Ying Wa College

2019 – 2020
S2 English Language
Writing 4 – Play Script
Name:______________________ Class: _______ ( ) Date: ________________
A. Basic Elements of a Play Script
Take a look at the following play script from Beauty and the Beast and watch the clip of its stage production
(https://youtu.be/HnroKtXO2qA?t=91 01:31-02:16).
What elements can you find in a play script? Label the highlighted elements in the sample below.

Beauty and the Beast 1. T_______

Scene 3 2. S_______ n_______

Night, inside the Beast’s castle. 3. Setting: wh_____ and wh_____

(Maurice enters from stage left) 4. S_______ d_______ (in brackets)

Maurice: Hello…? (He pauses, his voice echoes in the hollow castle) Hello?

(Maurice proceeds cautiously, looking around.) 5. C__________ description

(Cogsworth and Lumiere, a duo of human-sized mantle clock and candelabra, stand motionlessly side by side in the
dim light as Maurice walks past them.)

Cogsworth: (Whispering) Well, now you’ve done it! I told you not to let him in!

Lumiere: (Also whispering) We could not leave him for the wolves!
6. Dialogue: start with
the character’s n_______
Maurice: (Unaware of Cogsworth and Lumiere) Is anyone home?
and then a c_______
Cogsworth: (Whispering) If we keep quiet, maybe he’ll go away.

7. CAPITALS or italics for

Maurice: Is someone here?
e__________
Cogsworth: (Whispering warningly) Not a word, Lumiere, not ONE word!

(Maurice walks around hesitantly. He finds the stairs and begins to slowly climb upwards.)

Maurice: I don’t mean to intrude, but I’ve lost my way in the woods and I need a place to stay for the night.

Lumiere: (Softly) Poor fellow. Oh Cogsworth, have a heart! (Loudly) Monsiere, you are welcome here!

Maurice: (Hurries down the stairs) I heard that! I know there’s someone here and I’ll thank you to step out
where I can see you!

Lumiere: (Lumiere steps out) Hello!

Maurice: AHHH! (Jumps back in surprise)

Cogsworth: And goodbye! (Starts pushing Maurice towards the door)

Maurice: Wait…! You’re a clock, and you’re talking!

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B. Writing a catchy title (LF1)
Titles are a reader’s first port of call. Your title needs to be catchy and it needs to say something about the
play and/or character at the heart of it. Stimulating the reader’s interest is essential – if the title looks
uninteresting, why would anyone read it?

How to write catchy titles?

1. Use a__________ to describe the plot
e.g. The Sixth Sense; Unfaithful; Little Shop of Horrors; Pretty Persuasion; Envy
2. Use k__________ as to what the reader will experience in your scenes
e.g. Before the Devil Knows You’re Dead; Love Actually; High School Musical
3. Use q__________ to pique the interest and curiosity of your readers
e.g. So What’s New?, What Planet Are You From?, Whatever Happened to Baby Jane?

Exercise 1 – Rewrite the following titles into more catchy ones.

i. The Story of a Bad Boy
_______________________________________________________________________________
ii. The Town
_______________________________________________________________________________
iii. Riding the Bus with My Brother
_______________________________________________________________________________

C. Scene-setting & Stage Directions (LF2)

As a playwright, it is your responsibility to specify the lines, actions and time of performance for your
actors. In your script, you should also clearly describe the scene-setting and the characters so that your
actors know where the scene is happening and specifically how they should act as they deliver their lines.
 Setting: introduce the e__________ of the play – Where does this scene take place? What time of the
day is it? What is the surrounding like?
 Stage directions: inform your actors where they are b__________ their immediate action – Where
should they go? What action should they do? What tone should they use?
 Character description: specify the c__________ of different roles – Roles of different personalities,
age, gender, etc. can act very differently on stage; create distinctive and unique character profiles for
actors to refer to so that they know how they should act

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D. Language Features
 Use informal language (LF3)
 Contractions: you’re, I’m, they’re, aren’t, can’t, don’t, shouldn’t, wanna, gonna, etc.
I heard that! I know there’s someone here and I’ll thank you to step out where I can see
Maurice
you!

 Conversational dialogues: yeah, well, gee, oh my gosh, I guess, etc.

