:

I thought for our second beat sheet we’d look at a story as far from Hot Fuzz as possible.  So I chose Pride and Prejudice, the 2005 version starring Keira Knightley and Matthew Macfadyen and directed by Joe Wright.  How will a movie that’s based on a 200-year-old novel line up against our list of beats?

I admit it was more difficult to pick out the beats in this than Hot Fuzz and sometimes I’m not completely sure they were there at all.  Tell me what you think of the scenes I’ve picked out.

Opening Image – A visual that represents the struggle & tone of the story. A snapshot of the main character’s problem, before the adventure begins.

-          Elizabeth Bennett wandering through the grounds reading, content with herself and her life.

Set-up – Expand on the “before” snapshot. Present the main character’s world as it is, and what is missing in their life.

-          We meet Elizabeth’s family; her older, beautiful and sensible sister, her equally sensible but henpecked father and her very silly mother and three younger sisters.  Marriage is on their minds!

Theme Stated (happens during the Set-up) – What your story is about; the message, the truth. Usually, it is spoken to the main character or in their presence, but they don’t understand the truth…not until they have some personal experience and context to support it.

-       In one sense, Jane Austen stated the theme of this story when she penned one of the most famous opening lines in English literature: ”It is a truth universally acknowledged, that a single man in possession of a good fortune must be in want of a wife.”  But this line doesn’t occur in the movie and it’s not exactly the theme we follow here.

The theme is stated clearly by Jane to Lizzie at the common ball.  After Lizzie pronounces all men “humorless poppycocks”, Jane warns her that one of those men will one day win her heart and then she’d better watch her prejudice.  And who should walk in the moment these words are out of Jane’s mouth?

Catalyst – The moment where life as it is changes. It is the telegram, the act of catching your loved-one cheating, allowing a monster onboard the ship, meeting the true love of your life, etc. The “before” world is no more, change is underway.

-          Elizabeth meets Mr. Darcy.  She is not impressed.

Debate – But change is scary and for a moment, or a brief number of moments, the main character doubts the journey they must take. Can I face this challenge? Do I have what it takes? Should I go at all? It is the last chance for the hero to chicken out.

-         Conversations with sister Jane and friend Charlotte help Elizabeth brush off Mr. Darcy’s insults, happy to be rid of him.

Break Into Two (Choosing Act Two) – The main character makes a choice and the journey begins. We leave the “Thesis” world and enter the upside-down, opposite world of Act Two.

-        Here it is actually Lizzie’s choice to not go on the journey prescribed for her that propels her character arc.  It is often a complaint of both female characters or poorly written stories that the hero or heroine is simply carried along by events instead of making their own destiny.  But Lizzie’s refusal to go along with the demands of her mother and society are what make her so strong.  She turns down not one but two marriage proposals.  She wants to make up her own mind.  And as with most well drawn characters, her strength is also her weakness.  She must overcome her own prejudice.

B Story – This is when there’s a discussion about the Theme – the nugget of truth. Usually, this discussion is between the main character and the love interest. So, the B Story is usually called the “love story”.

-        As the love story IS the story, I believe that once again the B story is where the hero receives nurture and care.  Here it is with her sister Jane.  They are sometimes the only sane members of their family and have an easy understanding of each other and the most reasonable discussions about love happen between these two sisters.

The Promise of the Premise – This is the fun part of the story. This is when Craig Thompson’s relationship with Raina blooms, when Indiana Jones tries to beat the Nazis to the Lost Ark, when the detective finds the most clues and dodges the most bullets. This is when the main character explores the new world and the audience is entertained by the premise they have been promised.

-         Due to Mrs. Bennett’s scheming, Jane and later Elizabeth spend a few days in Mr. Bingley’s home, which means more time with Mr. Darcy.  The handsome Mr. Wickham and the annoying Mr. Collins are both introduced.  Eligible men everywhere and a ball!

Midpoint – Dependent upon the story, this moment is when everything is “great” or everything is “awful”. The main character either gets everything they think they want (“great”) or doesn’t get what they think they want at all (“awful”). But not everything we think we want is what we actually need in the end.

-         Lizzie has rejected Mr. Collins and infuriated her mother, her sister Jane has been spurned by Mr. Bingley, her good friend Charlotte has married the ridiculous Mr. Collins and moved away, and now the disgusting Mr. Darcy has declared his love.  Lizzie is miserable.  And after reading Darcy’s letter defending himself, she begins to doubt her opinion of him.

Bad Guys Close In – Doubt, jealousy, fear, foes both physical and emotional regroup to defeat the main character’s goal, and the main character’s “great”/“awful” situation disintegrates.

