Scene Intelligence Cards — Role View (v2)

Designed to read like a clean production PDF, but filterable per role.

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Scene 1 — EXT. BEACH, CYPRUS — DAY

ID: 1 • EXT • Day • Location Type: Beach (public)

Context

  • Charlie and Jason are about to have a sword fight on the beach.
  • The fight becomes real; Jason draws blood; lunges and grappling continue.

Facts (explicit)

  • Daytime beach setting.
  • Sword fight; stabbing; blood is visible.
  • Close-ups and widening reveal in the script direction.

Implications (inferred)

  • Safety: weapons + fast choreography + sand footing = high injury risk.
  • Environment: wind/surf; glare/reflection; uncontrolled background if public beach.
  • Sound: wind and waves masking dialogue; metal clash peaks.
  • Legal/permits: filming weapons in public may require special permissions/police liaison.
  • Continuity: blood + sand + wardrobe resets.
Locations 2 needs · 2 risks · 3 actions ›

Needs

  • Beach with controllable perimeter (permit-friendly).
  • Clear access routes for crew + emergency vehicle.

Risks / Watchouts

  • Public interference; safety perception due to weapons.
  • High wind exposure; tide-line congestion.

Actions

  • [ ] Shortlist 2–3 beaches with filming history.
  • [ ] Confirm permit + weapon policy requirements.
  • [ ] Map parking/load-in/med access.
Art 2 needs · 2 risks · 3 actions ›

Needs

  • Swords: hero + stunt-safe versions.
  • Blood plan + reset kit; wardrobe continuity plan.

Risks / Watchouts

  • Weapons alarming public if too realistic.
  • Blood continuity mismatch between takes.

Actions

  • [ ] Define prop tiers (hero / rubber / dulled).
  • [ ] Prep duplicate wardrobe or repair path.
  • [ ] Blood continuity photos + reset steps.
Camera 2 needs · 2 risks · 3 actions ›

Needs

  • Coverage for fast movement (close + wide).
  • Plan for harsh daylight and reflections.

Risks / Watchouts

  • Overexposure/glare; sand on lenses/gear.
  • Safety distance during weapon action.

Actions

  • [ ] ND/diffusion + lens protection plan.
  • [ ] Define safe camera lanes with stunt coordinator.
  • [ ] Decide handheld vs stabilized approach.
Sound 2 needs · 2 risks · 3 actions ›

Needs

  • Wind protection strategy (lav + boom redundancy).
  • Plan for clean sword SFX capture.

Risks / Watchouts

  • Wind/surf masking dialogue; peaky metal hits.
  • ADR risk if conditions are rough.

Actions

  • [ ] Windjammers + placement tests.
  • [ ] Capture wild tracks (surf, steps, sword passes).
  • [ ] Flag ADR risk early in reports.
Production 2 needs · 2 risks · 3 actions ›

Needs

  • Stunt coordinator + weapons supervision.
  • Medic on set; safety briefing; controlled perimeter.

Risks / Watchouts

  • Injury; public complaints; permit complications.
  • Schedule slip due to wind/crowd conditions.

Actions

  • [ ] Confirm insurance + stunt plan before locking date.
  • [ ] Arrange crowd control / perimeter PAs.
  • [ ] Add contingency time for weather/crowd.
View original script excerpt Reference › 
1
EXT. BEACH, CYPRUS - DAY

CLOSE on our director CHARLIE BUCKMIRE (late-20s). Worried.

CHARLIE
We don’t have to do this, Jason.

CLOSE on our star actor JASON CLEMENTS (mid-60s). Buzzing.

JASON
Herr Director, we so have to do it.

WIDEN TO REVEAL:
They’re about to have a sword fight. Right there on the beach.

Charlie is breathless, shocked and over-adrenalized (if that’s
even a word--which it is now, because just look at him).

CHARLIE
This is for real?

JASON
This is the movies. Nothing’s for real.

He jabs--stabbing Charlie.

CHARLIE
Fuck--Jason!

Draws blood. Charlie’s stunned. Jason shrugs--

JASON
Okay well, some things are real.

