Recommended Screenwriters
The Structure of a Reveal
- December 4, 2010
- Posted by: HalCroasmun
- Category: Articles
When structured properly a reveal can bring add new levels of depth and emotion to your screenplay. It also brings with it the element of surprise. And if it is artfully done, readers will have more appreciation for your writing.
So it is worth learning and mastering reveals.
THE STRUCTURE
Overall, the structure is simple. It is just three parts. Where it gets complicated is when you add in other techniques to make it more artful or to increase the coolness factor.
The three parts are:
- There is what we think is happening.
- There is something under the surface — that is hidden.
- There is the way the reveal happens.
Easy, right? Let's see how it works.
AN EXAMPLE:
These two scenes are from the TV show LOST. That is why you'll notice camera directions and other things that don't belong in screenplays, but are acceptable in teleplays.
In this scene, the plane has just crashed and Locke wakes up on the beach after being thrown out of the plane.
From LOST
EXT. BEACH – DAY
XCU – A MAN'S EYE as it snaps open (deja vu). CUT WIDE to see it belongs to LOCKE, lying by the side of the smoking fuselage. Dazed, he props himself up on his elbows and glances around, taking stock of the other terrified survivors, including the * screaming SHANNON, etc., until suddenly he notices…
HIS POV – His feet. One of his shoes is missing.
Locke stares dumbly at his socked foot for a moment, then…
He slowly wiggles his big toe. Then, all the toes.
He barely has time to process his parts are working before he spots something.
HIS SHOE, lying nearby on its side — its CLEAN, PRISTINE, UNSCUFFED SOLE.
Oblivious to the panicked people running past him, Locke retrieves the shoe, then sits up. Amid the din, we may notice a new sound – A DOG BARKING. It starts faint, at first, then grows progressively louder as Locke slowly bends his knee, bringing his foot into his lap.
As he proceeds to put his shoe back on, he looks up to the sky.
Okay, it seems like a simple scene about a man who is recovering from a plane crash and checks to make sure all his limbs are working. Natural reaction to a disaster like he just experienced.
That is Part 1 — What we think is happening.
Now, let's see the next step.
INT. MELBOURNE WALKABOUT TOURS – FLASHBACK
An Aussie TRAVEL AGENT sits at his desk inside the storefront operation.
TRAVEL AGENT
The Walkabouts we arrange aren't just some stroll through the park… It's trekking over vast stretches of desert — rafting treacherous waters — climbing —
ON LOCKE, sitting across from him, dressed in a khaki vest, cap and dark sunglasses. A small, bitter smile masking his contempt.
LOCKE
Look — I booked this tour a month ago. You've already got my money.
Now I demand a place on that bus–
TRAVEL AGENT
You misrepresented yourself.
LOCKE
I never lied.
TRAVEL AGENT
By omission, Mr. Locke! You neglected to tell us about your condition —
LOCKE
(snapping)
My condition — is not an issue! I've lived with it for four years and it's never kept me–
TRAVEL AGENT
Yes, well, unfortunately, it's an issue to our insurance company.
Seeing this going nowhere, the Travel Agent stands and crosses past Locke, who doesn't get up.
TRAVEL AGENT
I'm sorry. I can't keep the bus waiting any longer. It isn't fair to the other people–
We see through a large window, a tour bus waiting to leave, its doors open, the guide on the steps looking at his watch.
LOCKE
I've spent years preparing for this. — You put me on that bus right now! I can do this!
TRAVEL AGENT
(at the doorway)
No. You can't.
He exits to confer with the guide as Locke yells after him.
LOCKE
Don't you walk away from me!
He suddenly swivels around…
LOCKE
You don't know who you're dealing with. —
Don't ever tell me what I can't do! Ever!…As he rolls himself toward the window, the truth is revealed
LOCKE IS IN A WHEELCHAIR.
And has been throughout the entire scene.
There is Part 2: There's something under the surface. Locke has been in a wheelchair for the last four years. And it is revealed artfully by having what sounds like a normal argument, but then surprises us with the final visual.
In one way, we just saw Part 3: There is the way the reveal happens.
But there is an even deeper meaning — another reveal to come.
EXT. BEACH – DAY
LOCKE'S TOES – Wiggling beneath their sock.
Locke stares dumbly at them, then, as before, he retrieves his pristine shoe (understanding its clean because HE'S NEVER WALKED ON IT) — and puts it on.
Once he does, he looks up to the sky, almost serenely… As if an understanding's been reached.
Locke braces himself on a large, nearby, piece of wreckage, and carefully pulls himself up to his feet. He takes stock of his legs, gently rubbing them — They appear steady, and he wills them to take… one… two… three… tentative steps. Then a couple more confident ones.
Turning back to the scene of carnage — His face flush with this "miracle" as he puts his hand on his hips and watches —
Shannon screaming, Jin calling out, Michael looking for Walt, etc., and we HEAR Jack's voice, yelling over the whine of the jet engine…
JACK
(O.S.)
— get over here — gimme a hand —
Locke glances over at JACK, who turns and sees him:
JACK
You! C'mon… Come over here!
Gimme a hand! —Locke's eyes drift over to something past the crowd.
HIS POV – THE WHEELCHAIR, resting idle and empty.
A small smile curls the corner of Locke's lips.
Now, returning to this scene, we experience a deeper meaning. Somehow, the plane crash or the island has healed Locke's body. For the first time in four years, he can move his toes. He can walk.
Locke has just experienced a miracle…and his life has changed forever. And it will influence everything he does on the island.
That is the power of a good reveal.
REVEALS AT ANOTHER LEVEL
What makes a reveal great is the way you do it. Some reveals cause other reveals. Some reveals are meant to be small. Others are meant to be huge twists in the story. And then, of course, there's the "when" to do the reveal.
Reveals can incorporate twists, layers, misleads, suspense, mystery and other techniques. It often propels us into a new future for the story. They can be created through plot, character, action, or dialogue — and we cover it and more in depth with our Pushing the Envelope Screenwriting Class.