-         This section begins with Lydia’s invitation to Brighton.  Lizzie has a foreboding about the whole thing and begs her father not to let her go.  Even worse, Jane lies to Lizzie about her heartbreak while Lizzie lies to Jane about Darcy & Mr. Bingley.  Things are starting to disinigrate.

All is Lost – The opposite moment from the Midpoint: “awful”/“great”. The moment that the main character realizes they’ve lost everything they gained, or everything they now have has no meaning. The initial goal now looks even more impossible than before. And here, something or someone dies. It can be physical or emotional, but the death of something old makes way for something new to be born.

-         Sure enough, Lydia runs off with Mr. Wickham. The family and especially the girls’ chances of good marriages are ruined (the death).  Just as Lizzie and Mr. Darcy were beginning to connect, Darcy runs off to allow Lizzie to deal with the crisis.

Dark Night of the Soul – The main character hits bottom, and wallows in hopelessness. The Why hast thou forsaken me, Lord? moment. Mourning the loss of what has “died” – the dream, the goal, the mentor character, the love of your life, etc. But, you must fall completely before you can pick yourself back up and try again.

-         I suppose the section where the family is waiting to hear of Lydia’s fate might cover this beat, although it is Mrs. Bennet who wallows in hopelessness (and hysterics) more than anyone.

Break Into Three (Choosing Act Three) – Thanks to a fresh idea, new inspiration, or last-minute Thematic advice from the B Story (usually the love interest), the main character chooses to try again.

-         A midnight visit from Darcy’s rude and formidable aunt is enough to touch on Lizzie’s stubborness and  inspire her to admit her feelings to herself.  When Lady de Bourgh demands that Lizzie promise to never become engaged to Darcy, she refuses.

Let's pause to honor the glory that is this moment.

Finale – This time around, the main character incorporates the Theme – the nugget of truth that now makes sense to them – into their fight for the goal because they have experience from the A Story and context from the B Story. Act Three is about Synthesis!

-         Lizzie wanders in the meadow at dawn and sees Darcy.  There is no pretense now.  She knows that she has misjudged him and that she loves him.

Final Image – opposite of Opening Image, proving, visually, that a change has occurred within the character.

-         Oh the debate over this one.  Filmmakers added a scene that was not in the book of Darcy and Lizzie flirting as man and wife at the end.  It was shown only in America.  For our purposes here, I’ll stick with the lovely scene between Lizzie and her father, as she confesses both her love and her misguided prejudice and very tenderly says goodbye to her family life as she has known it.

THE END

Chick 1 says:

Welcome to a new series of posts, Beat Sheets.  A beat sheet is a story structure tool used by many screenwriters, listing out certain events or moments called beats that usually occur in every story.  These beats drive the plot.  The particular beat sheet we’ll be using here was developed by Blake Snyder in his screenwriting book, Save The Cat.  It is very popular among writers in Hollywood today. 

In this series, I’ll follow the plot of different movies and list each point where I think an important beat occurs.  Snyder’s theory is that every great or even good movie, every story has all of these beats in some form.   For the first few posts I’ll list Snyder’s explanation of each beat.  Tell me if you think I’m right.  Or if you think a certain beat doesn’t exist in the movie at all.

For this first one, let’s take a look at Hot Fuzz, the second collaboration by Simon Pegg/Nick Frost/Edgar Wright following Shaun of the Dead.  Like Shaun of the Dead, it’s a funny, sharp story.  The writing and editing are tight, tight, tight.  No line or prop is thrown away from Aaron A. Aaronson to “Swan!”.  Almost everything comes back into the plot.  So let’s dive in.  Obviously SPOILERS FOLLOW.

Opening Image – A visual that represents the struggle & tone of the story. A snapshot of the main character’s problem, before the adventure begins.

-          Nick Angel charging toward the camera, determined to follow each rule to the letter without a thought for anything else.

Set-up – Expand on the “before” snapshot. Present the main character’s world as it is, and what is missing in their life.

-           Opening narration – Angel is such an intense, uptight officer that he doesn’t have any friends, even his girlfriend dumps him for not being able to “switch off”.  His drive is shown by the rundown of his police record.

Theme Stated (happens during the Set-up) – What your story is about; the message, the truth. Usually, it is spoken to the main character or in their presence, but they don’t understand the truth…not until they have some personal experience and context to support it.

-          Stated by Nick to Danny before they watch movies – needing to learn to  switch off.  Nick is so obsessed with his job he doesn’t know how to relate to others.  This does not happen during the set-up, however there is a deleted scene when Nick’s girlfriend break’s up with him during the set-up.  I believe it’s stated during that scene.

