Category Archives: #screenwriting

#screenwriting, Happy Valley, Structure, TV

Happy Valley Season 1 Episode 1 step outline / story threads

2 Comments

SPOILER ALERT & CONTENT WARNING: ADULT THEMES

Let’s look at the structure of Episode 1 and see how writer Sally Wainwright weaves the 4 story threads together:

NB: The A story (trilogy) refers to the story overarching the entire 3 seasons. A story (season) means the story which expands throughout Season 1.

Episode 1 seems to be written in 5 acts, and follows the actions of the season protagonist (Kevin) rather than the trilogy antagonist (Tommy Lee Royce).

The end of each act is a turning point instigated by the actions of Kevin.

The final shot of the 1st act also reveals the trilogy antagonist Tommy Lee Royce.

Because of this, I have broken the episode into 5 acts:

Episode 1 opens with Catherine’s day to day – police procedure – not related to either A story (season) or A story (trilogy).

The following scene after the opening credits starts off the A story (season).

Scenes 4/5/6 refer to the A story (trilogy).

Midway through Act 1 Catherine kisses her ex-husband – already with someone new – referring to her personal life. She still has a thing for her ex-husband.

Then, we’re back into the Season story.

Next, trilogy story.

Season story.

Trilogy story.

Then 2 scenes which set up the season story (the inciting incident)

The final scene of Act 1 cleverly weaves together both A story (season) and A story (trilogy) around antagonist Tommy Lee Royce.

Act 2 opens with conflict between Ryan and Catherine – A story trilogy.

Next 2 scenes A story season.

Then 2 scenes C story.

Finally, A story season.

Act 3, the central act of the episode, begins with A story trilogy telling us the reason for this Protagonist / Antagonist battle – an immensely powerful scene where Catherine tells Ryan’s teacher the entire backstory of her daughter Becky, Lee Royce’s violent sexual assault and Becky’s consequent suicide.

We might call this the midpoint.

The following scene takes us to Catherine arranging to meet ex-husband Richard. I have included this as A story trilogy, as opposed to B story (family) because it leads up to Catherine’s expression to Richard of her absolute hatred of Tommy Lee Royce.

The next 3 scenes are dedicated to A story season.

Act 4 is completely dedicated to A story season.

Scenes 38/39/40 focus on A story season.

Scene 41 refers to police protocol as Catherine tells an amusing story to Kirsty about drugs.

Then, she spots Tommy Lee Royce, midway through the final act.

The final 4 scenes of act 5 all represent the season A story.

Ashley (JOE ARMSTRONG), Kevin (STEVE PEMBERTON), Lewis (ADAM LONG)
#screenwriting

Happy Valley Season 1 Episode 4 step outline

Leave a comment

SPOILER ALERT and CONTENT WARNING: references to suicide and sexual violence

I found Episode 4 more difficult to decipher the act breaks. I’ll explain why later. But let’s crack on and analyse the structure relating to the 4 storylines.

Before we start I have to admit I have missed a trick. There have been moments throughout the series where Catherine hallucinates her daughter’s suicide. This reflection on how this past trauma has affected her ‘mental health’ perhaps deserves its own colour code, or could be RED with the A story of the trilogy, considering it is connected to the A story of the trilogy: Catherine / Ryan V Tommy Lee Royce. I will have to analyse this thread in a separate post.

The colour codes are same as in the previous post.

Let’s begin.

So, Act 1 is dedicated completely to the A story (season) – Ann’s kidnapping.

Scene 12 seems to make sense for the act break if the act breaks in this episode revolve around the journey and rescue of kidnapping victim Ann.

Act 2 opens with Richard excitedly teaching a bemused Catherine all about the drugs trade – pointing to C story: police/drugs/corruption.

Next we’re into the A story of the season for a 3 minute scene where Catherine quizzes Ashley about the house. She also asks him if he has heard of Tommy Lee Royce, so actually scene 14 could also be RED, as Catherine is referencing her main antagonist – Lee Royce.

