Coe William K. The Screenwriting Bible

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The Screenwriting Bible™

Sir William K. Coe™

blacks 25 years earlier and shares her disgust with Jefferson. He

counters that he was ignorant when he wrote it -- and

declares his love for her.

In the next 12 years, Polly and Betty die, Sally and Jefferson have two

more sons (Madison and Eston), and after serving two terms as

president, Jefferson again retires to Monticello. Because of a long

drought, Monticello has not been prosperous in years. However,

Jefferson cannot contain his enthusiasm regarding retirement, the

completion of the dome at Monticello and the beginning of his next

project -- the creation of the University of Virginia.

When Jefferson's builders come to collect money he doesn't have,

Jefferson holds out hope that he will be able to get his old friend

DuPont to back the university during his upcoming visit. DuPont brings

his son (David Bridgewater) and his American nephew, William Alexander

(Zachary Knighton). William mistakes Sally's daughter, Harriet (Amelia

Heinle), for a Randolph -- which she does not correct. Sally tells

Harriet not to deny who she is -- but Harriet exclaims that she wants

to have a full and free life.

When Alexander learns Harriet's true identity, he cruelly and publicly

rejects her. Meanwhile, Jefferson and DuPont finally realize that while

Jefferson's been seeking money from DuPont for the university -- DuPont

has been wanting Jefferson to invest in gunpowder. After a good laugh

at the irony, DuPont prepares to leave -- after stating his

embarrassment at Alexander's behavior.

Five years later, to avoid complete financial ruin, Jefferson is forced

to sell most of his possessions. The sale includes the prized books in

his library -- which will replace books that were destroyed when the

British burned the National Library in 1812. Informing Jefferson that

he is bankrupt, Martha convinces the despondent Jefferson that he must

sell some of his slaves.

In an emotional moment, Jefferson gathers many of the slaves and tells

them that he has failed them in freedom -- and that his Monticello

dreams failed because they were based on the inequity of slavery. He

then informs them that they will be sold. After the tear-filled slave

auction, Harriet and Beverly decide to leave Monticello. Jefferson

gives them money and makes sure they are properly escorted to the

stagecoach in Charlottesville.

Four years later, Sally's son, Tom (Sean Pratt), finally comes back to

her -- offering to take her back to his home and family. Sally tells

him that Monticello is as much a home to the Hemings as it is to the

Jeffersons. She can't leave it -- nor would she want to leave

Jefferson.

Martha brings Jefferson the unsettling news that the bank is

foreclosing on Monticello. Jefferson falls ill, and after once more

declaring his love for Sally, he dies on July 4, 1826 -- the 50th

anniversary of the Declaration of Independence. Martha brings Sally

Jefferson's will -- declaring that there were no inheritances. However,

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he was able to afford to free five slaves -- including Sally's sons,

Madison and Eston. Martha says she will overlook the fact that

Sally is not mentioned, since her father wouldn't have wanted to

separate Sally from her family. Sally reveals to a surprised Martha

that she's been free since Paris -- and tells her they're more alike

than Martha would like to believe. In fact, since Sally's father was

Martha's grandfather -- they're truly family. The two finally connect

for a moment before embarking upon their separate futures.

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Query Letter

Amy Screenwriter

16000 Ventura Blvd

Encino, CA 91436

June 1st 1999

Jim Farrah

Agency For Gifted Writers

3412 Wilshire Blvd, Suite 200

Beverly Hills, CA 90210

Dear Jim,

Keep the paragraphs short, punchy, warm and not too formal. Say what

you’re looking for and give a brief description of your script.

I am looking for representation as a screenwriter and would like to

send you my new screenplay, Mary May. The script is a mysterious

journey through the bizarre and surreal world of our protagonist’s

brother. Witness to a murder, she becomes embroiled in a conspiracy

that will shake the foundations of all she has come to believe in.

Tell the person reading the letter that this is not your first effort

and that you have a certain amount of experience. Never tell an

agent/production company this is your first script…this is a sure way

of having your work tossed in the trash before it’s even been read.

As well as writing Mary May, I’ve written three other screenplays, one

of which placed third in the Acme International Screenwriting

Competition. I have also had a number of short stories published in the

Spokane Press Monthly.

Finish by telling the person why you feel your script is different.

Don’t tell them if they read your script you will split the money with

them! Remember, this letter will probably have been the tenth query

letter this person has read that morning, so keep it brief, positive

and upbeat.

