The third workshop with Lilie Ferrari
First of all we were given the final biographies for the characters, since we were not sure about who is smoking and who is not,
We were also given the final stories that will be shown in each episode.
EPISODE 1
EPISODE 2
EPISODE 3
We have added the colours to each characters to check if there is not too much of one character in one paragraph.
EPISODE 4
EPISODE 5
The same day we were meant to write a scene breakdown for each episode. We were told which episode we have to write and some of us were put into group of two.
I have worked with my friend on the 3rd episode. We used an "EastEnders" EPISODE 714 scene breakdown written by Tony McHale as a guild line for our structure.
⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼
By
Tony McHale
SCENE: 714/1. INT. THE FOWLERS DAY (0815)
Boxing Day. Aftermath of Christmas. Pete, in hangover mode again, asleep in an armchair. In his hand he still holds Martin’s Christmas present – Game Boy. Martin comes down the stairs and carefully takes it out of his hand.
SCENE: 714/2. INT. RACHEL’S DOWNSTAIRS DAY (0820)
Vicki by herself playing with the doll Pauline bought her from Grant. It is talking in Japanese.
SCENE: 714/3. EXT. THE SQUARE. DAY (0830)
Nobody but nobody about. Curtains closed…. A Square in repose… and then. Suddenly the voice of Sharon can be heard resounding from the Vic. “You’ve done what?”
SCENE: 714/4. INT. THE VIC UPSTAIRS. DAY (0830)
Upstairs in the Vic an almighty row has broken out. Gradually we learn that Grant has booked this day to marry Sharon. Eleven o’clock that morning and this is the first she’s heard of it. Sharon is not best pleased. She’s refusing to go for a start. Phil keeping out of the way… goes and answers the door.
SCENE: 714/5. INT. VIC DOWNSTAIRS DAY. (0831)
Phil lets in the hairdresser Grant has booked for Sharon.
SCENE: 714/6 INT. VIC UPSTAIRS DAY (0831)
Sharon seems impossible to pacify. Phil poking his head round the door saying her hairdresser’s here doesn’t help either. The whole thing has very quickly reached an impasse. Phil tells Grant there’s another problem, Ian was meant to be here first thing with the food and he hasn’t shown. Phil, despite Sharon saying she’s not getting married is despatched to try and find Ian.
SCENE: 714/7. EXT. THE SQUARE DAY. (0835)
Phil tries to get a response from Ian’s flat, but only succeeds in getting a response from Kathy. Phil tells her about Grant and Sharon’s impending marriage. Kathy in turn tells Phil she spent most of Christmas Day looking for Ian. He eventually rang and told her not to worry.
SCENE: 714/8. INT. VIC UPSTAIRS. DAY (0840)
Grant tries talking to Sharon, and even though the heat of the temper’s gone, she still feels cheated and insulted. This isn’t how she envisaged the big day. What about her family, what about her friends? No – she won’t go through with it.
SCENE: 714/9. EXT. MEAL MACHINE. DAY (0845)
Phil is knocking on the door of the Meal Machine, but is getting no reply.
SCENE: 714/10. INT. IAN’S OFFICE DAY (0845)
Ian is sat by himself, his arm bandaged, the remnants of the fire still very evident.
SCENE: 714/11 INT. VIC UPSTAIRS. DAY (0850)
The hairdresser waits patiently. Grant has virtually given up, and in his effort to make a dignified retreat, a vulnerable quality appears. It seems it was his insecurity, and his belief that Sharon would not really want to marry him in the first place that made him go about it in this covert manner. Sharon can’t help but warm to this, and when Phil returns to say Ian has done a disappearing act, somehow the situation has become so ludicrous that she relents. In fact she starts to think the whole idea rather romantic. There is one stipulation to her going through with this, though, and that is she wants Michelle there. No Michelle – no marriage. Phil, the messenger, sets off again as the hairdresser starts on Sharon’s hair.
SCENE: 714/12 INT. RACHEL’S DOWNSTAIRS. DAY (0855)
Vicki still playing with her Japanese speaking doll. Michelle answers the door to Phil, who tells her about the forthcoming wedding and the fact that she is now witness/bridesmaid.
SCENE: 714/13. INT. THE FOWLERS. DAY (10.00)
Still no telly, much to Arthur’s chagrin, and we hear how they didn’t manage without it on Christmas Day. Pete is determined to get another for the rest of the holiday period. Martin finds the present Arthur bought Pete – ie The Joy of Sex, and unwraps it. Thanks to Mark, neither Pauline or Pete are aware of this. Arthur is now very pleased he never gave the present to Pete, because Pete has bought him a pocket watch for Christmas, and Pauline a wrist watch. Pete and Arthur vie to play with Martin’s Christmas present, and out of all this melee Pete takes Martin and goes looking for a replacement television. Suddenly Mark knows this is the opportunity to tell his parents he’s HIV. He asks them to sit down.
SCENE: 714/14 INT. VIC UPSTAIRS DAY (1002)
Things have gone on apace now. Everyone entering into the spirit of the wedding. Phil, the messenger, is dispatched to see if Hattie knows anything about the food, as well as to see about Clyde coming in at lunchtime, along with Pat.
