When a writer has an idea for a television show, he or she writes a screenplay, or script. The writer then sends that script to various television studios. If a studio is interested, it may choose to create a pilot and show it to a small group or views—just to gauge an audience's reaction. A pilot is a standalone episode designed to sell the show to networks and learn whether or not the show will be successful.
Like other forms of drama, sitcom screenplays have their own unique structure. For instance, each episode begins with a very brief teaser or cold open. This scene introduces the characters and setting for the episode and hints at the conflict and action to come.
In this lesson, you'll read the screenplay for a television pilot titled The Juice. Consider how a screenplay compares to other forms of drama you have read this year.
Every scene begins with a scene heading, which gives the location and time of the scene. Included in the heading may be abbreviations such as int. (interior) or ext. (exterior) which help provide details about the setting.
ACT ONE
COLD OPEN:
INT. THE JUICEBAR - DAY
FRANK (34) and GARY (33) stand behind the counter, leaning on it. TODD SCHUMAKER (mid 20s) sits at the counter on a stool. His hair is as wiry as his glasses. A juice smoothie sits in front of Todd. Frank, tall and lanky, and Gary, short and stocky, look Todd over intensely, silently.
Question
What does the scene heading tell you about the time and location of this scene?
A short general description of the characters follows the scene heading. This feature helps the producers of the show cast the characters.
ACT ONE
COLD OPEN:
INT. THE JUICEBAR - DAY
FRANK (34) and GARY (33) stand behind the counter, leaning on it. TODD SCHUMAKER (mid 20s) sits at the counter on a stool. His hair is as wiry as his glasses. A juice smoothie sits in front of Todd. Frank, tall and lanky, and Gary, short and stocky, look Todd over intensely, silently.
Question
What do you learn about the pilot's characters from this description?
The dialogue is centered in the middle of the page under a character's name. The majority of the screenplay is dialogue since a television show is designed to be performed. Sometimes OS or VO will be included to show that the character is offscreen (OS) or that the dialogue is a voice-over (VO).
FRANK (34) and GARY (33) stand behind the counter, leaning on it. TODD SCHUMAKER (mid 20s) sits at the counter on a stool. His hair is as wiry as his glasses. A juice smoothie sits in front of Todd. Frank, tall and lanky, and Gary, short and stocky, look Todd over intensely, silently.
FRANK
So...
GARY
So...
Todd looks nervous, shifts positions.
FRANK
How did you hear about us? Was it from Ron Gregors?
TODD
Uh, no?
GARY
Wrong answer. There is no Ron Gregors. Try again.
Todd looks toward the door, confused and nervous.
TODD
A few guys at the gym were talking about you. Said you could help.
Gary gives Frank a knowing look.
FRANK
He's a gym guy.
GARY
A gym guy.
They both take notes.
The script describes character actions—how the characters should act—either in parentheses or in the stage directions. These directions give the actors hints about how to read the dialogue and what actions to perform.
FRANK (34) and GARY (33) stand behind the counter, leaning on it. TODD SCHUMAKER (mid 20s) sits at the counter on a stool. His hair is as wiry as his glasses. A juice smoothie sits in front of Todd. Frank, tall and lanky, and Gary, short and stocky, look Todd over intensely, silently.
FRANK
So...
GARY
So...
Todd looks nervous, shifts positions.
FRANK
How did you hear about us? Was it from Ron Gregors?
TODD
Uh, no?
GARY
Wrong answer. There is no Ron Gregors. Try again.
Todd looks toward the door, confused and nervous.
TODD
A few guys at the gym were talking about you. Said you could help.
Gary gives Frank a knowing look.
FRANK
He's a gym guy.
GARY
A gym guy.
They both take notes.
Question
What do you learn about the interaction from the stage directions?
Both screenplays and stage plays rely on dialogue to tell the story and move the action along. There is very little narrative in either form—the writer relies on dialogue and stage directions to tell about the characters and setting.
