of this mission lies in the person flying the aircraft, then any weight of past history and personal demons can only aggravate the impossibility of the mission. The difficult relationship between Maverick and Goose will come into play not only as they prepare for the mission, but also as they fly it. 

Warlock hits a button and TWELVE PILOT I.D. PHOTOS appear:

CYCLONE

We’ve recalled twelve Top Gun graduates from their squadrons, all top of their class. You will narrow this pool down to six – the best of the best. They will fly the mission.

Maverick’s eyes lock on one face in particular. The stoic face of BRADLEY “ROOSTER” BRADSHAW.

CYCLONE (CONT’D)

Is there a problem, Captain?

MAVERICK

You know there is… sir.

CYCLONE

(glances at screen)

Bradley Bradshaw. AKA Rooster. I understand you flew with his old man… What was his call sign?

MAVERICK

Goose. Sir.

CYCLONE

Tragic what happened.

Warlock is uncomfortable with this:

WARLOCK

Captain Mitchell was cleared of any wrongdoing. Goose’s death was an accident.

CYCLONE

That how you see it, Captain?

(points to Bradshaw)

Is that how Goose’s son sees it?

INT. ROOSTER AND MAV’S F18S INTERCUT – SORTIE 4

The verbal altimeter is calling out the altitude as they plummet.

MAVERICK

What are you gonna do Rooster? What’s your move?

ROOSTER

What does it matter? You’re gonna wash me out anyhow.

MAVERICK

Washing out is entirely up to you.

ROOSTER

That wasn’t always the case, though, was it, Sir?.

MAVERICK

What’s past is past, Rooster. Focus on the enemy up here.

ROOSTER

You are the enemy.

They strain as they plummet and spiral.

MAVERICK

Well, the enemy’s about to run you into the ground.

MAVERICK’S POV – the Earth is coming up fast.

EXT. TARMAC – ELSEWHERE – DUSK

Close on Rooster, sweating and furious as he does push-ups on the tarmac, punishing himself.

[…]

PHOENIX

What is going on with you? You trying to get kicked out? Breaking the hard deck. Insubordination. That wasn’t you up there. Talk to me. What’s up?

ROOSTER

Don’t worry about it.

PHOENIX

I’m going on this mission. But if you get kicked out, you could leave us flying with Hangman. So what the hell was that-

ROOSTER

HE PULLED MY PAPERS.

PHOENIX

What? Who?

ROOSTER

Maverick. He pulled my application to the Naval academy. He set me back four years.

One Humanly Impossible Option

For any mission to be successful, there has to be a plan to bring it to fruition. But what if there is only one way to get it done, and that one way is humanly inconceivable? Now we’re talking! That’s an impossible mission. And our third Element of Impossibility.

In Top Gun: Maverick, our main character believes there is only one option to fly this mission. They have to fly through a narrow canyon at a drastically low altitude at an absurd speed to manage to reach the target in enough time to avoid a head-to-head with the enemy, all while facing a force of gravity never experienced before. Not only is this the only way you to get the mission done, it also has never been done before. We are in unknown territory.

Should they fail at flying under one hundred feet, they are dead. Should they fly at a lower speed and miss their target time, they are dead. Should their bodies fail in fighting the effects of the force of gravity, they lose consciousness and they die. 

INT. TACTICAL AUDITORIUM – DAY

CLOSE ON: The main screen, pulling back from a rapidly ticking timer, counting backwards toward zero…

Looming larger on the screen are schematics of:

MAVERICK

Phase one of the mission will be a low-level ingress, attacking in two-plane teams. You’ll fly along this narrow canyon to your target. Radar guided surface-to-air missiles defend the area.

On screen, a schematic of a radar-guided missile array.

MAVERICK (CONT’D)

These SAMs are lethal, but they were designed to protect the skies above. Not the ground… Not the canyon below.

ROOSTER

That’s because the enemy knows no one is insane enough to navigate that low at high speed.

MAVERICK

And that’s exactly what I’m gonna train you to do.

ON HANGMAN who smiles. This is gonna be intense.

Overhead animation of two planes zig-zagging through a narrow valley.

MAVERICK (CONT’D)

Your altitude on the day will be one hundred feet… Maximum.

Reactions from the pilots.

MAVERICK (CONT’D)

Exceed this altitude… Radar will spot you – And you’re dead.

As the planes on screen bank, one goes too high… A missile fires and destroys the high plane.

MAVERICK (CONT’D)

Speed on the day…860 knots. Minimum. Time to target, two and a half minutes.

More reactions from the pilots.

MAVERICK (CONT’D)

(pointing)

That’s because these Fifth generation fighters are waiting at an airbase nearby…

One screen, schematics of the lethal looking next-gen aircraft.

Beside this, animation shows a Tomahawk Missile launch from a destroyer in a carrier group at sea as”

MAVERICK (CONT’D)

Simultaneous to your ingress, a carrier-based strike will take out this airfield, but if any of these planes are airborne before that, they’ll anticipate your target and immediately move to defend it. In a head-to-head with these planes in your F18s… you’re dead.

(more reactions)

You want to get in, hit your target and be gone before these planes even have a chance of catching you. This makes time your greatest adversary.

The canyon, the missiles and the fifth gen planes share the screen now.

MAVERICK (CONT’D)

The faster you navigate this canyon, the harder it will be to stay under the radar of these enemy SAMs. The deeper you are in the canyon, the less margin for error there will be. The tighter the turns, the more intensely the force of gravity on your body multiplies.

Maverick points to various turns on the canyon map.

MAVERICK (CONT’D)

You’ve all faced sustained Gs before. But this… This will take you and your aircraft to the breaking point.

Reactions from the class. Holy shit.

[…]

Our Exacerbator in this third Element of Impossibility is the fact that our Top Guns have never been able to achieve the requirements to successfully fly this mission during practice. They will have to move forward without the certainty that they possess the abilities required to come back alive.

WARLOCK

To avoid contaminating the target valley with radiation, your mission has been moved up one week.

Reactions from the class. This is bad.

COYOTE

Sir, no one here has successfully flown the low level course.

WARLOCK

Nevertheless, you have been ordered to move on. Captain.

***

Deconstructing Top Gun: Maverick to decipher which story components and devices can turn a mission into an impossible one was quite satisfying to say the least. Moreover it has inspired me to widen the search for additional elements to add to this list. Stay tuned.

For a story based on real events, it seems like a compelling way to present the characters succinctly and clearly. Even for a completely fictionalized story, it’s an interesting model to emulate. Within three pages we get a good sense of who these people are and their roles in the story we are about to discover. 

The Character Introduction Scenes

INT. TONYA HARDING’S HOME – KITCHEN – DAY

Title card: Tonya Harding. Former Olympic Figure Skater.

Present day TONYA HARDING, 44, overweight with the same haircut she had in 1994, glares warily into the camera.

INT. NANCY’S TANNING AND HAIR SALON – DAY

Title card: Jeff Gillooly. Tonya Harding’s ex-husband.

JEFF (GILLOOLY) STONE, middle aged, nondescript, glances suspiciously at a boom over his head.

JEFF

That’s very close, by the way… Just saying.

INT. LAVONA HARDING HOME – LIVING ROOM – DAY

Title card: Lavona Harding. Tonya Harding’s mother.

LAVONA (HARDING) GOLDEN, 70’s, wears a moulting half fur coat and A LIVE BIRD on her shoulder. She talks to her bird.

LAVONA

This is my little man. You my little man? (Then to camera) That’s my 6th husband right there. The best of them!

HOME MOVIES – HARDING FRONT LAWN – DAY 40 YEARS EARLIER

Grainy home movie film. Lavona’s husband Al Harding plays with 3 year old Tonya. Lavona is disinterested.

LAVONA (V.O.)

Tonya’s my 5th child from husband number 4. She was always a handful but I loved her and I guess we spoiled her. Which is a goddamned hat trick when you haven’t got shit your entire life. Still. I drove her to competitions and practices. I sewed her all her costumes.

CLOSE ON MODERN DAY LAVONA.

LAVONA

But to her, her mother’s a monster.

INT. RAWLINSON’S HOUSE – LIVING ROOM – DAY

Title card: Diane Rawlinson. Tonya Harding’s coach

DIANE RAWINSON, late 60’s, sits in her well appointed living room with a studied grace. She’d fit in any Ralph Lauren ad.

DIANE

Generally people either love Tonya or are not big fans. Like people either love America or are not big fans. Tonya was totally American.

INT. TELEVISION SCREEN – DAY

Title card: Shawn Eckardt. Tonya Harding’s ex-bodyguard.

On a TV screen marked ‘Evidence’ a late 1990’s interview with SHAWN ECKARDT, obese and delusional. Not a good combination.

SHAWN (V.O.)

Originally Jeff and Tonya wanted to take out Nancy Kerrigan. Take her out. I popped up and said there’s other ways to disable people. So. You’re welcome.

INT. MARTIN MADDOX’S NEWSROOM OFFICE – DAY

Title card – Martin Maddox. Hard Copy Reporter 1989-1998.

MARTIN MADDOX, oily personified, relishes being on camera.

MARTIN MADDOX

I was a reporter for Hard Copy, a crappy show all the ‘legitimate’ news outlets looked down on- then became.

He laughs at his own joke.

INT. NAIL SALON – DAY – CLOSE ON MODERN DAY JEFF

JEFF

At 27 I was the most hated man in America. Maybe the world- with a moustache I still can’t apologize enough for. My name was a verb. Like, if you bash someone in the kneecap, you ‘Gillooly’ them… That was cool though.

INT. TONYA’S HOUSE – DAY – CLOSE ON: MODERN DAY TONYA

TONYA

What’s people’s impression of me? That I’m a real person. That I didn’ ever apologize for growin’ up poor or bein’ a red neck which is what I am. In a sport where the friggin’ judges want you to be this old-timey version of what a woman’s supposed to be. Um. For bein’ the first U.S. woman to land a triple axel. So fuck ‘em.

The Deconstruction

I believe we can separate these scenes into four major sections.

The Introduction of the Main Characters

In this first section, Tonya Harding, Jeff Gillooly, and Lavona Harding are introduced. Three scenes in the present day, three title cards to reveal the main characters to the viewers, plus their descriptions filled with the specific tone we will find throughout the story, and a piece of dialogue for two of our characters. 

INT. TONYA HARDING’S HOME – KITCHEN – DAY

Title card: Tonya Harding. Former Olympic Figure Skater.

Present day TONYA HARDING, 44, overweight with the same haircut she had in 1994, glares warily into the camera.

INT. NANCY’S TANNING AND HAIR SALON – DAY

Title card: Jeff Gillooly. Tonya Harding’s ex-husband.

JEFF (GILLOOLY) STONE, middle aged, nondescript, glances suspiciously at a boom over his head.

JEFF

That’s very close, by the way… Just saying.

INT. LAVONA HARDING HOME – LIVING ROOM – DAY

Title card: Lavona Harding. Tonya Harding’s mother.

LAVONA (HARDING) GOLDEN, 70’s, wears a moulting half fur coat and A LIVE BIRD on her shoulder. She talks to her bird.

LAVONA

This is my little man. You my little man? (Then to camera) That’s my 6th husband right there. The best of them!

The Introduction of an Important Relationship

The relationship between Tonya and her mother is a major piece of the story. It makes sense then that the next section alludes to this strained relationship. 

HOME MOVIES – HARDING FRONT LAWN – DAY 40 YEARS EARLIER

Grainy home movie film. Lavona’s husband Al Harding plays with 3 year old Tonya. Lavona is disinterested.

LAVONA (V.O.)

Tonya’s my 5th child from husband number 4. She was always a handful but I loved her and I guess we spoiled her. Which is a goddamned hat trick when you haven’t got shit your entire life. Still. I drove her to competitions and practices. I sewed her all her costumes.

CLOSE ON MODERN DAY LAVONA.

LAVONA

But to her, her mother’s a monster.

I love how Lavona shows herself to be completely disinterested and then proceeds to rant on how much she did for her daughter. Talk about fully encapsulating her personality with an unembellished image and an absolutely incompatible piece of dialogue. 

The Introduction of Secondary Characters

At this point, we know who our main characters are and the kind of relationship our protagonist has with her mother. Now it’s time to introduce the secondary characters who play an important role in the story. We find the same structure as we did in the first section. 

INT. RAWLINSON’S HOUSE – LIVING ROOM – DAY

Title card: Diane Rawlinson. Tonya Harding’s coach

DIANE RAWINSON, late 60’s, sits in her well appointed living room with a studied grace. She’d fit in any Ralph Lauren ad.

DIANE

Generally people either love Tonya or are not big fans. Like people either love America or are not big fans. Tonya was totally American.

INT. TELEVISION SCREEN – DAY

Title card: Shawn Eckardt. Tonya Harding’s ex-bodyguard.