SCENE: 714/15. INT. THE FOWLERS DAY (1005)
Mark has not got both of his parents’ attention. There is still a residue of the upbeat merriment from the early scene, but it is slowly disappearing as Pauline begins to worry that Mark has something important to tell them. The moment is lost though, when Michelle turns up with news of the imminent wedding, and could someone look after Vicki for her. Mark assures his parents his news can wait.
SCENE: 714/16 EXT. THE SQUARE (1010)
Phil is talking to Hattie asking her if she knows anything about the food. She doesn’t but she’ll get hold of Steve, see if he knows anything. Etta appears on the doorstep wanting to know what’s going on. As she does she notices the lonely figure of Dot in the square looking at the Christmas tree.
SCENE: 714/17. INT B&B KITCHEN DAY (1012)
A hint that the romance of Christmas Eve has been forgotten, Frank seems to have settled back into his old ways. Phil arrives with the surprise of the wedding.
SCENE: 714/18 INT. THE FOWLERS DAY (1030)
Michelle goes over to the pub. Pauline has volunteered to look after the kids while Arthur, for Sharon’s sake, goes to the wedding. And where the hell is Pete? He’ll want to go for Den’s Sake. Pete arrives back with Martin, but no telly. Kathy, also wanting to go to the registry office for Angie’s sake, turns up and says she still hasn’t seen Ian, but he’s meant to be doing the catering.
SCENE: 714/19. INT. VIC UPSTAIRS DAY (1045)
Excitement or what! Michelle is refusing to let Grant see Sharon in her new outfit – claims it’s unlucky. Phil urging Grant to come along, their car’s waiting.
SCENE: 714/20. EXT. THE SQUARE DAY (1046)
Ricky and Sam returning from Peggy’s are surprised, nay even shocked, to see Grant and Phil, done up to the nines, clambering into a taxi. Grant says they better let Peggy know he’s getting married. They still haven’t sorted the food, cries the best man. Fuck the food, says Grant, we’ll give ‘em Walkers crisps if we have to.
SCENE: 714/21 INT. VIC UPSTAIRS DAY (1050)
Moment between Sharon and Michelle. No words of doubt or warning from Michelle, just words of encouragement and support. Just what Sharon wants to hear.
SCENE: 714/22 EXT. THE SQUARE DAY (1055)
Sharon and Michelle get into their car, watched by some of the regulars. Ethel arrives at Dot’s to go out for a Boxing Day drink.
SCENE: 714/23 INT. REGISTRY OFFICE DAY (1100)
Grant and Phil waiting, plus a few others. Arthur, Pete, Kathy, Frank, late arrivals Ricky and Sam, hardly dressed for it, and with news Peggy is not a happy bunny. Grant has a moment’s doubt that Sharon won’t show.
SCENE: 714/24 EXT. MEAL MACHINE DAY (1100)
Hattie and Steve with the aid of a couple of supermarket trolleys are taking the food round to the Vic. Steve knew where and what it was.
SCENE: 714/25 INT. INA’S OFFICE DAY (1100)
Ian can hear the activity. He also hears Hattie say she doesn’t care where Ian is. She just wishes he’d have been here to do this as he said he would.
SCENE: 714/26 INT. REGISTRY OFFICE DAY (1102)
Sharon arrives.
SCENE: 714/27 INT. VIC DOWNSTAIRS DAY (1105)
Pat is there while Steve lays out the food. Ian walks in as if nothing is wrong. Wants to know where Hattie is. Steve tells him she’s gone home to get some banquet roll, they were out at the Meal Machine. Ian tells Steve he wants to see her at six o’clock in the Meal Machine, a lot to discuss. He offers no explanation why he didn’t do the food for the Vic as agreed, and when asked about his bandaged arm, he dismisses it.
SCENE: 714/28 INT. REGISTRY OFFICE DAY (1110)
The “I do” bit of the ceremony, and the sealing of the contract with a kiss.
SCENE: 714/29 INT. THE FOWLERS DAY (1130)
Ian comes looking for Kathy but gets a ticking off from Pauline about where he’s been. Ian tells her about ‘the accident’ but dismisses it as nothing much. Pauline’ll tell Kathy. She arranges with Mark to look after the kids while she goes for a drink at the Vic.
SCENE: 714/30 EXT. THE SQUARE DAY (1145)
The happy couple return to the Square and a reception from the Square’s regs.
SCENE: 714/31 INT. VIC DOWNSTAIRS DAY (1146)
All pile into the pub. Food laid out, champagne corks pop. Good time to be had by all. Pauline comes in and tells Kathy about Ian. Kathy nips out to see him.
SCENE: 714/32 INT. IAN’S OFFICE DAY (1155)
Kathy has a heart to heart with Ian. What happened? What’s he playing at? He claims he doesn’t know what she’s talking about. There was an accident, that’s all. He drinks, but claims it is to ease his pain. He tells her not to mention it to Pete. Kathy brings up the subject of Steven’s birthday. He tells her it doesn’t bother him. Kathy leaves to go back to the reception at the Vic, Ian takes out a birthday card which says “Two today”, screws it up and throws it into the ashes in the waste paper bin.
SCENE: 714/33 INT. VIC DOWNSTAIRS DAY (1300)
Peggy and Kevin arrive. Not pleased, not only about not being invited to the wedding, but still smarting from the live turkey Grant brought for Christmas dinner. Speech time. Time to reflect in a lot of cases about what happened Christmas Day. Etta and Jules arrive to toast the happy couple – (Celestine depending on cast restrictions). Ethel not quite sure what is going on.