The following 3 scenes 15/16/17 – a 4 minute sequence – are solely focused on A story for the trilogy as at this point Catherine has no idea Lee Royce is connected to the kidnapping of Ann or the murder of Kirsty. As I said before, the hallucinating scene I included as A story for the trilogy as her daughter Becky killed herself on account of Lee Royce’s violent sexual assault.

The next 4 scenes, 18-21 are focused on the kidnapping.

I initially broke Act 2 after scene 18. However, I finally decided to break after scene 21 as it’s a harrowing scene when Helen tells Catherine that Ann has been kidnapped and breaking here means Act 3 will begin when D.I. Crabtree arrives from the National Crime Agency to question Helen and Nevison about the kidnap.

Act 3 opens with D.I Crabtree of the National Crime Agency arriving to interview Helen about the kidnapping.

The following scene Nevison arrives and explains that when the money is dropped they asked for the accountant, Kevin Weatherill. You can see the cogs in Catherine’s heads turning – superb thinking acting from Sarah Lancashire – as she remembers where she has heard the name Kevin Weatherill before. Actually, she didn’t hear it, but saw it, as she ran his number plate in the final scene of Episode 1 – which means the visual of Ep 1 was paid off with audio in Ep 4.

In Scene 24, Catherine visits Tommy Lee Royce’s mother. We might say that, although highlighted red for A story (trilogy) this scene is also A story (season) because Tommy Lee Royce is about to hide Ann there and it is the venue of the fight in the climax of the episode. However, at this moment, Ann is not yet there. He takes her there in scene 31 of Act 4. Scene 24 revolves around Ryan as Lee Royce’s mother asks Catherine if Ryan is Tommy’s son, which is the A story (trilogy). It is interesting to note that the location of this central scene of the episode foreshadows the location of the episode climax.

In Scenes 25 we’re back with D.I Crabtree giving instructions to Nevison and telling him that Kevin is a suspect.

Scene 26 is a little information about Catherine’s bio – we learn that she has been ‘back in uniform’ for 9 years. So actually, this scene needs its own colour code, as it relates to Catherine’s work history – the first time a scene has been dedicated fully to exposition about Catherine’s biography without being directly related to the two A stories.

Scene 27 shows Richard’s emotional arc for this season completing as he accepts Ryan as his grandson.

In Scene 28 Jenny is watching a news story on TV about Kirsty’s murder. Kevin snatches the remote control from her, turns the TV off, and tells her it was Ann’s kidnappers who killed her. I saw the act break broke here as it refers to Ann.

Act 4 gets much more entangled with story threads, with all 4 stories making an appearance.

We open with Clare telling Catherine the good news about Richard and Ryan. Catherine counters in the next scene with the bad news that Lee Royce’s mother knows Tommy is Ryan’s father – B story – family.

In Scene 31 Lee Royce brings Ann to his mother’s house and acts the most disturbing and creepiest scene of the season – A story (season).

Scene 32 brings us back to drugs and police corruption as Catherine’s Chief Super tells her, just as she wanted him to turn a blind eye at her illegal breaking and entry of the hostage house when she was looking for Tommy Lee Royce, so she should also turn a blind eye at the cocaine she found in Councillor Gascoine’s car. Quid pro quo – C story.

Scene 33 gives us the first direct confrontation between Catherine and Lee Royce in the street over Ryan – A story (trilogy).

Scene 34 – A story (trilogy) Catherine / Ryan V Tommy Lee Royce.

The final scene of the act brings us back to the season plot – the kidnapping of Ann.

Phew!

So, Act 5 is a little simpler. No B or C stories, only the two A stories: season and trilogy.

The final scene sees Protagonist and Antagonist in actual, physical, violent combat – interweaving both A stories together with juicy expertise.

Happy Valley, Structure, TV

Happy Valley Season 1 Episode 3 step outline

1 Comment

SPOILER ALERT.

We can see that this episode is structured very differently from Episode 2

Like Episode 2, let’s explore in 5 acts.

Again, as previously, the 4 story threads are colour coded as follows:

Let’s start.

As you can see, unlike Episode 2, (we will do a comparison in another post) the entire act is dedicated to the A story (season) and the cop-murder of Kirsty.