On a TV screen marked ‘Evidence’ a late 1990’s interview with SHAWN ECKARDT, obese and delusional. Not a good combination.

SHAWN (V.O.)

Originally Jeff and Tonya wanted to take out Nancy Kerrigan. Take her out. I popped up and said there’s other ways to disable people. So. You’re welcome.

INT. MARTIN MADDOX’S NEWSROOM OFFICE – DAY

Title card – Martin Maddox. Hard Copy Reporter 1989-1998.

MARTIN MADDOX, oily personified, relishes being on camera.

MARTIN MADDOX

I was a reporter for Hard Copy, a crappy show all the ‘legitimate’ news outlets looked down on- then became.

He laughs at his own joke.

A notable element worth mentioning in this section is Shawn bringing up the incident with Nancy Kerrigan. With one piece of dialogue, the writer masterfully briefs us on the remarkable event the story delves into.

An External View into our Characters

The fourth and final section is about what Tonya and Jeff think is people’s impression of them after all is said and done. It provides us with an additional sense of their character and how they view the infamous event and themselves. 

INT. NAIL SALON – DAY – CLOSE ON MODERN DAY JEFF

JEFF

At 27 I was the most hated man in America. Maybe the world- with a moustache I still can’t apologize enough for. My name was a verb. Like, if you bash someone in the kneecap, you ‘Gillooly’ them… That was cool though.

INT. TONYA’S HOUSE – DAY – CLOSE ON: MODERN DAY TONYA

TONYA

What’s people’s impression of me? That I’m a real person. That I didn’ ever apologize for growin’ up poor or bein’ a red neck which is what I am. In a sport where the friggin’ judges want you to be this old-timey version of what a woman’s supposed to be. Um. For bein’ the first U.S. woman to land a triple axel. So fuck ‘em.

Conclusion

This is one of my favorite character introductions. It’s simple and yet delivers on so many levels. Definitely one to keep in our toolbox.

The Model

The Structure in Five Parts

There are multiple ways we could deconstruct Gravity’s structure, but dividing the main sections by the goals the main character pursues seemed like a logical and appealing approach.

The structure is divided into five sections. It starts with the Story Setup and ends with the Resolution. In the middle part we find three equally important sections that take the protagonist through an impossible journey: the Realignment, All is Lost, and the Last Card.

The First Part, aka The Story Setup

Let’s call the first part of this structure the Story Setup. It is where it all starts. The first few pages set up the story and guide us through the initial state of affairs. This part is crucial in establishing the story world, the main characters, and their opening objective. The Story Setup ends with a threatening complication and ultimately the definition of a new goal. 

The Second Part, aka The Realignment

The Realignment section kicks off the journey. Everything has changed. Whatever the main character set out to do at the start of the story is no longer viable and the stakes have skyrocketed. There is no other option but to change course.

The Third Part, aka All is Lost

Nothing has evolved the way our protagonist had initially intended. Everything has gone wrong and with every complication that arises, the chances of fulfilling the ultimate goal seem close to impossible. The protagonist needs to reconsider her actions to escape this situation alive.   

The Fourth Part, aka The Last Card

At this point, the chances of succeeding and achieving the new ultimate goal are getting slimmer and slimmer. The protagonist is running out of chances to fulfill her objective. We aim for one last desperate attempt as the main character plays her final card.

The Fifth Part, aka The Resolution

The protagonist has been challenged beyond anything we would ordinarily witness and, in the case of Gravity, has come out triumphant on the other end. She has beaten all odds and has lived to experience the resolution to her struggles. Whether the resolution is positive or negative, we come to the end of the story. We finally get to know how this journey ends. 

Gravity Deconstructed

The Story Setup

In the case of Gravity, the Story Setup introduces us to the story world; the space, a place where “life is impossible”. The story commences in a threatening location where the stakes are high and the chances of survival can be slim.

[…]

AT 600 KM ABOVE PLANET EARTH THE TEMPERATURE FLUCTUATES BETWEEN +258 AND -148 DEGREES FAHRENHEIT.

THERE IS NOTHING TO CARRY SOUND. NO AIR PRESSURE. NO OXYGEN.

LIFE IN SPACE IS IMPOSSIBLE.

This first part also introduces the main characters, Dr. Ryan Stone…

CAMERA TILTS DOWN and DOLLIES IN ON DR. RYAN STONE, a medical engineer on her first mission. She is on a crane-like robotic arm attached to the shuttle. She is focused on a communication card panel on the Hubble.

… and Matt Kowalsky.

MATT KOWALSKI, a veteran astronaut commander on his last space mission, spacewalks behind the shuttle. He wears a propulsion backpack

We are therefore dealing with a rookie and an expert. As a novice to space, Dr. Stone’s body is struggling to adapt, emphasizing the danger of this mission. 

EXT. OUTER SPACE – DAY

A section of the Earth as CAMERA TRACKS. The EXPLORER space shuttle becomes visible. The fuselage roof of the shuttle is open, creating an exterior hangar where the Hubble telescope is docked.

[…]

MISSION CONTROL (V.O.)

(over radio)

Okay. Copy that, Explorer. Dr. Stone, Houston. Medical is concerned about your ECG readings.

RYAN (V.O.)

(over radio)

I’m fine, Houston.

MISSION CONTROL (V.O.)

(over radio)

Well, Medical doesn’t agree, Doc. Are you feeling nauseous?

RYAN (V.O.)

(over radio)

Not any more than usual, Houston. Diagnostics are green. Link to communications card ready for data reception. If this works, when we touch down tomorrow, I’m buying all you guys a round of drinks.

[…]

MISSION CONTROL (V.O.)

(over radio)

Dr. Stone, Houston. Medical now have you with a temperature drop to thirty-five-point-nine and a heart-rate rise to seventy. How are you feeling?

RYAN (V.O.)

(over radio)

Houston, I’m fine. It’s just keeping your lunch down in zero-G is harder than it looks.

MISSION CONTROL (V.O.)

(over radio)

Uh, Dr. Stone, Medical is asking if you want to return to Explorer.

We also quickly learn the reason for their presence in space, their opening objective. Their mission is to install Dr. Stone’s scanning system in the Hubble. Once achieved, return to Earth.

EXT. OUTER SPACE – DAY

[…]

MISSION CONTROL (V.O.) (CONT’D)

Installing your system in the Hubble is the purpose of this mission and so we appreciate your patience, Doctor.

[…]

So far, we have situated the story in its world, met our main characters, and learned about their opening objective. But the mission is not evolving as expected and the technical difficulties they are experiencing are turning their primary goal into an impossible task. 

EXT. OUTER SPACE – DAY

A section of the Earth as CAMERA TRACKS. The EXPLORER space shuttle becomes visible. The fuselage roof of the shuttle is open, creating an exterior hangar where the Hubble telescope is docked.

[…]

RYAN (V.O.)

(over radio)

Not any more than usual, Houston. Diagnostics are green. Link to communications card ready for data reception. If this works, when we touch down tomorrow, I’m buying all you guys a round of drinks.

[…]

RYAN (V.O.)

(over radio)

Booting comms card now. Please confirm link.

MISSION CONTROL (V.O.)

(over radio)

That’s a negative, we’re not seeing any data.

RYAN (V.O.)

(over radio)

Standby, Houston, I’m gonna reboot the comms card.

[…]

RYAN (V.O.)

(over radio)

Comms card reboot in progress.

[…]

RYAN (V.O.)

(over radio)

Negative. We’ve been here a week, Houston. Let’s just finish this.

(clears throat)

Card is up.

MISSION CONTROL (V.O.)

(over radio)

Uh, no, that’s a negative. I’m afraid we’re getting nothing on this end, Doctor.

RYAN (V.O.)

(over radio)

Try again.

MISSION CONTROL (V.O.)

(over radio)

No, still nothing.

[…]

RYAN (V.O.)

(over radio)

Thank you, Kowalski. Now, Houston?

MISSION CONTROL (V.O.)

(over radio)

That’s a negative.

RYAN (V.O.)

(over radio)

Could Houston be misinterpreting the data?

MISSION CONTROL (V.O.)

(over radio)

Well, we’re not receiving any data. Engineering is recommending a vis-check for component damage.

Ryan takes a card out and examines it.

RYAN (V.O.)

(over radio)

Let me see what’s going on. What have we got?

(to Mission Control)

Visual examination doesn’t reveal any damaged components. The problem must be originating from the comms panel.

MISSION CONTROL (V.O.)

(over radio)

Yeah, that seems to be the case. Engineering admits that you warned us that this could happen. That’s as close to an apology as you’re going to get from them. We should have listened to you, Doc.

RYAN (V.O.)

(over radio)

Get working.

MISSION CONTROL (V.O.)

(over radio)

Well, looks like we’re going to have to improvise.

Matt moves INTO FRAME.

RYAN (V.O.)

(over radio)

I’m on it.

MISSION CONTROL (V.O.)

(over radio)

How long do you think it’ll take you?

RYAN (V.O.)

(over radio)

One hour.

[…]

RYAN (V.O.)

(over radio)

Houston, from first inspection, comms panel appears to be dead. Am I a go to cut link to auxiliary?

MISSION CONTROL (V.O.)

(over radio)

You’re the expert, doctor. It’s your call.

[…]

By page 9, we learn that a Russian satellite has been hit by a missile strike, creating a considerable amount of debris.

EXT. OUTER SPACE – DAY

[…]

MISSION CONTROL (V.O.)

(over radio)

Explorer, this is Houston.

EXPLORER CAPTAIN (V.O.)

(over radio)

Go ahead, Houston.

MISSION CONTROL (V.O.)

(over radio)

Uh, NORAD reports a Russian satellite has incurred a missile strike

Matt continues to breathe heavily into the radio.

MISSION CONTROL (V.O.)

(over radio)

The impact has created a cloud of debris orbiting at twenty thousand miles per hour. Current debris orbit does not overlap with your trajectory. We’ll keep you posted on any developments.

Although at first these debris don’t appear to be an imminent threat to our characters, by page 13 when Mission Control instructs them to abort the mission it will become clear that they are in danger of losing their lives. The debris have multiplied, heading toward them at rapid speed. A countdown has been set.

MISSION CONTROL (V.O.)

(over radio)

ISS, this is Houston.

RUSSIAN SPACE STATION CAPTAIN (V.O.)

(over radio)

Houston.

MISSION CONTROL (V.O.)

(over radio)

Explorer, this is Houston.

EXPLORER CAPTAIN (V.O.)

(over radio)

Go ahead, Houston.

MISSION CONTROL (V.O.)

Mission abort. Repeat. Mission abort. Initiate emergency disconnect from Hubble. Begin reentry procedure. ISS, initiate emergency evacuation.

EXPLORER CAPTAIN (V.O.)

(over radio)

Copy all, Houston, and in work.

(to Matt)

Matt, immediate return to Explorer. Repeat, immediate return to Explorer.

MATT

Copy. Explorer, prep airlock.

EXPLORER CAPTAIN (V.O.)

(over radio)

Airlock engaged, ready to receive.

MATT

Houston, elaborate.

MISSION CONTROL (V.O.)

(over radio)

Debris from the missile strike has caused a chain reaction, hitting other satellites and creating new debris. Traveling faster than a high-speed bullet up towards your altitude. All copy.

MATT

Copy all.

(to Ryan)

Put a bow on it, Dr. Stone.

[…]

This is where the first part, the Story Setup, ends. Their initial objective is no longer viable. Now, they must pursue a new one: abort the mission and go home. 

The Realignment

Our main characters can no longer fulfill their initial mission. The circumstances have spun out of control and a new goal has been set: an emergency evacuation to enter Earth. The second part has begun, but complications quickly surface and their new goal is challenged.

MISSION CONTROL (V.O.)

(over radio)

Well, we have a full-on chain reaction. It’s been confirmed that it’s the unintentional side effect of the Russians striking one of their own satellites.

[…]

MISSION CONTROL (V.O.)

(over radio)

Explorer, new data coming through.

MATT

What’s the blowback, Houston?

MISSION CONTROL (V.O.)

(over radio)

It’s not good. Most of our systems are gone. Debris chain reaction is out of control and rapidly expanding.

Ryan is on the robotic arm.

MISSION CONTROL (V.O.)

(over radio)

Multiple satellites are down, and they keep on falling.

Matt flies to the right.

MATT

Define ‘multiple satellites.’

MISSION CONTROL (V.O.)

(over radio)

Most of them are gone. Telecommunication systems are dead. Expect a communication blackout at any moment.

What they feared has happened. Debris are flying past them and death is a more than realistic possibility.

RYAN

Kowalski, visual of debris at nine o’clock.

Fragments of debris fly past.

MATT

Half of North America just lost their Facebook.

MISSION CONTROL (V.O.)

(over radio)

Explorer, repeat, expect a communication blackout at any moment.