SCENE: 714/34 INT. THE FOWLERS DAY (1400)
Mark waits… the kids play upstairs.
SCENE: 714/35 INT. VIC DOWNSTAIRS DAY (1500)
It is turning onto a right old knees up. Etta takes the opportunity to talk with Dot…holds out a Christian hand of friendship. Jules is not that forgiving. Ethel still not sure what’s going on. Pete does a deal on a telly.
SCENE: 714/36 INT. RACHEL’S DOWNSTAIRS DAY (1600)
Rachel returns to an empty house.
SCENE: 714/37 INT. VIC UPSTAIRS NIGHT (1615)
A moment for Grant and Sharon away from the crowds. Talk of their future together….a perfect marriage. Just a hint Sharon feels cheated out of the most important day of her life. Grant wants to consummate the marriage now – Sharon sees no reason why they shouldn’t.
SCENE:714/38 INT. THE FOWLERS NIGHT (1630)
Mark sits Arthur and Pauline down, and tells them he’s HIV+. He tries to reassure them about his future, but they are reeling.
SCENE: 714/39 INT. VIC DOWNSTAIRS NIGHT (1635)
Pete’s telly arrives in the pub. Ian looks in, wondering if Hattie’s there. He tells Clyde it doesn’t matter, he’s seeing her at six. Grant and Sharon return, and the old Joanna kicks into action.
SCENE: 714/40 INT. THE FOWLERS NIGHT (1640)
Pauline and Arthur try to take in what Mark has told them. Questions are asked, and slowly the relief and confidence Mark felt when he first told them is eroded away. Pauline breaks down totally. Arthur is too shocked himself to help her. Pete arrives back with the telly.
SCENE: 714/ INT. VIC DOWNSTAIRS NIGHT (1730)
Singalong time in the Vic. Even Peggy starts to relax.
SCENE: 714/42 INT. RACHEL’S DOWNSTAIRS NIGHT (1745)
Mark comes in and is reassured and comforted by Rachel. (Possibly totally mute scene.)
SCENE: 714/43 INT. THE FOWLERS NIGHT (1800)
Pauline and Arthur in shock. Pete not finding….whatever it is on the telly at all funny.
SCENE: 714/44 INT. IAN’S OFFICE NIGHT (1820)
Ian looks at his watch. No sign of Hattie. Not pleased.
SCENE: 714/45 INT. VIC DOWNSTAIRS NIGHT (1830)
The party continues.
SCENE: 714/46 EXT. THE SQUARE NIGHT (1845)
Music from the pub. Steve and Hattie return. Ian is waiting for them. Where was she? She got held up. She was just on her way to see him. Steve points out he’s hardly the one to start picking holes, what about this morning and the food for the Vic..?! Ian says he’s the boss and he’ll do what he wants. Steve still trying to be rational argues the point, and Ian ends up firing him. Hattie protests and Ian ends up firing her as well. Defiantly Steve and Hattie walk off. Ian is left under the Christmas tree which says “Happy Christmas Albert Square”, and with the music exuding from the Vic.
⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼
The first draft of the scene breakdown for the 3rd episode:
“the Bereavement club” EPISODE 3 Scene Breakdown
By
John Cox and Ania Olesinska
Scene: 3/1. (1930)
Chronological order
1.
Joel is inside the room when Melinda arrives first and walks up to Joel
Melinda says “there was just something I wanted to talk to you about”
Jess walks in and walks towards the refreshment table
Melinda says “it can wait until after though”
Joel says ok
2.
Melinda then walks over to see jess in the refreshment corner
Melinda thanks jess for checking on her last week when she was throwing up
Jess says “Joel asked me to”
Melinda puts her head down, embarrassed by her cold reply and notices a mark on jess’ forearm
Melinda asks if she’s ok
Jess says that her cat scratched her
Melinda looks unconvinced
3.
Harvey walks in and walks straight to his chair and puts his bag down
Harvey looks toward jess, who seems to ignore him
Joel goes to take a seat when he sees Harvey has arrived
Everyone takes their seat as Joel calls a start to the session
4.
Joel tells the group that today he would like to begin with a discussion about music
Joel asks Melinda if her grandfather had a particular music taste
Melinda tells the group that her grandfather listened to Elvis Presley a lot when she was young, Harvey finds her pronunciation funny and chuckles
Melinda takes offense and Harvey clears that he found her pronunciation wrong
Melinda finds this funny too after being told the correct way
5.
Harvey is leaving
Jess walks to the smoking area but when she opens the door and sees Harvey she attempts to go back indoors but Harvey asks her not to go.
Harvey apologises for making things awkward when he asked her out for coffee last week
Jess says its ok, followed by 5 seconds of awkward silence
Harvey asks jess if she has listened to the voicemail yet
Jess says that she did not and they don’t say anything for another 5 seconds.
Harvey offers to show her a video of his uncle which she agrees to.
They both laugh and smile.
6.
Melinda approaches Joel.
He asked her what she wanted to talk about and she asks him if he would have coffee with her.
Joel explains to her that as her counsellor, he cannot meet her in that manner.
Melinda leaves.
Joel calls Helen the supervisor and tells her about Melinda and that he is worried about rosemary and that he wants to give up, however he doesn’t want to leave them.