Mary May, I feel, is a unique script with an important message that

today’s movie-going crowd will readily warm to and find gripping. This

is my best work and deserves my best efforts to get it made. I feel

your agency/production company would be perfect for this material.

Enclosed is a self-addressed post card. Yes, you want to read Mary May.

Or No, you’re not interested.

I look forward to your reply.

Sincerely,

Amy Screenwriter

Enclosure

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Query Letter

June 30, 1999

Hollywood Producer

Hollywood Production Company

1234 Hollywood Blvd., Penthouse Suite

Hollywood, CA 90046

Dear Hollywood Producer,

I recently completed my third screenplay entitled, "My First Big Sale." Last year, I was a finalist in

the REALLY BIG SCREENWRITING CONTEST as well as reaching the third round of THAT

OTHER REALLY BIG CONTEST. I would like to see if you would consider reading my latest

work.

"My First Big Sale" is the story of a young, aspiring screenwriter who moves to Los Angeles from

the East coast to kick start his writing career. While walking around the city looking for

inspiration, he finds himself caught up in a plot to blow up the Mann's Chinese Theater. The

writer becomes a real life action hero as he fights to save the audience inside from the terrorist.

He is able to save the day, and all of this becomes the basis for his first screenplay which sells for

$10 million dollars.

If you are interested in this action-comedy, please contact me at:

Sally Screenwriter

5678 Maple Drive

Anywhere, USA 12345

999-555-1212

sallyscreen@e-mail.com

Sincerely,

Sally Screenwriter

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Query Letter

Your name

Address

Date

Executive's name

Executive's title

Address of company

Dear Mr. or Ms. Executive: (use a colon, not comma)

Begin with a friendly greeting and/or attention-grabbing line about your script. Continue with a

sentence such as: "I have just completed the feature screenplay [title] that I would like to submit

to you for your consideration." If appropriate, include information about why your project may be

the right match for their company.

Describe your script in three to four sentences. State the genre, who the main characters are,

using their actual names, what their major obstacle is, and how they plan to overcome it. Don't

give away the ending.

Give a brief one-paragraph bio stressing your screenwriting or film background. For example: "I

am a recent graduate of" or "My credits include: [name films or scripts and awards]." Also, add

something unique about yourself that makes you attractive to the production company, studio, or

agent.

Closing paragraph. Two simple sentences will do. For example: "Enclosed you will find a self-

addressed stamped envelope for your reply. I look forward to hearing from you soon."

Sincerely,

Name

Phone number

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Query Letter

2/20/04

Mr. Successful Agent

Success Agency

1234 Lucky Ave.

Prosperous Springs, CA. 12345

(The above address should be single-spaced not double)

Dear Mr. Agent,

I am currently seeking representation for my original film script, Luck of the Draw. The script won

the New Screenplay Contest in Grandstand, New York, last year, and it has received two awards

since then. The story originated during my stint as a journalist for the Grandstand Times.

In Luck of the Draw, energetic young reporter, Ace Dobson, finds evidence linking a prominent

New Yorker to a string of bank robberies. It’s a first-time journalist’s dream come true, except for

one minor detail. The thief in question happens to be his father, and his boss. Luck of the Draw is

a compelling look at one man’s struggle to choose between family loyalty and justice.

I’d like to send the complete script for your review. I’ve enclosed a post card for your reply, or you

may call me at (123) 456-7890. Thank you for your time and consideration.

Sincerely,

(your signature here)

Jane Doe

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Structure Table

ACTION/PLOT POINT/DESCRIPTION

PG #s IN

120-PG

SCRIPT?

SETUP: Who is the character, what is the place, time, mood,

size/scope/feeling, point of view. What's the story about?

Whose story is it? What does hero want, and what's stopping

hero from getting it? Do we like hero and care if he/she gets

what she wants? What happens next

1 - 12

CENTRAL QUESTION POINT: What is the central question, the

theme, the main issue the movie is going to answer?

NEW OPPORTUNITY: Something that happens to steer events in a

particular direction

CHOICE OF PATH: Based on the new opportunity, the hero begins

taking steps toward a general goal

12 - 30

CHANGE OF PLANS/TURNING POINT: what event throws hero a curve,

forces response or reaction, sets the hero's plan/goal,

defines the hero's new pathway for Act II? General goal(s)

become specific.

PROGRESS: Plans to achieve goals are working. There are

conflicts but things are going pretty well. Hero is changing,

circumstances are changing and stakes get higher.

