How to Turn Your Story Idea into a Spec Script Screenplay using the 24 Plot Point System

As I write this, most of America is sitting at home wondering what to do with themselves for the next month. Some will try to write the great American novel, but if you've got a story to tell and you want to create something far easier to write and easier for others to read, consider a screenplay.

First you need a great idea, but this article isn't about great ideas, it's about what to do when you have that idea and want to turn it into a screenplay. Your first inclination will be to start writing it. So, go ahead start writing and see where it gets you. If I told you to get in your car to drive to Boring, Oregon (it’s a real place) without a map, without GPS, without asking directions, could you get there? The answer is, yes, but the real question is, did you get there in the most direct route? Probably not. Without a map, we wander. Without a story map we end up at boring, not Boring.

Once you have your “big idea” you’ll want to map out the story from the first moments to the final credits. You'll want to have all your story beats outlined before writing the first word of action or dialogue.  Plenty of people don’t heed this advice because they are too excited to start writing and what happens next is a 60-page screenplay (too short) or something north of 160 pages (way too long). 

If you own a Tesla and plan to drive it long distances, the car calculates your mileage then routes you the fastest way with stops at charging stations along the way.  Think of your screenplay as a Tesla and the 24 Plot Points as the charging stations along the way to the ultimate destination – the end credits.

While this sounds difficult to learn, it’s actually something you already understand because you’ve been watching movies your entire life. Within all those thousands of hours, your mind has been storing data about what happens where and when. Are you able to predict who lives and who dies? Do you know when a twist is coming?  Of course, you do, most movie savvy viewers can predict these things because you’ve seen them before…time and time again. Some are movie tropes, but for the most part, they are story beats (plot points) that happen in all movies (or stories) and you’ve come to recognize them. Comedy or drama, action movie or romance, all screenplays (movies) move through a series of progressions. Understanding those progessions will help you turn your idea into a screenplay.

However, before we delve into plot points we need to understand 3-act structure.  This is a very broad breakdown of a screenplay (or a story) by splitting it into 3 distinct parts.

THREE ACT STRUCTURE IN SCREENPLAYS

Everything in life can be broken down into three parts. We are born, we live, we die.  Boy meets girl, boy loses girl, boy gets girl back. A beginning, a middle and an end. Three simple categories that can sum up the most complex life story or the simplest adventure. While all forms of storytelling subscribe to some form of three-act structure, it is screenwriting that utilizes this format as a central tenet of the craft.  

Writing an engaging screenplay requires three elements: 1) A good story 2) Strong characters 3) Understanding and utilization of three act structure. 

The first two elements come from the depths of your imagination, but the third, the understanding of structure, can be learned by studying the works of accomplished screenwriters.  As you peruse through diverse screenplays like, CHINATOWN, STAR WARS or THE SHAWSHANK REDEMPTION, you’ll notice there is a vague familiarity about each body of work.  That familiarity is the structure.  Three acts played out over 120 pages with well-paced twists and turns.  From drama to comedy to action and romance, all Hollywood screenplays can be broken down into their basic elements to reveal their common thread -- Three Act Structure 

The modern screenplay ranges from a minimum of 90 pages to a maximum of 120 pages. A simple rule to remember is that one page of a screenplay converts to one minute of screen time, thus your 120 pages becomes 120 minutes of screen time (2 hours).  While films have gotten shorter as budgets climb, the two-hour movie is still the industry standard.

Within those 120 pages/minutes there are three breakdowns for the three sections of the screenplay. The three acts, while different in content, often play out similar elements no matter what the tale. Comedy or tragedy, every story has a beginning, middle and an end. 

Act One:  Welcome to the World.  This is the introduction to the story, it’s where the world is set up.  Within this act, we learn what the rules are for this world.  Letting your audience know who the characters are and what is their motivation is also laid out in this section. A short act, lasting only 30 pages (30 minutes} it ends as the hero learns his role in the story.  Typically, this moment (known as the first act break) is when both the hero and the audience are aware what the movie will be about and now the adventure can begin.  It’s when Luke Skywalker decides to join Obi Wan to save the Princess, It’s when Dorothy goes over the rainbow to the land of OZ and it’s when Rocky accepts the challenge to box against Apollo Creed.  As the hero begins his/her journey we transition to the second act…

Act Two:  The Journey:  The second act of a motion picture is about the journey.  Either an actual journey or emotional, the sixty or so pages (60 minutes) that make up the central portion of a screenplay are about the pitfalls the hero must overcome to win the day. It is in this hour of the story that the hero will face numerous encounters and conflicts. These conflicts will force the hero to navigate forward seeking the resolution which will not come until the third act.  The second act conflicts often help the character grow by making him/her a wiser and stronger person by the end of the act (around page 90).  Despite the knowledge gained on their journey, the end of the second act often finds the hero defeated and at their lowest point. Faced with the opportunity to fight or flee, this is where the hero must rise up and face his fears and his enemies to win the day.

