Narrative Script

Written By
Kayliegh Anderson
Max Ashby
Chelsea Butler
Ridge Yeboah-Mensah


Within this shot we can see a well used lab with equipment
and desks.
We CUT closer to a shot of two desks. We can see a spherical
and cube like object inhabit one desk each. As we hear the
sound of footsteps we also hear a light switch, as the light
switch is turned off a spotlight is cast over the area of
the two desks.
CUT to a a full shot of the cube like object on the desk.
This will later be revealed as the Older Robot, B.A.R.R.Y.
B.A.R.R.Y tries to unpack but it struggles.
CUT to B.A.R.R.Y as it pops its head out of it's casing. It
continues to unpack but as it does so it makes a horrid
creaking noise. It looks sad about this.
CUT to an over the shoulder shot from the shoulder of
B.A.R.R.Y, in this shot we can also see the spherical object
which will later be revealed as the Modern Robot, M.O.R.I.
CUT closer to a view of M.O.R.I followed by a CUT to a MID
SHOT of B.A.R.R.Y which is looking at the M.O.R.I.
We CUT back to M.O.R.I as it starts to wobble and move.
M.O.R.I hovers and begins to open up smoothly as light pours
from its casing. As it's opening up we CUT to M.O.R.I 's
We then CUT back to B.A.R.RY who is now comparing itself to
M.O.R.I by looking at it's arm.
This is followed by a series of cuts as the parts of M.O.R.I
are revealed. These cuts show M.O.R.I's torso, both arms,
face and we end on a full body shot of M.O.R.I which is
hovering after giving such a perfect reveal.
We CUT to B.A.R.R.Y. B.A.R.R.Y turns away with a grumpy
We CUT to M.O.R.I. It is excited and happy to be activated.
It begins playing music.
We CUT to B.A.R.R.Y which turns back around because of the
We CUT to M.O.R.I which is 'dancing' to the music he is


We CUT back to B.A.R.R.Y it moves and creates a jarring
creaking noise.
We CUT to M.O.R.I. It has discovered that it can project
images. It projects a disco ball image from it's eyes.
We CUT to B.A.R.R.Y.
We CUT to M.O.R.I. It looks down at it's arms. It looks back
up, notices B.A.R.R.Y and waves at it.
We CUT to a shot of the lab in which we see M.O.R.I. waving.
We CUT to B.A.R.R.Y which seems unimpressed and doesn't
acknowledge M.O.R.I.
CUT to M.O.R.I who seems naive to B.A.R.R.Y and projects a
'hello' to B.A.R.R.Y.
We CUT to B.A.R.R.Y which has the same reaction as
The Music from M.O.R.I is at it's most intense. We see a
series of increasingly faster cuts between M.O.R.I and
B.A.R.R.Y. We focus lastly on B.A.R.R.Y.
We CUT to B.A.R.R.Y unable to deal with it's feelings it
turns away completely and shuts itself down.
CUT to a LOW ANGLE SHOT as we are looking up at M.O.R.I over
at deactivated B.A.R.R.Y.
We CUT in closer to M.O.R.I. It is sad because of it's
rejection. It also deactivates.
We CUT to a shot of the the lab. It is silent, this shot
holds for a while.
We CUT to B.A.R.R.Y. He activates again but notices that
M.O.R.I has shut down. B.A.R.R.Y seems to feel guilty.
It accidentally makes noise as it moves its arms. As it does
so it comes to the realisation that it can use these sounds
together to make 'music'.
B.A.R.R.Y plays a 'song' to make it up to M.O.R.I.
We CUT to M.O.R.I who slowly opens to the music.
M.O.R.I is glad of this gesture. It begins playing music and
moving to the music.
We end on a shot of B.A.R.R.Y who seems happier about the