EXPLORER CAPTAIN (V.O.)

(over radio)

Copy that, Houston.

A large piece of debris from a BSE satellite flies past Shariff.

MATT

Explorer, this is Kowalski, confirming visual contact with debris. Debris is from a BSE sat.

The debris flies.

[…]

Given the situation, re-entry is impossible. 

MISSION CONTROL (V.O.)

(over radio)

Kennedy reports meteorological conditions no-go for re-entry.

Their only contact with Earth is suddenly cut out. They are on their own. 

MATT

Explorer, permission to retrieve Dr. Stone.

Matt flies towards Ryan.

EXPLORER CAPTAIN (V.O.)

(over radio)

You’re a go, Kowalski.

(to Mission Control)

Houston, this is Explorer, copy.

MATT

All right.

EXPLORER CAPTAIN (V.O.)

(over radio)

We’ve lost Houston. We’ve lost Houston.

The situation is critical. They have to get out of there but Dr. Stone is still attached to the robotic arm. Matt Kowalski desperately tries to unstrap her. And as a reminder of the great danger looming over them, Dr. Shariff is killed after being hit by debris.

Matt tries to help Ryan detach herself.

MATT

Unstrap. Look, we need to get the hell out of here.

RYAN

All right.

SHARIFF

Need some help there, Matt?

MATT

No, don’t wait for us.

A piece of debris smashes into Shariff, killing him.

RYAN

It’s stuck!

MATT

Man down! Man down!

Their chance of escaping the attack is suddenly greatly reduced when the shuttle is attacked by the flying debris, veering out of control, taking Dr. Stone with it.

Flying debris punctures holes in the shuttle, which starts to veer out of control.

EXPLORER CAPTAIN (V.O.)

(over radio)

Houston, this is Explorer, copy. Houston, this is Explorer, copy. Kowalski, repor–

Ryan, still attached to the robotic arm, spins around with the shuttle.

MATT

Explorer’s been hit!

(to Explorer Captain)

Explorer, do you read? Explorer, over! Explorer!

The robotic arm breaks off from the shuttle with Dr. Stone still attached to it. She eventually breaks free but Kowalski has lost sight of her.

The robotic arm breaks off from the shuttle with Ryan still attached to it. She continues to spin around.

MATT

Astronaut is off structure! Dr. Stone is off structure!

(to Ryan)

Dr. Stone, detach! You must detach! If you don’t detach, that arm’s gonna carry you too far!

RYAN

(crying out)

No! No! I can–

MATT

Listen to my voice! You need to focus!

RYAN

I can’t! I can’t!

MATT

I’m losing visual of you. In a few seconds, I won’t be able to track you. You need to detach! I can’t see you anymore! Do it now!

RYAN

Okay, I’m trying! I’m trying! I’m trying!

Ryan detaches herself and flies off.

MATT

Houston, I’ve lost visual of Dr. Stone. Houston, I’ve lost visual of Dr. Stone.

Now Matt Kowalski sets out for her, but her GPS is down, rendering the activity even more complicated.

EXT. OUTER SPACE – 600 KM ABOVE EARTH – DAY

Ryan spins out of control as she careens.

MATT (V.O.)

(over radio)

Give me your position.

RYAN

I don’t know! I don’t know! I’m spinning! I can’t — I can’t — !

MATT (V.O.)

(over radio)

Report your position.

RYAN

GPS is down. I ca– It’s down, I can’t —

[…]

As if things were not critical enough, Dr. Stone’s oxygen is running low, decreasing at an alarming rate. Another countdown has begun: she needs to go back to the shuttle before she runs out of oxygen.

INT. HELMET – DAY

Ryan glances about as she tries to calm down. The Explorer shuttle, a glowing light, is far off in the distance.

[…]

CAMERA RACKS FOCUS ON the inside of the helmet, which illuminates gauges and meters of the vital statistics of Ryan’s space suit, which read:

CWL TEMP 15C WARN RADIATION LOW OXYGEN 10% LIFE SUPPORT BATTERY 42%

[…]

MATT (V.O.)

(over radio)

Your status. Give me your readings.

Ryan looks at the gauge on her wrist, which indicates her suit status.

RYAN

I… Uh, three — three — three point six PSI.

MATT (V.O.)

(over radio)

Your O2, give me your O2.

RYAN

Uh, oxygen is going down. It’s going down fast. It’s going down fast. Nine — No, eight-eight percent. Eight three point nine percent.

[…]

And because one countdown is seemingly not enough, Matt Kowalski estimates ninety minutes before the next debris attack.

EXT. OUTER SPACE – 650 KM ABOVE EARTH – DAY

Matt flies, pulling Ryan behind him.

MATT

… Kowalski. How do you copy? Houston, in the blind. This is Kowalski.

RYAN

They can’t hear us.

MATT

We don’t know that. That’s why we keep talking. If somebody is listening, they might just save your life. Set your watch for ninety minutes.

RYAN

Why ninety?

MATT

Well, Houston clocked that…

Ryan sets her watch.

MATT

… debris at fifty thousand miles an hour. If you factor in our current orbit, then I figure we got about ninety minutes before we get our asses kicked again.

[…]

The Explorer has suffered devastating damage. Their chances of re-entry using the Explorer are shattered. With the confirmation that Dr. Stone and Matt Kowalski are the sole survivors of this mission and still without any contact with Earth, the situation is dire. 

EXT. OUTER SPACE – 650 KM ABOVE EARTH – DAY

[…]

Matt leads Ryan and Shariff’s corpse toward the wreckage of the Explorer, which has suffered devastating damage.

MATT

Here’s hopin’ you have a hell of an insurance policy, Houston. The damages to Explorer are catastrophic. Will commence search for survivors.

RYAN

O2 down to five percent.

EXT. OUTER SPACE – EXPLORER – DAY

[…]

CAMERA PUSHES PAST THEM THROUGH the window frame, INTO the cockpit, which is in disarray. Several objects are floating about. The beam of Matt’s flashlight shines onto a floating toy. Ryan moves to enter, but suddenly bumps into the corpse of one of the astronauts. Matt peers in through a hole on the other side of the cockpit.

MATT

Houston, in the blind. To confirm. Mission Specialist Dr. Stone and Mission Commander Matthew Kowalski are the sole survivors of the STS-one-five-seven.

[…]

And this is where the second section ends. With the destruction of the Explorer, they need to set a new direction: Reach the International Space Station and use their escape pod, the Soyuz, to return to Earth.

EXT. OUTER SPACE – EXPLORER – DAY

[…]

MATT

All right, we have to make our way to the Space Station. Over there.

Matt points to the space station way off in the distance.

MATT

It’s a bit of a hike, but we need to use their escape pod, the Soyuz, to get back to Earth. Agreed? Dr. Stone, agreed?

Matt and Ryan facing each other.

RYAN

Agreed.

All is Lost

They set off on their mission to reach the ISS.

EXT. OUTER SPACE – EXPLORER – DAY

[…]

Matt pushes Ryan, and she spins away. Matt pushes off the shuttle and thrusts, pulling Ryan with him.

RYAN

Oh, God. Oh, God. Oh, God.

MATT

Houston, in the blind. This is Kowalski.

CAMERA PULLS BACK to reveal Shariff’s corpse, now tethered to the shuttle.

MATT

Dr. Stone and I have determined to proceed to ISS and use one of their Soyuz for re-entry. ISS, if you hear us… we could sure use a rescue mission.

Dr. Stone is out of oxygen, now only counting on what is left in her helmet. 

EXT. OUTER SPACE – 550 KM ABOVE EARTH – DAY

Matt floats, pulling Ryan behind him. The sun crests over the edge of the Earth. Hank Williams, Jr. sings “Angels Are Hard To Find” under the following scenes.

RYAN

O2 down to two percent.

[…]

Matt floats in the b.g. toward the far-off space station. Ryan is pulled with him.

RYAN

O2 down to one percent.

MATT

Well, I’ve got good news and bad news. The good news is, we’re about five minutes from the ISS and I know where the Russians stash their vodka. And that is good, because I’m runnin’ on fumes here. The bad news is, I’m gonna be about ten minutes short of breakin’ Anatoly’s record, and I —

An alarm sounds, indicating Ryan’s oxygen level is low. Matt looks at his wrist mirror.

RYAN

Uh…

MATT

What?

RYAN

Uh… I’m redlining. My O2 tank pressure is low.

MATT

Your tank is out of oxygen but you still have it in your suit.

RYAN

Got it.

INT. HELMET – RYAN’S POV OF MATT AND THE INTERNATIONAL SPACE STATION – DAY

MATT

So you have to sip, not gulp.

She looks down to her arms as she checks her oxygen monitor. The monitor reads: oxygen low.

[…]

As if reaching the station was not complicated enough, the first Soyuz is missing and the second seems damaged. Re-entry with the Shoyuz is inconceivable.  

[…]

MATT

Sip, Ryan.

(to Mission Control)

Houston, in the blind, we have a visual of the ISS. The station must have been evacuated because the first Soyuz is…

EXT. OUTER SPACE – DAY

Matt and Ryan float in the f.g., as Ryan exits.

MATT

… missing. The second Soyuz exhibits surface damage, and its chute has been deployed. Any use as an escape pod for re-entry is impossible.

And of course only one or two good thrusts are left.

[…]

Matt floats toward the space station, pulling Ryan with him.

RYAN

Shouldn’t we be turning? We’re drifting again.

MATT

Not yet. I wasn’t kidding about those fumes. This can has one or two good thrusts left… if we’re lucky. Steady. Aim. Fire!

They hit the space station hard. The tether breaks and Ryan loses contact with Matt Kowalsky, but gets entangled in the rigging.

Matt triggers his thruster, hurtling them at a high speed.

INT. HELMET – RYAN’S POV – DAY

Past Matt to the space station. Ryan’s arms enter f.g. and grab hold of the tether.

RYAN

Brake! Brake! You have to brake!

MATT

I can’t, the can’s empty.

EXT. OUTER SPACE – SPACE STATION – DAY

MATT

We’re gonna hit hard! Grab a hold of anything you can!

INT. HELMET – RYAN’S POV TO THE SPACE STATION – DAY

She flies toward the space station.

EXT. OUTER SPACE – SPACE STATION – DAY

Matt flies and smashes into it. Ryan is pulled behind him.

RYAN

It’s — what do I do? What do I do?!

She flies into f.g. as CAMERA TILTS UP and FLIPS AROUND to TRACK WITH her as grabs hold of a railing.

MATT

Ryan!

Matt flies past, pulling Ryan with him. Ryan bumps into a solar panel and their tether snaps. Ryan falls.

RYAN

The tether broke, I’m detached! I’m detached!

MATT

Grab a hold! Grab anything!

Ryan falls. She becomes entangled in some of the Soyuz’s parachute rigging. The rigging pulls her up. She reaches out her hand.

Matt Kowalsky cannot hold on. Ryan is being pulled by the tether. She either lets him go or they will both die. 

MATT

Ryan! Give me five!

RYAN

I’ve got you.

INT. HELMET – RYAN’S POV – MATT – DAY

He flies toward her, unsuccessfully grabs for her hand.

RYAN

I’ve got you. Right here, right here. Okay, get it.

Ryan grabs hold of the tether attached to him.

MATT

Shit! Shit.

RYAN

No. No, no, no, no, no, no, no, no.

EXT. OUTER SPACE – SPACE STATION – DAY

Ryan is pulled by the tether.

RYAN

Got ya.

Matt holds firmly onto the tether as he is yanked. Ryan holds firmly onto the tether. Ryan’s left leg is entangled in the parachute rigging.

RYAN

Got ya. You just… hold on and I’m gonna start pulling you in. I’m gonna star–

MATT

Hey, Doc.

RYAN

Just hold on. Hang on. I am gonna pull you in. I’m gonna pull you in.

MATT

Ryan, listen. You have to let me go.

RYAN

No.

MATT

The ropes are too loose. I’m pulling you with me.

RYAN

No.

Dr. Stone has no intention of letting Matt Kowalski go, so he does not have a choice but to make the decision for both of them. He unclips himself, granting Dr. Stone a chance at survival. Although, whether she can weather out the complications without the guidance of her mentor remains to be seen at this point.

Matt takes hold of the tether clip.

RYAN

No, no, no.

MATT

You have to let me go, or we both die.

RYAN

I’m not letting you go!

Ryan is pulled and Matt yanks her back.

RYAN

We’re fine!

MATT

No. Ryan, let go.

RYAN

No. No. You’re not going anywhere. You’re not going anywhere.

Matt starts to unclip the tether.

MATT

It’s not up to you.

RYAN

No, no, no, no, no… no… Please don’t do this.

Matt unclips the tether.

RYAN

Please, please, please, please don’t do this. Please don’t do this. No, no, no. Please don’t, Matt. Please don’t do this.

Matt lets go of the tether and floats off.