Catalyst – The moment where life as it is changes. It is the telegram, the act of catching your loved-one cheating, allowing a monster on board the ship, meeting the true love of your life, etc. The “before” world is no more, change is underway.

-          Nick’s forced transfer from his job as one of London’s most successful cops, to a boring country position.

Debate – But change is scary and for a moment, or a brief number of moments, the main character doubts the journey they must take. Can I face this challenge? Do I have what it takes? Should I go at all? It is the last chance for the hero to chicken out.

-          Nick tries this unsuccessfully with his bosses.

Break Into Two (Choosing Act Two) – The main character makes a choice and the journey begins. We leave the “Thesis” world and enter the upside-down, opposite world of Act Two.

-          Nick’s journey to Sanford, not just his physical journey but his first evening in the town.  He tries to handle things as he always has; it doesn’t work.  He’s not in Kansas anymore.

B Story – This is when there’s a discussion about the Theme – the nugget of truth. Usually, this discussion is between the main character and the love interest. So, the B Story is usually called the “love story”.

-          Nick and Danny are the B Story. The “romance” does not have to be literal but it is where the hero receives nuture and care.  Danny idolizes Nick & is shaken out of his stupor by Nick’s heroism.  Nick needs Danny’s affection more than he realizes and is finally able to loosen up thanks to Danny’s example.

The Promise of the Premise – This is the fun part of the story. This is when Craig Thompson’s relationship with Raina blooms, when Indiana Jones tries to beat the Nazis to the Lost Ark, when the detective finds the most clues and dodges the most bullets. This is when the main character explores the new world and the audience is entertained by the premise they have been promised.

-          From the moment Nick begins to meet the citizens of Sandford, they seem quiet country folk but there is also something sinister in each meeting.  Then comes the first murder.  There really is something evil lurking beneath the quaint exterior.

Midpoint – Dependent upon the story, this moment is when everything is “great” or everything is “awful”. The main character either gets everything they think they want (“great”) or doesn’t get what they think they want at all (“awful”). But not everything we think we want is what we actually need in the end.

-          After the fair and Tom Messenger’s murder,  Nick’s midpoint is “awful”.  He is miserable in his new job and town.  He KNOWS something is going on but no one believes him.  He is a laughing stock to his co-workers and even fights with his one new friend.

Bad Guys Close In – Doubt, jealousy, fear, foes both physical and emotional regroup to defeat the main character’s goal, and the main character’s “great”/“awful” situation disintegrates.

-          Nick keeps getting closer to the murderer, even actually witnessing a murder himself and gets Danny back on the case.   But they can’t quite figure it out.

All is Lost – The opposite moment from the Midpoint: “awful”/“great”. The moment that the main character realizes they’ve lost everything they gained, or everything they now have has no meaning. The initial goal now looks even more impossible than before. And here, something or someone dies. It can be physical or emotional, but the death of something old makes way for something new to be born.

-          Nick uncovers the truth.  He was right; there are multiple murderers.  But now he will likely be killed because almost the entire town is in on it.  When Danny joins in the group and “stabs” Nick, Nick is convinced that Danny is in on it. His one real friend (and therefore, his one true accomplishment) is a part of it all. Nick (and his friendship with Danny) both appear to die here.

Dark Night of the Soul – The main character hits bottom, and wallows in hopelessness. The Why hast thou forsaken me, Lord? moment. Mourning the loss of what has “died” – the dream, the goal, the mentor character, the love of your life, etc. But, you must fall completely before you can pick yourself back up and try again.

-          Although the “stabbing” was a rouse to save Nick, he can’t convince Danny to join him.  He is completely alone in his fight.

Break Into Three (Choosing Act Three) – Thanks to a fresh idea, new inspiration, or last-minute Thematic advice from the B Story (usually the love interest), the main character chooses to try again.

-          On his lonely drive back to London, Nick stops at a convenience store and sees the cop movies that Danny introduced him to.  He realizes he has to finish the job and rides into town, armed to the teeth, and on a white horse no less.  Even the guns across his back look like angel wings.  Nick Angel, get it?

Finale – This time around, the main character incorporates the Theme – the nugget of truth that now makes sense to them – into their fight for the goal because they have experience from the A Story and context from the B Story. Act Three is about Synthesis!

-          Near the start of the fight Danny joins Nick.  Soon they are able to convince the rest of the police force to join them and Nick leads the take down of the murderers not on his own but as part of a team.

Final Image – opposite of Opening Image, proving, visually, that a change has occurred within the character.

-         Nick and Danny are patrolling the town, Nick fine with checking out some “hippies”.  A true partnership thrives; Nick has adjusted to quiet village life and Danny gets to be a “real” cop.