--and he lunges again, ROARING.
Charlie lurches out of the way. Spins. Jason’s on him again.
Charlie locks arms. Holds Jason away.

CHARLIE
It didn’t have to be like this!

CLOSE ON JASON. A look behind his eyes that we’ll come to
call The Jason Look. Full of fire and energy and life,
bursting with the complexities of this man. He whispers:

JASON
Oh c’mon now, Fluffs. It always had
to be like this.
Questions to resolve
  • Are swords intended to be realistic steel on camera, or can we go fully stunt-safe?
  • Is the blood a quick beat, or continuity-heavy across multiple shots?

Scene 2 — INT. JASON’S MANSION, HOLLYWOOD HILLS — NIGHT

ID: 2 • INT • Night • Location Type: Mansion party

Context

  • Jason sits up laughing: he’s been lying on a bed of nails, watched by party guests.
  • Entourage helps; Jason is robed and handed champagne; party mood with movement toward French windows/deck.
  • Charlie is present, quieter, observing.

Facts (explicit)

  • Interior mansion party at night.
  • Bed of nails stunt; multiple party guests; entourage members.
  • Props: robe, champagne glass; auto-sliding French windows.
  • Time note: “six months earlier”.

Implications (inferred)

  • Safety: bed-of-nails must be stunt-safe + rehearsed protocol.
  • Sound: party walla + glass noise; overlapping dialogue risk.
  • Lighting: interior night practicals; mixed color temps; reflections in glass/windows.
  • Production: extras wrangling, alcohol substitution, reset flow for crowd moments.
Locations 2 needs · 2 risks · 3 actions ›

Needs

  • Mansion interior suitable for party staging + crew movement.
  • Workable acoustics (or at least a controllable room for key dialogue).

Risks / Watchouts

  • Residential restrictions: noise, parking, hours.
  • Limited space for gear and extras holding.

Actions

  • [ ] Confirm filming hours + neighbor constraints.
  • [ ] Map load-in + extras holding + reset paths.
  • [ ] Identify quiet room option for key lines.
Art 2 needs · 2 risks · 3 actions ›

Needs

  • Stunt-safe bed-of-nails prop (camera-believable).
  • Party dressing + hero props (robe, champagne, glassware).

Risks / Watchouts

  • Injury risk if prop is not correctly engineered/tested.
  • Continuity: champagne level, robe placement, glass swaps.

Actions

  • [ ] Source/build bed-of-nails rig + test with stunt team.
  • [ ] Use breakaway/safe glass options where possible.
  • [ ] Continuity photos for key prop states.
Camera 2 needs · 2 risks · 3 actions ›

Needs

  • Coverage of stunt + guest reactions.
  • Night interior look that reads “high-end party”.

Risks / Watchouts

  • Reflections in windows/glass revealing crew.
  • Mixed color temperatures across rooms.

Actions

  • [ ] Block camera paths through crowd/extras.
  • [ ] Reflection management plan (angles/flags).
  • [ ] Shoot stunt to hide safety cheats (angles, selective focus).
Sound 2 needs · 2 risks · 3 actions ›

Needs

  • Dialogue clarity plan for party environment.
  • Controlled walla approach with AD.

Risks / Watchouts

  • Overlapping dialogue + glass clinks.
  • Reverb from hard surfaces.

Actions

  • [ ] “Rolling/quiet” protocol with AD + extras.
  • [ ] Capture wild party ambience separately.
  • [ ] Watch glass handling during dialogue beats.
Production 3 needs · 2 risks · 3 actions ›

Needs

  • Extras casting/wrangling (party guests).
  • Stunt coordinator + safety protocol for bed-of-nails.
  • Alcohol substitution policy.

Risks / Watchouts

  • Stunt liability; schedule drag with crowd resets.
  • Noise/parking complaints in residential area.

Actions

  • [ ] Lock rehearsal timing + stunt protocol.
  • [ ] Plan extras holding + reset flow.
  • [ ] Use non-alcoholic “hero” champagne props.
View original script excerpt Reference › 
I2
INT. JASON’S MANSION, HOLLYWOOD HILLS - NIGHT

CLOSE ON JASON, roaring. The roar turns into a laugh as--
--he suddenly sits up, fast. He’s topless. The Jason Look in
full force, buzzing as he laughs out loud--

JASON
Ouch!!

