STORY MAPS: TV Drama: The Structure of the One-Hour Television Pilot
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• New complications to A, B, C stories: More obstacles and threats are thrown at Protag and other key characters in more than one storyline: TWD – Rick is held captive by Morgan / HOC – Zoe’s path collides with Frank’s / BB – Walt learns about money problems from his wife and blows up at his boss at the car wash.
• MIDPOINT “A” Story: At the halfway point, a major event or decision TURNS the direction of (at least) the “A” story, ups the stakes, clarifies or alters Protag’s goal and launches a line of action that will push to the climax, ideally with an urgent “ticking time clock.” Often forces Protag to make a decision. Raises a new dramatic question, even if not explicitly stated. There must be a connection between the Midpoint and the ending...
MIDPOINT (Act Two Act-Out):
The Walking Dead: Rick is told about the “Walkers” and sees Morgan’s undead wife.
House of Cards: Frank takes the job to draft the education bill with his arch-rival, Kern.
Breaking Bad: Walt blackmails Jesse into partnering with him in the meth trade.
· New Question/Challenge... TWD – Will Rick have the strength to kill his family, if they have become Walkers, just as Morgan must kill his wife? / HOC – How will Frank use the education bill to defeat Kern? / BB – Can Walt and Jesse work together in their own meth business?
ACT THREE (8-12 pages, ends around page 40)
Act Three finds various lines of action intersecting, which escalate conflict and force a dramatic confrontation between our protagonist and their Shadow (Shadow Showdown), and interweave and overlap stories so the protagonist and their Dynamic Ally are now working together or perhaps even at odds.
The protagonist makes an important decision that is often a character-defining action. This “Assumption of Power” moment is a show of strength as they fully commit (“Going All In”), honoring their own personal code and taking control. The order of these beats may differ from show to show, but notice how the AOP beat falls in the range of 37-40 in most of our sample pilots in Case Studies.
• Aftermath of Midpoint: The consequences of the Midpoint Turn/Decision and how Protag deals with the higher stakes. They should be moving forward, not just taking stock: TWD – Rick returns to his home, confirms his belief that his family is alive / HOC – Frank tells Doug to set up a meeting with Catherine Durant / BB - Walt steals chemistry equipment from his school.
• SHADOW SHOWDOWN: Direct confrontation/paralleling between Protag and their Shadow: TWD – Rick and Morgan both attempt mercy killings. Only Rick has the strength to pull the trigger / HOC – Zoe and Frank face off, finding common ground, but he rebuffs her / BB – Walt and Jesse fight over their opposing scientific methods.
• Partial Integration of lines (A-B, B-C, etc.): Crossover between stories as Protag interacts with major supporting characters: TWD – Rick learns from Morgan that there may be a large survivor colony outside town / HOC – Frank recruits Zoe / BB – Walt steals chemistry equipment.
• ASSUMPTION OF POWER: Protagonist takes full control and shows their strength in a successful strike. A bold move, as they “go all in”...
ASSUMPTION OF POWER (Act Three Act-Out):
The Walking Dead: Rick raids the weapons closet at the police station.
House of Cards: Frank shreds the education bill and passes it to Zoe.
Breaking Bad: Walt empties his savings to buy an RV to act as their lab, and roughs up a bully mocking his son.
ACT FOUR (6-12 pages, ends around page 48)
Act Four takes us outside of our central throughline to visit supporting characters as they deal with their own personal conflicts, advancing and/or ending the B, C and D stories. Meanwhile, the protagonist must deal with the consequences of decisions they’ve made in Acts Two and Three, take decisive action (Declaration of War), essentially delivering on promises and finally doing what they were meant to do (e.g., Rick becomes an old west-style sheriff, Frank recruits Zoe for his final plan, and Walt cooks pure meth.).
But their accomplishments don’t last long, as this movement culminates in their highest stakes, most vulnerable moment yet and they hit bottom (All is Lost). Alternatively, the protagonist may get a big win, but it still must raise the stakes or create a new challenge of some kind.
• Skirmishes and Complications: Protag and others take steps toward their goals, hit obstacles, make shocking discoveries, all serving to up the stakes and pay off earlier setups. TWD – Rick runs out of gas / HOC – Frank tests Zoe / BB – Walt struggles to train Jesse in correct chemistry; Jesse gets into trouble with his former partner and Krazy-8, a local dealer.