Act Three:  The Climax.  It is here, in the last thirty pages of the screenplay, where all the story threads are tied together and wrapped up.  This is the time for action as the hero must rise up to face their demons and conquer their enemies.  The third act should always begin with the hero at their lowest point but with an understanding of what must be done to win the day (or come close in trying).  Their conquest of the problem or villain through knowledge and strength gained in the second act brings the film to a natural and acceptable conclusion.

Writing a screenplay is hardly a simple task.  It takes practice and a keen editorial eye to tell a good story in less than two hours.  Moving your story at a brisk pace requires a lean writing style and knowledge of three-act structure.  Understanding and utilizing three-act structure will not necessarily make your screenplay salable, but it will be one less pothole down the metaphoric yellow brick road leading you to Hollywood. 

All stories are told in 3 acts. The easiest way to remember this is the old story adage:

• Boy meets girl
• Boy loses girl
• Boy gets girl back

"The "boy meets girl" example does not mean that every story is a John Hughes movie, but the simplicy of the example is worth remembering/understanding as you take your next step toward plot points.

ACT I  THE SET UP  (boy meets girl) 30 pages/minutes long

• Setting up the world.
• Who are the characters?
• Establish relationships
• The premise.

ACT II   THE CONFRONTATION (boy loses girl) 60 pages/minutes long

• The journey begins
• Confrontations (several)

ACT III   THE RESOLUTION (boy gets girl back) 30 pages/minutes long

• What is the solution of the screenplay?
• Who lives or dies?
• How does the hero rise up to save the day?

3 ACT EXAMPLES:

Star Wars (EPISODE IV):

ACT I: Droids come to Tatooine, we meet Luke and Obi Wan and learn there is a princess who needs to be rescued. 1st Act break:  Luke decides to leave the planet and save the Princess.

ACT II: Meet Han, escape planet, training, arrive at Death Star, Rescue Princess. 2nd Act break:  Obi Wan dies and they escape Death Star. 

ACT III:  The Death Star is going to destroy the rebel alliance. Luke saves the day.

The Wizard of Oz

ACT I: Life in Kansas, Going over the rainbow, Munchkinland, Witches. 1st Act break: Dorothy arrives in Oz.

ACT II: Dorothy in Oz, the yellow brick road, meet characters, continue the journey. 2nd Act break: The Wizard tells them to kill the Wicked Witch.

ACT III:  Hunting the Witch, getting captured, killing the witch, going home.

The Matrix

ACT I: Neo is a hacker.  Neo is told to chase the white rabbit. Neo is visited by the agents who try to scare him. Neo meets Morpheus who offers to open his eyes. 1st break: Neo takes the pill and sees the matrix.

ACT II: Neo is thought to be the one. Neo learns about the Matrix. Neo trains. They are betrayed. Morpheus is captured 2nd Act break: Morpheus is captured and Neo must rescue him

ACT III:  Neo goes to save Morpheus and face the agents. Neo is revealed to be “the one”

Jurassic Park

ACT I: Meet the characters and learn that there is a park with Dinosaurs 1st Act break: We arrive at Jurassic Park and see the dinosaurs

ACT II: Intro the kids, see the dinosaurs, things go wrong. 2nd Act break: We get back to the visitor’s center

ACT III:  The raptors hunt the humans in the building.

Raiders of the Lost Ark

ACT I: Meet Indy, learn about his profession. 1st Act break: The government hires Indy to find the Ark.

ACT II: Jones heads off on several adventures looking for the ark. 2nd Act break: The Ark is taken back by the Nazis.

ACT III:  Jones goes after the ark and the girl and saves the day.

At this point, if you understand 3-act structure, we can start breaking the story down into smaller modules.  To do that we’re going to start to identify the plot points that will drive the story forward.

Definition: A plot point is a beat in a movie that propels the story forward. 

MOVIE PLOT POINTS

A plot point is a beat in a movie that propels the story forward. A motion picture screenplay is a collection of short scenes that propel the story onward. Modern motion pictures usually have about 24 big events in their story, each written to advance the story further ahead and closer to its completion. These “events” are known as PLOT POINTS. Note: you may hear the term, “plot points” in a different context from other sources, but for our purposes, the definition is as stated above and happens 24 times in the movie.

