2. Opening Image  The first impression of what a movie is— its tone, its mood, the type and scope of the film  Marlin’s family destroyed, leaving only Nemo. Marlin couldn’t protect his family

3. Theme Stated  Somewhere in the first five minutes  Someone (usually not the main character) will pose a question or make a statement (usually to the main character) that is the theme of the movie.  It’s not obvious; it will be conversational  Marlin: “I won’t let anything happen to you.”  Marlin: “You think you can do these things, but you can’t.”

4. Set-Up  First 10 pages of the script  Make-or-break section where you have to grab the reader or risk losing his/her interest  Plant character behavior and show how and why the hero will need to change in order to win  Where you set up the film’s thesis—it’s where we see the world before the adventure starts  Marlin is overprotective  Nemo is pushing for more freedom

5. Catalyst  In the set-up you, the screenwriter, have told us what the world is like and now in the catalyst moment you knock it all down. Boom!  The first moment when something happens.  Nemo is taken by divers.

6. Debate  Section between pages 12 and 25 when the hero considers what he/she must do  Asks a question—can he/she do it?  Ends with decisive action that leads into act II  Where does Marlin look for Nemo?  How can he find Nemo?

7. Break Into Two  Page 25  Definite, decisive break from thesis (life as it was) to what is to come  Move from thesis to antithesis  Hero must make the decision to move into act II  Marlin finds the address to Australia  They have a goal—a destination.

8. B Story  B story begins on page 30  In most screenplays it is “the love story”  The story that carries the film’s theme  B story gives us a breather  Often introduces new characters  Nemo and the fish in the fishtank

9. Fun and Games  Pages 30-55  The promise of the premise  The core and essence of the movie’s poster  Why did I come to see this movie?  We take a break from the stakes of the story and see what the idea is about  Marlin and Dory’s adventures on the road  Nemo joining the tank tribe

10. Midpoint  Page 55  Either an “up” where the hero seemingly peaks (though it is a false peak) or a “down” when the world collapses all around the hero (though it is a false collapse)  The stakes are raised at the midpoint  The midpoint has a matching beat on page 75 called All is Lost—these two points are a set because they are the inverse of each other. The rule is: It’s never as good as it seems to be at the midpoint and it’s never as bad as it seems at the All is Lost point.  Marlin’s with the Turtles. They’ve found the current and all is well.  Nemo stops the filter. He’s going to escape with the other fish.

11. Bad Guys Close In  From pages 55-75—the midpoint to the All is Lost, is the toughest part of the screenplay  All seems fine, but even though the bad guys are temporarily defeated, we’re not done yet  It’s the point where internal dissent, doubt, and jealousy begin to disintegrate the hero’s team  The forces aligned against the hero, internal and external, tighten their grip  Marlin swallowed by the whale  Tank is cleaned and the little girl comes to get Nemo

12. All is Lost  Occurs on page 75  Opposite of the midpoint in terms of an “up” or “down”  It’s also the point of the script most often labeled false defeat, for even though all looks black, it’s just temporary. But it seems like a total defeat. All aspects of the hero’s life are in shambles. Wreckage abounds. No hope.  Whiff of death  Marlin thinks Nemo is dead

13. Dark Night of the Soul  Pages 75-85  The point of darkness right before dawn  It is the point just before the hero reaches way, deep down and pulls out the last, best idea that will save himself and everyone around him  We must be beaten and know it to get the lesson  Marlin leaves Dory  Nemo’s about to go in the garbage can…

14. Break into Three  Page 85  The answer is found  Both in the external story (the A story) and the internal story (the B story), which now meet and intertwine, the hero has prevailed, passed every test, and dug deep to find the solution. Now all he has to do is apply it.  World of synthesis is at hand  Nemo finds Marlin— with Dory’s help

15. Finale  Pages 85-110  Wrap it up—where lessons learned are applied  A story and B story end in triumph for our hero  It’s the turning over of the old world and a creation of a new world order—all thanks to the hero, who leads the way based on what he experienced in the upside- down, antithetical world of Act Two.  The chief source of the problem must be dispatched completely.  Dory stuck in the net  Nemo can save her  Marlin has to decide whether to let Nemo go—to trust him.  Marlin trusts Nemo, and Nemo saves the day.

16. Final Image  Final image in a movie is the opposite of the opening image  It’s proof that change has occurred and that it’s real  Marlin finds Nemo  Marlin sends Nemo off to explore  Father/Son relationship mended