• Integration, Escalation, Stopping Points: Crossover of stories escalate conflict and create crisis moments for Protag and supporting characters. Events occur that will have ramifications beyond the pilot. B, C and D stories may come to an end. TWD – Shane is now with Rick’s wife / HOC – Zoe hands in her story and Frank blackmails Peter / BB – Jesse brings the dealers to Walt, and they recognize him from Hank’s DEA sting.
• DECLARATION OF WAR & ALL IS LOST: If the Assumption of Power was a show of strength, the DOW* is a full-on assault, and the Protagonist formulates the specific “method of defeat” by which they will overcome the antagonistic forces keeping them from their goal. This is usually a Big Risk that seems to signal a Big Win, but it is a false victory, leading to a hitting bottom “All is Lost” dilemma...
DOW & ALL IS LOST (Act Four Act-Out):
The Walking Dead: Rick mounts a horse, rides into town, but soon gets surrounded by hungry Walkers.
House of Cards: Frank leaks the education bill to Zoe, but Linda Vasquez puts his plan in jeopardy.
Breaking Bad: Rival drug dealers hold Walt at gunpoint. He postpones his death by teaching them his recipe in the RV.
*The DOW can also fall in Act Five, but usually occurs about 4/5ths of the way into the pilot.
ACT FIVE (2-8 pages, The Final Clash):
Act Five brings the A story to a surprising climax and resolution, and advances the other stories (if they’re still going) to a stopping point that promises more to come. This final movement may take the form of a short epilogue tying up loose threads, as with the two scenes in Mad Men’s final act (which features a final reveal that I like to call a BIG ENDING), or a larger, more active sequence like Breaking Bad’s fight with the drug dealers.
Whatever the case, it must be shocking yet feel organic while being consistent with theme, and it must show dramatic change from the opening sequence of the pilot.
In the end, the protagonist has crossed the portal into a new world and we can’t wait to continue the journey with them.
• CLIMAX (A, B): The final battle, ideally a direct confrontation, leads to success, or, at least, a temporary resolution, for the Protagonist. TWD – Rick barely escapes a huge mob of Walkers / HOC – Zoe publishes cover story about the education bill, as per Frank’s plan / BB – Walt takes out Krazy-8, evades the law and launders his money (literally!).
• EPILOGUE/ THE NEW WORLD: The new status of our Protagonist in their changed world, with a hint of more to come...
EPILOGUE:
The Walking Dead: Rick is pinned down in a tank, surrounded by hundreds of Walkers, as he hears a voice on the radio.
House of Cards: Frank’s plan comes together as the education bill story ruins Kern and promotes Zoe, and he enjoys VIP seating at the inauguration.
Breaking Bad: Walt, a new man, has passionate sex with his wife Skyler.
Finally, we are left with the feeling of an approaching storm, a...
HANGING QUESTION/CLIFFHANGER (END OF PILOT):
How will Rick escape alive?
What will Frank do with his access to the new President?
Will Walt tell his wife about his cancer and his new enterprise?
To review:
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THE BENCHMARK 1-HOUR PILOT
(ACT STRUCTURE GUIDELINES)
Teaser (2-10 pages)
Act One (12-15
pages)
Act Two (6-10 pages, ends around page 30)
Act Three (8-12 pages, ends around page 40)
Act Four (6-12 pages, ends around page 48)
Act Five (2-8 pages)
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CASE STUDIES: BEAT SHEETS FOR SCANDAL, MR. ROBOT, TRUE DETECTIVE, THE WALKING DEAD, GAME OF THRONES, BREAKING BAD, HOUSE OF CARDS AND MAD MEN
The beat sheets below combine with their “Basic” Story Maps to create eight “Full” Story Maps. We already looked at an example of the Basic Story Map for Scandal (in The TV Drama Story Map).
Not all of the beat sheets below are complete scene lists; most have been trimmed to focus on the “signpost” beats that form the bones of the narrative.