When you attend a movie and it seems to drag or you find yourself losing interest, chances are the writer or director did not do a good job with story plotting. American audiences like new information and a change of location about every 5 minutes. Plot points keep your audience invested in the tale. 

The best way to determine if a moment/scene in a film is, in fact, a plot point, is to imagine the movie without that moment/scene. Would the outcome be the same? If you can take a scene out of a movie, then it is not a plot point.

The Big Mac conversation between Jules and Vincent in Pulp Fiction is a great conversation, but it does not move that story forward. If you removed that scene, the movie could continue unabated. That is an example of a scene that is NOT A PLOT POINT.

Do not leave too many “non-plot point” scenes in your screenplay. It will slow down the story and lose the reader’s interest.

PLOT POINTS FROM POPULAR MOVIES

INDEPENDENCE DAY

• Aliens arrive and hover over the Earth’s big cities.
• Humans infect the mother ship with a virus.

MATRIX

• Neo is chased by the agents while at work.
• Neo takes a red pill and can now see the Matrix.
• Neo and Trinity rescue Morpheus

WIZARD OF OZ

• Dorothy runs away from home
• Dorothy is taken over the rainbow
• Dorothy meets the Wizard

THE HANGOVER

• The three friends wake up to find their friend Doug missing.
• Stu finds out he got married last night.
• They find Doug alive on the roof of Cesar’s Palace.

TROPIC THUNDER

• The movie’s director gets blown up
• Tug Speedman gets captured by drug runners
• The movie studio won’t pay the drug runners ransom demands.

WONDER WOMAN

• Steve Trevor arrives on the Amazon island.
• Diana agrees to leave with Steve to fight the war.
• Sir Patrick is revealed to be the villain Ares.

Without any of the above scenes, the rest of the movie would make no sense. Each example moves the story forward and is, therefore, a plot point.

MOVIE MATH

You probably got into writing because you suck at math. Well, there is some math in movies (not much) so please pay attention.

There are 24 Plot points in a movie.

• ACT I: Six Plot Points - 30 minutes long
• ACT II: Twelve Plot Points - 60 minutes long
• ACT III: Six Plot Points - 30 minutes long

Each page of a screenplay = 1 minute of screen time.

Each plot point is about 5 pages long. This does not mean you have to have five pages per plot point but overall your story should average out to those figures. So, how do you build your screenplay? Well since you have an idea, that probably means you already know a plot point or two.  While there are 24 Plot Points, they are not all created equal. Some have more weight than others and are often part of the kernel of an idea.

The two act breaks in a screenplay are both plot points.  In fact, they are two of the most important Plot Points.

IMPORTANT PLOT POINTS

Plot Point #2 Inciting Incident

The inciting incident can actually occur BEFORE your movie starts but usually, your inciting incident occurs within the first ten pages of your screenplay after you’ve introduced your hero and shown what his everyday life is like. When the inciting incident occurs it starts to change your hero’s life. The hero will react to the inciting incident; maybe even resist it for the rest of your first act until your act one break occurs. At the first act break the hook kicks in and your hero commits to taking the journey (either physical, emotional, psychological or a combination of these) sparked by the inciting incident. This tends to be plot point #2, but it could be plot points 1 or 3.

Examples of an Inciting Incident:

• LEGALLY BLOND - Warner dumps Elle, instead of proposing to her. 
• DIE HARD - Terrorists/thieves show up at the Nakatomi Tower. 
• TOY STORY – Buzz Lightyear is bought into Andy’s room.

Plot Point #6: The 1st Act Break

The first act break is always the 6th plot point. It occurs at or near page 30 of a screenplay which is about 30 minutes into the movie. This is easily the most important plot point in a movie as it tends to announce to the audience what the movie is about.  In monomyth theory this is often known as Crossing the Threshold. It tends to be the moment the hero agrees to go on a journey (actual or emotional).  It’s when the audience becomes aware of what the movie is about. For example, Luke Skywalker agrees to go save the princess with Obi Wan Kenobi at plot point 6. At that point, we know the movie is about a young knight trying to save a princess from an evil castle. We’ve seen plenty of examples of first act breaks earlier in this paper.

The first act break is probably the most important plot point of them all as it tells us what the movie actually about.

Plot Point #9: A Major Plot Twist

Most plot points are a twist of one type or another. But often in an exciting movie, there is a major plot twist about 45 minutes into the movie (often, but not always). This tends to happen near page 45.  The twist is often big enough to send the movie in a different direction.

