Proposed Beat Sheet #1: 8/18/25

Proposed Beat Sheet #1: 8/18/25

Beat Sheet – Three Interwoven Storylines


Act One – Adrian’s Main Story (Restaurant + Gang Side Business) ~30min
Characters: Adrian, Dominic Fike, several buyers

  • Opening – Restaurant Daily Life (3–5 min)

    • Adrian wipes tables, washes dishes, greets customers with a smile.

    • Subtle glance toward the back door → hint of an upcoming deal.

  • First Deal – Meth (5 min)

    • A familiar customer discreetly asks for a small bag of meth.

    • Quick handoff → Adrian returns to the counter, composure intact.

    • Audience senses her double life.

  • Second Deal – MDMA (5 min)

    • Near closing time, another buyer arrives.

    • Transaction complete → Adrian methodically wipes tables, a cycle of routine ↔ danger.

  • Dominic Fike Enters / Major Deal (10 min)

    • Dominic, holding a large stash taken from Norah in Act 3, comes to the restaurant.

    • Chaos erupts during the exchange: buyers argue, violence flares.

    • Adrian stays eerily calm, Dominic tries to control it → both get dragged into the spiral.

  • Deal Goes Wrong – Dominic’s Death (5 min)

    • Brutal, bloody chaos.

    • Dominic is killed accidentally.

    • Adrian, bloodstained, flees the restaurant in panic.

  • Closing Echo (2–3 min)

    • Empty restaurant shot.

    • Adrian’s escape path is blurry, foreshadowing her inevitable return → circular narrative.


Act Two – Adrian + Norah (Intimacy & Rescue) ~30min
Characters: Adrian, Norah

  • Adrian Seeks Refuge (3–5 min)

    • Late at night, Adrian knocks on Norah’s door, covered in blood.

    • Norah pulls her in immediately, whispering: “What happened?”

  • Garage/Guest House Shelter (5 min)

    • Norah steadies Adrian, checks her wounds.

    • Ambiguity rises: fleeting touches, heavy silence, eye contact.

  • Disposing Dominic’s Body (10 min)

    • They wrap the corpse, load it into the car trunk.

    • Dialogue minimal, action mechanical, absurd tension emerges.

    • Dynamic: Adrian frantic ↔ Norah calm, taking control.

  • Driving / Intimacy Builds (5 min)

    • On the road, tense conversation: “Did anyone see?” → “No.”

    • Release of tension → laughter at the absurdity.

    • Norah comforts Adrian; intimacy sparks. The two have sex in the car.

  • Return Home – Laughter & Release (5 min)

    • After dumping the body, they drive back.

    • Exhausted laughter, tension breaks fully.

    • They collapse together, intimate, finally at ease.


Act Three – Norah + Husband + Dominic Fike (Prequel Thread) ~30min
Characters: Norah, her husband, Dominic Fike

  • Domestic Life (3–5 min)

    • Norah and her husband share a warm, ordinary home life.

  • Dominic Arrives (5–7 min)

    • Dominic comes to pick up drugs Adrian stashed earlier, prepping for the major deal.

    • Norah greets him carefully, signaling her familiarity with the underworld.

  • Dominic & Husband Tension (5–7 min)

    • The two engage in a conversation, the husband is familiar with Dominic, but does not know he's here to get the drugs from Norah

  • Drug Transfer / Protective Instinct (10 min)

    • Norah hands over the drugs, ensuring her husband’s safety.

    • She is aware of Adrian’s entanglement but keeps silent.

  • Closing Foreshadow (3 min)

    • Dominic leaves with the stash, heading to Adrian (→ Line One’s major deal).

    • Norah watches the doorway, knowing trouble is near (→ Line Two’s rescue).


Overall Structure

  • Act One anchors the film with a circular arc (restaurant ↔ restaurant).

  • Act Two provides emotional release (intimacy, absurdity, temporary safety).

  • Act Three grounds the story in domestic realism + foreshadow, linking to the chaos.


The three threads interlock like gears:

  • Act Three feeds into Act One (the setup).

  • Act One’s catastrophe flows into Act Two (the aftermath).

  • Act Two’s intimacy circles back, leaving Adrian suspended between routine, crime, and fragile connection.

sunnyspaceundefined@duck.com

website designed by Daiga Shinohara

©2025 Double Take Film, All rights reserved

I’m an independent creator born in 1993 in Changsha, now based in California. My writing started from an urgent need to express. Back in school, I often felt overwhelmed by the chaos and complexity of the world—by the emotions and stories left unsaid. Writing became my way of organizing my thoughts, finding clarity, and gradually, connecting with the outside world.


Right now, I’m focused on writing and filmmaking. My blog is a “real writing experiment,” where I try to update daily, documenting my thoughts, emotional shifts, observations on relationships, and my creative process. It’s also a record of my journey to becoming a director. After returning to China in 2016, I entered the film industry and worked in the visual effects production department on projects like Creation of the Gods I, Creation of the Gods II, and Wakanda Forever, with experience in both China and Hollywood. Since 2023, I’ve shifted my focus to original storytelling.