30-60

MOVING FORWARD METAPHOR: A small scene with symbolic

overtones, showing the character's growth, and giving us a

clue to the resolution

POINT OF NO RETURN: Something happens so that hero, if pushing

forward and committing, against all odds, to goal, cannot

return to where he/she was in the setup. Sometimes, here the

external goal has become internal/personal, and pursuing it

will change the hero.

POST-POINT MOMENT: A lighter moment, which typically follows

the POINT OF NO RETURN. Doesn't further action, but shows how

hero is changing, then obstacles start to escalate

60+

COMPLICATIONS AND HIGHER STAKES: The goal becomes even harder

to achieve. It looks like it will take everything to do this,

harder than thought, but hero wants it more because it's

harder.

60 - 90

ALL HOPE IS LOST/ MAJOR SETBACK/THE BIG GLOOM/ GIVING UP

POINT: The greatest setback. It appears that hero may not

achieve goal, hero about to give up, but something happens

that changes everything, an event that gives a chance at a

goal hero didn't know he/she had

FINAL PUSH --> ONE SPECIFIC ACTION: Final intensification of

the hero's pursuit of the goal, which usually becomes focused

here into achieving one specific action. An event occurs that

educates the hero, and starts the resolution. Hero may be

getting something more or different from what he/she set out

90 - 108

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to get, hero has learned something and is changed by it, a new

complications sets in?

CLIMAX: Hero is close, can see goal, final obstacle, has to

give up everything in pursuit of the goal, crisis point where

all is in jeopardy, final moment, all or nothing . Hero

achieves or fails to achieve the goal, and outer motivation is

clearly resolved, often through confrontation with a

"nemesis."

108 - 114

DENOUEMENT: What is the outcome, resolution, hero's new life? 108 - 114

THE END 120

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List of Agents and Managers

3 Arts Entertainment, Inc.

9460 Wilshire Blvd., 7th Floor

Beverly Hills, CA 90212

Telephone: (310) 888-3200

Fax: (310) 888-3210

A Total Acting Experience

20501 Ventura Blvd. #399

Woodland Hills, CA 91364-2350

A.J. Hawkins Agency

3403 North 92nd St.

Milwaukee, WI 53222

Telephone: (414) 462-0635

Aaron Priest Literary Agency

708 Third Avenue, 23rd Floor

New York, NY 10017

Telephone: (212) 818-0344

Fax: (212) 573-9417

Above the Line Agency

9200 Sunset Blvd. #804

West Hollywood, CA 90069

Telephone: (310) 859-6115

Fax: (310) 859-6119

Abrams Artists (NY)

275 7th Avenue, 26th Floor

New York, NY 10001

Telephone: (646) 486-4600

Fax: (646) 486-0100

Abrams Artists Agency (LA)

9200 Sunset Blvd., 11th Floor

Los Angeles, CA 90069

Telephone: (310) 859-0625

Fax: (310) 276-6193

Acme Talent & Literary Agency

4727 Wilshire Blvd. #333

Los Angeles, CA 90010

Telephone: (323) 954-2263

Fax: (323) 954-2262

AEI-Atchity Editorial Entertainment International Inc.

9601 Wilshire Blvd.

Box 1202

Beverly Hills, CA 90210

Telephone: (323) 932-0407

Fax: (323) 932-0321

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Web: http://www.aeionline.com

Agape Productions

3375 St./Rd. 252

PO Box 147

Flat Rock, IN 47234

Telephone: (812) 587-5654

Agency Chicago

601 South LaSalle St. #600-A

Chicago, IL 60605

Agency for the Performing Arts

9200 Sunset Blvd. #900

Los Angeles, CA 90069

Telephone: (310) 888-4200

Agency for the Performing Arts

888 7th Ave.

New York, NY 10106

Telephone: (212) 582-1500

Agency, The

1800 Avenue of the Stars #1114

Los Angeles, CA 90067

Telephone: (310) 551-3000

Fax: (310) 551-1424

Alice Fries Agency, Ltd.

1927 Vista del Mar Ave.

Los Angeles, CA 90068

Telephone: (323) 464-1404

All Star Talent Agency

7834 Alabama Ave.

Canoga Park, CA 91304-4905

Telephone: (818) 346-4313

Allan S. Meyers Agency

105 Court St.

Brooklyn, NY 11201

Telephone: (718) 596-2490

Allen Talent Agency

3832 Wilshire Blvd. 2nd Floor

Los Angeles, CA 90010-3221

Telephone: (213) 896-9372

Alpern Group

15645 Royal Oak Road

Encino, CA 91436

Telephone: (818) 528-1111

Fax: (818) 528-1110

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