Harvey decides the next 2 sessions will be his last
The second draft of the scene breakdown for the 3rd episode:
‘‘the Bereavement club’’ EPISODE 3 Scene Breakdown
By
John Cox and Ania Olesinska
Scene: 3/1. INT CC ROOM night (2000)
We are coming in at break
Joel stops the session and announces the break. Noticing that Jessica was not looking her best, Joel asks her to talk to him in the refreshment corner. Jess reluctantly follows Joel.
Scene: 3/2. INT. Refreshment Corner night (2005)
Joel can see that she does not want to talk to him 1:1. He asks he if she is alright. He says that he saw the cuts on her forearm and he does it carefully, worried that she will shut down and will not want to talk to him about it in the future.
Jess mumbles that it is nothing. She does not want to talk about it. She is saved from saying anything else, because Melinda comes along and asks Joel for a word.
Joel feels uncomfortable, knowing that Melinda is attracted to him and that is why she wants to talk to him. He feels like he should not ignore her, however he was already talking to Jess and he did not want to ignore her either.
Joel asks Melinda to talk to him after the session, because now he needs to talk with Jess. That annoys Melinda, who gets jealous and turns to Jess saying’’ thanks for last week by the way’’ sarcastically, remembering that Jess did not care about her physical state last week. (LAST EPISODE WHEN MELINDA WAS THROWING UP, JESS WAS UNSYMPATHETIC)
Scene: 3/3. INT. CC ROOM night (2010)
Melinda walks off frustrated.
At the same time Harvey keeps peeking at Jess, worried about her, knowing that if she talks to Joel 1:1 something has to be wrong. He wants to talk to her about last week and apologise for making things awkward between them.
Scene: 3.4. INT. CC ROOM (2015)
The break comes to an end.
Joel asks everyone to take their seats and tries to make them share their thoughts, emotions and memories.
He suggests talking about the funny memories of their loved ones, hoping that it will open them up a little bit.
Melinda is the first one to talk and Joel notices that she is being overenthusiastic with answering his questions, but he ignores that and he lets her talk, hoping that her behaviour may help the others with opening up.
She says about her grandfather liking Elvis Presley music, however she miss-produces his surname (Priestley). Harvey picks up on it and tries to make a joke by singing one of Elvis’ songs, hoping to make Jess laugh, however it does not. Moreover, it hurts Melinda, who says ‘‘that’s not funny’’.
Harvey, wanting the time to pass quicker, Zones out.
The groups voices fade out
Scene: 3/5 INT. CC ROOM (2028)
The groups voices fade in
Harvey stops zoning out and notices that it is almost the end of the session. He feels relieved and he does not wait for the others. He wants to go outside as soon as possible.
Joel calls an end to the meeting and Harvey rushes outside to vape. It relieves him.
Melinda leaves shortly after Harvey for the toilet, planning to go back later to talk to Joel 1:1. She does it because she is nervous about asking him out.
Scene: 3/6 EXT. SMOKING AREA (2035)
While outside he sees Jess leaving, he bravely calls after her. She begins to walk faster, he does not give up and starts apologising to her. It makes her stop and listen to him.
Harvey walks closer to Jess, hoping that she will want to talk to him. He keeps apologising and explaining his behaviour, which Jess excepts and says that it is alright and they should just forget about it.
An awkward silence follows for a few seconds. Harvey hesitantly breaks the silence asking jess if she has listened to the voicemail from Lily (her dead friend). She tells him she is not ready to listen to it yet.
Harvey, hoping to encourage her, tells her about a video that he has on his phone of his uncle. He tells her that it was hard for him to watch it at first, but now it helps him to process the loss. He suggests to watch the video together with Jess, explaining to her that it is actually really funny.
Jess agrees. Harvey and Jess watch the video of his uncle trying to sing. Jess comments on his awful singing, this makes them both laugh.
SCENE 3/7 INT. CC ROOM (2035)
(HAPPENS AT THE SIME TIME AS JESS AND HARVEY’S CONVERSATION)
Joel is on the phone to Helen, telling her about his session and how Melinda’s transference is effecting him (it is obvious that she is fixating on him) and that he doesn’t think he will continue with voluntary counselling after the six sessions have ended, even though he has been asked to do another set after the current ones.
Melinda enters the room and Joel, hangs up. Melinda asks who Joel was talking to (suspecting that he was talking to his girlfriend). Joel tells Melinda he was talking to his supervisor, Helen. Melinda asks how old she is and Joel says that Helen is a grandmother, this calms Melinda’s jealousy.
Melinda, gets straight to the point and asks Joel out for coffee. Joel explains to her that as her counsellor, he is unable to see her in that way. Trying to remain professional he asks if there is anything she would like to discuss with him. Disappointed, Melinda says no and walks out embarrassed, leaving Joel even more lost.
Our first draft was not something that Lilie found particularly good. She discussed with us the changes and gave us the deadline for the next day at 12pm to send the second draft to her.
Lilie presented to us a format which we should use every time when starting a new scene.
We were also given the final stories that will be shown in each episode.
EPISODE 1
EPISODE 2
EPISODE 3
We have added the colours to each characters to check if there is not too much of one character in one paragraph.
EPISODE 4
EPISODE 5
The same day we were meant to write a scene breakdown for each episode. We were told which episode we have to write and some of us were put into group of two.
I have worked with my friend on the 3rd episode. We used an "EastEnders" EPISODE 714 scene breakdown written by Tony McHale as a guild line for our structure.
⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼
Faxed to EastEnders Script department August 18th
“EastEnders” EPISODE 714 Scene BreakdownBy
Tony McHale
SCENE: 714/1. INT. THE FOWLERS DAY (0815)
Boxing Day. Aftermath of Christmas. Pete, in hangover mode again, asleep in an armchair. In his hand he still holds Martin’s Christmas present – Game Boy. Martin comes down the stairs and carefully takes it out of his hand.
SCENE: 714/2. INT. RACHEL’S DOWNSTAIRS DAY (0820)
Vicki by herself playing with the doll Pauline bought her from Grant. It is talking in Japanese.
SCENE: 714/3. EXT. THE SQUARE. DAY (0830)
Nobody but nobody about. Curtains closed…. A Square in repose… and then. Suddenly the voice of Sharon can be heard resounding from the Vic. “You’ve done what?”
SCENE: 714/4. INT. THE VIC UPSTAIRS. DAY (0830)
Upstairs in the Vic an almighty row has broken out. Gradually we learn that Grant has booked this day to marry Sharon. Eleven o’clock that morning and this is the first she’s heard of it. Sharon is not best pleased. She’s refusing to go for a start. Phil keeping out of the way… goes and answers the door.
SCENE: 714/5. INT. VIC DOWNSTAIRS DAY. (0831)
Phil lets in the hairdresser Grant has booked for Sharon.
SCENE: 714/6 INT. VIC UPSTAIRS DAY (0831)
Sharon seems impossible to pacify. Phil poking his head round the door saying her hairdresser’s here doesn’t help either. The whole thing has very quickly reached an impasse. Phil tells Grant there’s another problem, Ian was meant to be here first thing with the food and he hasn’t shown. Phil, despite Sharon saying she’s not getting married is despatched to try and find Ian.
SCENE: 714/7. EXT. THE SQUARE DAY. (0835)
Phil tries to get a response from Ian’s flat, but only succeeds in getting a response from Kathy. Phil tells her about Grant and Sharon’s impending marriage. Kathy in turn tells Phil she spent most of Christmas Day looking for Ian. He eventually rang and told her not to worry.
SCENE: 714/8. INT. VIC UPSTAIRS. DAY (0840)
Grant tries talking to Sharon, and even though the heat of the temper’s gone, she still feels cheated and insulted. This isn’t how she envisaged the big day. What about her family, what about her friends? No – she won’t go through with it.
SCENE: 714/9. EXT. MEAL MACHINE. DAY (0845)
Phil is knocking on the door of the Meal Machine, but is getting no reply.
SCENE: 714/10. INT. IAN’S OFFICE DAY (0845)
Ian is sat by himself, his arm bandaged, the remnants of the fire still very evident.
SCENE: 714/11 INT. VIC UPSTAIRS. DAY (0850)
The hairdresser waits patiently. Grant has virtually given up, and in his effort to make a dignified retreat, a vulnerable quality appears. It seems it was his insecurity, and his belief that Sharon would not really want to marry him in the first place that made him go about it in this covert manner. Sharon can’t help but warm to this, and when Phil returns to say Ian has done a disappearing act, somehow the situation has become so ludicrous that she relents. In fact she starts to think the whole idea rather romantic. There is one stipulation to her going through with this, though, and that is she wants Michelle there. No Michelle – no marriage. Phil, the messenger, sets off again as the hairdresser starts on Sharon’s hair.
SCENE: 714/12 INT. RACHEL’S DOWNSTAIRS. DAY (0855)
Vicki still playing with her Japanese speaking doll. Michelle answers the door to Phil, who tells her about the forthcoming wedding and the fact that she is now witness/bridesmaid.
SCENE: 714/13. INT. THE FOWLERS. DAY (10.00)
Still no telly, much to Arthur’s chagrin, and we hear how they didn’t manage without it on Christmas Day. Pete is determined to get another for the rest of the holiday period. Martin finds the present Arthur bought Pete – ie The Joy of Sex, and unwraps it. Thanks to Mark, neither Pauline or Pete are aware of this. Arthur is now very pleased he never gave the present to Pete, because Pete has bought him a pocket watch for Christmas, and Pauline a wrist watch. Pete and Arthur vie to play with Martin’s Christmas present, and out of all this melee Pete takes Martin and goes looking for a replacement television. Suddenly Mark knows this is the opportunity to tell his parents he’s HIV. He asks them to sit down.
SCENE: 714/14 INT. VIC UPSTAIRS DAY (1002)
Things have gone on apace now. Everyone entering into the spirit of the wedding. Phil, the messenger, is dispatched to see if Hattie knows anything about the food, as well as to see about Clyde coming in at lunchtime, along with Pat.
SCENE: 714/15. INT. THE FOWLERS DAY (1005)
Mark has not got both of his parents’ attention. There is still a residue of the upbeat merriment from the early scene, but it is slowly disappearing as Pauline begins to worry that Mark has something important to tell them. The moment is lost though, when Michelle turns up with news of the imminent wedding, and could someone look after Vicki for her. Mark assures his parents his news can wait.
SCENE: 714/16 EXT. THE SQUARE (1010)
Phil is talking to Hattie asking her if she knows anything about the food. She doesn’t but she’ll get hold of Steve, see if he knows anything. Etta appears on the doorstep wanting to know what’s going on. As she does she notices the lonely figure of Dot in the square looking at the Christmas tree.