Actually, this storyline could have its own colour code as an episode storyline, I decided to keep blue because the murder of Kirsty is a consequence of Ann’s kidnapping: A story (season).

The act is a furiously tragic depiction of the murder of Kirsty: emotional, brutal, shocking. It’s a terrific opener to Episode 3.

Many of these scenes are quick fire editing between the four characters: Kirsty, Lewis, Ann and Tommy Lee Royce.

The act break is clear, as Tommy Lee Royce leaves the body of Kirsty dead on the floor and the lights of her police van flashing.

Again, Act 2 is dedicated to the A story (season) with a slight nod to the C story of police, drugs & corruption.

The act again is clearly marked as a dramatic sequence and follows Catherine dealing with the crime scene.

Again, Act 3 is almost fully dedicated to the season A story – the kidnapping of Ann.

Again, there is a slight nod to Catherine’s day to day world of police protocol. Actually, these two scenes (44/45) depict Catherine dealing with anti-police hate speech.

Act 4, right up to minute 40 (scene 54) deals with the A story (season) the kidnapping of Ann.

Scene 54 is the first time in the entire episode we have seen any C story – Catherine’s personal life, with a slight nod to the A story of the trilogy – Ryan’s relationship with his dad Tommy Lee Royce.

Act 4 ends with a shocking line from Clare which brings Catherine crashing back to hell and hooks us to the A story for the trilogy:

“On the plus side… ” says Clare, “at least it (the murder of Kirsten) has taken your mind off Tommy Lee Royce.”

Act 5 is also dedicated to the A story of the season – the kidnapping of Ann.

Only the final scene brings us back to the A story for the trilogy – Catherine V Tommy Lee Royce.

What do you think about this structure?

Happy Valley, MA Falmouth reflective blog, Structure, TV

Happy Valley Season 1 Episode 2 step outline

1 Comment

SPOILER ALERT. Please do not read if you have not seen Happy Valley Season 1.

We explore this episode in 5 acts.

Please note – Happy Valley is a trilogy: 3 seasons with 1 main overarching story.

In this post we will look at the various story threads, and how writer Sally Wainwright weaves them together.

We can observe four story threads:

The main story which runs through the three seasons is about Catherine and her grandson Ryan and his relationship with his father – trilogy antagonist Tommy Lee Royce. I have called this the ‘A’ story (trilogy).

Next, there is the season story: the kidnapping of Ann Gallagher by Kevin, Ashley, Lewis and Tommy Lee Royce. Let’s call this the ‘A’ story (season).

We can see immediately how the two A stories – season and trilogy – intertwine around the character of Tommy Lee Royce (the trilogy’s main antagonist).

Thirdly, we have Catherine’s extended family: her sister Clare, her ex-husband Richard and her son Daniel. Let’s call this the ‘B’ story.

Fourthly, we have the theme of drugs, police procedure, and corruption. Let’s call this the ‘C’ story.

The different story threads are colour coded.

Let’s look at Act 1.

So, here we can see the episode opens with the C story, followed by opening credits.

It is interesting to note there is no B story.

Immediately following the credits we are into the season A story – the kidnapping.

Next, we are nudged into the A story for the trilogy – Catherine (protag) V Tommy Lee Royce (antag).

The next two scenes introduce Catherine’s day to day of busting small time drugs gangs so represent the C story.

The act finishes focusing on the A story (season) of kidnapping with season victim Ann whimpering, bound and gagged, to carry us into Act 2.

Now let’s check Act 2. Again, no B story.

Here we can see that Act 2 focuses only on the two A stories, expertly interweaving the season story and trilogy story.

The act again finishes with Ann (season victim) and her ordeal, propelling us into Act 3.

Act 3 finally gives us some insight into Catherine’s personal life.

In fact, Act 3 blends all 4 storylines.

This central act opens with a scene introducing Daniel, Catherine’s son, inviting her and her sister Clare to dinner (paid off in Act 4 Scene 32.)

The next scene, 17, interweaves the C story, drugs and corruption, with the B story and the A story (trilogy).

The next 4 scenes, 19-22, focus on the season A story.

Scene 23, which we might call the midpoint of the episode, points to the A story of the trilogy.