[…]

Her oxygen runs out completely and would soon lose consciousness. Time is ticking.

[…]

Ryan smacks into a part of the space station and flips over. She grabs hold of a metal railing. We see Matt far away now in the b.g. Ryan’s C02 alarm goes off, indicating that she’s out of oxygen.

MATT

Ryan, do you hear me? Do you copy?

RYAN

My CO2 alarm went off. My CO2 alarm went off.

Since the last plan of using the Soyuz for re-entry failed, an alternate solution has been set.

[…]

MATT

Look, you need to board the station. Do you see the airlock?

[…]

Holding on tight to the space station’s railing, Ryan turns her body upside down and moves toward the station.

MATT

That second Soyuz is too damaged for re-entry, but it’s perfectly fine for a little Sunday drive.

Ryan climbs upward.

RYAN

Sunday drive?

MATT

Look to the west. You see that dot in the distance?

CAMERA PANS TO a tiny dot in the distance, which is the Chinese station.

MATT

That’s a Chinese station.

RYAN

Yes.

MATT

You’re gonna take the Soyuz, and you’re gonna cruise over there. Chinese lifeboat is a Shenzhou.

[…]

But she always crashed the simulator for re-entry which does not give us a lot of confidence as to her ability to pull this off. All odds are against her. All seems lost.

[…]

RYAN

I’ve never flown a Shenzhou.

CAMERA DOLLIES AROUND Ryan.

MATT

It doesn’t matter. Its re-entry protocol is identical to the Soyuz.

RYAN

Okay.

MATT

You never flown the Soyuz either?

RYAN

Only a simulator.

MATT

Well, then you know.

RYAN

But I crashed it.

MATT

It’s a simulator, that’s what it’s designed for.

RYAN

Every time. I crashed it every time.

The Last Card

This is her last chance to go home. She needs to get aboard the space station, take the second Soyuz for a drive to the Chinese station where she will be able to use the Shenzhou lifeboat to head home, but she quickly loses contact with Matt Kowalsky however and she is now completely on her own.

INT. SPACE STATION – DAY

[…]

She stops and turns toward the radio panel, placing a radio headset on her head.

RYAN

(into radio)

Okay. Matt, this is Ryan, copy. Matt, this is Ryan, copy. Matt, I made it, I’m here, I’m on the station. Do you copy? Come on, Matt, talk to me. Tell me where you are, give me your position. Where are you? Give me a visual. Just tell me what you see. Oh, come on. You’ve been yammering since we left Cape Canaveral, and now you decide to shut up? Talk to me. Just say something, say anything! I don’t care! Hey, tell me about, uh, Mardi Gras. Tell me about the hairy guy. Huh? Tell me what happened. What happened to the, uh, hairy guy?

Ryan’s reflection is on the window as she gazes through it.

RYAN

(into radio)

Please talk to me.

(whispering)

Please.

(to mission control)

Houston, in the blind… this is Mission Specialist Ryan Stone reporting from the ISS. All communications with Mission Commander Matthew Kowalski have been lost. Radio transmission absent. Visuals nonexistent. To confirm, I, Ryan Stone, am the sole survivor of STS-one-five-seven.

Unable to catch a break, an alarm sets off. There is a fire.

[…]

An alarm sounds, prompting her to float and examine a laptop affixed to the wall.

RYAN

What now?

On the laptop monitor, which displays a message and a graph of the station, which indicates which sections are on fire. The alert reads: “FIRE.”

[…]

The fire rapidly expands, with the station exploding and crumbling. Nonetheless, Dr. Stone onboards the Soyuz and undocks it.

[…]

The fire is quickly expanding. Ryan takes the fire extinguisher again, plants her feet and stabilizes herself. She sprays the fire extinguisher.

The fireball rapidly expands, knocking Ryan into a new passageway. The fireball expands throughout the station behind her. She dives down, through a hatch. She struggles to open the hatch to the second Soyuz. The fireball is expanding into the compartment.

Ryan climbs down into the second Soyuz, still carrying the fire extinguisher and locks the hatch above her.

She climbs further down into another section of the Soyuz. She closes the second hatch above her.

The Soyuz shakes, due to the station outside exploding and crumbling.

INT. SOYUZ – DAY

Ryan slides down through a hatch into the command center of the Soyuz.

[…]

EXT. STATION (OUTER SPACE) – DAY

The Soyuz is released from the station and floats away from it. The Earth is far off in the b.g.

However, the parachute that has been deployed is tangled around a section of the station. Another countdown before the debris hit: 7 minutes.

INT. SOYUZ – DAY

The periscope displaying the station from outside. As it floats away, the parachute, which has been deployed, is tangled around a section of the station.

Ryan breathes heavily. She is seated and watches the periscope in front of her. She checks her watch for the amount of time until the debris will hit again. It reads “00:07:25.”

RYAN

Seven minutes to get out of here.

[…]

It pulls her toward the station, but she is able to keep it at a stop with thrusters. She needs to detach it from the tethers.

An alarm goes off. The debris are about to make another unwelcome appearance.

EXT. OUTER SPACE – DAY

The station thrusts away, the parachute still caught. It pulls taut and stops the Soyuz with a jolt.

[…]

EXT. STATION (OUTER SPACE) – DAY

The parachute tenses and pulls the Soyuz toward the station at a high speed.

She uses the manual controls to activate the thrusters.

[…]

EXT. STATION (OUTER SPACE) – DAY

The Soyuz flies away from the station at a slower velocity than before. The parachute pulls taut, and the Soyuz jolts to a stop, but the soft thrusters keep it from being pulled back toward it.

INT. SOYUZ – DAY

Through the periscope, we see that Soyuz has steadied, but is still tethered to the station via the parachute, which is entangled in one of the station’s solar panels.

[…]

The Soyuz hovers near the station. Ryan, wearing a space suit, steps out of the hatch, tethered to the inside of the Soyuz cabin. Her watch timer goes off, indicating that the debris should be coming back. She glances about, but does not see any debris.

[…]

She climbs down the side of the Soyuz to where the parachute ropes are bolted to the vessel. She attaches herself to an open panel and glances about.

[…]

Satisfied that no debris is coming, she produces a tool and starts to detach the parachute ropes. She doesn’t see the debris coming toward her.

[…]

And here they are. She detaches the Soyuz which luckily enough has not been hit. The station crumbles behind her.

Ryan drops one of her tools, which starts to float away. She turns to grab it and sees the debris hurtling toward her as it starts to tear through the satellites.

RYAN

Shit.

As she quickly tries to detach the parachute ropes, she flips upside-down and tries to ignore the debris cutting through the station behind her.

[…]

She removes one of the ropes as a section of the station explodes behind her. The remaining part of the station flies under the Soyuz.

She holds onto the Soyuz as the station spins out of control, pulling the Soyuz with it. She struggles to hold on as the Soyuz flies through new debris.

She removes the final rope and holds tight to the Soyuz, which flies away from the station. The wing of the Soyuz plows through a satellite.

The Soyuz floats, seemingly out of harm’s way. Ryan climbs toward the Soyuz hatch. She glances back at the crumbling station before exiting.

[…]

New countdown: 90 minutes before debris hit again. 

She is on her way to the Chinese station but of course another complication rears its face. The Soyuz is out of fuel. And it’s very cold. Again, all seems lost. 

INT. SOYUZ – DAY

[…]

She looks at her watch. She resets her watch timer to 01:30. She starts the timer. Ryan reacts to the temperature which is now below freezing. She places an instruction manual in her lap and uses the steering joysticks to reposition the Soyuz.

[…]

INT. SOYUZ – DAY

The periscope displays the far-off Chinese station on the western horizon. The Soyuz stabilizes in a position to head directly toward it.

RYAN

Okay. Let’s go visit the Chinese station.

(to Mission Control)

Houston, in the blind, Tiangong is approximately one hundred kilometers to the west, and I am off its course by about thirteen degrees. I will correct trajectory.

[…]

Ryan presses the thruster ignition button on the control panel.

RYAN

Two… one.

EXT. OUTER SPACE – DAY

The Soyuz continues to float.

INT. SOYUZ – DAY

Ryan reacts, confused.

RYAN

What’s happening, what’s happening? Come on, come on.

Ryan reaches up toward the control panel again.

LOW ANGLE – RYAN

presses the thruster ignition button again.

RYAN

One.

EXT. OUTER SPACE – DAY

The Soyuz continues to float.

INT. SOYUZ – DAY

Ryan repeatedly presses the ignition button, but nothing happens. She starts to panic.

RYAN

Come on, come on, come on.

She taps on the fuel gauge, frozen in place due to the temperature. The needle is tapped loose and drops down to zero, indicating that there is no fuel.

[…]

She is ready to let it go.

[…]

She leans over and presses a button on the control panel. CAMERA PANS WITH her as she reaches up and switches off the lights. She turns some dials, decreasing the oxygen in the cabin’s atmosphere, preparing to kill herself.

The monitor, displaying the atmosphere levels and vital statistics of the cabin. The oxygen meter drops rapidly as an alert sounds. Text under the meter reads: “O2.”

Ryan, now sitting back in the seat. She closes her eyes.

[…]

Matt Kowalsky appears out of nowhere and advises her on a way forward. That is all she needs to take back control of her fate.

The beam of a flashlight shines on her through the O.S. porthole. She sees Matt, peering through the porthole. He starts to open the hatch. Ryan, covering her face and reacting.

RYAN

No, no, no, don’t!

Matt opens the hatch, sucking out all the air and sound. He crawls in and closes the hatch behind him. Ryan, cowering behind her hands, but still alive. Matt sitting next to her. He leans over and turns a dial to re-pressurize the cabin. He takes off his helmet as air and sound are returned.

MATT

(grunts)

Check your watch. Thirteen hours and eleven minutes. Call Anatoly and tell him he’s been bumped.

[…]

MATT

All right. Let’s get out of here. The Chinese station’s about a hundred miles. Just a little Sunday drive.

RYAN

We can’t.

MATT

Sure we can.

Matt presses several buttons.

RYAN

There’s no fuel, I tried everything.

MATT

Well, there’s always something we can do.

RYAN

I tried everything.

MATT

Did you try the soft landing jets?

RYAN

They’re for landing. So…

MATT

Well, landing is launching. It’s the same thing. Didn’t you learn about that in training?

[…]

As the Soyuz approaches the Chinese station, she uses the fire extinguisher to reach it. As she gets out, she spins out of control. The fire extinguisher empties out, but she succeeds in grabbing onto the station and climbs up to the hatch.

EXT. SOYUZ (OUTER SPACE) – DAY

The Soyuz cabin hurtles toward the Chinese station. Ryan gazes through the porthole.

INT. SOYUZ – DAY

The Chinese station can be seen through the porthole, and it appears to be dropping toward the Earth.

[…]

Ryan disarms the emergency exit latch for the hatch.

RYAN

Okay.

Ryan moves back and reaches up to grab the fire extinguisher floating above her.

[…]

EXT. OUTER SPACE – DAY

The hatch bursts open, and Ryan is hurtled out of the Soyuz.

[…]

Ryan uses the spray of the fire extinguisher to act as a thrust back toward the station.

[…]

She thrusts down toward a satellite wing. She can’t grab hold of anything and floats, hovering over the station. She tries to use the fire extinguisher to move back down, but it is empty. She tosses it away and continues floating, just above the station.

RYAN

(crying out)

Damn it.

Ryan reaches out and grabs the end of the station. She hangs on.

[…]

Ryan struggles to climb up the length of the station. She finally reaches the hatch.

[…]

While she struggles to open the airlock, the debris strike again.

As she holds on to the rail surrounding the hatch, the next debris strike starts. Debris hurtles past her as she opens the hatch and crawls down inside. The station hurtles toward the Earth through the shower of debris.

Upon the debris impact, the space station breaks apart, but she quickly boards the Shenzhou. Her goal of reaching it has been achieved.

EXT. CHINESE SPACE STATION – DAY

The space station traveling toward Earth as the station starts to break apart.

INT. CHINESE SPACE STATION – DAY

Ryan, floating, tossing her helmet. Ryan closes the airlock hatch behind her. And floats down a compartment, into the control cabin.

INT. SHENZHOU CONTROL CABIN – DAY

Ryan, upside down, closing the hatch and locking it. She sits in a seat and buckles her seat belt.

[…]

The Resolution

It is now time to witness the success or failure of our protagonist’s ultimate goal. Dr. Stone will either succeed and land on Earth safe and sound, or she will lose her life in the process. 

As the Shenzhou heads toward Earth, it is burning up, breaking apart… her chances of succeeding are questionable.

EXT. SHENZHOU CONTROL CABIN – DAY

The cabin splits off from the rest of the vessel and continues on. The burning cabin traveling among burning debris. It falls toward Earth, entering the atmosphere.

The burning debris plummeting into Earth’s atmosphere.