SCENE: 714/17. INT B&B KITCHEN DAY (1012)
A hint that the romance of Christmas Eve has been forgotten, Frank seems to have settled back into his old ways. Phil arrives with the surprise of the wedding.
SCENE: 714/18 INT. THE FOWLERS DAY (1030)
Michelle goes over to the pub. Pauline has volunteered to look after the kids while Arthur, for Sharon’s sake, goes to the wedding. And where the hell is Pete? He’ll want to go for Den’s Sake. Pete arrives back with Martin, but no telly. Kathy, also wanting to go to the registry office for Angie’s sake, turns up and says she still hasn’t seen Ian, but he’s meant to be doing the catering.
SCENE: 714/19. INT. VIC UPSTAIRS DAY (1045)
Excitement or what! Michelle is refusing to let Grant see Sharon in her new outfit – claims it’s unlucky. Phil urging Grant to come along, their car’s waiting.
SCENE: 714/20. EXT. THE SQUARE DAY (1046)
Ricky and Sam returning from Peggy’s are surprised, nay even shocked, to see Grant and Phil, done up to the nines, clambering into a taxi. Grant says they better let Peggy know he’s getting married. They still haven’t sorted the food, cries the best man. Fuck the food, says Grant, we’ll give ‘em Walkers crisps if we have to.
SCENE: 714/21 INT. VIC UPSTAIRS DAY (1050)
Moment between Sharon and Michelle. No words of doubt or warning from Michelle, just words of encouragement and support. Just what Sharon wants to hear.
SCENE: 714/22 EXT. THE SQUARE DAY (1055)
Sharon and Michelle get into their car, watched by some of the regulars. Ethel arrives at Dot’s to go out for a Boxing Day drink.
SCENE: 714/23 INT. REGISTRY OFFICE DAY (1100)
Grant and Phil waiting, plus a few others. Arthur, Pete, Kathy, Frank, late arrivals Ricky and Sam, hardly dressed for it, and with news Peggy is not a happy bunny. Grant has a moment’s doubt that Sharon won’t show.
SCENE: 714/24 EXT. MEAL MACHINE DAY (1100)
Hattie and Steve with the aid of a couple of supermarket trolleys are taking the food round to the Vic. Steve knew where and what it was.
SCENE: 714/25 INT. INA’S OFFICE DAY (1100)
Ian can hear the activity. He also hears Hattie say she doesn’t care where Ian is. She just wishes he’d have been here to do this as he said he would.
SCENE: 714/26 INT. REGISTRY OFFICE DAY (1102)
Sharon arrives.
SCENE: 714/27 INT. VIC DOWNSTAIRS DAY (1105)
Pat is there while Steve lays out the food. Ian walks in as if nothing is wrong. Wants to know where Hattie is. Steve tells him she’s gone home to get some banquet roll, they were out at the Meal Machine. Ian tells Steve he wants to see her at six o’clock in the Meal Machine, a lot to discuss. He offers no explanation why he didn’t do the food for the Vic as agreed, and when asked about his bandaged arm, he dismisses it.
SCENE: 714/28 INT. REGISTRY OFFICE DAY (1110)
The “I do” bit of the ceremony, and the sealing of the contract with a kiss.
SCENE: 714/29 INT. THE FOWLERS DAY (1130)
Ian comes looking for Kathy but gets a ticking off from Pauline about where he’s been. Ian tells her about ‘the accident’ but dismisses it as nothing much. Pauline’ll tell Kathy. She arranges with Mark to look after the kids while she goes for a drink at the Vic.
SCENE: 714/30 EXT. THE SQUARE DAY (1145)
The happy couple return to the Square and a reception from the Square’s regs.
SCENE: 714/31 INT. VIC DOWNSTAIRS DAY (1146)
All pile into the pub. Food laid out, champagne corks pop. Good time to be had by all. Pauline comes in and tells Kathy about Ian. Kathy nips out to see him.
SCENE: 714/32 INT. IAN’S OFFICE DAY (1155)
Kathy has a heart to heart with Ian. What happened? What’s he playing at? He claims he doesn’t know what she’s talking about. There was an accident, that’s all. He drinks, but claims it is to ease his pain. He tells her not to mention it to Pete. Kathy brings up the subject of Steven’s birthday. He tells her it doesn’t bother him. Kathy leaves to go back to the reception at the Vic, Ian takes out a birthday card which says “Two today”, screws it up and throws it into the ashes in the waste paper bin.
SCENE: 714/33 INT. VIC DOWNSTAIRS DAY (1300)
Peggy and Kevin arrive. Not pleased, not only about not being invited to the wedding, but still smarting from the live turkey Grant brought for Christmas dinner. Speech time. Time to reflect in a lot of cases about what happened Christmas Day. Etta and Jules arrive to toast the happy couple – (Celestine depending on cast restrictions). Ethel not quite sure what is going on.
SCENE: 714/34 INT. THE FOWLERS DAY (1400)
Mark waits… the kids play upstairs.
SCENE: 714/35 INT. VIC DOWNSTAIRS DAY (1500)
It is turning onto a right old knees up. Etta takes the opportunity to talk with Dot…holds out a Christian hand of friendship. Jules is not that forgiving. Ethel still not sure what’s going on. Pete does a deal on a telly.