Again, the act ends by focusing on Ann and her ordeal.

Act 4 steers away from the A story for the trilogy (Catherine / Ryan / Tommy Lee Royce) and opens with a 4 minute scene which references drugs and corruption, the C story.

The next scene, 27, foreshadows Kirsty’s death.

Scenes 28 / 29 focus on the A story (season).

The central scene of Act 4 brings us back to the C story: drugs and corruption.

Scenes 31/32 revolve around Catherine’s son, ex-husband and grandson – B story.

Act 4 ends with us focusing again on the A story for the season (33/34).

Act 5 opens with B story, with a powerful moral conflict between Catherine and Richard discussing the consequences on their family of dealing with bringing up a child who was born to their (deceased) daughter as the consequence of a rape.

The rest of this final act is equally split between A story (season) and A story (trilogy) – expertly separated by one scene, 38, which glues both stories together and brings protagonist and antagonist (almost) face to face.

Catherine has yet to meet her trilogy antagonist, but here, we the viewer – in privileged superior position – know that only a wall separates her from direct confrontation with her arch enemy Tommy Lee Royce. Dramatic irony at its finest.

The final 3 scenes draw us back into the A story for the season to propel us into the next episode.

Do you agree with this analysis? Please let me know your thoughts.

#screenwriting, Action, Dialogue, Happy Valley, TV

Happy Valley – S1 E01 – Character Revealed through Action and Dialogue.

Leave a comment

In the last post we summarized Season 1 Episode 1.

Analysis:

The purpose of this exercise is to see and understand what the writer discloses about each character in the pilot regarding character.

What is revealed through a) dialogue and b) action?

Let’s take it scene by scene:

NB these scenes do not correspond to the shooting script. They are according to my breakdown from watching the show.

Scene 1:

Action: Catherine is compassionate, skilled and professional.

Dialogue: Catherine is witty, with a dark sense of humour and has a complicated family life, which we learn about in detail.

Scene 2 is opening credits.

Scene 3:

Dialogue: we learn that Weatherill is the accountant and that Nevison, his boss is from a poor background.

Scene 4: 

Dialogue: we learn that Richard is a journalist, and that Tommy Lee Royce (series antagonist) has been released from prison.

Scene 5: 

Dialogue: Ryan has been aggressive and using unacceptable language at school.

Scene 6: 

Dialogue: we learn from Clare that Lee Royce has been released. This is the second time we have heard this, so it must be important.

Scene 7: 

Dialogue: Kevin is jealous of Nevison. He is falling apart. Feels undervalued. 

    Jenny is positive and reassuring, even in the midst of severe illness.

Scene 8:

Dialogue: Normal family friction. Nevison reveals he does value Kevin as he at least is thinking about his pay rise.

Scene 9: 

Dialogue: Richard and Catherine have a good relationship as friends. 

Scene 10:

Action: Richard and Catherine still fancy each other.

Scene 11:

Dialogue: Jenny positive, Kevin negative and self-pitying.

Action: Jenny needs help being put to bed and so is physically dependent on Kevin.

Scene 12:

Action: Writer Sally Wainwright is a fan of Sylvia Plath.

Scene 13: 

Dialogue: Ashley Cowgill presents himself as generous and considerate. Kevin is jealous and self-pitying.

Scene 14:

Catherine is concerned about the whereabouts of Tommy Lee Royce.

Scene 15: 

Action: Cowgill is a cannabis dealer to scale. 

Dialogue: Cowgill is passive / aggressive and a bully.

Scene 16:

Dialogue: Kevin Weatherill is cowardly, deceitful and manipulative.

Scene 17: 

Dialogue: The ‘other’ man working for Cowgill has been in jail for 8 years, and is therefore      the man Catherine is worried about, Tommy Lee Royce. NB we don’t yet know what Lee Royce has done. (We find out in scene 24 / 25).

    Lewis, Cowgill’s other worker, doesn’t like Lee Royce.

Scene 18:

Dialogue: Catherine is tired and impatient with her grandchild, Ryan. She is taking her worry over Tommy Lee Royce out on Ryan, his son – projecting her anxiety onto him.