All of these beat sheets have been made from the completed episodes, transcribed as I watched them, either on DVD or streaming. The numbers at the start of each beat represent the time in minutes the beat occurred, which correspond to the page numbers in a properly formatted script. Remember that one minute of screen time generally equates to one page of screenplay, so, for example, an Inciting Incident 11 minutes into the episode would roughly fall on page 11 of the script. However, if you were to read the actual scripts of our eight sample pilots, you may find differences from the aired episodes. This is because changes are inevitably made in the editing room—scenes are cut, trimmed, moved around, etc. But I still recommend you try to get your hands on some pilot scripts, as it is always an interesting exercise to make a script to screen comparison. Keep in mind, however, that it can be difficult for an outsider to confirm if a script was a shooting draft or an earlier work in progress.
Also, please know that if you see overlap in numbers, that means that a scene began within the same minute that the previous scene ended. Obviously, not every scene is going to time out to an exact minute.
SCANDAL PILOT “SWEET BABY”
Written By Shonda Rhimes
Scandal is a great example of a major network drama. A strong female protagonist leads a dynamic ensemble in a hybrid procedural/serial format that incorporates a “case of the week” with longer arcs of story and character. The Compelling Crisis is familiar—a Washington, D.C. “fixer” is called in on various assignments as her own personal life spins out of control—but the execution is fresh, or, at least, top-notch. It’s just gritty enough to work in ABC’s 9 P.M. slot, but sans the nudity and violence of HBO fare.
Shonda Rhimes’ script is an incredibly tight pilot that pretty much does everything right, and in only 45 minutes, making it the shortest of our sample pilots. It introduces every major character in action (even the two-person dialogue scene that opens the pilot is thrilling and suggestive of movement as our “Newborn” Quinn is offered a high-stakes job and told she has to decide in the moment). We see this high-stakes world in action in the very next scene as we meet Olivia Pope, our hero, standing up to gangsters and negotiating successfully for a mystery package, which in a great reveal is soon shown to be a baby. The Teaser ends with a man entering Olivia’s office, bloody, saying he didn’t kill his girlfriend. This is six minutes in and we’ve already launched the A, B and D story. As you can see below in the beat sheet, the pilot is front-loaded, with both Catalyst and Inciting Incident occurring in the six minute Teaser. Interestingly, in an early draft of the script, Sully enters on page 12. As with many effective rewrites, the Inciting Incident was moved up so as to get the story moving as soon as possible. In a pilot, the first few minutes cannot be more important—millions are watching and looking for reasons to turn the channel, maybe to never tune in again. The clock is ticking.
But a well-executed procedural is not enough to make it in today’s fractured TV landscape. A new drama needs a noisy hook, and that’s exactly what Shonda Rhimes injected into this story. What really makes this pilot shine is the “C” story, which begins as a case that sounds familiar and cliché: a sex scandal with the President of the United States and his intern. But although we get some effective scenes of Olivia investigating the case, the true turn in the “C” story occurs in Act Four and will have ramifications well beyond the pilot: Olivia and President Grant are former lovers...and he wants her back. This is a textbook “Shadow Showdown” beat.
I particularly like how the theme shifts and sharpens late in the episode with a deft mix of scene order, subtext, and dramatic mirroring – what was once a story about secrets and lies becomes a tale of true love.
Scandal may not be one of your go-to shows, but I urge you to watch the pilot. Watch and learn.
SCANDAL
Pilot “Sweet Baby” (2012)
Written by Shonda Rhimes / Directed by Paul McGuigan
TEASER
1-2 OPENING (“B”): In a bar, QUINN gets a surprise job interview by HARRISON to work for the famous Olivia Pope. They are not a legal firm. They are the good guys. Harrison makes Quinn repeat these words: “I want to be a gladiator in a suit.” (“B” story: Quinn’s first day on the job)
[QUICK TITLE: Scandal]
3-4 CATALYST: In a dark warehouse, OLIVIA POPE talks to her handsome employee STEPHEN about him proposing to his girlfriend (“D” story: Stephen’s proposal). Olivia boldly transacts a shady business deal with Russian mobsters, convincing them to take half the money they asked for: $3 million. They back down, hand her the package and she leaves.
5-6 Back at Olivia’s office, newbie Quinn meets the team. They all ignore her. Quinn watches in awe as Olivia hands the package off to her happy clients, the Russian Ambassador and his wife: it’s their baby! She successfully negotiated with Russian gangsters to return their kidnapped baby to them.
