Script Drafts

Draft 1

SCENE 1 INT. REFRIGERATOR INTERIOR, MORNING
SFX: A song with music accompany the film throughout.

Inside, the refrigerator is black with darkness. Only ELLY’s
blinking eyes are visible.
The refrigerator door opens and the interior light flickers
on.
Instinctively, Elly ducks down inside the egg box. She peaks
through the gap between the lid and the base.
Suddenly, DAVE’s hand reaches into the refrigerator and
rummages around the bottom shelf.
Moments later, he retrieves a packet of bacon.
Elly glances down at the bacon packet and makes eye contact
with BRUCE.
Slowly, Elly’s eyes widen and her jaw drops, as she begins
to stand up in the egg box.
Bruce’s eyes also widen, and his jaw drops as he begins to
sit up inside the bacon packet.
But unaware of the transparent, plastic wrapper in front of
him, Bruce’s face collides with the packet and sticks to the
inside.
Elly blushes and giggles shyly behind her hands.
Suddenly, the refrigerator door slams shut, and Elly is
alone in the dark, once again.
Tears begin to form in her eyes, as they glisten in the
darkness.
Moments later, the door is reopened and Dave’s hand enters
the refrigerator once more.
He grabs Elly and two neighbouring eggs, and removes them
from the refrigerator.

SCENE 2 INT. KITCHEN - MID-AIR, MORNING

The once white ceiling and its patches of flaking paint are
all that is visible, as Dave juggles the eggs in the air.
Carrying the eggs away from the refrigerator, Dave throws
Elly into the air.
Initially, she frantically waves her arms and legs and
screams fearfully.
But at the highest point of the throw, Elly begins to enjoy
herself and starts to mimic a chicken during her decent.
At the highest point of the second throw, Elly poses as
though skipping happily, before descending again.
As she falls her world changes from reality to fantasy.

SCENE 3 EXT. CLOUDS, DAYTIME

In the distance, the sky a pale, misty pink, stretches
infinitely.
Thick, fluffy, baby pink clouds form a staircase that lead
to a large, ominous silhouette, similar to Bruce’s.
Streaks of light circle the silhouette slowly.
Elly falls from the sky and lands with a bounce, on the
first spongy cloud.
She sees the bright silhouette and joyfully skips towards
it.
As she gets closer, Bruce’s face emerges from the light.
Elly smiles and reaches out to the light, whilst continuing
to climb the staircase.
Bruce smiles back, but remains still, glowing ominously.
Elly reaches the last cloud and is an arm’s length away from
Bruce.
But suddenly, his face contorts ad his smile becomes the
last squashed expression she saw against the inside of the
bacon packet.

SCENE 4 INT. KITCHEN - MID-AIR, MORNING

Elly snaps out of her dream.
Ahead of her is in fact a bright light bulb, surrounded by a
rotating fan, attached to the ceiling.
Elly is petrified, as she realises she is only inches away
from the blades of the fan.
Suddenly, a second egg shoots past her and into the chaos of
the blades.
Elly looks away as the egg is ripped apart and splattered
across the ceiling.
Elly’s face and eyes are spattered with yolk.
She tries to wipe her eyes clean as she falls through the
air.
Dave catches Elly and the remaining egg and puts them in two
eggcups on the work surface.

SCENE 5 INT. KITCHEN WORK SURFACE, MORNING

Elly is wedged firmly in an eggcup at one end of the work
surface. The other egg is to her left, in the same position,
only upside down.
Laid out on the surface ahead of her is an obstacle course
of food, waiting to be prepared and cooked by Dave.
At the other end of the work surface is the packet of bacon,
with Bruce inside it.
To the left of the work surface is a large stove, on top of
which are several saucepans and a large frying pan, which i
bubbling and spitting oil violently.
Elly blinks slowly, finally clearing her eyes of egg debris.
She struggles to push herself out of the eggcup, but does
not budge.
Looking ahead of her, Elly sees the bacon rashers starting
to climb out of the packet.
The bacon rashers huddle together in a circle, as though
conversing, when one of them turns around and catches Elly’s
eye.
Immediately she presumes that this is Bruce and with new
found determination, pops out of the eggcup.
Elly soars through the air, before landing in a tub of
mushrooms.
Upon impact she is immediately sent flying into another
mushroom and then another, bouncing between them, as though
in a pinball machine.
Finally, Elly is launched into the air again. She looks
nauseous, as her eyes roll around their sockets.
She lands head first in a small block of lard.
The lard slides on impact and collides with a plum tomato,
spilt from the tin to the left of it.
The collision causes Elly to roll upright onto the tomato.
But as she sits on it, her weight causes the tomato to
deflate.
SFX: The music and song stops.
SFX: ’Blowing a raspberry’.
To the right of Elly, the tomato spits juice over two
disgruntled sausages. They simply stand still, blinking
through the juice.
Elly stares at them awkwardly until the tomato deflates
entirely.
SFX: The music and song continue.
Elly stands up and starts to run towards the bacon rasher,
smiling.
The rasher smiles back and starts to run towards Elly.
Above them, Dave clumsily spills a tin of beans into the
air. The beans begin to fall on them both.
But Elly pays no attention and overcome with joy, she enters
another fantasy.

