Scene Study: "Star Trek II: The Wrath of Khan"

This script, the Revised Final Draft dated May 24, 1982, contains many textbook examples of structure, so it perfectly serves our purpose as a subject for dissection.

Our analysis begins in the midst of this story, on page 30, which is the first page of Act II. Between page 30 and page 40 is a perfect ten-page segment composed of three scenes of scene sequences of three or four pages each. (Note that some pages overlap, as scenes often start or end in the middle of a page.)

Scene 1 (pages 30 to 32)
Beat 1: In her lab at Space Station Regula I, Doctor Carol Marcus and her son, David, are discussing their work, when the Starship Reliant contacts them.
Beat 2: Captain Chekov, whose mind is now controlled by Khan, informs Marcus that the planet upon which the Genesis device was to be potentially tested checks out, and that the scientific team should get ready for the Starship Reliant's arrival, which will move all of the project's materials to the planet for testing.
Beat 3: Marcus is furious, as the device was not supposed to be tested for another three months. Chekov tells her that the orders came from Admiral James T. Kirk himself.
Scene Functions
This is one long scene with three beats, and works like the first subact of the ten-page unit.
Plot/subplot: Pure plot information. This scene sets up the events for the rest of Act II.

Scene Sequence 2 (pages 32 to 37)
Beat 1: On the Enterprise, Lieutenant Saavik catches Kirk at a turbolift. As they ride together, there is an uneasy tension and attraction between them, and Kirk comments that she changed her hair. She stops the lift, and talks to him about her performance during the Kobayashi Maru test (in Act I, the film's opening sequence). She asks him how he passed the test, and he gives a coy non-answer. Kirk resumes the lift; it stops, Bones get on, Saavik exits.
Beat 2: On the lift, after brief dialogue with Bones, Kirk is contacted by Uhura via the comm system, and she tells them that Carol Marcus is urgently trying to contact him. He tells her he'll take the message in his quarters, and he stops the lift and gets out. Bones makes a joke about Kirk's facility with women ("It never rains but it pours," referring to both Saavik and Marcus) and Kirk lightly chastises him.
Beat 3: Marcus's transmission is garbled, unstable. She demands to know why he's taking Genesis away from her, but she can't hear his response. She insists he do something, then her transmission is cut off. Kirk tells Uhura to alert Starfleet Headquarters.
Scene Functions
Note that this is composed of three moments that function like a complete second subact of the ten-page unit -- thus it's a scene sequence.
Plot/subplot: The main characters must react to unfolding events. Introduction of Kirk/Marcus subplot and hints about their past association.
Character: Development for Saavik, Kirk, and Bones.
Themes: Saavik's discussion with Kirk brings up one of the script's main character themes, which is that of Kirk's propensity to never play by the rules in order to beat impossible odds.

Scene Sequence 3 (pages 37 to 40)
Beat 1: Back on Regula I, Marcus and her son David argue about Starfleet's intentions, which David suggests are militaristic.
Beat 2: On the Enterprise, Kirk tells Spock that Starfleet has ordered them to investigate, even though the ship is on a training mission and filled with cadets. Spock, the Enterprise's current captain, urges Kirk to take command of the ship, and reminds him that "...the needs of the many outweigh the needs of the few," and Kirk responds, "Or the one."
Beat 3: Kirk takes command, and orders a course set for Regula I.
Scene Functions
Another scene sequence which ends in the climax of the ten-page unit.
Plot/subplot: The main characters make the commitment to act upon the events, and set out on their journey.
Character: Shows David's suspicion of Starfleet (which later translates as immediate distrust of Kirk, secretly his father). Develops Spock's character, and the relationship between Kirk and Spock.
Themes: Spock's dialogue with Kirk introduces a major theme, which is that of personal sacrifice to save others.

As you can see, each scene or scene sequence not only acts as a step up to the following scene, but within each scene/scene sequence, there are smaller steps (beats) that gradually ramp up the tension within each scene.

Once you become aware of the tiny moments within each scene or scene sequence, as well as their function, then you'll be able to consciously tighten your structure at the smallest level. You can also use this knowledge like a diagnostic tool for existing drafts. Perhaps you will find moments in your script where a scene does not properly function as an subact of a ten-page unit, or you will notice that you have a twelve-page unit that should be stripped down to ten pages.

Whether you decide to rigorously follow such a structural ideal or not, by being aware of structural interrelationships at the smallest level of your script, you will be certain to improve your screenwriting skills.

Related Links:

Filmsite Looks at "Annie Hall"
A massive overview of this film, its screenplay, its scene progression, and its incisive dialogue.

"Star Trek II: The Wrath of Khan" Screenplay
Revised Final Draft, may 24, 1982.