Scene 19:

Action: We are reminded that Kevin is a father with a daughter.

Scene 20:

Dialogue: Kevin is self-deceiving as he believes he has the power to negotiate over his kidnapping arrangement fee.

Scene 21:

Action: Catherine is active, fearless, professional and strong.

Scene 22:

Dialogue: Catherine wittily makes fun of her own challenges in the job – but not regarding Lee Royce.

Scene 23:

Dialogue: Nevison is generous and kindhearted.

Scene 24 / 25

Dialogue and Action: Catherine is broken over her daughter’s ordeal of sexual violence and subsequent suicide. Through this scene of emotional turbulence exposition and backstory about her daughter Becky and Tommy Lee Royce’s crime and character are expertly revealed.

Scene 26:

Dialogue: Catherine desires intimacy with Richard.

Scene 27:

Dialogue: Catherine hates Lee Royce

Scene 28:

Action: Kevin cannot sleep.

Scene 29:

Dialogue: Kevin is nervous and scared.

Scene 30:

Action: Ashley seems cool and focused / Kevin is aggressive and careless.

Dialogue: Ashley sounds anxious.

Scene 31:

Action: Ann is fervent, youthful and life-loving.

Scene 32 / 33 as 31.

Sceen 34:

Lewis and Lee Royce are in conflict.

Scene 35:

Action: Kevin is experiencing inner conflict between doing what is right and fear of the consequences.

Scene 36:

Action: Catherine is busy at work.

Scene 37:

Action: Catherine is quick-thinking / Kevin is impulsive and irrational.

Scene 38:

Action: Lee Royce is brutal, misogynistic and violent / Lewis is naive.

Dialogue: Lee Royce is brutal, misogynistic and violent.

Scene 39:

Dialogue: Kevin is naive.

Scene 40:

Action: Lee Royce is a narcissist (signified by his adjusting his hair in the rear view mirror immediately after having been violent to Ann).

Dialogue: Lee Royce is vulgar, misogynistic and violent / Lewis is inexperienced, thoughtless and naive.

Scene 41:

Dialogue: Catherine is chatty, convivial.

Scene 42:

Action: Catherine is fearless.

Scene 43:

Action: Catherine is intensely angry.

Scene 44:

Action: Nevison is terrified.

Dialogue: Kevin is nervous.

Scene 45:

Dialogue: Lee Royce is heartless, cruel, and sadistic.

Scene 46:

Dialogue: Nevison loves his daughter.

Dialogue: Kevin is duplicitous.

Scene 47:

Action: Catherine is smart, resourceful, investigatively skillful.

#screenwriting

Strike Troubled Blood episode 1 scene length analysis

Leave a comment

Let’s look at scene length in episode 1.

Scene 

ACT 1

  1. 0.45 – 2.36 (1.51)
  2. 2.36 – 3.25 (0.49)
  3. 3.25 – 4.24 (0.59)
  4. 4.24 – 5.21 Strike and Phipps (0.57)
  5. 5.21 – 6.34 Strike and Robin (1.13)
  6. 6.34 – 8.55 Strike, aunt and uncle (2.21)
  7. 8.55 – 10.59 Robin and Max. (2.04)
  8. 10.59 – 12.06 Robin, Matthew on the phone (1.07)
  9. 12.06 – 13.55 Strike and Lucy (1.49)
  10. 13.55 – 15.03 Robin (1.08)
  11. 15.03 – 16.34 Strike (1.31)
  12. 16.34 – 17.05 Strike and Robin (0.31)

Total scenes under 1 minute: 4

Total scenes over 1 minute: 6

Total scenes over 2 minutes: 2

Total scenes over 3 minutes: 0

Total number of scenes: 12

ACT 2

  1. 17.05 – 20.26 Strike, Robin, Anna Phipps (3.21)
  2. 20.26 – 21.26 Strike and Robin (1.00)
  3. 21.27 – 23.20 Strike and Robin visit Margot’s co-worker (1.53)
  4. 23.20 – 24.20 Flashback – absent of protagonists (1.00)
  5. 24.20 – 26.22 Continue flashback. (2.02)
  6. 26.22 – 27.34 Continue scene 15 (1.12)
  7. 27.34 – 28.17 Continue flashback (0.43)
  8. 28.17 – 28.49 Cont. scene 15. (0.32)
  9. 28.49 – 29.51 Cont. flashback (1.02)
  10. 29.51 – 30.54 Cont. scene 15 (1.03)