REVEAL:
He’s been lying on a BED OF NAILS, watched by PARTY GUESTS.

He springs to his feet, thrilled with himself. THREE MEMBERS
OF HIS ENTOURAGE rush to help him.

At the back--feeling left out, but smiling along with
everyone--
--CHARLIE.

He looks a lot younger here. Though in reality it’s only
SIX MONTHS EARLIER

Jason, meantime, has been wrapped in the finest bathroom robe
and handed a glass of champagne. He basks in the compliments
being fired his way.

JASON (CONT’D)
And still not as painful as the
reviews for PARK RANGER RETURNS!

This gets a laugh, of course. He crosses to the French
Windows. They automatically slide open. As he passes Charlie,
he hands him his glass, like he thinks he’s the help. Charlie
takes it anyway, too meek to protest.
Questions to resolve
  • How many party guests are intended on screen (small/intimate vs packed)?
  • Do we see bed-of-nails in close detail (prop must be ultra convincing) or just enough to sell the gag?

Scene 3 — INT. JASON’S MANSION, HOLLYWOOD HILLS — NIGHT

ID: 3 • INT • Night • Location Type: Mansion interior (continuation)

Context

  • Continuation of the party beat as Jason crosses toward the French windows/deck area.
  • Jason casually asserts dominance; Charlie follows, observant and outmatched.

Facts (explicit)

  • Interior mansion at night; party present (walla, movement).
  • Props in play: champagne glass; French windows nearby.
  • Dialogue-driven power dynamic between Jason and Charlie.

Implications (inferred)

  • Sound: party walla must drop out for key dialogue clarity.
  • Camera: coverage should emphasize dominance (Jason) vs meekness (Charlie).
  • Continuity: glass levels + wardrobe (robe) must track across Scenes 2–4.
Locations 2 needs · 2 risks · 3 actions ›

Needs

  • Quiet “dialogue lane” within mansion away from loudest party cluster.
  • Clear path to French windows/deck without crew reflections.

Risks / Watchouts

  • Noise bleed from extras; uncontrolled BG crossing.
  • Glass/window reflections exposing crew and lights.

Actions

  • [ ] Mark a controlled corridor for Jason/Charlie movement.
  • [ ] Identify “quiet hold” position for extras during takes.
  • [ ] Reflection check during tech scout (windows/mirrors/art).
Art 2 needs · 2 risks · 3 actions ›

Needs

  • Hero champagne glass continuity (same glass across beats if intended).
  • Wardrobe continuity: Jason robe; Charlie holding/handling glass.

Risks / Watchouts

  • Liquid level mismatch between takes and scenes.
  • Glassware swaps that break continuity (shape/reflections).

Actions

  • [ ] Assign “Hero Glass A” + duplicates (A1/A2) matched.
  • [ ] Continuity photos: glass level, robe tie position, Charlie hand positions.
  • [ ] Use non-alcoholic substitute and measured top-ups for reset.
Camera 2 needs · 2 risks · 3 actions ›

Needs

  • Clean singles + 2-shot that sells power imbalance.
  • Angle strategy to avoid reflections (windows) and avoid seeing crew.

Risks / Watchouts

  • Over-cutting kills tension; scene needs confident holds.
  • Reflections / mixed color temps from practicals.

Actions

  • [ ] Favor Jason’s eyeline height and framing dominance.
  • [ ] Pre-block extras as soft bokeh background, not readable faces.
  • [ ] Reflection pass: flag/angle adjustments before rolling.
Sound 2 needs · 2 risks · 3 actions ›

Needs

  • Dialogue-first protocol with AD + extras.
  • Lav + boom redundancy despite party environment.

Risks / Watchouts

  • Glass handling/clinks near lines.
  • BG walla stepping on dialogue; ADR risk if uncontrolled.

Actions

  • [ ] “Rolling/quiet” cues; freeze extras movement on takes.
  • [ ] Capture clean wild lines after a good take if needed.
  • [ ] Capture wild tracks: room tone + party ambience separate.
Production 2 needs · 2 risks · 3 actions ›

Needs

  • Extras wrangling for controlled background.
  • Continuity management across Scenes 2–4 (same night block).

