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Breakdown & Shot List
✨ Enhance script for AI · optional
A standard screenplay leaves a lot implied. This optional step rewrites each scene into fuller, AI-ready prose — describing the wardrobe, carried props and light your production bible already establishes, so every shot has the detail it needs. Story, action and dialogue are kept word-for-word; nothing is invented — each addition is drawn FROM the bible and listed in that scene’s ledger. The enhanced text becomes your working script for the Breakdown and Scene Cards; you can restore the original at any time.
Breakdown & Shot List
A virtual Director + DP — this is Phase 1. Build the film bible FIRST in “Screenplay → Production Bible” (everything below promotes into it). Then: ▶ Run the breakdown (it indexes the scenes, breaks each one down and builds its scene card - resumable, the price shown first) → 👥 Review characters (merge duplicates, drop background roles) → ✨ Complete the Cast, which fills a full profile, all looks/versions and a voice for every role and CLOSES Phase 1. The SHOTS and every frame are designed one scene at a time in the Scene List. Voices, the continuity checks and the imports are under ⋯ More tools.
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Re-runs shot design (③ Shots) for every broken-down scene with the default Master + Coverage structure; no re-breakdown needed. To shoot a scene Shot-driven instead, set its method in the Scenes app.
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Prepare progress: Broken down 10/10 · Shots 1/10 — resumable: “▶ Run the breakdown” continues where it left off.
1. EXT. HARPER-HOUSE-DRIVEWAY - MORNINGbroken down
EXT. @[harper-house-driveway] - MORNING A small white house at the edge of a desert town. @[white-house-sprinklers] tick across a yellowing lawn. In the driveway sits @[the-belle-1968-convertible]: a …
Shot list 5 shots
S1-MASTER-A
A wide master shot establishing the dusty front yard and concrete driveway of the Harper house. In the bright morning sun, Frankie Harper, wearing her desert free-spirit clothes, meticulously buffs the hood of the cherry-red convertible with a soft rag, while Hank, the basset hound, sits quietly on the concrete porch step. A silver rideshare sedan pulls up near the mailbox; June Harper exits with a suitcase, wearing her sharp corporate blazer. The sedan departs. Frankie stops buffing, rests her hand on the hood, and they talk across the yard. Hank waddles over to June, who softens as she pets him. Frankie retrieves her father's note from the steering wheel and delivers it to June. June reads, folds it, and they exchange tense final lines over who will drive.
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@[frankie-harper]:@[frankie-harper:desert-free-spirit] — Buffs the hood with a rag, stops and rests her hand on the red metal, watches June with defensive stillness, later retrieves a note and hands it over.@[june-harper]:@[june-harper:corporate-exile] — Grips her rolling suitcase handle, stands tense and rigid, softens briefly to pet Hank, takes and reads the folded paper, slips it into her pocket.💡 natural · tense yet melancholic
🎞 Frankie buffs the car, June steps out of the rideshare, they converse across the distance, Hank approaches June, Frankie hands June the note, and they agree on driving.
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@[frankie-harper]: “You came.” (Measured, matching her relaxed posture but carrying an undercurrent of surprise.)🗣
@[june-harper]: “He asked.” (Defensive, short, and tightly controlled.)🗣
@[frankie-harper]: “He asked eleven years ago too.” (Softly loaded, letting the bitter West Coast drawl land slowly.)🗣
@[june-harper]: “Fine. I'm driving.” (Steely and decisive, masking her grief with corporate command.)🗣
@[frankie-harper]: “You don't even know the way.” (Dryly incredulous, punctuated by a soft chuckle.)🗣
@[june-harper]: “I know the way.” (Quietly stubborn, looking straight ahead.)S1-SH02
A clean single shot focused on Frankie Harper standing by the red convertible's front fender. She holds the buffing rag loosely, her shoulders relaxed but her face betraying long-held sibling resentment as she speaks across the property.
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@[frankie-harper]:@[frankie-harper:desert-free-spirit] — Stops her hand movement, looks over her shoulder slightly toward June.💡 natural · confrontational, intimate
🎞 Frankie speaks her initial lines, watching June arrive, letting the weight of the past eleven years hang in her delivery.
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@[frankie-harper]: “You came.” (Flat, underplayed, almost a statement of fact with subtle surprise.)🗣
@[frankie-harper]: “He asked eleven years ago too.” (Quieter, carrying the sharp sting of personal abandonment.)S1-SH03
A clean single shot focusing on June Harper as she stands on the dusty gravel road shoulder holding her suitcase. Hank walks into the lower frame, pushing his head gently against her shin, prompting her defensive corporate face to briefly crumble with soft grief.
clean_singleMCUeyestatic50mm
@[june-harper]:@[june-harper:corporate-exile] — Tightens her grip on her suitcase handle, then her shoulders drop slightly as Hank touches her leg; she looks down at him.💡 natural · defensive, softening
🎞 June delivers her early line defensively, then melts slightly under the touch of the family dog.