Plot Point #12: The Mid-Point

The midpoint tends to happen in the middle of the screenplay on or around page 60. Often characters achieve their goal by the midpoint, but the results are not what they hoped. Think of it as the end of one adventure and the start of another.  For Indiana Jones the midpoint is finding the Arc of the Covenant, but also losing it right away. One adventure complete (finding the arc) and a new adventure beginning (getting it back).

Plot Point #15:  A Major Plot Twist

Just like the major plot twist seen in the 2nd act, plot point 15, around page 45 (45 minutes in the movie) often supplies another big twist that changes the direction of the movie.  An example would be Leo Farnswoth getting assassinated in HEAVEN CAN WAIT, which sends the movie in a different direction.

Plot Point #18: The 2nd Act Break

Like its counterpart 60 pages earlier, this is a very important moment in a screenplay.  At this point in your story the hero has been defeated and tends to be at their lowest point.  Things are looking bad and now is the time to quit or rise up.  Since movies are not about quitters, the hero will rise up in the coming pages.  2nd Act Breaks are outlined in this paper and are usually easy to spot. They should arrive about 90 minutes (page 90) in a feature screenplay, but because some screenplays are as short as 90 pages, it can happen sooner. If you watch a handful of movies you may notice the 3rd act tends to be shorter than 30 minutes. That can be the case as many movies like to wrap it up fast.

Plot Point #24   Final confrontation or Finale

Plot point 24 may or may not be your actual final confrontation. That might occur at plot point 23 and then 24 may be used for the return home. For example, Dorothy returns home via the ruby slippers on the 24th plot point, but her final confrontation/conflict is plot point 23 when the Wizard is revealed to be a fraud who cannot get her home. Whatever you choose to use for plot point 24, it is usually the final few moments of the movie.

PLOT POINT EXAMPLES FROM POPULAR MOVIES

Below are several examples of popular movies broken down into 24 Plot Points. I realize some of these plot points may be weaker than others. At times finding a plot point is like putting a square peg in a round hole. My advice is put something in for the plot point and fix it later. In the case of plotting out someone else's screenplay as we are doing here, just do the best you can.

THE WIZARD OF OZ – PLOT POINTS 

1.           Mrs. Gulch takes away Toto.

2.           Toto escapes from Mrs. Gulch (inciting incident)

3.           Dorothy and Toto Run away.

4.           Dorothy meets Professor Marvel who encourages her to go home.

5.           Dorothy returns home too late and is swept away in the tornado.

6.           Dorothy lands in OZ (1st Act break)

ACT II

7.           Dorothy meets Glinda and is given the Ruby Slippers.

8.           The Wicked Witch arrives and wants the Ruby Slippers.

9.           Dorothy starts down the Yellow Brick Road to see the wizard so she can go home. 

10.        Dorothy meets the Scarecrow.

11.        Dorothy meets the Tin Man.

12.        The group is complete with the Lion. (Midpoint)

13.        The Wicked Witch tries to stop them with poppies

14.        The group arrives at the Emerald City

15.       The Wizard won’t see them. 

16.        The Witch flies over the city and threatens Dorothy

17.        The Wizard learns that Dorothy is the group and agrees to see them.

18. The Wizard sends them to kill the Witch. (2nd Act Break)

ACT III

19.        They are attacked by flying monkeys and Dorothy and Toto are kidnapped

20.        Toto escapes and leads the others to the witch’s castle.

21.        The Lion, Scarecrow and Tin Man rescue Dorothy.

22.        The Witch is killed.

23.        The Wizard is revealed to be a fraud.

24.       Glinda helps Dorothy go home.

BUTCH CASSIDY AND THE SUNDANCE KID - PLOT POINTS

1. Butch and Sundance return to Hole in The Wall.
2. Butch beats up Harvey and takes his idea to rob the flyer.
3. Butch and the gang rob the flyer. (Inciting incident)
4. Butch and the gang rob the flyer a second time.
5. The railroad send a super posse after Butch and Sundance
6. Butch and Sundance go on the run. (1st Act Break)

ACT II

1. Butch and Sundance try to elude the posse but cannot.
2. Butch and Sundance visit an acquaintance and realize they can’t escape the fate that is awaiting them.
3. Butch and Sundance escape the Posse by jumping off a cliff (Plot Twist)
4. Butch and Sundance return to Etta
5. Butch and Sundance learn that Lord Baltimore is tracking them and the leader of the posse is Leforge and the posse won’t stop until they are dead.
6. Butch, Sundance and Etta head off for Bolivia to avoid the posse. (mid‐point)
7. The group arrives in Bolivia - it’s not what they expected.
8. A robbery attempt fails when they can’t speak the language.
9. They rob their first bank.
10. Butch and Sundance think they see Laforge and get scared. (Twist #2)
11. Butch and Sundance go straight by taking a payroll guard job.
12. The payroll is robbed and they realize they can’t go straight. (2nd Act Break)