Risks / Watchouts

  • Schedule drag due to resets with crowd and glass/props.
  • Noise complaints / location constraints if residential.

Actions

  • [ ] Shoot Scenes 2–4 as one continuous location setup where possible.
  • [ ] Assign PA to “quiet lane” + background lock.
  • [ ] Build reset time into schedule for glass/wardrobe continuity.
View original script excerpt Reference › 
 3
ON THE DECKING WITH JASON
As Jason takes calming gulps of air, we TRACK PAST HIM to reveal
the most STUNNING VIEW of the City of Angels.
By the time we PAN back to Jason, Charlie’s approaching behind.
CHARLIE
Mr Clements? Jason?
JASON
I’m trying to enjoy the night.
CHARLIE
I’m Charlie Buckmire?
3.
Jason draws a blank.
JASON
Charlie Buckmire...
CHARLIE
Uhm...Galatea..?
Jason draws another blank.
JASON
Galatea...
CHARLIE
The movie you’re considering..?
Beat. Then:
JASON
Galatea. Of course. And what does
Charlie Buckmire have to do with
Galatea?
CHARLIE
(embarrassed to have to say it)
I‘m the...director. And writer...?
Jason just stares. And then smiles big.
JASON
I know who you are, kid.
He throws his arm around Charlie and walk him--
Questions to resolve
  • Is this beat intended to be played in a quieter pocket of the party (so we can control walla), or right in the thick of it?
  • Does the same champagne glass carry from Scene 2 into Scene 4, or can we reset between?

Scene 4 — EXT. JASON’S MANSION DECK, HOLLYWOOD HILLS — NIGHT

ID: 4 • EXT • Night • Location Type: Deck / Hills overlook (private)

Context

  • Jason draws Charlie outside onto the deck.
  • The city becomes backdrop as Jason performs a myth-making, charismatic beat.

Facts (explicit)

  • Exterior night on a mansion deck overlooking the city.
  • Dialogue-focused two-hander (Jason + Charlie).
  • Props likely continue: champagne / robe continuity.

Implications (inferred)

  • Sound: wind and distant traffic; must plan capture strategy.
  • Lighting: night exterior needs motivated deck practicals and skyline separation.
  • Safety: edges/railings + night movement + glass props.
Locations 2 needs · 2 risks · 3 actions ›

Needs

  • Deck with convincing skyline view (or controllable background for comp).
  • Perimeter control for quiet and safety near railings.

Risks / Watchouts

  • Neighbor noise/complaints; restrictions on exterior night work.
  • Wind exposure and HVAC/ambient mechanical noise.

Actions

  • [ ] Night scout: wind + traffic noise floor + neighbor proximity.
  • [ ] Confirm exterior-night permission and hours.
  • [ ] Mark safe perimeter; confirm railing height/lock-off zones.
Art 2 needs · 2 risks · 3 actions ›

Needs

  • Deck practicals: lanterns/sconces/soft sources to motivate night look.
  • Hero champagne + robe continuity from interior.

Risks / Watchouts

  • Uncontrolled reflections from glassware and windows behind.
  • Continuity drift between interior/exterior transitions (robe, glass, levels).

Actions

  • [ ] Practical placement test for flattering face light without obvious rigs.
  • [ ] Match interior-to-exterior prop states with continuity photos.
  • [ ] Consider safer “stunt glass” if near railings or big gestures.
Camera 2 needs · 2 risks · 3 actions ›

Needs

  • Expose faces while holding city separation (avoid pure silhouette unless intended).
  • Stable framing language that sells Jason’s controlled charisma.

Risks / Watchouts

  • City bokeh distracts from performance; skyline becomes “too pretty.”
  • Mixed color temps from practicals + city spill.

Actions

  • [ ] Exposure tests: faces vs skyline; decide priority.
  • [ ] Keep movement minimal; let performance carry.
  • [ ] Build angles to hide crew reflections in glass/doors.
Sound 2 needs · 2 risks · 3 actions ›

Needs

  • Wind protection plan (lav + boom strategy).
  • Clean capture for monologue-style delivery.