SCENE 6 EXT. MEADOW, DAYTIME

The sun is strong and bright in the crisp blue sky.
Flowers of different colours fall gently from the sky,
raining softly on top of Elly and the bacon rasher.
The two of them continue to run at each other, their arms
open wide.
They meet in the middle of the meadow and hold each others’
hands.
The bacon rasher launches himself forward over-eagerly and
puckers his lips.
Elly winces in shock and disgust.
She realises that this is not Bruce after all and slaps him
in the face.

SCENE 7 INT. KITCHEN WORK SURFACE, MORNING

Elly snaps back to reality with the impact of the slap.
There is no blue sky or meadow. Instead she is back on the
kitchen work surface, standing in a pool of beans.
The bacon rasher sinks into the beans. His face is
disfigured from the slap and his body rigid.
Without a second glance at the sinking bacon rasher, Elly
wades out of the pool.
She looks ahead at the group of bacon, leaning left and
right, trying to find Bruce in the crowd.
But, mysteriously, the crowd seems to be getting larger. As
she looks around, images of Bruce materialise in front of
her.
First a nearby sausage takes the shape of Bruce.
Next to the sausage, a pair of salt and pepper shakers takes
the same form.
They jumped in the air and bash stomachs with each other.
Salt and pepper particles shoot from their heads and rain
down on top of them.
Then, behind the shakers, a bottle of tomato ketchup turns
into Bruce.
Pepper dust rises into his face and he sneezes. As he does
so, he jumps into the air and squirts tomato ketchup from
his bottom.
He lands back on the work surface and blushes
embarrassingly.
Lastly, behind the ketchup bottle, a toaster takes the form
of an overweight Bruce, laying on his back and eating toast.
Elly shakes her head, snapping out of the hallucination and
looks towards the stove.

SCENE 8 INT. KITCHEN STOVE, MORNING

At the centre of the stove is the large frying pan, spitting
out small bursts of oil, like mini gizas.
Surrounding it on both sides are saucepans. They are
steaming, but their contents is unknown.
Dave is standing in front of the frying pan, ready to start
cooking bacon.
Dave takes a rasher of bacon and throws it into the air.
It flips and falls, eventually landing in the frying pan.
Oil splashes over the edge and more smoke rises from the
pan.
Then, he takes another piece of bacon and tosses that in the
air.
Elly jumps back and gasps in fear, as she sees the still
disfigured Bruce rising into the air above the frying pan.

SCENE 9 INT. KITCHEN WORK SURFACE, MORNING

Elly makes an attempt to save Bruce, but she still needs to
cover the distance of the adjacent work surface, separating
her from the stove.
On this second work surface are more objects that Elly uses
to aid her rescue attempt.
Elly begins to run across the work surface.
She passes a pasta pot and grabs several lengths of
spaghetti.
She takes one in her left hand and launches the rest with
her right.

SCENE 10 INT. KITCHEN - ABOVE THE STOVE, MORNING

Bruce is reaching his peak in the air. His rigid and
contorted body is spinning constantly.
The lengths of spaghetti fly through the air like javelins,
arranged in such a way that Bruce’s contorted arms and legs
will hook onto them and catch him above the oil.
However, the spaghetti travels too quickly to catch him and
flies through his limbs.
They pin a second piece of bacon to the tiles behind the
stove.

SCENE 11 INT. KITCHEN WORK SURFACE, MORNING

Elly has one length of spaghetti left. Ahead of her is a
plate of bread, a tub of butter, spilt oil and a black
pudding.
In order to get to Bruce in time, Elly needs to pass these
obstacles swiftly.
Still running, Elly decides to use the last piece of
spaghetti as a pole vault.
She forces it into the ground and pushes herself up into the
air.
But it begins to break away, bit by bit from the bottom,
juddering forwards, as the spaghetti gets shorter.
Just as the spaghetti runs out, Elly lands safely on the
plate of bread and rolls off onto the work surface.
With a stern look of determination on her face, she glances
at Bruce, who has started his descent towards the pan.