INT. SHENZHOU CONTROL CABIN – DAY

The control panel sparking.

EXT. EARTH’S OUTER ATMOSPHERE – DAY

And cabin and burning debris, leaving a smoking trail as they travel.

The cabin is breaking apart.

Against all odds, the pod lands on water. Dr. Stone is alive, but as she opens the pod’s hatch, water pours inside, dragging it below the surface.

EXT. EARTH’S ATMOSPHERE – DAY

The pod, plummeting, falls through the clouds as a parachute emerges from the pod, slowing the pod’s trajectory.

[…]

The pod falling through the clouds.

EXT. LAKE – DAY

The pod, falling and drops into a lake.

[…]

The door to the pod shoots off.

INT. SHENZHOU CONTROL CABIN – DAY

Ryan stands at the hatch as water pours inside the cabin, forcing her against the cabin wall.

[…]

Although she struggles, Dr. Stone is able to get away and walks off on firm land…

EXT. LAKE – DAY

Ryan surfaces. She floats on her back.

The CAMERA TILTS UP TO the sky. Burning debris from the space station soars through. TILT BACK DOWN TO Ryan swimming.

She crawls onto the shore and lies down, exhausted.

[…]

She struggles to her feet. She unsteadily walks off.

Final Notes

There are two elements, which help sustain this structure, that I believe are worth mentioning.  

A Mentor

What would be a hero’s journey without the help of a mentor. Dr. Stone is a rookie at this Space stuff. Matt Kowalski, a veteran who has probably seen it all, plays the role of a mentor to our protagonist. 

He comes into play at the beginning of the story, the Story Setup, and stays in one capacity or another until the Last Card section. Without his advice and experience, we could wonder if Dr. Stone would have been able to reach a positive resolution. At the beginning he might be taking the steps himself, but soon after he only provides guidance. She quickly needs to take care of business herself.

Countdowns

Throughout the story there is one constant countdown: the debris attack. It will complicate the situation multiple times throughout the story and provide a greater level of risk. Countdowns are an engaging option to build a sense of urgency like nothing else can. There is also a second life-threatening countdown: Dr. Stone’s dropping levels of oxygen at the beginning of the story.

Conclusion

There is something quite satisfactory in discovering a new simple but effective framework to build a captivating story’s structure. Alfonso Cuarón and Jonás Cuarón have provided us with a model we can use any time we need our viewers to stay on the edge of their seat. Although Gravity is quite the epic story, this model seems appropriate to any genre.

A Character’s Evolution 

Changing and growing is part of the human condition. Time and experience have a tendency to cause transformations. An interesting way to show that shift is through the use of repetition. 

In The Shawshank Redemption, Red had served twenty years of a life sentence in prison when he faced a hearing to decide on his possible release. His request is denied however. Ten years later, the character faces the same situation again. The scene is almost identical to the first one. Same situation, same attitude and answer, same outcome. The third and last time this scene is repeated, it is different. Same situation, but different attitude and outcome. Red is finally released from jail.  

We can say that Red has changed. He has evolved. His answer to the parole board is a sharp contrast to the one given at the first two hearings. It is definitely more honest. He does not just say what he thinks they want to hear. By repeating this scene three times we can witness this evolution. Repetition here has served the purpose of demonstrating Red’s growth. 

Scene I

AN IRON-BARRED DOOR

slides open with an enormous CLANG. A stark room waits beyond. CAMERA PUSHES through. SEVEN HUMORLESS MEN sit side by side at a long table. An empty chair faces them. We are now in:

INT — SHAWSHANK HEARINGS ROOM — DAY (1947)

RED enters, removes his cap and waits by the chair.

MAN #1

Sit.

Red sits, tries not to slouch. The chair is uncomfortable.

MAN #2

We see by your file you’ve served twenty years of a life sentence.

MAN #3

You feel you’ve been rehabilitated?

RED

Yes, sir. Absolutely. I’ve learned my lesson. I can honestly say I’m a changed man. I’m no longer a danger to society. That’s the God’s honest truth. No doubt about it.

The men just stare at him. One stifles a yawn.

CLOSEUP — PAROLE FORM

A big rubber stamp slams down: “REJECTED” in red ink.

Scene II

AN IRON-BARRED DOOR

slides open with an enormous CLANG. A stark room beyond. CAMERA PUSHES through. SEVEN HUMORLESS MEN sit at a long table. An empty chair faces them. We are again in:

INT — SHAWSHANK HEARINGS ROOM — DAY (1957)

Red enters, ten years older than when we first saw him at a parole hearing. He removes his cap and sits.

MAN #l It says here you’ve served thirty years of a life sentence.

MAN #2

You feel you’ve been rehabilitated?

RED

Yes sir, without a doubt. I can say I’m a changed man. No danger to society, that’s the God’s honest truth. Absolutely rehabilitated.

CLOSEUP — PAROLE FORM

A big rubber stamp slams down: “REJECTED.”

Scene III

AN IRON-BARRED DOOR

slides open with an enormous CLANG. A stark room beyond. CAMERA PUSHES through. SIX MEN AND ONE WOMAN sit at a long table. An empty chair faces them. We are again in:

INT — SHAWSHANK HEARINGS ROOM — DAY (1967)

Red enters, sits. 20 years older than when we first saw him.

MAN #1

Your file says you’ve served forty years of a life sentence. You feel you’ve been rehabilitated?

Red doesn’t answer. Just stares off. Seconds tick by. The parole board exchanges glances. Somebody clears his throat.

MAN #1 (CONT’D)

Shall I repeat the question?

RED

I heard you. Rehabilitated. Let’s see now. You know, come to think of it, I have no idea what that means.

MAN #2

Well, it means you’re ready to rejoin society as a–

RED

I know what you think it means. Me, I think it’s a made-up word, a politician’s word. A word so young fellas like you can wear a suit and tie and have a job. What do you really want to know? Am I sorry for what I did?

MAN #2

Well…are you?

RED

Not a day goes by I don’t feel regret, and not because I’m in here or because you think I should. I look back on myself the way I was…stupid kid who did that terrible crime…wish I could talk sense to him. Tell him how things are. But I can’t. That kid’s long gone, this old man is all that’s left, and I have to live with that.

(beat)

Rehabilitated? That’s a bullshit word, so you just go on ahead and stamp that form there, sonny, and stop wasting my damn time. Truth is, I don’t give a shit.

The parole board just stares. Red sits drumming his fingers.

CLOSEUP — PAROLE FORM

A big rubber stamp SLAMS down — and lifts away to reveal the word “APPROVED” in red ink.

A Change in Societal Norms

Repetition in these hearing scenes also shows a change in societal norms. In the first two scenes, the parole board is composed of all men. However, in the third one, we can see that a woman has now joined the parole board. At this point, we are in 1967. A stark difference with the previous hearings. We can therefore say that not only the repetition of the hearing scene has allowed us to witness the character’s growth, but it also revealed a change in societal norms.

Scene I

AN IRON-BARRED DOOR

slides open with an enormous CLANG. A stark room waits beyond. CAMERA PUSHES through. SEVEN HUMORLESS MEN sit side by side at a long table. An empty chair faces them. We are now in:

INT — SHAWSHANK HEARINGS ROOM — DAY (1947)

Scene II

AN IRON-BARRED DOOR

slides open with an enormous CLANG. A stark room beyond. CAMERA PUSHES through. SEVEN HUMORLESS MEN sit at a long table. An empty chair faces them. We are again in:

INT — SHAWSHANK HEARINGS ROOM — DAY (1957)

Scene III

AN IRON-BARRED DOOR

slides open with an enormous CLANG. A stark room beyond. CAMERA PUSHES through. SIX MEN AND ONE WOMAN sit at a long table. An empty chair faces them. We are again in:

INT — SHAWSHANK HEARINGS ROOM — DAY (1967)

The Passing of Time

The famous pin-up posters serve various purposes in this story, and it’s an important element in Andy’s escape from prison. However, in the context of this post we take a look at the use of repetition to show the passing of time. Darabont skillfully used these posters to show this in a powerful manner. As the women featured in these posters were the “it” girls of specific eras, we can easily identify a timeframe for that moment in the story. It all started with Rita Hayword in 1949 which stayed on Andy’s wall for almost ten years before being replaced by Marilyn Monroe in 1957. By the time of Andy’s escape, it was Racquel Welch. What a brilliant way to show the years gone by! 

Rita Hayworth

EXT — EXERCISE YARD — SHAWSHANK PRISON — DUSK (1947)

[…]

RED emerges into fading daylight, slouches low-key through the activity, worn cap on his head, exchanging hellos and doing minor business. He’s an important man here.

[…]

RED (V.O.)

So when Andy Dufresne came to me in 1949 and asked me to smuggle Rita Hayworth into the prison for him, I told him no problem. And it wasn’t.

[…]

INT — PRISON AUDITORIUM — NIGHT (1949)

…while a CONVICT AUDIENCE hoots and catcalls, talking back to the screen. We find Red slouched in a folding chair, watching the movie. Andy enters, backlit by the flickering glare of the projector, and takes a seat next to him.

[…]

ANDY

Rita Hayworth. Can you get her?

[…]

INT — ANDY’S CELL — NIGHT (1949)

Andy finds the cardboard tube lying on his bunk.

GUARD (O.S.)

Lights out!

The lights go off. Andy opens the tube and pulls out a large rolled poster. He lets it uncurl to the floor. A small scrap of paper flutters out, landing at his feet. The poster is the famous Rita Hayworth pin-up — one hand behind her head, eyes half closed, sulky lips parted. Andy picks up the scrap of paper. It reads: “No charge. Welcome back.” Alone in the dark, Andy smiles.

INT — CELLBLOCK FIVE — MORNING (1949)

The BUZZER SOUNDS, the cells SLAM OPEN. Cons step from their cells. Andy catches Red’s eye, nods his thanks. As the men shuffle down to breakfast, Red glances into Andy’s cell —

RED’S POV — DOLLYING PAST

— and sees Rita in her new place of honor on Andy’s wall. Sunlight casts a harsh barred shadow across her lovely face.

INT — ANDY’S CELL — NIGHT (1953)

Dark. Andy’s in his bunk, polishing a four-inch length of quartz. It’s a beautifully-crafted chess piece in the shape of a horse’s head, poise and nobility captured in gleaming stone.

He puts the knight on a chess board by his bed, adding it to four pieces already there: a king, a queen, and two bishops. He turns to Rita. Moonlight casts bars across her face.

INT — ANDY’S CELL — DAWN (1954)

ANGLE ON RITA POSTER. Sexy as ever. The rising sun sends fingers of rosy light creeping across her face.

Marilyn Monroe

INT — ANDY’S CELL — LATER (1957)

Marilyn Monroe’s face fills the screen. SLOW PULL BACK reveals the new poster: the famous shot from “The Seven Year Itch,” on the subway grate with skirt billowing up. Andy sits gazing at her as lights-out commences…

INT — 2ND TIER — NIGHT (1962)

A GUARD strolls the tier, shining his flashlight into the cells. He pauses at Andy’s bars, playing the beam over the sleeping form huddled under the blankets.

REVERSE ANGLE (FROM INSIDE ANDY’S CELL)

We see what the guard doesn’t: instead of Andy’s head under the blanket, it’s a wadded-up pillow. The flashlight plays across the cell, pinning Marilyn Monroe in a circle of light.

Racquel Welch

INT — ANDY’S CELL — NIGHT (1966)

TIGHT ANGLE on chessboard. Most of the pieces complete. PAN TO Andy lying in his bunk, carefully polishing…

[…]

…STILL PANNING, past a chair, a sweater on a hook…and finally to the place of honor on the wall…

RED (V.O.)

In prison, a man’ll do most anything to keep his mind occupied.

…where the latest poster turns out to be Racquel Welch ins fur bikini. Gorgeous. “One Million Years, B. C. ” SLOW PUSH IN,

RED (V.O.)

By 1966…right about the time Tommy was getting ready to take his exams…it was lovely Racquel.

Misleading Outcomes

The Shawshank Redemption presents repetition as a tool to mislead the reader/viewer into a specific outcome. Indeed, Brooks and Red are both released from prison at different times in the story. Brooks was the first one to go through the experience. After many years behind bars, it was difficult for him to fully rejoin society. In the end, he decides to end his life. 

When it’s Red’s time to be released, we almost see Brooks’ experience all over again. They both end up at the Brewster Hotel, work at the same Foodway Market, experience the same anxiety in front of how dramatically the world has changed, and both realize that they cannot make it in the outside world. As Red experiences what Brooks went through and as he explains how he doesn’t want to live in fear anymore, we think that he may commit the same act as Brooks and end it all. However, even though the situation is quite similar, the outcome is completely different as Red decides to keep a promise he made to Andy. Repetition here has successfully misled us into thinking of a specific outcome.