Risks / Watchouts

  • Wind gusts; traffic; distant sirens.
  • Deck surfaces causing footsteps; glass clinks on lines.

Actions

  • [ ] Use heavy windjammers + placement tests.
  • [ ] Record long wild ambience to smooth edits.
  • [ ] Capture wild lines as backup if wind spikes.
Production 2 needs · 2 risks · 3 actions ›

Needs

  • Night exterior coverage planning (time, neighbors, permits).
  • Safety briefing re: railings, darkness, glass props.

Risks / Watchouts

  • Schedule overruns due to sound takes/wind resets.
  • Noise complaints and restricted hours.

Actions

  • [ ] Build buffer for wind/noise; prioritize key lines early.
  • [ ] Add edge lighting and mark safe zones near railings.
  • [ ] Keep crew footprint minimal to preserve reflections and space.
View original script excerpt Reference › 
 4
BACK INSIDE
JASON
You directors are like the police.
Younger every year.
(grabs a passing PARTY-GOER)
David! This is Charlie, hoping to
be my next director.
DAVID
Oh, the Holocaust Musical?
JASON
I thought I passed on that.
DAVID
Christ, I hope not--they wrote that
song for you.
4.
JASON
Oh yeah.
(to Charlie)
I demanded a song.
CHARLIE
It’s a Musical?
JASON
About the Holocaust? No. But my
character should absolutely sing a
song.
They sit.
JASON (CONT’D)
So tell me about yourself, Charlie.
CHARLIE
(not what he was expecting)
Oh, okay, well
JASON
Do you know Carol Wenck?
CHARLIE
(thrown off course)
Uhm---not personally, but yes, of
course.
JASON
We fucked in our twenties.
CHARLIE
(doesn’t know how to take that)
Right.
JASON
(beckoning to off-screen)
Carol darling!
Jason nearly spits his wine out. She’s on her way over.
JASON (CONT’D)
Look at you!
She’s gorgeous. Mid-60s like Jason. Big smile. Big white
teeth. Big eyes gazing at Charlie. She hasn’t blinked yet.
Might not even be possible, given the--you know.
JASON (CONT’D)
This is Charlie, maybe one of my
next directors. What’s the project?
5.
CHARLIE
Galatea.
CAROL WENCK
As in Pygmalion?
JASON
Tell her all about it, Herr Director.
CHARLIE
Pygmalion, yes.
CAROL WENCK
I love the Pygmalion myth. Loving
somebody so much you want them
back, even if you have to carve
them from stone and pray to the
gods to bring them to life.
CHARLIE
And this is about a movie being
made of the Pygmalion myth. Using
the making of the movie-within-the-
movie as a kind of commentary on
relationships.
CAROL WENCK
Very French Lieutenant’s Woman.
CHARLIE
Right! Well, yes, that was actually
an influence.
She rests a hand on Charlie’s arm.
CAROL WENCK
Some would call it theft, darling.
Leaves her hand there for a little too long. Jason springs to
his feet, thrilled.
JASON
This is my song.
He gestures for Charlie to join him. Charlie hesitates.
JASON (CONT’D)
Do you want to be my director or
not? This is my song!
As Jason drags Charlie into the middle of the room, he leans in.
6.
JASON (CONT’D)
If you want to fuck her, I can
arrange.
CHARLIE
I don’t think Carol Wenck would--
JASON
Are you kidding? Course she would.
And suddenly Jason is pulling Charlie into his dance. Busting
moves. Laughing. Having fun.
JASON (CONT’D)
Are you ready for this, son?
It’s gonna be quite the ride.
He makes Charlie do the moves with him. People are watching,
clapping in time. Charlie laughs.
JASON (CONT’D)
You look so different when you
smile!
Charlie sees a young woman, SASHA--laughing and clapping. She
watches him.
Questions to resolve
  • Do we need a readable skyline, or just “city glow” atmosphere?
  • Is wind expected as a story element (embrace) or an obstacle (control/avoid)?

