![]() We show Eve is definitely someone who doesn’t follow the rules – in the next scene we see she recorded the conversation with the girlfriend/witness and she gets one of her husband’s Polish friends to translate it. Each scene actually poses more questions than they answer, that’s good. Her husband is Polish and she speaks a bit of the language.Īlso, what’s more important is that we establish Eve is willing to break protocol or go against her boss (she was told not to talk to the girlfriend but she does it anyway). And we reveal more about Eve in this scene. ![]() The girlfriend/witness isn’t going to be much help, yet. That’s how we create tension and conflict. ![]() Remember, it’s all about one step forward followed by a half step back. At the beginning of act two, Eve’s boss reveals the CCTV footage shows the killer to be a man. In act one, Eve was convinced the killer is a woman. We also will have to assume the show will be about Eve chasing killers and at the same time trying hard not to get killed herself (I mean, the title of the show is KILLING EVE).įull disclosure – I have not seen the rest of the show but after watching the pilot I am bingeing it! ACT TWOĪs with our half-hour show, the move into act two is all about creating obstacles that are connected to what took place in act one. In it we establish character, situation, problem, tone, world and we set up what will come next. She could be better at her job than her boss is at his.īack to the assassin. And we set up all her work relationships right away. Turns out the blood on the woman’s watch may be more important than just a detail from the teaser.Įve proves herself adept at her job right away. So, already we’re connecting the two scenes. Hmmm, didn’t the teaser take place in Vienna? Yep. A Russian politician has been killed in Vienna. It’s going to be a collision of drama, mystery, and humor. But, more importantly, it sets a tone for the show. Immediately sets up their relationship and also her character. Turns out she was screaming because both her arms fell asleep while she was sleeping. Her partner wakes her and tries to comfort her. We also know she may not be from here as on her way out we see that she’s holding an airplane ticket. We have no idea what’s going on, but we do know this mysterious woman is more than what we see. On her way, she drops some change in the tip jar, then casually flips the little girl’s ice cream bowl into the little girl’s chest on the way out. She casually wipes the blood off the watch face with her thumb. Our mysterious woman clocks the look between the barista and the little girl. Could he be super creepy, especially because of the way he looks at the little girl? Our mysterious woman then looks over at the marginally creepy-looking ice cream parlor attendant. The mysterious woman and young girl start a playful game of mimic. Across from her is a young girl and her mother the young girl also eating ice cream. So, let’s break down the pilot for KILLING EVE and see where it takes us. Teaser, beginning, middle, end, and maybe an epilogue. Whatever you choose, they operate off the same principle of the half-hour. However you structure it, your story just has to work. Instead of using the word “should” I’d like to use the word “could.” In my opinion, in today’s marketplace, your one-hour pilot can be anything it wants to be structurally. It really depends on who you talk to as to what the structure of a one-hour pilot should be. ![]()
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