I’m currently revising my first script. It’s not grand in scale, but it’s deeply personal—centered on memory, my father, and the city. I want to make films that belong to me, and to our generation: grounded yet profound, sensitive but resolute. I believe film is not only a form of artistic expression—it’s a way to intervene in reality.

我是93年出生于长沙的自由创作者。我的写作起点来自一种“必须表达”的冲动。学生时代,我常感受到世界的混乱与复杂,那些没有被说出来的情绪和故事让我感到不安。写作是我自我整理、自我清晰的方式,也逐渐成为我与外界建立连接的路径。


我目前专注于写作和电影。我的博客是一个“真实写作实验”,尽量每天更新,记录我的思考、情绪流动、人际观察和创作过程。我16年回国之后开始进入电影行业,曾在视效部门以制片的身份参与制作《封神1》《封神2》《Wankanda Forever》等,在中国和好莱坞都工作过,23年之后开始转入创作。


我正在重新回去修改我第一个剧本——它并不宏大,却非常个人,围绕记忆、父亲与城市展开。我想拍属于我、也属于我们这一代人的电影:贴地而深刻,敏感又笃定。我相信电影不只是艺术表达,它也是一种现实干预。

sunnyspaceundefined@duck.com

website designed by Daiga Shinohara

©2025 Double Take Film, All rights reserved

I’m an independent creator born in 1993 in Changsha, now based in California. My writing started from an urgent need to express. Back in school, I often felt overwhelmed by the chaos and complexity of the world—by the emotions and stories left unsaid. Writing became my way of organizing my thoughts, finding clarity, and gradually, connecting with the outside world.


Right now, I’m focused on writing and filmmaking. My blog is a “real writing experiment,” where I try to update daily, documenting my thoughts, emotional shifts, observations on relationships, and my creative process. It’s also a record of my journey to becoming a director. After returning to China in 2016, I entered the film industry and worked in the visual effects production department on projects like Creation of the Gods I, Creation of the Gods II, and Wakanda Forever, with experience in both China and Hollywood. Since 2023, I’ve shifted my focus to original storytelling.


I’m currently revising my first script. It’s not grand in scale, but it’s deeply personal—centered on memory, my father, and the city. I want to make films that belong to me, and to our generation: grounded yet profound, sensitive but resolute. I believe film is not only a form of artistic expression—it’s a way to intervene in reality.

我是93年出生于长沙的自由创作者。我的写作起点来自一种“必须表达”的冲动。学生时代,我常感受到世界的混乱与复杂,那些没有被说出来的情绪和故事让我感到不安。写作是我自我整理、自我清晰的方式,也逐渐成为我与外界建立连接的路径。


我目前专注于写作和电影。我的博客是一个“真实写作实验”,尽量每天更新,记录我的思考、情绪流动、人际观察和创作过程。我16年回国之后开始进入电影行业,曾在视效部门以制片的身份参与制作《封神1》《封神2》《Wankanda Forever》等,在中国和好莱坞都工作过,23年之后开始转入创作。


我正在重新回去修改我第一个剧本——它并不宏大,却非常个人,围绕记忆、父亲与城市展开。我想拍属于我、也属于我们这一代人的电影:贴地而深刻,敏感又笃定。我相信电影不只是艺术表达,它也是一种现实干预。

sunnyspaceundefined@duck.com

website designed by Daiga Shinohara

©2025 Double Take Film, All rights reserved

I’m an independent creator born in 1993 in Changsha, now based in California. My writing started from an urgent need to express. Back in school, I often felt overwhelmed by the chaos and complexity of the world—by the emotions and stories left unsaid. Writing became my way of organizing my thoughts, finding clarity, and gradually, connecting with the outside world.


Right now, I’m focused on writing and filmmaking. My blog is a “real writing experiment,” where I try to update daily, documenting my thoughts, emotional shifts, observations on relationships, and my creative process. It’s also a record of my journey to becoming a director. After returning to China in 2016, I entered the film industry and worked in the visual effects production department on projects like Creation of the Gods I, Creation of the Gods II, and Wakanda Forever, with experience in both China and Hollywood. Since 2023, I’ve shifted my focus to original storytelling.


I’m currently revising my first script. It’s not grand in scale, but it’s deeply personal—centered on memory, my father, and the city. I want to make films that belong to me, and to our generation: grounded yet profound, sensitive but resolute. I believe film is not only a form of artistic expression—it’s a way to intervene in reality.

我是93年出生于长沙的自由创作者。我的写作起点来自一种“必须表达”的冲动。学生时代,我常感受到世界的混乱与复杂,那些没有被说出来的情绪和故事让我感到不安。写作是我自我整理、自我清晰的方式,也逐渐成为我与外界建立连接的路径。


我目前专注于写作和电影。我的博客是一个“真实写作实验”,尽量每天更新,记录我的思考、情绪流动、人际观察和创作过程。我16年回国之后开始进入电影行业,曾在视效部门以制片的身份参与制作《封神1》《封神2》《Wankanda Forever》等,在中国和好莱坞都工作过,23年之后开始转入创作。


我正在重新回去修改我第一个剧本——它并不宏大,却非常个人,围绕记忆、父亲与城市展开。我想拍属于我、也属于我们这一代人的电影:贴地而深刻,敏感又笃定。我相信电影不只是艺术表达,它也是一种现实干预。