Looking at examples of successful screenplays is one of the best ways to understand the format, structure, and craft of screenwriting. Below you’ll find publicly available examples of screenplays that demonstrate how professional writers use description, dialogue, and scene direction to bring a story to life.
As you read, take note of the differences between these three excerpts. Sometimes scenes are focused on description (like the example from The Abyss), while others are more invested in its dialogue (like the example from The Princess Bride) or the frequent use of scene direction (like the example from Toy Story). If you’d like to explore further, links to full scripts are included.
Use these examples as models as you draft your own screenplay and consider submitting your work to Write the World’s Screenwriting Competition for teens!
Screenplay by Joss Whedon, Andrew Stanton, Joel Cohen & Alec Sokolow
Full script
Excerpt:
INT. UPSTAIRS HALLWAY
Andy's door creaks open and a lone army man ventures forth
to make sure the coast is clear. Satisfied, he motions for
the others to proceed. Squads of soldiers march into the
hall carrying a baby monitor and a jump rope.
The army men each leapfrog behind the stairway banisters and
hold their positions while the Sargent surveys the scene
below through his binoculars.
ANGLE: SARGENT'S BINOCULAR VIEW OF DOWNSTAIRS
Directly below, Mrs. Davis passes through the hallway
rounding up Andy and all his birthday guests.
MRS. DAVIS
Okay, c'mon kids! Everyone in the
living room. It's almost time for the
presents.
Once Mrs. Davis and the children are out of sight, the
Sargent motions to his men with a silent hand signal.
TWO PARATROOPERS jump out through the railing, parachuting
down to the floor below.
INT. DOWNSTAIRS HALLWAY - CONTINUOUS
The paratroopers sweep the area with their plastic rifles,
then give the "all clear" sign.
The jump rope is lowered, and more soldiers rappel down.
INT. ANDY'S BEDROOM
The toys race towards the nightstand where Woody has placed
the receiving half of the baby monitor.
WOODY
And this --(turning on the baby monitor)
-- is how we find out what is in those
presents.
INT. DOWNSTAIRS HALLWAY
The green army men march in formation across the floor when
suddenly...
SFX: FOOTSTEPS
Can be heard approaching from behind the connecting kitchen
door. Immediately the Sargent signals for his men to freeze
in their various classic action poses.
MRS. DAVIS (O.S.)
Okay, who's hungry? Here come the
chips. I've got Cool Ranch and
Barbeque --
The door opens and Mrs. Davis' foot comes down hard on top
of a soldier.
MRS. DAVIS
Owww! What in the world -- ? Oh,
I thought I told him to pick these up.
With a sweep of her foot, she brushes the army men out of her path and continues on to the living room.
Screenplay by William Goldman
Full script
Excerpt:
CUT TO:
THE MAN IN BLACK
looking up at Inigo.
MAN IN BLACK
How old were you?
INIGO
I was eleven years old. When I
was strong enough, I dedicated my
life to the study of fencing. So
the next time we meet, I will not
fail. I will go up to the
sixfingered man and say, "Hello,
my name is Inigo Montoya. You
killed my father. Prepare to die."
MAN IN BLACK
You've done nothing but study
swordplay?
INIGO
More pursuit than study lately.
You see, I cannot find him. It's
been twenty years now. I am
starting to lose confidence. I
just work for Vizzini to pay the
bills. There's not a lot of money
in revenge.
MAN IN BLACK
(handing back the great sword, starting
to rise) Well, I certainly hope you
find him, someday.
INIGO
You are ready, then?
MAN IN BLACK
Whether I am or not, you've been more
than fair.
Screenplay by James Cameron
Excerpt:
TITLE: THE ABYSS -- ON BLACK, DISSOLVING TO COBALT BLUE
EXT. OCEAN/UNDERWATER -- DAY
Blue, deep and featureless, the twilight of five hundred feet down. PROPELLER SOUND. Materializing out of the blue limbo is the enormous but sleek form of an Ohio-class SSBN ballistic missile submarine.
INT. U.S.S. MONTANA -- DAY
In the attack center, darkened to womb-red, the crew's faces shine with sweat in the glow of their instruments. The SKIPPER and his EXEC crowd around BARNES, the sonarman.
CAPTAIN
Sixty knots? No way, Barnes... the reds
don't have anything that fast.
BARNES
Checked it twice, skipper. It's a real
unique signature. No cavitation, no
reactor noise... doesn't even sound
like screws.
He puts the signal onto a speaker and everyone in the attack room listens to the intruder's acoustic signature, a strange THRUMMING. The captain studies the electronic position board, a graphic representation of the contours of the steep-walled canyon, a symbol for the Montana, and converging with it, an amorphous trace, representing the bogey.
Each of the above examples show us the blueprint behind a story brought to life—and by examining them, we can begin to understand how a screenwriter accomplished that, whether it be through description, dialogue, scene direction, or (usually) some combination of all three. In particular, check out how choices related to pacing, character actions, and formatting shape the reader’s experience. Consider: how might you make similar decisions for your own work?
We hope these examples can serve as guides as you start planning scenes, writing dialogue, and structuring your story. Of course, in addition to all the careful preparation, don’t forget to let your creativity run wild!