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@[june-harper]: “He asked.” (Curt, sharp, trying to deflect the personal accusation.)S1-SH04
An insert close-up of June's hands holding their father's folded handwritten note. She unfolds it, revealing the shaky blue ink on aged paper reading: 'Lake Ada. Both of you. Take the Belle. Hank rides shotgun.'
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@[june-harper]:@[june-harper:corporate-exile] — Carefully unfolds the note, holding it steady despite a slight tremor in her fingers.💡 natural · intimate, devastating
🎞 June reads the shaky writing once, then a second time, before folding it back up.
S1-SH05
A medium two-shot containing both sisters as they stand near the cherry-red convertible. June has her corporate wall firmly back in place, looking determinedly toward the open desert road. Frankie stands near the driver's side door, arms crossed, her jewelry jingling slightly as they debate who will drive.
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@[frankie-harper]:@[frankie-harper:desert-free-spirit] — Crosses her arms, lets out a dry, incredulous breath, gesturing with one hand to the open desert road.@[june-harper]:@[june-harper:corporate-exile] — Slips the note into her pocket, lifts her chin, posture rigid and determined.💡 natural · determined, stubborn
🎞 June demands to drive, Frankie disputes her knowledge of the route, and June asserts her confidence.
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@[june-harper]: “Fine. I'm driving.” (Cold, definitive, stepping forward to assert control.)🗣
@[frankie-harper]: “You don't even know the way.” (Amused but defiant, a challenge to June's authority.)🗣
@[june-harper]: “I know the way.” (Quietly intense, meeting her sister's eyes directly before turning to the car door.)2. INT. THE BELLE — MOVING — DAYbroken down
INT. THE BELLE — MOVING — DAY June drives, both hands on the wheel. Frankie has her bare feet on the dash. Between them, Hank sits upright on the bench seat, ears flying in the wind. A shoebox of cass…
🪟 Seen outside: @[desert-highway-shoulder] — “INT. THE BELLE — MOVING — DAY”
3. EXT. DESERT HIGHWAY — DAYbroken down
EXT. DESERT HIGHWAY — DAY SERIES OF SHOTS: — The Belle, a red dot on an endless grey road through the desert. — Frankie's hair whipping in the wind. She laughs at nothing. June almost smiles. — Hank a…
4. INT. ROADSIDE DINER — DAYbroken down
INT. ROADSIDE DINER — DAY A chrome-and-vinyl diner in the middle of nowhere. A ceiling fan turns slowly. The sisters share a booth by the window; the Belle gleams outside. Hank lies under the table, h…
🪟 No view out kept: the quoted words are not in this scene ("the Belle gleams outside. ... June stares out at the car.")
5. EXT. ROADSIDE DINER — PARKING LOT — DAYbroken down
EXT. ROADSIDE DINER — PARKING LOT — DAY Frankie sits in the passenger seat of the Belle, Hank's head in her lap. June comes out holding a white paper box. She sets it on the dash. A slice of cherry pi…
6. EXT. DESERT HIGHWAY — SHOULDER — AFTERNOONbroken down
EXT. DESERT HIGHWAY — SHOULDER — AFTERNOON The sky has turned the colour of a bruise. Wind bends the sagebrush flat. The Belle skids onto the shoulder as the first heavy drops smack the windshield. Th…
7. INT. THE BELLE — PARKED — AFTERNOONbroken down
INT. THE BELLE — PARKED — AFTERNOON Rain drums on the roof. The windows are fogged. Water drips from their hair. June bangs her fist on the stuck glovebox. It drops open. A road map falls out, the rou…
🪟 Seen outside: @[desert-highway-shoulder] — “INT. THE BELLE — PARKED — AFTERNOON”
8. EXT. DESERT HIGHWAY — SHOULDER — GOLDEN HOURbroken down
EXT. DESERT HIGHWAY — SHOULDER — GOLDEN HOUR The storm has moved on. The wet road shines gold. Steam rises from the asphalt. At the open trunk, the sisters dig through Dad's old canvas duffel, still p…
9. INT. THE BELLE - MOVING - DUSKbroken down
INT. THE BELLE — MOVING — DUSK Headlights on. The last light fading purple over the hills. Frankie drives now; June has her feet on the dash. June takes the "LAKE ADA" tape from the box and slides it …
🪟 Seen outside: @[desert-highway-shoulder] — “The last light fading purple over the hills.”
10. EXT. LAKE ADA — DOCK — DUSKbroken down
EXT. LAKE ADA — DOCK — DUSK A still mountain lake, silver under the first stars. A wooden dock runs out over the water. The sisters sit at the end of it, jeans rolled, feet in the lake. Hank lies betw…
✨ Enhanced screenplay
✨ The completed text of every scene. Expand a scene’s “▸ Inferred ledger” to see what production detail the engine added. Story & dialogue are kept word-for-word. Referencing — tagging what each scene needs — happens later, in the Scene Card.