Total scenes under 1 minute: 2

Total scenes over 1 minute: 6

Total scenes over 2 minutes: 1

Total scenes over 3 minutes: 1

Total number of scenes: 10

Act 3

  1. 30.54 – 32.30 Strike, Robin, Pat (1.36)
  2. 32.30 – 33.20 Strike & shop assistant (0.50)
  3. 33.20 – 34.30 Strike & Robin (1.10)
  4. 34.30 – 37.32 Strike, Robin, D.I. Layborn (3.02)
  5. 37.32 – 38.37 Flashback to old police interview. (absent of protags) (1.05)
  6. 38.37 – 40.35 Strike, Robin, Layborn (0.58)
  7. 40.35 – 41.05 Flashback (protags absent) (0.30)
  8. 41.05 – 41.26 Cont scene 26 (0.21)
  9. 41.26 – 41.38 Cont scene 29 (0.12)
  10. 41.38 – 42.52 Strike, Robin and D.I Layborn (1.14)
  11. 42.52 – 46.48 Strike and D.I. Talbot. (3.56)
  12. 46.48 – 49.34 Strike and his brother (2.46)
  13. 49.34 – 50.25 Strike (0.51)
  14. 50.25 – 53.32 Strike and Robin (3.07)
  15. 53.32 – 57.32 Strike, Robin and D.I Layborn rewatch murder footage. (4.00)

Total scenes under 1 minute: 6

Total scenes over 1 minute: 4

Total scenes over 2 minutes: 1

Total scenes over 3 minutes: 4

Total number of scenes: 15

EPISODE 1:

Total scenes under 1 minute: 12

Total scenes over 1 minute: 16

Total scenes over 2 minutes: 4

Total scenes over 3 minutes: 5

Total number of scenes: 37

Overall, what can we notice?

First, Act 1 is 16.20 mins, Act 2 is 13.49 mins, and Act 3 is 26.38, so Act 3 is by far the longest act.

Secondly, the longest scenes are in Act 3.

In Act 1, the longest scene is 2.21 and no scenes are over 3 minutes.

Act 2 opens with a scene that is 3.21. In Act 2 only one scene is over 3 minutes.

Act 3 has four scenes over 3 minutes, and the longest scene is the final scene, which is 4 minutes.

Do you notice any patterns in the scene structure of this episode?

#screenwriting

Strike – Troubled Blood episode 1 analysis – part 3

Leave a comment

I believe Tom Edge wrote this episode in 3 acts. In part 1 we look at Act 1 and part 2 we look at Act 2.

So, what can we notice about Act 3?

First of all, we are back to referencing the romance between Strike and Robin, which was absent in Act 2.

In scene 23 Pat, Strike’s receptionist, reminds Strike it’s Robin’s birthday. Then, in scene 24 we have a 50 second scene of Strike seeking a shop assistant’s advice over whether to buy Robin a ring. In scene 25 we see he gives her flowers before discussing the case.

Total screen time dedicated to this romance: 2 minutes.

Later, towards the end of this first episode (1 of 4) in scene 34 Strike’s brother arrives and they talk about their father. In scene 35 Strike researches his complex family history on the internet.

Total screen time dedicated to Strike’s personal family background: 4.37. (approx 5 mins).

So, to conclude, Act 3 is a total of approx 27 mins.

Total screen time dedicated to B and C stories: 7 mins (approx 25%) which is exactly the same percentage as Act 1.

Made up of:

2 mins dedicated to romance between the two protagonists (approx 7%)

5 mins dedicated to Strike’s family history (approx 18%).

20 minutes out of 27 are dedicated to solving the case. (approx 75%).

#screenwriting

Strike: Trouble Blood episode analysis – structure part 2.

Leave a comment

This 57 minute episode appears to be written in 3 acts. In the first post we looked at Act 1.

Here is the scene breakdown for Act 2.