ACT III

19. Etta leaves for America.

20. Butch and Sundance return to crime.

21. A young boy notices their stolen horse.

22. Butch and Sundance are ambushed while eating.

23. Butch and Sundance are unanware the odds are insurmountable.

24. Butch and Sundance go out in a blaze of glory.

JOJO RABBIT – PLOT POINTS

1. Jojo goes to a Nazi Youth Camp.
2. Jojo can’t kill a rabbit, he’s too kind.  (INCITING INCIDENT)
3. Jojo is branded a coward, runs away and gets nicknamed Jojo Rabbit
4. Jojo’s imaginary Hitler friend gives him a pep talk and convinces Jojo to embrace his new nickname and to be the best little Nazi ever.
5. Jojo returns to the Youth Camp and gets injured by a hand grenade.
6. Jojo returns to discover a hidden room in the walls and learns his mother has been letting a Jewish girl named Elsa hide in their attic. (1st ACT BREAK)
7. ACT II BEGINS: Jojo and Elsa don’t tell Rosie (Jojo’s mother) that they’ve met
8. Nazi Captain K suggests to Jojo that someone should write about on how to identify a Jew.
9. Jojo askes Elsa to tell him everything about the Jewish race so he can write a book.
10. Elsa tells Jojo fake stories about Jews for his book and they bond.
11. Rosie and Elsa talk, we learn that Rosie’s daughter (Jojo’s sister) is dead.
12. Jojo witnesses his mother handing out seditious (anti-Nazi) leaflets. (MID POINT)
13. Jojo is visited by the Gestapo for a “routine” inspection.
14. Captain K mysteriously shows up at Jojo’s house
15. Elsa appears from upstairs pretending to be Jojo’s sister Inga.
16. Elsa gives Captain K Inga’s papers. He asks her birthdate. She gets it wrong. He says nothing. 
17. Elsa and Jojo realize Captain K knew she wasn’t Inga, but he let it slide. They worry the Gestapo may return.
18. The city prepares for the allies to invade as Jojo finds his mother has been killed. by the Nazis. (SECOND ACT BREAK)ACT III BEGINS:
19. The Allies attack the city, chaos ensues.
20. Jojo Learns Hitler has committed suicide and Germany is falling, his world is crumbling.
21. Jojo is given a Nazi uniform as he witnesses the carnage of war first hand.
22. Jojo is captured by the Americans and put in with other captured Nazis.
23. Jojo has a moment with Captain K who saves then Jojo’s life claiming JoJo is a Jew.
24. Jojo returns home and tells Elsa the Nazis won the war so he can keep her with him then relents and tells her the truth.  They dance to symbolize their freedom.

HEAVEN CAN WAIT – PLOT POINTS

1. Rams Quarterback Joe Pendleton is given the starting job for Sunday’s game.
2. Joe is “apparently” killed in an accident and goes to a heavenly way station. (INCITING INCIDENT)
3. Joe and Mr. Jordan realize he was taken in error.
4. Mr. Jordan tries to put Joe back in his body but it has been cremated.
5. While shopping for bodies, Joe sees Betty Logan and falls for her. 
6. Joe agrees to be Leo Farnsworth temporarily so he can meet Betty Logan. (1st Act Break) ACT II BEGINS
7. Joe/Leo meets Betty Logan wants to save Pagleshim (MEET CUTE).
8. Joe/Leo starts to shake up his corporation.
9. Joe wants to remain as Leo Farnsworth.  (PLOT TWIST)
10. Joe/Leo tells his murderous wife that he wants a divorce
11. Joe/Leo tells Max who he is and that he wants to train to be QB.
12. Joe/Leo buys the Rams and makes the team (MID POINT)  
13. Joe asks Betty to marry him.
14. Joe/Leo is told he can no longer be Leo Farnsworth.
15. Joe is killed. (PLOT TWIST)    
16. Leo Farnsworth is missing.
17. The Superbowl starts
18. Jarrett dies in the game and Joe assumes his body. 2nd ACT BREAK/ACT 3 BEGINS
19. Farnsworth’s body is found
20. Leo’s wife and secretary confess to the murder.
21. Joe/Jarrett wins the Superbowl.
22. Joe/Jarrett starts to forget his past.
23. Max realizes that Joe is completely gone.
24. Joe/Jarrett meets Betty Logan and the two share a spark.