Poor fellow. Oh Cogsworth, have a heart!
Lumiere

 Use present tenses

 Use mostly active voice to connect and include the readers into the scenes

E. Writing Task
After reading The Merchant of Venice, you feel that the story’s plot can be changed. You now have a chance
to change the story by writing a new play script:
a) Writing an alternative ending scene
b) Choose at least 3 characters from The Merchant of Venice and write a new scene in an alternative
setting*: modern setting / Harry Potter setting / Percy Jackson Greek mythology setting / Marvel
Cinematic Universe / a setting of your choice (send an email to your English teacher to ask)
 Make sure you keep the personalities of the original characters from The Merchant of Venice!
 Think about how the changed setting would affect the plot:
Ü How old would the characters be?
Ü Would Antonio still be rich because of his ships?
Ü Would Shylock ask for something else in return instead of Antonio’s flesh at the beginning?
Ü Would Portia find another way to save Antonio and outsmart Shylock?
Ü How would the characters from this new universe interact with the characters from The
Merchant of Venice?
 Write a brief summary (roughly 50-70 words) about the background information (e.g. who are in
your play, what happens before your chosen scene) before starting the scene you have chosen.
 *You will get a bonus mark for attempting this option! 
Choose either one of the options and write a play script in 250 words.

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F. Sample Script – The Merchant of Venice x Doraemon

The Art of Deception

(Background information)
The characters from The Merchant of Venice live on the same neighbourhood with Doraemon.
Antonio’s family is rich, but he has spent all his pocket money when Bassanio asks if he can borrow some money to
buy flowers for Portia on Valentine’s Day. Antonio borrows money from Shylock, and Shylock, who is jealous of
Antonio’s ability to play piano, asks Antonio to cut off a part of his finger if he cannot return the money within 3
days. However, Antonio’s father’s company goes broke, so Antonio has no money to return to Shylock.
The following scene shows Doraemon and Nobita secretly observing the court scene in the neighbourhood
playground, determined to help Antonio because Nobita knows that Shinzuka, Nobita’s love interest, will be
devastated to learn that the pianist she looks up to is unable to play piano ever again.

Scene 7

Sunset. On the grassy playground by the river.

(Antonio and Shylock are standing in the middle of a crowd. Doraemon and Nobita are hiding behind the bush on
stage left, frantically trying to think of a way to help Antonio)

Nobita: (Whispering) Hurry up! He’s really gonna cut off his finger!

Doraemon: (Pulling more and more useless tools from his pocket) I know! But I can’t find the right tool!

(Portia enters from stage left and quickly shushes Doraemon and Nobita. Portia is wearing a doctor’s coat. Portia
motions for Doraemon and Nobita to stay down. She stands up and walks towards the scene.)

Portia: (In a deep voice) If I may join you guys…

(The crowd parts as Portia joins them. They do not recognise Portia.)

Shylock: (Frowns) Who are you?

Portia: (Dismissively) Oh, just a passer-by. I heard someone’s finger’s gonna be cut off. I study medicine
and I happen to be experienced in this sort of stuff. May I ask what’s going on?

Shylock: (Grins) Ah! How nice for a surgeon to join us for this operation! (Points at Antonio) This guy owes
me money, and we signed a contract that he’ll cut off his finger if he couldn’t pay me back.
(Hands contract to Portia) See for yourself.

Portia: (Reads the contract) Hmm. Seems reasonable. Alright, then may I have the honour to carry out
this operation?

Shylock: (Bows gleefully) Be my guest!

(Portia takes the knife. Antonio shuts his eyes. As Portia’s knife gets closer to Antonio’s index finger, everyone
holds their breath in horrified anticipation.)
(Just before the blade touches Antonio’s skin, Portia quickly switches the direction of the blade and slices off a thin
piece of Antonio’s fingernail. Doraemon and Nobita’s mouths are wide open with astonishment. Silence follows.)

Portia: (Stands up) Well, that’s done.

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 Shylock: (Stunned) Wait… What? Where’s his finger?

Portia: (Shrugs and smiles) Your contract says “part of his finger”. I cut off his fingernail, which is part of
his finger.

Shylock: (Steps towards Portia dangerously) You think you can mess with me…?

Portia: (Completely unfazed) I didn’t, it’s written there in your contract. And have you forgotten who’s
holding the knife now? (Plays with the knife casually)

Shylock: (Hesitates) …You better watch out. I’ll get back at you. (Glares at Antonio and Bassanio) And you
as well.

(Shylock storms off. Bassanio rushes to Antonio’s side.)

Bassanio: (Looks up at Portia) Thank you for saving my friend. You have no idea how much this means to
him… (Frowns) Wait, have I seen you before?

Portia: Um… I’m sure you haven’t. Anyway, I have to go! Bye!

(Portia rounds the corner and joins Doraemon and Nobita.)

Doraemon: (Impressed) That was… So smart!

Nobita: And you didn’t even need any magical tools!

Portia: (Chuckles) Sometimes the problem can be solved if you use your brain a bit more.

(Doraemon nudges Nobita and smirks. Nobita sticks out his tongue at Doraemon.)

Portia: (Checks her watch) But I think this time, I must ask you for your magical tool. Can you take me
home as soon as possible? Bassanio will come find me soon.

Doraemon: Of course!

(Doraemon pulls out an “Anywhere door” from his pocket and opens it for Portia. Portia waves and disappears
through the door.)