Scene No. / Scene time.

13. 17.05 – 20.26 Strike & Robin meet Anna Phipps to discuss case and money.

14. 20.26 – 21.26 Strike and Robin in car, contact Det. Inspector (foreshadow to act 3).

15. 21.27 – 23.20 Strike and Robin visit Margot’s co-worker, discuss equal pay strikes

16. 23.20 – 24.20 Flashback to bunny girl men’s club.

17. 24.20 – 26.22 Continue flashback with friend’s VO. Erotic scene.

18. 26.22 – 27.34 Continue scene 15. Shows erotic painting of Margot by artist.

19. 27.34 – 28.17 Flashback artist fight with Margot about erotic photos.

20. 28.17 – 28.49 Cont. scene 15.

21. 28.49 – 29.51 Cont. flashback

22. 29.51 – 30.54 Cont. scene 15

What is interesting here is that, contrary to Act 1, there is no B story relating to the romantic relationship between Strike and Robin. Act 2 is dedicated solely to solving the case.

What is also interesting to note is the way the act is structured. The protagonists interview people who used to know the missing person back in the seventies. We then witness flashbacks of the missing person’s life, with VO from the person remembering.

Thirdly, women’s rights are again prevalent with regards to women working as ‘bunny girls’ in a club, and a debate about equal pay, which reminded me of the brilliant Made in Dagenham (dir. Nigel Cole, screenwriter William Ivory).

Troubled Blood, dir. Sue Tully, screenwriter Tom Edge.

Based on the books by Robert Galbraith aka JK Rowling.

#screenwriting

Strike – Troubled Blood episode analysis: structure part 1.

Leave a comment

ACT 1

  1. 0.45 – 2.36 Strike approached by Anna Phipps and told about her missing daughter (Dr. Margot Bamborough).
  2. 2.36 – 3.25 flashback to the disappearance in 1974.
  3. 3.25 – 4.24 flashback to Anna Phipps as a child.
  4. 4.24 – 5.21 Strike and Phipps.
  5. 5.21 – 6.34 Strike and Robin talk by phone. Robin asks about aunt Joan.
  6. 6.34 – 8.55 Strike’s aunt’s home. Discovers his aunt has incurable ovarian cancer.
  7. 8.55 – 10.59 Robin discusses case with flatmate Max.
  8. 10.59 – 12.06 Robin driving, talks with Matthew on the phone (ex-husband).
  9. 12.06 – 13.55 Strike’s sister Lucy says Strike should marry Robin.
  10. 13.55 – 15.03 Robin alone watches more videos on her phone about the case.
  11. 15.03 – 16.34 Strike on a ferry eavesdropping on strangers. Robin waits on the pier.
  12. 16.34 – 17.05 Strike and Robin talk in the car.

What can we notice about Act 1?

Firstly, three scenes are dedicated to the B story or personal stories of the characters, as opposed to the case.

Scene 6 revolves around Strike’s aunt having ovarian cancer. Scene 8 has his sister ask him why he doesn’t marry Robin. Scene 9 has Robin on the phone to her ex. We might argue the only reason we have scene 6 is so Strike can meet his sister for scene 8. I’m not sure what relevance the ovarian cancer scene has to the story, except perhaps, as it is a story by JK Rowling, pointing to the organs which are a main difference between men and women. Men cannot have ovaries. Clandestine argument? So, if scene 6 points to the feminist women’s rights theme which continues throughout the episode, then only 8 and 9 relate to the romance between Strike and Robin.

Then we might say:

1 scene relates to theme – feminism and women’s rights:

Scene 6: screen time: 2.21

2 scenes relate to Strike and Robin’s romance:

Scene 8: Screen time: 1.07

Scene 9: Screen time 1.49

The total screen time of Act 1 from 0.45 – 17.05 = 16.20

Total screen time dedicated to the new case: 12.03 (approx 75%)

Total screen time dedicated to non-case or B stories: 4.17 (approx 25%)

Total screen time dedicated to Strike and Robin’s romance: 2.56 (approx 20%)

Total screen time pointing to women’s issues / feminist themes: 2.21 (approx 15%)