TIME TO GET STARTED

Now that you understand plot points, the time has come to plot out your own original idea.  To begin you’ll want to write down the plot points you know and place them approximately in the area of the story where you think they will occur.  This will begin to create the backbone for your screenplay, but you’ve got a lot of work to go.

At this point you’ll want to start filling in the PLOT BULLETS.  Unlike plot points, these beats don’t necessarily move the story forward, they are just details and often superfluous to the story.  This could be any detail you can think up. It could be mundane, it might just be something you want to remember to include in the first draft.  Plot bullets will help you fatten your story as you develop it.

So, while the 24 plot points of a movie can fit on a single page, a well plotted movie idea complete with plot bullets should be several pages long.  In the end what you are building are detailed writer’s notes.  More than likely the notes will make sense to only you as many of the bullet points may be incomplete thoughts.  Since this is your document put anything and everything in you can think of. It doesn't mean you have to write it, but at least it’s on the page.

Your 24 Plot Points will be a fluid document.  As you build your story you will find yourself discovering new scenes and ideas and what you started, may not end as you thought it might, or may take a different route to get there.

WRITING THE FIRST DRAFT

Ok, you’ve completed your plot points, you’ve added in every bullet point you can imagine.  One last step before you start writing is to write a brief character outline for all the major players. Some writers do huge detailed studies of their character’s lives, but I tend to just go a few paragraphs.   We know Indiana Jones is afraid of snakes in Raiders of The Los Ark, but we don’t know why and it doesn’t really matter for that movie. Spend time on detailing your characters but be careful of getting caught up in the procrastination process.  It might be time to stop prepping and start writing.

As you start writing you will discover great new ideas and avenues, it’s part of the process.  Be sure to update your plot points as you write your screenplay to reflect the changes. You will find yourself referencing this document throughout the entire writing process, so it needs to stay current with your draft. Remember to change the name of version of the plot points so you don’t simply write over old notes.  You may find yourself wanting to go back to a scene only to find you saved over it.  Keep updated and backing up your plot point drafts.

NOT A WRITER? BUT YOU LIKE TO PITCH?

Your Plot Point outline can help you if you would rather pitch the idea rather than write it. The outline will give you all the big beats you’ll want to hit in your limited time in the room.  Don’t plan to recite everything, just major plot points that move the story forward best and engage the listener.  Also, never simply read the plot points to the person you are pitching to and never use these plot points as a leave behind. They tend to be written in your personal shorthand and may confuse the person who reads them.  If your pitch did not sway them, your plot points won’t either.

Plot Points are your personal notes, don't use them as a leave behind document in a pitch meeting

SAMPLE PROJECT - THE URBAN LEGEND

On the following pages you will find detailed plot points for a project we sold years ago at Amblin (just before it became part of DreamWorks). This was an idea we pitched directly to Steven Spielberg and he bought it in the room the project was called THE URBAN LEGEND (no, not the horror movie of the same name) and was a fun adventure about a man who discovers he comes from a long line of super hero vigilantes but decides he wants nothing to do with this destiny.   The movie was never produced as many of the Amblin/Universal projects got shelved in the transition to DreamWorks. However, the plot points and the screenplay are a great study in how to plot point a story and then bring it to the page.

THE URBAN LEGEND - SCREENPLAY PLOT POINTS

01.  A mysterious flying machine raids a Peking Museum. 

• Several mecha-humans tear the museum apart and take a crystal semi-circle.

02. We meet TRAYNOR PIERCE a playboy in his early thirties.

• Traynor is self-serving and glib.
• He hits on KATE CALDER, a geologist, in a speakeasy.
• She blows him off - he moves on.
• Kate leaves and goes to an elevated train station.
• Traynor hears loud crashing.  He runs outside the bar.
• Force pulls him to wrecked platform. 
• As he searches the wreckage, he hears another train coming.
• Traynor finds Kate and pulls her out.
• Second train smashes into first.
• Traynor takes Kate to safety then takes off.
• Traynor’s penthouse Apartment - Visited by ELBRIDGE WOOLCOTT
• Woolcott, a family friend, congratulates Traynor on heroism.
• Traynor feigns ignorance.
• Woolcott asks Traynor to take a ride with him.
• They arrive at a derelict freighter in shipyards.
• The ship is full of bizarre devices/artifacts.