6 INCITING INCIDENT: LT. COL. SULLIVAN “SULLY” ST. JAMES walks into the office, covered in blood. His girlfriend was just killed, and the police think he did it. (“A” story: Proving Sullivan’s innocence) FADE OUT.
ACT ONE
7-10 WORLD: Sullivan’s background and the “rules” of Olivia Pope’s practice. Olivia narrates a montage that shows their process – Olivia always goes with her gut. Her one rule to Sully: “Don’t lie.”
Olivia and her TEAM go into action.
15-16 TURN: CYRUS comes to Olivia with a new job. Intern making sexual allegations against Fitzgerald Grant, the President of the United States. (“C” story: The President and his intern.). DECISION: Olivia demands to look in his eyes.
ACT TWO
16-17 AFTERMATH: Check-in with Stephen and his proposal. Abby is secretly in love with Stephen. Quinn finds key evidence, proving herself a Dynamic Ally.
18-19 FIRST TRIAL: At Camp David, Olivia and PRESIDENT FITZGERALD GRANT. He denies, she studies him...takes the case.
20 New evidence, care of Abby: Sully’s deceased girlfriend Paige was having an affair. This presents an “A” ROADBLOCK as it points to motive for Sully to kill her.
20-21 FIRST CASUALTY: Quinn tags along with Olivia to the park. Olivia intimidates AMANDA TANNER, the President’s intern. Quinn is troubled (“B” ROADBLOCK). Olivia walks away, makes a quick call, saying “It’s handled.” But is it?
ACT THREE
22-24 AFTERMATH: Quinn sobs in the bathroom, HUCK helps her. No crying—Olivia doesn’t believe in it! (“Crying” setup)
24 Olivia still trying to get a bead on Grant. Questioning her gut.
MIDPOINT (“A” STORY): BOMBSHELL: Sully’s prints are on the gun!
25-28 COMPLICATIONS: Sully comes clean — he knew about Paige’s affair and he reveals that he picked up the gun after finding her body.
Olivia shows diamond engagement rings to Stephen. He chooses one. Olivia: “Good choice.”
ROADBLOCK: Cops storm in to arrest Sully. Olivia negotiates with the head cop to give them 40 minutes. (Ticking Time Clock)
29-32 TURN: Sully is gay. But he will not come out, even though his alibi is that he was with his male lover at the time of the murder. “I’m a hero. I can’t be gay.” He is arrested.
IMPOSSIBLE CHOICES: For Sully, he can go to jail for a crime he didn’t commit or r
uin his honor and career. For Olivia, she can honor her client’s wishes and lose his case or win his case and ruin his life.
Quinn reports that Amanda Tanner is in the hospital after a suicide attempt.
ALL IS LOST on the A, B and C lines.
ACT FOUR
33-34 AFTERMATH: Reviewing details of the case, “taking stock.” Olivia hears “Sweet baby.” She storms off.
35-38 ASSUMPTION OF POWER & SHADOW SHOWDOWN: Olivia confronts President Grant in the Oval Office. She knows he slept with Amanda, because Olivia used to be his “sweet baby!” He betrayed her trust, made her question her gut. She tries to resist his advances, but she can’t and he kisses her. Cyrus catches them.
39-40 INTEGRATION: Still shaken from the Oval Office, Olivia watches Stephen propose to his girlfriend and she accepts. (End “D” story) Olivia cries (“Crying” payoff).
41-42 DECLARATION OF WAR: Olivia visits Sully in a jail cell in one last push to convince him to give her the name of his lover, to come clean and claim his alibi. (THEME SHIFTS: The episode is now about true love.) She is a mirror to Sully, in that they both have a secret love that jeopardizes their career and tears them up inside. She begs him to reveal the truth and we know that she’s also trying to give herself the courage to admit to her love for the President.
ACT FIVE
42 CLIMAX (“A”): Sully admits he’s gay in a press conference. He is acquitted of all charges. (End “A” story)
43-44 EPILOGUE/NEW WORLD: The team wraps up evidence for the police. Quinn is now a member of the team. CLIMAX (“B”): She says it and she means it: “Gladiators in suits.” (End “B” story)