Brooks

EXT — SHAWSHANK PRISON — MAIN GATE — DAY (1954)

TWO SHORT SIREN BLASTS herald the opening of the gate. It swings hugely open, revealing Brooks standing in his cheap suit, carrying a cheap bag, wearing a cheap hat.

Brooks walks out, tears streaming down his face. He looks back. Red, Andy, and others stand at the inner fence, seeing him off. The massive gate closes, wiping them from view.

INT — BUS — DAY (1954)

Brooks is riding the bus, clutching the seat before him, gripped by terror of speed and motion.

BROOKS (V.O.)

Dear Fellas. I can’t believe how fast things move on the outside.

EXT — STREET — PORTLAND, MAINE — DAY (1954)

Brooks looks like a kid trying to cross the street without his parents. People and traffic a blur.

BROOKS (V.O.)

I saw an automobile once when I was young. Now they’re everywhere.

EXT — BREWSTER HOTEL — DAY (1954)

Brooks comes trudging up the sidewalk. He glances up as a prop-driven airliner streaks in low overhead.

BROOKS (V.O.)

The world went and got itself in a big damn hurry.

He arrives at the Brewster. It ain’t much to look at.

INT — BREWSTER HOTEL — DAY (1954)

A WOMAN leads Brooks up the stairs toward the top floor. He has trouble climbing so many stairs.

WOMAN

No music in your room after eight p.m. No guests after nine. No cooking except on the hotplate…

BROOKS (V.O.)

People even talk faster. And louder.

INT — BROOKS’ ROOM — DAY (1954)

Brooks enters. The room is small, old, dingy. Heavy wooden beams cross the ceiling. An arched window affords a view of Congress Street. Traffic noise drifts in. Brooks sets his bag down. He doesn’t quite know what to do. He just stands there, like a man waiting for a bus.

BROOKS (V.O.)

The parole board got me into this halfway house called the Brewster, and a job bagging groceries at the Foodway…

INT — FOODWAY MARKET — DAY (1954)

Loud. Jangling with PEOPLE and NOISE. Brooks is bagging groceries. Registers are humming, kids are shrieking.

WOMAN

Make sure he double-bags. Last time your man didn’t double-bag and the bottom near came out.

MANAGER

You double-bag like the lady says, understand?

BROOKS

Yes sir, double-bag, surely will.

BROOKS (V.O.)

It’s hard work. I try to keep up, but my hands hurt most of the time. I don’t think the store manager likes me very much.

EXT — PARK — DAY (1954)

Brooks sits alone on a bench, feeding pigeons.

BROOKS (V.O.)

Sometimes after work I go to the park and feed the birds. I keep thinking Jake might show up and say hello, but he never does. I hope wherever he is, he’s doing okay and making new friends.

INT — BROOKS’ ROOM — NIGHT (1954)

Dark. Traffic outside. Brooks wakes up. Disoriented. Afraid. Somewhere in the night, a LOUD ARGUMENT is taking place.

BROOKS (V.O.)

I have trouble sleeping at night. The bed is too big. I have bad dreams, like I’m falling. I wake up scared. Sometimes it takes me a while to remember where I am.

INT — FOODWAY — DAY (1954)

BROOKS (V.O.)

Maybe I should get me a gun and rob the Foodway, so they’d send me home. I could shoot the manager while I was at it, sort of like a bonus.

INT — BROOKS’ ROOM — DAY (1954)

Brooks is packing his worldly possessions into the carry bag. Undershirts, socks, etc.

BROOKS (V.O.)

But I guess I’m too old for that sort of nonsense anymore.

INT — BROOKS’ ROOM — SHORTLY LATER (1954)

Brooks is dressed in his suit. He finishes knotting his tie, puts his hat on his head. The letter lies on the desk, stamped and ready for mailing. His bag is by the door.

BROOKS (V.O.)

I don’t like it here. I’m tired of being afraid all the time. I’ve decided not to stay.

He takes one last look around. Only one thing left to do. He steps to a wooden chair in the center of the room, pulls out a pocketknife, and glances up at the ceiling beam.

He steps up onto the chair. It wobbles queasily. Now facing the beam, he carves a message into the wood: “Brooks Hatlen was here.” He smiles with a sort of inner peace.

BROOKS (V.O.)

I doubt they’ll kick up any fuss. Not for an old crook like me.

TIGHT ON CHAIR

His weight shifts on the wobbly chair — and it goes out from under him. His feet remain where they are, kicking feebly in mid-air. His hat falls to the floor.

ANGLE WIDENS. Brooks has hanged himself. He swings gently, facing the open window. Traffic noise floats up from below.

Red

EXT — SHAWSHANK PRISON — DAY

TWO SHORT SIREN BLASTS herald the opening of the main gate. It swings hugely open, revealing Red standing in his cheap suit, carrying a cheap bag, wearing a cheap hat. He walks out, still looking stunned.

INT — BUS — DAY

Red rides the bus, clutching the seat before him, gripped by terror of speed and motion.

EXT — BREWSTER HOTEL — LATE AFTERNOON

Red arrives at the Brewster, three stories high and even less to look at than it used to be.

INT — BREWSTER — LATE DAY

A BLACK WOMAN leads Red up the stairs toward the top floor.

INT — RED’S ROOM — LATE DAY

Small, old, dingy. An arched window with a view of Congress Street. Traffic noise floats up. Red enters and pauses, staring up at the ceiling beam. Carved into the wood are the words: “Brooks Hatlen was here.”

INT — FOODWAY MARKET — DAY

Loud. Jangling with PEOPLE and NOISE. We find Red bagging groceries. Registers are humming, kids are shrieking. Red calls to the STORE MANAGER:

RED

Sir? Restroom break sir?

MANAGER

(motions him over)

You don’t need to ask me every time you go take a piss. Just go. Understand?

INT — EMPLOYEE RESTROOM — DAY

Red steps to the urinal, stares at himself in the wall mirror.

RED (V.O.)

Thirty years I’ve been asking permission to piss. I can’t squeeze a drop without say-so.

A strange east Indian guitar-whine begins. The Beatles. George Harrison’s “Within You Without You…”

EXT — STREET — DAY

…which carries through as Red walks. People and traffic. He keeps looking at the women. An alien species.

RED (V.O.)

Women, too, that’s the other thing. I forgot they were half the human race. There’s women everywhere, every shape and size. I find myself semi-hard most of the time, cursing myself for a dirty old man.

TWO YOUNG WOMEN stroll by in cut-offs and t-shirts.

RED (V.O.)

Not a brassiere to be seen, nipples poking out at the world. Jeezus, pleeze-us. Back in my day, a woman out in public like that would have been arrested and given a sanity hearing.

EXT — PARK — DUSK

Red finds the park filled with HIPPIES. Hanging out. Happening. Here’s the source of the music: a radio. A HIPPIE GIRL gyrates to the Beatles, stoned, in her own world.

RED (V.O.)

They’re calling this the Summer of Love. Summer of Loonies, you ask me.

INT — PAROLE OFFICE — DAY

Red sits across from his PAROLE OFFICER. The P.O. is filling out his report.

P.O.

You staying out of the bars, Red?

RED

Yes sir. That I am.

P.O.

How you doing otherwise? Adjusting okay?

RED

Things got different out here.

P.O.

Tell me about it. Young punks protesting the war. You imagine? Even my own kid. Oughtta bust his fuckin’ skull.

RED

Guess the world moved on.

INT — FOODWAY — DAY

Bagging groceries. CHILDREN underfoot. One points a toy gun at Red, pumping the trigger. Red focuses on the gun, listening to it CLICKETY-CLACK. Sparky wheel grinding.

The kids get swept off by MOM. Red starts bagging the next customer. SLOW PUSH IN on Red. Surrounded by MOTION and NOISE. Feeling like the eye of a hurricane. People everywhere, whipping around him like a gale. Strange. Loud. Dizzying. It gets distorted and weird, slow and thick, pressing in on him from all sides. The noise level intensifies. The hollering of children deepens and distends into LOW EERIE HOWLS.

He’s in the grip of a major anxiety attack. Tries to shake himself out of it. Can’t. Fumbles the final items into the bag. Walks away. Trying not to panic. Trying not to run.

He makes his way through the store. Blinking sweat. He bumps into a lady’s cart, mumbles an apology, keeps going. Breaks into a trot.

Down the aisle, cut to the left, through the door into the back rooms, faster and faster, running now, slamming through a door marked “Employees Only” into —

INT — EMPLOYEE RESTROOM — DAY

— where he slams the door and leans heavily against it, shutting everything out, breathing heavily. Alone now.

He goes to the sink, splashes his face, tries to calm down. He can still hear them out there. They won’t go away. He glances around the restroom. Small. Not small enough.

He enters a stall. Locks the door. Puts the toilet lid down and sits on the john. Better. He can actually reach out and touch the walls now. They’re close. Safe. Almost small enough. He draws his feet up so he can’t be seen if somebody walks in.

He’ll just sit here for a while. Until he calms down.

EXT — STREET — DUSK

Red is walking home.

RED (V.O.)

There is a harsh truth to face. No way I’m gonna make it on the outside.

He pauses at a pawnshop window. An array of handguns.

RED (V.O.)

All I do anymore is think of ways to break my parole.

The SHOPKEEPER appears at the glass, locking the door and flipping the sign: CLOSED.

INT — RED’S ROOM — NIGHT

Red lies smoking in bed. Unable to sleep.

RED (V.O.)

Terrible thing, to live in fear. Brooks Hatlen knew it. Knew it all too well. All I want is to be back where things make sense. Where I won’t have to be afraid all the time.

He glances up at the ceiling beam. “Brooks Hatlen was here.”

RED (V.O.)

Only one thing stops me. A promise I made to Andy.

Afterword

Repetition. Such a simple tool, but how powerful. Frank Darabont undoubtedly mastered the art of repetition in The Shawshank Redemption. Although in this post we explored its use to show a character’s evolution, a change in societal norms, the passing of time, as well as to mislead the viewer regarding outcomes, it is by no means an exhaustive list. Repetition can be used in a myriad of contexts.

Character introductions are an integral part of any story. Therefore, being able to rely on a practical approach to assist in this process can only help. Inside Out, written by Pete Docter, Meg LeFauve, and Josh Cooley, features a vivid sequence introducing a series of characters quickly and efficiently. A model can definitely be taken out of it and adapted when writing your own stories.

That being said, no framework should be taken too seriously. It is simply an additional tool in a writer’s toolbox. It is a facilitator, a process starter, and a way to approach things under a different angle. 

But first things first, the sequence in question is below. In this section, which spans six pages, the emotions are introduced: Joy, Sadness, Anger, Disgust and Fear. 

The Sequence

BLACK.

JOY (V.O.)

Do you ever look at someone and wonder, “What is going on inside their head?” Well, I know. I know Riley’s head.

WHITE. FADE IN…

INT. HOSPITAL – DAY

A newborn baby swaddled in a blanket, held by her parents. Push in… and ZOOM IN TO HER HEAD.

INT. HEADQUARTERS

Out of the blackness steps a glowing figure. This is JOY. The room is black except for a bright CONSCIOUSNESS SCREEN.

JOY

Hmm?

In front of Joy is a single large BUTTON. She pushes it.

INT. HOSPITAL – CONTINUOUS

The baby gurgles and wiggles happily.

JOY (V.O.)

And there she was…

INT. HEADQUARTERS – CONTINUOUS

ON THE CONSCIOUSNESS SCREEN:

MOM

Hello, Riley.

DAD

Oh look at you. Aren’t you a little bundle of joy?

A GOLDEN GLOWING SPHERE rolls from behind the screen. It’s a MEMORY of what we just saw: Mom and Dad cooing at Riley.

JOY

Whoa.

Joy rolls the memory on its track, illuminating the room. She turns back to the button and pushes it again.

INT. HOSPITAL – CONTINUOUS

Baby Riley gurgles happily.

JOY (V.O.)

It was amazing. Just Riley and me, forever…

INT. HEADQUARTERS – CONTINUOUS

Baby Riley CRIES.

JOY (V.O.)

…for 33 seconds.

Joy looks to her side. There’s a new, droopy, blue character touching the button.

SADNESS

I’m Sadness.

JOY

Oh, hello. I’m Joy.

Joy tries to muscle past Sadness to press the button.

JOY (CONT’D)

Can I just… if you could… I just want to fix that. Thanks.

The two struggle.

JOY (V.O.)

And that was just the beginning. Headquarters only got more crowded from there.

INT. MINNESOTA HOUSE – DAY

Riley, now age 3, barrels through the house pulling a wagon.

INT. HEADQUARTERS

ON THE SCREEN: Riley’s POV as she runs through the house. Fear “supervises” Joy, who drives.

FEAR

Very nice. Okay, looks like you got this. Very good, sharp turn…

Riley approaches a POWER CORD on the ground.