03. Woolcott tells Traynor of his destiny as “The Urban Legend”.

• Woolcott explains the Circle Of Vigilance.
• He also explains what really happened to Traynor’s father and why Traynor saved people on the train.
• Woolcott tells Traynor that he must take over as the Urban Legend.
• Traynor refuses.
• Woolcott is shocked by the refusal.
• Traynor and Woolcott go to city expo
• They hear of (or meet) Wiley Brittle.
• They stop at a Geology lecture
• Woolcott and Traynor see Kate is giving a lecture.
• Kate has a small crystal shard on stage with her.
• Outside the sky clouds over - lightning flashes.
• A tethered pod descends out of the sky. 
• The mecha-humans descend on the fair.
• They wreck everything. Everyone runs for cover.
• Traynor and Woolcott get separated in confusion.
• Traynor runs to help Kate.
• She breaks away to save her crystal.

04.  The mecha-humans take Kate’s crystal.

• Kate struggles with the Mecha-humans.
• Woolcott goes to her rescue.

05. Woolcott is killed.

• Traynor cradles Woolcott’s body.
• Traynor trips up one of mecha-humans. It explodes.
• The remaining mecha-humans return to the mother ship
• Woolcott’s funeral Traynor is upset/angry.
• Montage of violent images - Thunderstorms/waves crashing/etc.

06. Traynor decides to use the “Urban Legend” materials to seek revenge.

• Traynor goes to the freighter and attempts to use Urban Legend materials.
• Most of the equipment backfires on him
• At home, he studies charts and manuscripts.
• Works on more stuff at the ship
• Will drops by Taynor’s apartment. Worried about him.
• They discuss revenge for Elbridge’s death
• As Will leaves, Traynor sees a newspaper of World’s Fair explosions and notices Kate Calder’s name.
• Traynor goes to Kate’s office at university.
• Traynor is told that Kate left for Norway and Viking Museum.

1st ACT BREAK/BEGIN ACT III

07. Traynor Decides to follow Kate to Norway.

• Montage - docks, ships, leaving the harbor, etc..
• In ship’s casino, Traynor sees ORLANDO JESSEN slaps his wife. 
• Traynor is disturbed by this.
• Traynor uses UL materials to exact some kind of painful, but not deadly, revenge.
• At Norway village he gets directions. 
• Traynor’s in a hurry is told to stay to road and not on glacier short cut.
• Traynor takes off.
• Traynor comes to fork - takes glacier not road.
• Traynor falls into a pit - is unconscious.
• Kate throws a ladder down to Traynor

08. Kate rescues Traynor on a glacier on Norway.

• Traynor tries something dumb - Kate tries to stop him.
• Ice breaks away - They go on wild ride in cave
• End up on edge of the glacier - hanging onto cliff
• They climb up to safety.
• Traynor and Kate explains why they are here
• Traynor wants to team up - Kate doesn’t. 
• She agrees to take him to the next village.
• Transition character scene
•  Black cloud rolls over Traynor and Kate.
• They come up over a hill.
• The flying ship attacks the Viking museum.
• The mecha-humans steal a third crystal.
• Traynor and Kate stow onboard the landing pod.
• The landing pod returns to the ship.
• Traynor climbs aboard pod - Kate jumps on.

09. Traynor and Kate stow away on the flying ship.

• They begin to explore the ship’s inner workings.
• They sneak into the Captain’s cabin and find three crystal pieces.
• Kate puts the crystals together.  They form a map to Atlantis.

10. RACINE BREHM, Captain of the flying ship, enters and takes the Atlantis (crystal) map.

• Kate and Traynor escape from Brehm.
• Once safe they discuss where Atlantis could be and head to New Orleans.

11. They go see WILEY BRITTLE, an inventor - with a submarine.

• Wiley agrees to allow them the use of his submarine - if he can tag along.

12. Traynor and Kate arrive on a mysterious island.

• They encounter mythological creatures.
• The two tangle with a massive Griffin and narrowly escape up the mountain.

13. On the island mountain top a marker shows the location of Atlantis.

• Brehm arrives in his flying ship.
• Kate and Traynor run for it.
• 3 mecha-humans give chase.
• Traynor gets rid of two of them.
• Third mecha-human traps them and goes in for kill.
• Griffin kills the mecha-human - Kate and Traynor run back to the sub.

14. Traynor, Kate and Wiley descend into the ocean looking for Atlantis.

• To escape giant eels, they head into a volcanic vent.

15. Traynor and Kate arrive in Atlantis.

• They find the temple of the sun.
• The temple is guarded by a crystal creature.
• Traynor disposes of the crystal creature.
• Traynor and Kate are confronted by BAAL, the last Atlantean.

16. Traynor and Kate hear Baal’s story.

• He tells them that Atlantis was destroyed by the Power of the Sun.  
• Those that survived were inside a capital building (all of the current Atlantis) made of Oricalicum.
• He tells the secret of the Power of the Sun.

