Most aspiring writers think there are only 2 or 3 script beats in the first act…
In his book, My story can beat your storyJeffrey Allan Schechter explains how to strengthen your first act by including the following twelve script beats.
In this article we will analyze in detail what appeared in the 2009 film 500 days of summer. Despite its seemingly avant-garde structure, the film’s first act follows 12 specific script beats (or plot points, if you prefer) perfectly.
If you haven’t read it yet, please go back and read it first Our introductory post How it all works is described in detail in these twelve scripted beats of the first act. There you can find the 12 original script beats described in Schechter’s book, as well as details about the film Identity thieves.
If you’d like a more in-depth analysis of these script beats from Act 1, we recommend ordering a copy of this book as well. You may also want to re-watch the first act 500 days of summer Make the most of glitches. You can also read 500 summer days The script is here.
this 12 script beats 500 days of summer.
plot point 1. We meet either the protagonist/antagonist/victim or the stakes character.
Tom and Summer sat on the bench and smiled at each other. She is wearing a wedding ring. Tom attends a board meeting at work. The voiceover tells how Tom always thought he would never be happy until he met “the one.” Tom watched “The Graduate” when he was a kid.
• Here we see Tom and Summer – protagonist and villain – together. Then we officially meet Tom himself, since he’s the main character, and we get a glimpse of his romantic ideal of “the one.”
plot point 2. We see the protagonist’s flaws in relation to the stakes character.
Summer job. As a child, she combs her hair and a voiceover says she disagrees with this belief. Summer walks into Tom’s workplace and he knows she’s “the one” as soon as he sees her.
• In beat 2, we realize Tom’s flaws Related to the bet character – Summer. That is to say, he is not just a hopeless romantic, he falls in love at first sight with a girl who is not as optimistic about love as he is and does not believe in “the one”.
Plot point 3. We meet our opponents or expand our knowledge of them.
A girl, Rachel, rides a bicycle. She arrives at Tom’s apartment. He was frustrated. She asked him and his friends Mackenzie and Paul to tell them what happened. Montage: Tom and Summer fall in love.
Summer told him she wanted to break up. He left. He said he wanted her back. Mackenzie demonstrates at work. The boss introduced Summer to everyone. Tom was fascinated.
• Voiceover describes Summer as “just another girl” while she was riding her bike. But she’s not… Everything Summer touches turns to gold. When she got on the bus, everyone looked at her.
He said it was fate that Tom met her. What we thought we already knew about Summer is amplified here, as it’s clear that she ended up dating Tom, but broke his heart. Just as we suspected.
Plot point 4. Deflectors can slow down the protagonist. His/her problems are magnified.
At work, Mackenzie tells Tom she’s a bitch. Summer and Tom enter the elevator together. She tells him she loves the Smiths and leaves.
• Flashing back to the first day of their first meeting, we see how Summer disproves Tom’s assumption that she is a cold “bitch.” She’s actually very friendly and has the same cliche indie film music taste as Tom.
Plot point 5. The protagonist is hit hard by the opponent.
At a work party, Tom told Summer that he was studying to become an architect. She read one of his cards. He nearly choked when she said she had been called an “anal girl.”
She leaves and he draws a picture of the building but messes it up. Tom tells Paul that he is officially in love with Summer. Montage: Summer is wonderful.
• Not only does Summer like the same music as Tom, but she’s awesome In every way. Interesting. Smart. Sexy. He’s fallen in love and there’s no turning back now.
Plot point 6. Statements made by the protagonist in relation to the stakes character.
At home, Tom waxes lyrical about summer to Rachel. She says that liking the same things as him doesn’t make her “The One.”
• Tom’s little sister points out the obvious— Shared music taste isn’t everything in a romantic relationship. From this moment we know Tom is in trouble.
Plot point 7. Allies help the protagonist get out of his/her comfort zone.
At the bar, Tom tells Paul and Mackenzie that it’s over. Flashback: Tom and Summer in the elevator. She said her weekend was “good.” Tom said she wasn’t interested. Summer asks Tom if he needs anything from the supply room, and he replies awkwardly.
He plays Smiths songs loudly in his office. She walked straight over without looking. At the bar, Tom says he won’t ask her out. Mackenzie invites Tom to karaoke, but Tom doesn’t want to go until he learns Summer is going.
• Classic script reversal, Tom is frustrated again When he found it difficult to get Summer’s attention. He’s on the verge of giving up when Mackenzie tells him about her trip to the karaoke bar and convinces him to try again.
Episode 8. The protagonist seems ready to move toward their goal and/or toward the stakes character, but just can’t.
Tom walks into the karaoke bar and says hello to Summer. She stood up and sang a lovely song.
• Tom is here again unable to move When they meet, she leaves to sing.
Plot point 9. The antagonist/deflector attacks/shocks the protagonist. Dramatic questions are raised when the protagonist realizes what the film is about.
Later, Tom sat at a table with her and Mackenzie. She said she didn’t like being anyone’s girlfriend. Tom asks her what would happen if she fell in love. They argue endlessly about love, with similarities and differences.
• In this pivotal scene, Tom is shocked by Summer’s revelation: She does not believe in the One. Here, Tom finally realizes what the audience already knew – the woman he loves doesn’t believe in true love and doesn’t want a serious relationship. This is the central conflict between Tom and Summer and the entire movie.
plot point 10. The depth of emotion between the protagonists and stakes characters becomes apparent.
Later, Tom sang an elf song. At the bar they discuss TV shows knight. Mackenzie sings terrible.
• Despite the shocking previous episode, Tom is attracted to this girl. He couldn’t help himself. Especially when they clearly have a lot in common and get along well.
plot point 11. The opponent or deflector threatens to take the stakes character away from the hero.
Outside, they put Mackenzie into a cab and he drunkenly blurts out that Tom likes summer. Tom and Summer agree to be friends, and she leaves.
• Despite their obvious chemistry, it looks like Summer demoted Tom to “Friend Zone”.
plot point 12. The protagonist decides that he/she must take action to save the stakes character.
In the photocopy room at work, Summer shamelessly walks up to Tom and kisses him passionately. She left.
• The turning point is that it is the opponent, not the protagonist, who decides to save the people in danger.–relation. Summer’s kiss ignites the fire between her and Tom, marking the end of the first act.
Script Beat: Keep going.
Those are the 12 basic script beats you should include in the first act of your script. now is your time Apply them to your movie. Using these is a great way to ensure you hit all the right emotional script beats and successfully draw the audience into your protagonist’s world.
To learn how to use sequences to really build a script, check out our script books:
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Does your first act match the beats of the first act script? Did you introduce the protagonist and antagonist correctly? Are you creating the protagonist’s problems and the central conflict of the story? absolutely clear To the audience?
Let us know what you think about using these 12 essential script beats to protect your first act in the comments section below.
Like this article? Read more about screenplay beats and how to master screenplay structure…
How to Master a Non-Linear Story with a 500 Days of Summer Script
12 Secret Script Beats You Should Include in Your Screenplay’s First Act
How to Write a Screenplay: Secrets to Beyond the Ordinary
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