In screenwriting, the Opening, generally the first 1 - 5 pages of the screenplay (or 1 - 5 minutes screen time), is used to establish physical location, time period and tone of the story.

Usage

Technically, the Opening is the first segment of a screenplay's structure and, as so, quite important in setting the mood. Often, the credits will roll over the opening to save time and to dive right into the story. Once conflict appears, the Opening is over and the story has begun.

Format

There are many clever ways in which to present the Opening of a screenplay or film such as using metaphors for the upcoming story. Other elements one might incorporate might be specific movements, analagous conflicts or a similar theme. Most important, though, is to set a tone that is consistent with the story.

Example

INT. FUNERAL CHAPEL - DAY

An oversized handbag falls to the floor. Various items are scattered in the vicinity of the bag, with the exception of a water bottle which rolls out.

NANCY BELLOWS, late 30's, and dressed in the warm-up suit of a full-time suburban housewife/mother, watches the bottle roll down the adjacent aisle until it is stopped by the approaching underside of a brown penny loafer. A hand reaches down and retrieves the bottle. We see URSULA BRANDT, mid-20's, short brown hair and dressed in neo-preppie, glance expressionless at the bottle. With a quick but diminishing smile, she hands it over to Nancy who gives her a pleasant smile and mouths "Thank you" as she places the bottle in her bag.

Nancy then looks over to yuppie TODD SOREN, a well-dressed man in his 30's who casually gives an aloof glance to a grandmotherly IRIS TUNNEY, 70's, whose expression is warm and patient. Iris looks over at FLOYD SELLERS, 18, a high schooler with a doe-eyed" expression. Floyd glances over at a fidgeting JAIME COWAN, mid-30's, and dressed in an "Oh shit, I'm late" outfit. Jaime watches as Ursula heads down the pew-lined aisle.

Ursula sits down in the front row of the funeral chapel. The six people are spaced "safely" apart from each other.

In the front of the room is a podium, next to which is a raised platform, lined with fresh flowers.

A middle-aged woman, SHIRLEY, donning a white lab coat and rubber gloves enters the room from a door behind the podium. Shirley is mildly surprised when she notices the people sitting in the chairs. She looks slyly at her wrist watch then gives the people a congenial smile as she slowly takes off her gloves. She receives glances of mild anticipation from those seated. Shirley gives an eyebrow "shrug" then motions behind her. A casket is wheeled in on a gurney by two men.

Curious expressions from those seated, with the exception of Jaime who dons a slight smirk.

The men struggle to lift the casket off. The casket is placed on the platform with a thud. Shirley shushes the men as she directs them out. She then opens the top half of the casket and looks down adoringly at a peaceful-looking older man in a black suit.

Shirley turns and gives the observers a quick nodding smile. She heads toward the back door. The six are confused they look around at each other.

As the back door slams shut, so does the casket lid with a whump, startling Nancy.

VOICE-OVER of HEATHER, 10, is heard.

HEATHER (V.O.)

It's going to happen.

Scan of the service room and its uneasy occupants, ending with Nancy.

HEATHER (V.O.)

Is anyone really ready for it?

INT. DAVID'S ROOM - DAY

In a neatly-kept bedroom, Nancy places various "knick-knacks" into a cardboard box that sits on a bed. She picks up a picture on the bedside table and looks at it. She gives a sad smile then places it in the box.

HEATHER (V.O.)

Someone once said that when it comes to death, the only heartbreak lies in not being able to say "See ya later".

INT. FRONT OF CLUB - DAY

GQesque Todd walks to the front of a "gentleman's club" and stops. He looks forward blankly as he straightens his tie. He then enters the club.

HEATHER (V.O.)

Kind of a simple idea...until you really think about it.

INT. HALLWAY - DAY

An angry Jaime bursts out of the of a government office and down a sterile hallway.

HEATHER (V.O.)

Because when you really do think about it,...the "See ya later" thing,...you have to ask yourself, "Who is it really about anyway?

INT. OUTSIDE SCHOOL OFFICE - DAY

Floyd sits staring with a blank expression outside of a school counselor's office.

HEATHER (V.O.)

Those who are leaving this life....or those who are living it?

INT. FAMILY ROOM - DAY

Dressed in a smart black suit, Iris, busily dusts pictures sitting on a table.

HEATHER (V.O.)

I mean, after you take your last breath, it’s not really about you anymore. It's about them.

EXT. SIDEWALK - DAY

Outside a taco stand, Ursula is sitting scrunched up on a bench and writing in a notebook.

HEATHER (V.O.)

The ones you left behind. Your friends, your family. You know, the ones who made you who you were.

She stops writing and looks up. Across the street, she sees a young Hispanic man carrying a folder, walk away from a telephone pole and out of sight.

HEATHER (V.O.)

The ones who just aren't able to say...

Ursula notices a yellow flyer standing out on the telephone pole.

HEATHER (V.O.)

..."See ya later".

BACK TO:

INT. FUNERAL CHAPEL - CONTINUOUS

Ursula watches as a PRIEST enters through the back of the room and walks nonchalantly down the aisle toward the podium.

HEATHER (V.O.)

What happens to them?