SCENE: 714/36 INT. RACHEL’S DOWNSTAIRS DAY (1600)
Rachel returns to an empty house.
SCENE: 714/37 INT. VIC UPSTAIRS NIGHT (1615)
A moment for Grant and Sharon away from the crowds. Talk of their future together….a perfect marriage. Just a hint Sharon feels cheated out of the most important day of her life. Grant wants to consummate the marriage now – Sharon sees no reason why they shouldn’t.
SCENE:714/38 INT. THE FOWLERS NIGHT (1630)
Mark sits Arthur and Pauline down, and tells them he’s HIV+. He tries to reassure them about his future, but they are reeling.
SCENE: 714/39 INT. VIC DOWNSTAIRS NIGHT (1635)
Pete’s telly arrives in the pub. Ian looks in, wondering if Hattie’s there. He tells Clyde it doesn’t matter, he’s seeing her at six. Grant and Sharon return, and the old Joanna kicks into action.
SCENE: 714/40 INT. THE FOWLERS NIGHT (1640)
Pauline and Arthur try to take in what Mark has told them. Questions are asked, and slowly the relief and confidence Mark felt when he first told them is eroded away. Pauline breaks down totally. Arthur is too shocked himself to help her. Pete arrives back with the telly.
SCENE: 714/ INT. VIC DOWNSTAIRS NIGHT (1730)
Singalong time in the Vic. Even Peggy starts to relax.
SCENE: 714/42 INT. RACHEL’S DOWNSTAIRS NIGHT (1745)
Mark comes in and is reassured and comforted by Rachel. (Possibly totally mute scene.)
SCENE: 714/43 INT. THE FOWLERS NIGHT (1800)
Pauline and Arthur in shock. Pete not finding….whatever it is on the telly at all funny.
SCENE: 714/44 INT. IAN’S OFFICE NIGHT (1820)
Ian looks at his watch. No sign of Hattie. Not pleased.
SCENE: 714/45 INT. VIC DOWNSTAIRS NIGHT (1830)
The party continues.
SCENE: 714/46 EXT. THE SQUARE NIGHT (1845)
Music from the pub. Steve and Hattie return. Ian is waiting for them. Where was she? She got held up. She was just on her way to see him. Steve points out he’s hardly the one to start picking holes, what about this morning and the food for the Vic..?! Ian says he’s the boss and he’ll do what he wants. Steve still trying to be rational argues the point, and Ian ends up firing him. Hattie protests and Ian ends up firing her as well. Defiantly Steve and Hattie walk off. Ian is left under the Christmas tree which says “Happy Christmas Albert Square”, and with the music exuding from the Vic.
⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼⎼
The first draft of the scene breakdown for the 3rd episode:
“the Bereavement club” EPISODE 3 Scene Breakdown
By
John Cox and Ania Olesinska
Scene: 3/1. (1930)
Chronological order
1.
Joel is inside the room when Melinda arrives first and walks up to Joel
Melinda says “there was just something I wanted to talk to you about”
Jess walks in and walks towards the refreshment table
Melinda says “it can wait until after though”
Joel says ok
2.
Melinda then walks over to see jess in the refreshment corner
Melinda thanks jess for checking on her last week when she was throwing up
Jess says “Joel asked me to”
Melinda puts her head down, embarrassed by her cold reply and notices a mark on jess’ forearm
Melinda asks if she’s ok
Jess says that her cat scratched her
Melinda looks unconvinced
3.
Harvey walks in and walks straight to his chair and puts his bag down
Harvey looks toward jess, who seems to ignore him
Joel goes to take a seat when he sees Harvey has arrived
Everyone takes their seat as Joel calls a start to the session
4.
Joel tells the group that today he would like to begin with a discussion about music
Joel asks Melinda if her grandfather had a particular music taste
Melinda tells the group that her grandfather listened to Elvis Presley a lot when she was young, Harvey finds her pronunciation funny and chuckles
Melinda takes offense and Harvey clears that he found her pronunciation wrong
Melinda finds this funny too after being told the correct way
5.
Harvey is leaving
Jess walks to the smoking area but when she opens the door and sees Harvey she attempts to go back indoors but Harvey asks her not to go.
Harvey apologises for making things awkward when he asked her out for coffee last week
Jess says its ok, followed by 5 seconds of awkward silence
Harvey asks jess if she has listened to the voicemail yet
Jess says that she did not and they don’t say anything for another 5 seconds.
Harvey offers to show her a video of his uncle which she agrees to.
They both laugh and smile.
6.
Melinda approaches Joel.
He asked her what she wanted to talk about and she asks him if he would have coffee with her.
Joel explains to her that as her counsellor, he cannot meet her in that manner.
Melinda leaves.
Joel calls Helen the supervisor and tells her about Melinda and that he is worried about rosemary and that he wants to give up, however he doesn’t want to leave them.
Harvey decides the next 2 sessions will be his last
The second draft of the scene breakdown for the 3rd episode:
‘‘the Bereavement club’’ EPISODE 3 Scene Breakdown
By
John Cox and Ania Olesinska
Scene: 3/1. INT CC ROOM night (2000)
We are coming in at break
Joel stops the session and announces the break. Noticing that Jessica was not looking her best, Joel asks her to talk to him in the refreshment corner. Jess reluctantly follows Joel.