FEAR (CONT’D)

Ahh! Look out!!! No!

Fear leaps to the console.

JOY (V.O.)

That’s Fear. He’s really good at keeping Riley safe.

INT. MINNESOTA HOUSE – CONTINUOUS

Riley stops. She cautiously steps over the power cord.

FEAR (O.S.)

Easy… we’re good! We’re good.

INT. HEADQUARTERS

A fear memory (purple) rolls in.

JOY/SADNESS

Whew!/Nice job.

FEAR

Thank you! Thank you very much.

Joy jumps back into driving position.

JOY

And we’re back!

INT. MINNESOTA HOUSE – CONTINUOUS

Riley continues her sprint through the house.

Suddenly she’s picked up.

INT. KITCHEN – CONTINUOUS

PLOP into highchair. Bib. Tray. Bowl.

DAD

Here we go. Alright, open.

Dad lifts a spoonful of food to Riley’s mouth.

INT. HEADQUARTERS

JOY

Hmm. This looks new.

FEAR/SADNESS

Do you think it’s safe?/What is it?

ON THE SCREEN: a spoonful of broccoli.

DISGUST enters.

DISGUST

Okay, caution! There is a dangerous smell, people. Hold on, what is that?

JOY (V.O.)

This is Disgust. She basically keeps Riley from being poisoned, physically and socially.

DISGUST

That is not brightly colored or shaped like a dinosaur… Hold on guys… It’s broccoli!

Disgust GAGS and pulls a lever.

INT. KITCHEN

YOUNG RILEY

Yucky!

Riley swats the broccoli. It flies into Dad’s face.

INT. HEADQUARTERS

A disgust memory (green) rolls in.

DISGUST

Well, I just saved our lives. Yeah. You’re welcome.

INT. KITCHEN

DAD

Riley, if you don’t eat your dinner, you’re not going to get any dessert.

INT. HEADQUARTERS

ANGER looks up from reading his newspaper.

ANGER

Wait. Did he just say we couldn’t have dessert?

JOY (V.O.)

That’s Anger. He cares very deeply about things being fair.

ANGER

So that’s how you want to play it, old man? No dessert? Oh, sure, we’ll eat our dinner, right after YOU eat this! GrrrraaaAAHH!!!!

Anger takes the controls as FLAMES blast out of his head. An anger memory (red) rolls in.

INT. KITCHEN

Riley throws a fit. Dad distracts her.

DAD

(’flying’ the spoon)

Hey, Riley, Riley, here comes an airplane!

INT. HEADQUARTERS

Anger stops screaming.

ANGER

Oh, airplane. We got an airplane, everybody.

DISGUST/FEAR/SADNESS/JOY

Ohh!/Ahh!

INT. KITCHEN

Dad “lands” the food into Riley’s smiling mouth.

INT. HEADQUARTERS

A happy memory (golden) rolls in.

The others leave Joy alone at the console with Sadness.

JOY (V.O.)

And you’ve met Sadness. She… well, she…

FLASH CUTS of Riley crying: broken toy, spilled ice cream, tantrum in the supermarket, wanting out of her car seat.

JOY (V.O.)

I’m not actually sure what she does. And I’ve checked, there’s no place for her to go, so she’s good, we’re good. It’s all great!

An Inside Out Framework

This framework is appropriate for the introduction of multiple characters in a timely manner, providing incredible rhythm to the sequence. 

The Framework’s Elements

The framework consists of six interlinked elements: Setup, Character’s Introduction, Conflict, Narrator’s Description, Resolution, and Effect and Reactions. Not all elements are mandatory for each character, and the order in which these appear is largely flexible.

Setup

First and foremost, the sequence must be introduced. We need to set up the basis for what’s to come. Everything else will unfold from here, triggering a chain of relevant actions and reactions. This, obviously, is the setup.

In Inside Out, each character is set up differently, providing the perfect initial situation for that specific character. For Joy, the birth of Riley launches her introduction. Sadness’ setup is marked by a tearful baby Riley. The little girl running through the house provides the ideal situation for Fear to appear and Disgust’s introduction is set by the possibility that Riley may be about to eat broccoli. As for Anger, dad’s threat to withhold dessert is enough to set him up on fire, literally. Clearly, each setup is driven by the character’s personality and role in the story. 

Character’s Introduction

Once the setup is in place, the character is introduced. It is the first time we see and hear the character in the story. It can be a simple introduction, or a more elaborate one. Either way, it is a follow-up to the setup. The character may be described physically, the way Joy is “a glowing figure” or Sadness is “a new, droopy, blue character”, but it is usually also accompanied by an action and/or dialogue. Joy and Sadness work their magic on the console, Fear supervises Riley as she runs through the house, Disgust enters after detecting a “dangerous smell”, and Anger is distracted from his newspaper as he hears Dad’s threat. These introductions are certainly a natural follow-up to the setup. 

Narrator’s Description 

Allocating a temporary narrator throughout the characters introduction sequence provides a solid structure, which facilitates the succinct debut of all the characters. In Inside Out, the main character, Joy, serves that purpose as the emotions are presented according to their role in Riley’s life, as well as the opinion the narrator has of them. Every character is viewed positively by her, explaining the utterly important part they play in Riley’s life. Fear prevents Riley from getting hurt, Disgust protects her from getting poisoned, and Anger champions for justice in her life. However, Joy doesn’t view Sadness, who can be considered her nemesis given their opposite roles in Riley’s life, with the greatest esteem. At least in the beginning. One of the story conflicts is therefore revealed through the narrator’s description of Sadness as she mentions her uncertainty as to what Sadness’ role is and the fact that even though she has checked, there is no other place for Sadness to go. Visibly, the narrator’s description delivers valuable information as the viewer/reader becomes acquainted with the story’s characters.

Conflict

There is no story without conflict. When a less than desirable situation arises, characters will act accordingly, aiming for a positive resolution. Where there is conflict, there is an action/reaction to it. The character introduction sequence in Inside Out features many small conflicts and the manner in which each character reacts to them helps solidify his/her personality in the eyes of the viewer/reader. 

For Joy and Sadness their conflict lies in their opposite roles. Indeed, Sadness actions go against Joy’s primary objective, which is to keep Riley happy. Therefore, both characters struggle to control the console and provide the “right” emotions to Riley. For Fear, a conflict appears with the sudden advent of what could be considered a dangerous situation as the girl nears a power cord full speed ahead. Disgust on the other hand has to face the impending ingestion of broccoli by her protégé. As for Anger, conflict arises through his response to the setup, pushing Riley to throw a fit. 

Resolution

Where there is a conflict, there is a resolution. Fear makes sure that Riley steps over the power cord prudently, keeping her safe. Disgust propels Riley to smack the food out of her dad’s hands, avoiding the unthinkable act of eating broccoli. Anger’s tantrum prompts Riley’s dad to distract her with an “airplane” spoon, ensuring a nice ending to the injustice. In this sequence, resolution is indeed always positive. 

Effect & Reactions

Characters’ actions and conflicts have an effect on the story world. Joy’s ability to make baby Riley gurgle and wiggle prompts a happy (golden) memory to roll out. Keeping Riley safe brings out a fear (purple) memory, Disgust’s rejection of broccoli causes a disgust (green) memory, and Anger’s flaming reaction draws an anger (red) memory. Their actions have therefore an effect on the world they live in. 

Not only that, but they also elicit reactions from the character itself or the others. Joy pushing a button on the console makes Riley happy. Saving the girl from danger earns Fear congratulations from his fellow emotions. Disgust boasts about saving their lives, and Anger’s tantrum ceases as he brings his peers to notice the “airplane” spoon, calming everyone down.  

The Order 

As mentioned previously, it isn’t imperative to use every single element for each character, and with the exception of the setup which obviously always comes first, and the character’s introduction always coming second, there isn’t a definitive order for these elements either.

Therefore, the choice of elements and their order of appearance can be adapted to fit other stories. 

The following section presents their order in Inside Out:

The Main Emotions

Joy – The Main Character & Narrator

Sadness – The Nemesis / Part I

The Secondary Emotions

Fear

Disgust

Anger

_{** For Anger, the Effect & Reactions are intertwined with the Conflict and the Resolution.}

Sadness – The Nemesis / Part II

We return to the nemesis to conclude the sequence.

INSIDE OUT DECONSTRUCTED

Joy

Sadness – Part I

Fear

Disgust

Anger

_{^{** As previously mentioned, we can see that for Anger the Effect & Reactions are intertwined with the Conflict and the Resolution (highlighted in black).}}

Sadness – Part II

Afterword

Writing stories is hard. Fortunately, incredible ones abound. They are an invaluable source of knowledge, offering impactful blueprints from which we can build upon. The sequence we find in Inside Out features a strong structure which facilitates the introduction of multiple characters in such a succinct matter. It is hard to imagine the Inside Out emotions being presented any other way. By the end of the sequence, we know who they are, what they do, and how they do things. We understand their personality, as well as their role in the story. 

Obviously there are a myriad of ways characters can be introduced in a story, but playing around with this framework when writing your next story or revising an existing one might bring new insights and provide a starting point to let the imagination run free. 

The Framework

As the story world evolves, it will journey through various phases, with each one of them playing a distinct role in the story.

The Initial State

Stories start within a particular world defined by a set of characteristics like the time period, the location, the characters, the general state of affairs, the events, etc. The Initial State is the current situation in the story world. It is the starting point for the story. 

The Igniter

An event takes place. It sparks a reaction. It challenges the status quo and sets things into motion, triggering a series of incidents. 

The Defining Incidents

The Igniter has forced the story world to evolve. The circumstances have changed and we can never go back to how it was. During this phase, a series of events will take place that will show how the story world is expanding, maturing and being challenged. These defining incidents will take us to the Tipping Point.

The Tipping Point

Everything that has taken place so far boils down to the tipping point. The Igniter has pushed everything to evolve and the Defining Incidents have showcased that transformation. Now we are faced with a larger situation that drives a major shift in the story world. 

The New World

Finally, the story world has completely morphed into a new state. After everything that has happened, how can it not? This is the New World. 

Deconstructing Joker’s Story World

The transformation of Joker’s story world is powerful and beautifully crafted. Let’s take a look at how each one of the aforementioned phases is presented in this story. 

Joker’s Initial State

The story takes place during a difficult time. Gotham City is facing a major garbage strike, the crime rate is at a critical high, and a social divide between the fortunate and the less fortunate is plaguing its people. Only bad news seems to be at the forefront and there is a general sentiment that the possibility to improve one’s life is near inexistent. It is no wonder people are indifferent to one another’s sorrows. It is definitely not a happy time to be living in this city. 

The situation is emphasized during a conversation between Arthur and his social worker.

Bad news seem to be the norm.

Mentioned multiple times throughout the story, the garbage strike is drowning the streets and it’s a constant visual reminder of the current state of affairs in the city. 

A general indifference between people is prevailing. 

The following scene excerpt thoroughly sums up the situation. The garbage strike is looming over the city, the vulnerable are omnipresent, and even though a fight ignites, no one cares, no one does anything. 

This is a strong place to start the story. The Initial State of the Story World has been defined and now the status quo will be challenged by The Igniter.

Joker’s Igniter

The killing of the three Wall Street guys by Arthur is quite a powerful igniter in this story.

Since the sequence is long, spanning 5-6 pages, I will not add the entire scene here, but below are some excerpts of this pivotal moment. 

Arthur is riding the subway after being fired from his job when three Wall Street guys get in. They are drunk and unpleasant. 

One of them decides to strike a conversation with a young woman sitting across from him, throwing french fries at her when she politely declines his offer. 

At the sight of this, Arthur starts laughing uncontrollably which attracts their unwanted attention. 

The three Wall Street guys start making fun of Arthur…

… and harassing him.

The situation quickly degenerates and Arthur takes a beating. 

That’s when things go south and Arthur kills the three Wall Street guys:

A forceful Igniter that challenges the Initial State and sets a series of incidents into motion. 

Joker’s Defining Incidents

The murder of the three Wall Street guys could have been ignored. People succumb from violence related deaths every year and all over the world, but we don’t always hear about it. However, this time people took notice. It was picked up by news outlets and therefore the incident became a compelling Igniter that would come to spark a series of meaningful incidents. 

The story is featured on every newspaper

The Divide

The first sign of change appears when graffiti attacking the rich pops up around the city. The three Wall Street guys are a symbol of the fortunate, while an entire population is struggling to survive. Suddenly, it’s no longer about the murders. It’s now about the rich vs. the poor, with many people taking the side of the killer. What Arthur did becomes the emblem of justice being served for some, and for others it’s the sign of despondency from those who are envious of their resourcefulness. 

Evidence of anti-rich sentiments arises in the form of graffiti and the divide between the rich and the poor couldn’t be more obvious. 