Scene 5 — INT. CHARLIE’S APARTMENT — NIGHT

ID: 5 • INT • Night • Location Type: Apartment (private)

Context

  • Charlie is alone at home after the mansion party.
  • The glamour drops; we sit in the emotional aftermath.

Facts (explicit)

  • Interior apartment at night.
  • Quiet tone; minimal cast (likely just Charlie).
  • Low action; performance and atmosphere lead.

Implications (inferred)

  • Production: simplest scene (cheap) but tone-critical.
  • Camera: controlled, still compositions; negative space.
  • Sound: room tone, subtle outside ambience; avoid “dead” silence.
Locations 2 needs · 2 risks · 3 actions ›

Needs

  • Apartment that supports moody night lighting and quiet control.
  • Simple layout for fast coverage (bedroom/living area as needed).

Risks / Watchouts

  • Neighbor noise; street traffic; fridges/AC hum.
  • Tight spaces limiting camera and sound placement.

Actions

  • [ ] Scout noise sources; plan lock-offs (AC/fridge if allowed).
  • [ ] Identify best “anchor room” for scene tone.
  • [ ] Plan crew footprint to keep space breathable.
Art 2 needs · 2 risks · 3 actions ›

Needs

  • Apartment dressing that reflects Charlie’s reality (contrast to mansion).
  • Practical lamps/fixtures to motivate night mood.

Risks / Watchouts

  • Over-dressing turns it into “set” instead of lived-in.
  • Continuity: items moved by performance actions (keys/jacket/phone).

Actions

  • [ ] Define 3–5 hero objects that tell Charlie’s life.
  • [ ] Continuity photos on entry actions (drops/places).
  • [ ] Practical bulb strategy consistent with camera plan.
Camera 2 needs · 2 risks · 3 actions ›

Needs

  • Still, intentional framing; let silence read.
  • Low-light plan that keeps skin tones clean (not muddy).

Risks / Watchouts

  • Scene becomes visually flat if “just dim.”
  • Over-coverage dilutes mood; needs discipline.

Actions

  • [ ] Decide 1–2 anchor angles + 1 close option only.
  • [ ] Use negative space to emphasize isolation.
  • [ ] Practical-motivated key/fill test before shooting.
Sound 2 needs · 2 risks · 3 actions ›

Needs

  • Clean room tone and subtle exterior ambience capture.
  • Foley-friendly capture for small actions (keys, fabric, steps).

Risks / Watchouts

  • Appliance hum / street noise makes “quiet” scene unusable.
  • Footsteps and cloth noise may dominate if too close-mic’d.

Actions

  • [ ] Record long room tone takes at multiple times.
  • [ ] Identify and mitigate hum sources (where permitted).
  • [ ] Capture wild foley actions if performance requires.
Production 2 needs · 2 risks · 3 actions ›

Needs

  • Efficient schedule placement (can be a “breather” day/half-day).
  • Small crew footprint to maintain intimacy and speed.

Risks / Watchouts

  • Noise control failures waste time; more takes than planned.
  • Location constraints (parking, neighbors, building rules).

Actions

  • [ ] Schedule at the quietest time window for the location.
  • [ ] Limit background activity; lock doors/halls during takes.
  • [ ] Pre-light quickly with practicals to keep pace.
View original script excerpt Reference › 
 5
INT. BEDROOM, SUZI’S APARTMENT - NIGHT
Charlie’s in the en-suite brushing his teeth. His partner,
SUZI, sits up in bed.
SUZI
You danced? You never dance!
CHARLIE
(shrugs)
Jason Clements.
SUZI
That would have been something to
see.
Charlie closes the en-suite and gets into bed beside her.
SUZI (CONT’D)
Was he any good?
CHARLIE
Of course he was.
7.
SUZI
Dancing with Jason Clements. Looks
like we’re making a movie.
CHARLIE
Looks like.
She pushes him onto the bed and straddles him.
SUZI
Looks. Like.
He closes his eyes as she gets to work.
CHARLIE
...looks...like...
Questions to resolve
  • Is this scene silent (pure behavior), or does Charlie speak/record something (phone, voicemail, etc.)?
  • What is the key “hero action” we must protect for continuity (keys/jacket/phone/drink)?