Scene: 3/2. INT. Refreshment Corner night (2005)
Joel can see that she does not want to talk to him 1:1. He asks he if she is alright. He says that he saw the cuts on her forearm and he does it carefully, worried that she will shut down and will not want to talk to him about it in the future.
Jess mumbles that it is nothing. She does not want to talk about it. She is saved from saying anything else, because Melinda comes along and asks Joel for a word.
Joel feels uncomfortable, knowing that Melinda is attracted to him and that is why she wants to talk to him. He feels like he should not ignore her, however he was already talking to Jess and he did not want to ignore her either.
Joel asks Melinda to talk to him after the session, because now he needs to talk with Jess. That annoys Melinda, who gets jealous and turns to Jess saying’’ thanks for last week by the way’’ sarcastically, remembering that Jess did not care about her physical state last week. (LAST EPISODE WHEN MELINDA WAS THROWING UP, JESS WAS UNSYMPATHETIC)
Scene: 3/3. INT. CC ROOM night (2010)
Melinda walks off frustrated.
At the same time Harvey keeps peeking at Jess, worried about her, knowing that if she talks to Joel 1:1 something has to be wrong. He wants to talk to her about last week and apologise for making things awkward between them.
Scene: 3.4. INT. CC ROOM (2015)
The break comes to an end.
Joel asks everyone to take their seats and tries to make them share their thoughts, emotions and memories.
He suggests talking about the funny memories of their loved ones, hoping that it will open them up a little bit.
Melinda is the first one to talk and Joel notices that she is being overenthusiastic with answering his questions, but he ignores that and he lets her talk, hoping that her behaviour may help the others with opening up.
She says about her grandfather liking Elvis Presley music, however she miss-produces his surname (Priestley). Harvey picks up on it and tries to make a joke by singing one of Elvis’ songs, hoping to make Jess laugh, however it does not. Moreover, it hurts Melinda, who says ‘‘that’s not funny’’.
Harvey, wanting the time to pass quicker, Zones out.
The groups voices fade out
Scene: 3/5 INT. CC ROOM (2028)
The groups voices fade in
Harvey stops zoning out and notices that it is almost the end of the session. He feels relieved and he does not wait for the others. He wants to go outside as soon as possible.
Joel calls an end to the meeting and Harvey rushes outside to vape. It relieves him.
Melinda leaves shortly after Harvey for the toilet, planning to go back later to talk to Joel 1:1. She does it because she is nervous about asking him out.
Scene: 3/6 EXT. SMOKING AREA (2035)
While outside he sees Jess leaving, he bravely calls after her. She begins to walk faster, he does not give up and starts apologising to her. It makes her stop and listen to him.
Harvey walks closer to Jess, hoping that she will want to talk to him. He keeps apologising and explaining his behaviour, which Jess excepts and says that it is alright and they should just forget about it.
An awkward silence follows for a few seconds. Harvey hesitantly breaks the silence asking jess if she has listened to the voicemail from Lily (her dead friend). She tells him she is not ready to listen to it yet.
Harvey, hoping to encourage her, tells her about a video that he has on his phone of his uncle. He tells her that it was hard for him to watch it at first, but now it helps him to process the loss. He suggests to watch the video together with Jess, explaining to her that it is actually really funny.
Jess agrees. Harvey and Jess watch the video of his uncle trying to sing. Jess comments on his awful singing, this makes them both laugh.
SCENE 3/7 INT. CC ROOM (2035)
(HAPPENS AT THE SIME TIME AS JESS AND HARVEY’S CONVERSATION)
Joel is on the phone to Helen, telling her about his session and how Melinda’s transference is effecting him (it is obvious that she is fixating on him) and that he doesn’t think he will continue with voluntary counselling after the six sessions have ended, even though he has been asked to do another set after the current ones.
Melinda enters the room and Joel, hangs up. Melinda asks who Joel was talking to (suspecting that he was talking to his girlfriend). Joel tells Melinda he was talking to his supervisor, Helen. Melinda asks how old she is and Joel says that Helen is a grandmother, this calms Melinda’s jealousy.
Melinda, gets straight to the point and asks Joel out for coffee. Joel explains to her that as her counsellor, he is unable to see her in that way. Trying to remain professional he asks if there is anything she would like to discuss with him. Disappointed, Melinda says no and walks out embarrassed, leaving Joel even more lost.
Our first draft was not something that Lilie found particularly good. She discussed with us the changes and gave us the deadline for the next day at 12pm to send the second draft to her.
Lilie presented to us a format which we should use every time when starting a new scene.
That includes:
1. number of the episode and number of the scene.
2. location ( including if it is inside or outside)
3. time
While working on the scene breakdown, Lilie suggested that we could try to come up with a funny moments for the drama. She said that she does not want it to be too dark, however my friend and I could not find anything particularly funny for our episode.
I believe that it can come out in the dialogue process where coming up with the jokes or funny behaviours will be easier.
The edited by Lilie episode 3:
1. number of the episode and number of the scene.
2. location ( including if it is inside or outside)
- cc room
- refreshment corner
- toilet
- corridor
- smoking area
3. time
While working on the scene breakdown, Lilie suggested that we could try to come up with a funny moments for the drama. She said that she does not want it to be too dark, however my friend and I could not find anything particularly funny for our episode.
I believe that it can come out in the dialogue process where coming up with the jokes or funny behaviours will be easier.
The edited by Lilie episode 3:
Comments
Post a Comment