17. Brehm bursts in guns blazing. Traynor escapes.  Kate is captured.

• Baal escapes by morphing.
• Brehm escapes with Kate and the Power of the Sun.
• Big chase.  Brehm loosens a river of lava.
• Traynor outruns a lava river only to meet a wall of water.  
• Baal reappears and saves Traynor.
• Atlantis is destroyed

2ND ACT BREAK/BEGIN ACT III

18. Brehm takes the Power Of The Sun and Kate and goes back to destroy NYC.

•  He plans to hold the entire world hostage.

19. Traynor escapes from Atlantis with Baal.

•  Brehm’s ship descends into the Central Park lake.
• Traynor returns home with Baal and Wiley.
• Baal tells him the “Urban Legend” began in Atlantis and that he (Traynor) is descended from the greatest of all Atlantean heroes.
• Baal helps Traynor accept his destiny and seek justice, not vengeance.
• Traynor realizes he is the “Urban Legend” whether he likes it or not.
• Wiley is amazed by the UL tools. He fixes the flying pack.
• Traynor hears about two hobos who saw a spaceship sink into the lake a t Central Park.
• OJ and his goons find Traynor and begin harassing him. 

20. Traynor realizes where Brehm’s hideout is.

• Traynor gets several devices from the supply ship and heads for Central Park.

21. Traynor arrives and saves Kate.  They go looking for Brehm.

• Under the lake Traynor finds Brehm’s ship.
• The flying ship lifts off with Traynor attached.
• Traynor disables the flying ship.

23. Brehm is destroyed.

22. Traynor destroys the bomb.

• Traynor and Kate leap onto the tower atop the Empire State Building.
• Brehm’s ship plunges into the ocean and explodes.

24. Traynor assumes all the responsibilities of the “Urban Legend”.

• We see the Urban Legend in action protecting the city.

THE URBAN LEGEND SCREENPLAY

Download the URBAN LEGEND screenplay (link above) so you can read the screenplay and follow the Plot Points. This will help you understand the transition from outline to script. The URBAN LEGEND was written for Dreamworks and Universal Pictures and they probably retain the rights to the project, however, I am making it available for educational purposes only.

BUILDING A PROPER 24 PLOT POINT OUTLINE NOTES

Look back at the Urban Legend Plot Points for format ideas.

•  Put character names in ALL CAPS when you introduce them for the first time just like in a screenplay
• Number each plot point.
• Write each plot point in boldface.
• Remember, a plot point is an important action beat that moves the story forward
• In between each plot point fill in as many plot bullet points as possible.
• A plot bullet point is anything you can think of that will go into the story.
• Use a bullet point “?” before each bullet point
• A plot bullet point is like a subplot point.
• Single space each plot point or bullet point that goes on for more than one line.
• Double-space between plot point and bullet points.
• In the bottom, in the footnote area, add the date of the plot point draft
• Once you complete your first pass at the plot points, number it 0.01. 
• Don’t delete or overwrite old drafts, instead, copy and edit forward.
• Subsequent drafts will be 0.02, 0.03 and so on. 
• When you are ready to write your screenplay, make that draft 1.0

DISCLOSURE 

I did not create this 24 Plot Point system and I’m not sure who did. I’ve tried to find the original source online with no luck. It is something I learned in grad school at Loyola Marymount University and from screenwriter Jim McClain, but cannot recall the actual name or source he learned it from. Anyone with a possible source, please share the details so I can properly credit my sources.

TIME TO WRITE

After completing your plot points it is now time to write. Have some fun, explore the world you are building, make it fun, scary, exciting…make it yours.

ABOUT THE AUTHOR 

Ron Mita graduated from Loyola Marymount University with a Master’s degree in screenwriting. After working at a variety of jobs in the film and television industry, he sold his first screenplay to Columbia Pictures in 1993 and continues to make a living as a professional screenwriter with projects at Universal Pictures, Sony Pictures, Columbia Pictures, Tri-Star Pictures, HBO, TNT, Warner Brothers, Screen Gems, DreamWorks and CBS. Ron has created or written (or co-written)  four produced feature films including the Animated feature film ROBOTS, at 20th Century Fox, S.W.A.T, starring Samuel L. Jackson and Colin Ferrall at Columbia Pictures, and SNIPER II starring Tom Berenger at Tri-Star Pictures and the sci-fi action feature, 24 HOURS TO LIVE, starring Ethan Hawke on Netflix. Ron has been teaching screenwriting and filmmaking at College of the Canyons in Santa Clarita since 2002.