To add insult to injury, Thomas Wayne shares his view on those who haven’t made a “good life” for themselves and how they are viewed by people like him. This is quite revealing of the prevailing mentality at the time. 

The view towards the rich is negative enough to think that those three Wall Street guys might have deserved to lose their lives.  

Identifying with the Killer

For many, the actions of the killer embody the suffering of a lot of people. They connected to its meaning and suddenly we see them on the streets wearing clown masks. 

The clown mask becomes a sign of resistance. 

The Lack of Value

No one seems to care about those who are having a harder time, making them feel invisible. Cutting funding is a meaningful event that mirrors that reality. Assistance becomes unavailable to them and with nowhere to find help, even to get medication, they are left to their own devices. 

The Protests – Anger Rising

The situation starts to take a more severe turn as protests take hold. 

Protest planned at Wayne Hall Gala.

Anger and resentment are rising. 

An angry crowd is protesting, wearing clown masks and displaying their anti-rich signs. 

The protesters want to be heard. They don’t want to be ignored anymore.

The anti-rich sentiment is at an all-time high.

The Clash with the Police

All these defining incidents are piling up and things are quickly degenerating when the protesters come face to face with detectives Burke and Garrity. 

The detectives find themselves in a delicate situation. 

Following the death of a protester, the mob turns on the cops. 

The news travels fast.

The Interview

During the interview with Murray Franklin Arthur explains his views on the system and what it’s like for people like him.

The Murder of Murray Franklin

The murder of Murray Franklin by Arthur, the “Joker”, is the ultimate incident that will drive us to the tipping point. 

Now that Arthur has committed an unspeakable act in front of everyone, the tone has been set for the tipping point to ensue.

Joker’s Tipping Point

The crisis is now at an all-time high.There are riots and fires, violence and madness… reaching even the nice part of town. This is the tipping point.

The Franklin shooting has exacerbated the situation.

The city is burning.

The protesters are tearing down the city.

The Waynes are killed by a man wearing the “Joker” mask.

Joker’s New World

We started the story within a world afflicted with considerable problems and featuring a drastic divide between the rich and the poor. Most of the less fortunate felt invisible and oppressed by a system that neglected to take them into consideration. 

Since then events have taken place and everything has evolved beyond recognition. The Igniter has driven people to speak up and make themselves noticed by demonstrating their anger and resentment to the point of taking the city hostage. The story world could never go back to what it was. People are asserting themselves, making noise, and in a way taking their power back. This will have to be addressed one way or another if they want the violence to cease. The city will have to face a new normal, a New World.

Afterword 

The framework presented in this post can be applied to any story. It is simple but effective and will ensure that the story world evolves alongside its characters and storyline. As mentioned previously, the story world cannot remain stagnant, it must go through its own journey. The phases pertaining to this model can be used as a blueprint when writing a story of your own. 

The Scene

At this point in the story, Warden Norton needs a few men to resurface the roof of the license-place factory and thanks to Red, his friends are picked for the job. 

I will not add the entire scene here as we are mostly interested in the second part, when Andy Dufresne interrupts Byron Hadley’s tirade on the injustices bestowed upon him after inheriting thirty five thousand dollars, such as the taxes he will have to pay to the government. 

EXT — LICENSE PLATE FACTORY — DAY (1949)

[…]

Red glances over — and is shocked to see Andy standing up, listening to the guards talk.

RED (CONT’D)

Hey, you nuts? Keep your eyes on your pail!

Andy tosses his Padd in the bucket and strolls toward Hadley.

RED (CONT’D)

Andy! Come back! Shit!

SNOOZE

What’s he doing?

FLOYD

Gettin’ himself killed.

RED

God damn it…

HEYWOOD

Just keep spreadin’ tar…

The guards stiffen at Andy’s approach. Youngblood’s hand goes to his holster. The tower guards CLICK-CLACK their rifle bolts. Hadley turns, stupefied to find Andy there.

ANDY

Mr. Hadley. Do you trust your wife?

HADLEY

That’s funny. You’re gonna look funnier suckin’ my dick with no fuckin’ teeth.

ANDY

What I mean is, do you think she’d go behind your back? Try to hamstring you?

HADLEY

That’s it! Step aside, Mert. This fucker’s havin’ hisself an accident.

Hadley grabs Andy’s collar and propels him violently toward the edge of the roof. The cons furiously keep spreading tar.

HEYWOOD

Oh God, he’s gonna do it, he’s gonna throw him off the roof…

SNOOZE

Oh shit, oh fuck, oh Jesus…

ANDY

Because if you do trust her, there’s no reason in the world you can’t keep every cent of that money.

Hadley abruptly jerks Andy to a stop right at the edge. In fact, Andy’s past the edge, beyond his balance, shoetips scraping the roof. The only thing between him and an ugly drop to the concrete is Hadley’s grip on the front of his shirt.

HADLEY

You better start making sense.

ANDY

If you want to keep that money, all of it, just give it to your wife. See, the IRS allows you a one-time-only gift to your spouse. It’s good up to sixty thousand dollars.

HADLEY

Naw, that ain’t right! Tax free?

ANDY

Tax free. IRS can’t touch one cent.

The cons are pausing work, stunned by this business discussion.

HADLEY

You’re the smart banker what shot his wife. Why should I believe a smart banker like you? So’s I can wind up in here with you?

ANDY

It’s perfectly legal. Go ask the IRS, they’ll say the same thing. Actually, I feel silly telling you all this. I’m sure you would have investigated the matter yourself.

HADLEY

Fuckin’-A. I don’t need no smart wife-killin’ banker to show me where the bear shit in the buckwheat.

ANDY

Of course not. But you will need somebody to set up the tax-free gift, and that’ll cost you. A lawyer, for example…

HADLEY

Ambulance-chaaing, highway-robbing cocksuckers!

ANDY

…or come to think of it, I suppose I could set it up for you. That would save you some money. I’ll write down the forms you need, you can pick them up, and I’ll prepare them for your signature… nearly free of charge.

(off Hadley’s look)

I’d only ask three beers apiece for my co-workers, if that seems fair.

TROUT

(guffawing)

Co-workers! Get him! That’s rich, ain’t it? Co-workers…

Hadley freezes him with a look. Andy presses on:

ANDY

I think a [m]an working outdoors feels more like a man if he can have a bottle of suds. That’s only my opinion.

The convicts stand gaping, all pretense of work gone. They look like they’ve been pole-axed. Hadley shoots them a look.

HADLEY

What are you jimmies starin’ at? Back to work, goddamn it!

The Deconstruction

In this first section, Red’s shock at Andy staring at Hadley tells us that he is not a guard you want to mess with. With this clear warning from Red, the tension has skyrocketed and the sense of danger has definitely been set. 

Red glances over — and is shocked to see Andy standing up, listening to the guards talk.

RED (CONT’D)

Hey, you nuts? Keep your eyes on your pail!

Andy not only decides to ignore Red’s advice, he marches toward Hadley who is already infuriated by his inheritance. This is dangerous territory and his friends’ reaction to his bold move confirms it. 

Andy tosses his Padd in the bucket and strolls toward Hadley.

RED (CONT’D)

Andy! Come back! Shit!

SNOOZE

What’s he doing?

FLOYD

Gettin’ himself killed.

RED

God damn it…

HEYWOOD

Just keep spreadin’ tar…

The guards’ reaction escalates the danger. They are ready to shoot if need be. They are not playing around. 

The guards stiffen at Andy’s approach. Youngblood’s hand goes to his holster. The tower guards CLICK-CLACK their rifle bolts. Hadley turns, stupefied to find Andy there.

As if the situation wasn’t tense already, Andy blurts out the worst question he could have asked and follows up with an even worse one. He could have gone straight to the point and mentioned that he could keep every cent of that inheritance, but that’s not how you build danger, is it?

ANDY

Mr. Hadley. Do you trust your wife?

HADLEY

That’s funny. You’re gonna look funnier suckin’ my dick with no fuckin’ teeth.

ANDY

What I mean is, do you think she’d go behind your back? Try to hamstring you?

Without waiting for Andy to clarify, it quickly escalates and the man is about to lose his life. At this point in the scene, the danger is at its peak. 

HADLEY

That’s it! Step aside, Mert. This fucker’s havin’ hisself an accident.

Hadley grabs Andy’s collar and propels him violently toward the edge of the roof. The cons furiously keep spreading tar.

HEYWOOD

Oh God, he’s gonna do it, he’s gonna throw him off the roof…

SNOOZE

Oh shit, oh fuck, oh Jesus…

Then there is a little release to all the build-up, but the danger is still present as Andy’s life is in Hadley’s hands. 

ANDY

Because if you do trust her, there’s no reason in the world you can’t keep every cent of that money.

Hadley abruptly jerks Andy to a stop right at the edge. In fact, Andy’s past the edge, beyond his balance, shoetips scraping the roof. The only thing between him and an ugly drop to the concrete is Hadley’s grip on the front of his shirt.

HADLEY

You better start making sense.

Still in a dire position, the negotiation takes place. Andy is gaining ground. 

ANDY

If you want to keep that money, all of it, just give it to your wife. See, the IRS allows you a one-time-only gift to your spouse. It’s good up to sixty thousand dollars.

HADLEY

Naw, that ain’t right! Tax free?

ANDY

Tax free. IRS can’t touch one cent.

The cons are pausing work, stunned by this business discussion.

HADLEY

You’re the smart banker what shot his wife. Why should I believe a smart banker like you? So’s I can wind up in here with you?

ANDY

It’s perfectly legal. Go ask the IRS, they’ll say the same thing. Actually, I feel silly telling you all this. I’m sure you would have investigated the matter yourself.

HADLEY

Fuckin’-A. I don’t need no smart wife-killin’ banker to show me where the bear shit in the buckwheat.

ANDY

Of course not. But you will need somebody to set up the tax-free gift, and that’ll cost you. A lawyer, for example…

HADLEY

Ambulance-chaaing, highway-robbing cocksuckers!

ANDY

…or come to think of it, I suppose I could set it up for you. That would save you some money. I’ll write down the forms you need, you can pick them up, and I’ll prepare them for your signature… nearly free of charge.

(off Hadley’s look)

I’d only ask three beers apiece for my co-workers, if that seems fair.

TROUT

(guffawing)

Co-workers! Get him! That’s rich, ain’t it? Co-workers…

Hadley freezes him with a look. Andy presses on:

ANDY

I think a [m]an working outdoors feels more like a man if he can have a bottle of suds. That’s only my opinion.

The convicts stand gaping, all pretense of work gone. They look like they’ve been pole-axed. Hadley shoots them a look.

And then we reach the resolution. Andy was convincing. The danger dissipates. 

HADLEY

What are you jimmies starin’ at? Back to work, goddamn it!

The Steps to Building Danger 

If we take the above deconstruction, we can clearly identify a few steps the writer used to build danger and tension in the scene. 

The Setup

The scene starts with the setup. All the right elements are in place to establish a precarious situation. In this case, Byron Hadley is in a state of anger. Not the best time for what is to come. 

The Bold Move

The character is either oblivious to the danger ahead, reckless, or simply cocky. Either way, the character is not thinking straight. Andy openly defies Hadley, first by eavesdropping the conversation and staring at the guards, and then by marching toward the man. 

The Reactions

The character’s actions kindle reactions for the other characters in the scene. Those reactions help us identify the level of danger lying ahead. In this scene, we have the fearful warnings from Red and fellow prisoners to stay put, as well as the guards preparing to shoot. The stakes have heightened, Andy could lose his life. 

The Wrong Thing to Say at the Wrong Time

To escalate the situation even further, the main character says the wrong thing. Here Frank Darabont could have gone directly to: 

ANDY

Because if you do trust her, there’s no reason in the world you can’t keep every cent of that money.

Instead, he masterfully builds up the tension by having Andy ask what can only infuriate Hadley: 

ANDY

Mr. Hadley. Do you trust your wife?

HADLEY

That’s funny. You’re gonna look funnier suckin’ my dick with no fuckin’ teeth.

ANDY

What I mean is, do you think she’d go behind your back? Try to hamstring you?

The Final Escalation

This is where everything goes wrong and we arrive at the peak of danger for our character. Hadley has no patience with Andy’s bold move and takes him to the edge of the roof. The character’s life is hanging by a thread. 

The Control Shift

The character reclaims control of the situation and there is suddenly a possibility that he will escape this alive. Although Andy is still balancing on the edge of the roof, he has Hadley’s attention. 

The Negotiation

The character not only needs to avoid death, but he also wants something. Now that Andy has Hadley’s undivided attention, he can put his negotiation skills to good use. 

The Resolution

This is the final release, the resolution. Our character is out of danger and has won the negotiation. His bold move has paid off. 

Conclusion

In this scene, everything has been masterfully crafted to build the tension, establish danger, and sustain it long enough to keep the viewer on the edge of its seat.