SCENE 12 INT. KITCHEN WORK SURFACE, MORNING

Elly starts to run along the work surface again. Looking
ahead she sees a large puddle of spilt oil.
Undeterred she runs straight through it and begins to skate
across the surface, building up speed.
She passes the tub of butter, and with both hands, grabs the
butter knife perched on top.
Elly continues to skate, and ahead of her sees a leftover
piece of black pudding.
As she approaches it, Elly swings the knife over her
shoulder.
Then, skidding to a stop behind the black pudding, she hits
it with the knife.

SCENE 13 INT. KITCHEN - ABOVE THE STOVE, MORNING

Bruce is falling closer and closer to the frying pan, as
Elly makes a final effort to whisk him away from danger.
The black pudding flies through the air towards Bruce.
It appears as though it is going to catch him and carry him
away from the stove.
But at the last second it narrowly misses and soars
underneath him.
The black pudding flies towards the fridge door, directly at
a magnet in the shape of a smiley face, flaunting a set of
brilliantly white teeth.
The magnet’s eyes begin to waver and dart from left to right
in fear, as beads of sweat start to run down its face.
Aggressively, the black pudding continues to fly straight
and true.
But at the crucial moment, inches before impact, the jaws of
a dog rise into the air and snatch the black pudding from in
front of the magnet.

SCENE 14 INT. KITCHEN STOVE, MORNING

Bruce plunges into the frying pan, but Elly does not quit
and continues to pursue him by venturing onto the stove.
Elly looks at Bruce and sees him fall out of sight into the
frying pan.
She drops the knife and covers her mouth, her eyes wide with
shock.
A huge wave of oil cascades over the edge of the frying pan,
causing smoke to rise like a blinding mist.
Now next to the stove, Elly jumps up, grabs the edge of the
nearest saucepan and pulls herself up.
She bends her knees and swings her arms forward, before
attempting to jump to the other side.
But she fails miserably and plummets into the saucepan.
Orange coloured tomato sauce splashes over the sides.
Moments later, Elly’s hands reach over the edge.
She pulls herself out to reveal that her arms and legs are
covered in spaghetti hoops. But she shakes them off
impatiently.
Elly hops to the next saucepan, the last obstacle between
her and the frying pan. But it is too far away to jump into.
She begins to run around the rim of the saucepan.
As she builds up speed, she tucks in her arms and legs, and
starts to roll, getting faster and faster.
Elly hits top speed, reaches out and yanks herself over the
edge of the saucepan, rocketing into the air.

SCENE 15 INT. KITCHEN - ABOVE THE STOVE, MORNING

Elly soars high above the stove. Her arms and legs are
outstretched,as she tries to gain more distance and land in
the dreaded frying pan.
Elly flies underneath the stove light and casts a shadow
over the frying pan. She had made the distance.
But out of nowhere, a spatula cuts through the air and
slices Elly in two.
Her once determined face immediately shows fear, as she
starts to fall.

SCENE 16 INT. THE FRYING PAN, MORNING

Elly lands in the frying pan, but is forced to show her
inner self now that her shell has been broken in two.
She soldiers on in her search for Bruce and realises that
the frying pan is not as scary as it appears from the
outside.
Surrounded by her broken shell, Elly slowly gets to her
feet.
She begins to walk forwards, looking around her.
To her left, she sees a bacon rasher lying down, wearing
sunglasses and rubbing oil into his body.
He stops and stares at Elly as she walks past.
To her right, a large, muscular piece of bacon has fashioned
a barbell from a sausage and two black puddings, and is
working out.
He too, stops and stares at her admiringly.
Elly walks on, and ahead of her, sees a group of bacon
rashers playing volleyball with button mushrooms.
As she approaches, they all look at her and cease playing.
She waltzes through the middle of the group, as they stare,
following her with their heads.
After passing the volleyball players, Elly suddenly comes to
a halt.
Ahead of her she sees a large pool of steaming oil.

SCENE 17 INT. THE FRYING PAN, MORNING

Elly and Bruce finally see each other face to face and
embrace one another.
The pool of oil begins to bubble and move, agitatedly.
Slowly, Bruce emerges, rising dramatically from the boiling
oil.
It pours off his body, as he looks up at Elly. Steam rising
from his shoulders, he starts to approach her.
Elly smiles ecstatically, her face glowing, as the oil
behind her glistens and sparkles in the colours of the
rainbow.
Then she runs towards Bruce.
Finally, they come together and embrace. They both lean in
and kiss each other passionately.
As they kiss, Elly enters another fantasy.

SCENE 18 EXT. CLOUDS, DAYTIME

Elly is so happy to be with Bruce, that she imagines them
lying together peacefully among the clouds. The sky in the
distance is a warm pink.
Elly and Bruce lay in each others’ arms on a soft, fluffy
white cloud.
Covering them, is a shimmering, golden blanket made from
silk.
They lay there and smile blissfully.

SCENE 19 INT. KITCHEN, MORNING

Whilst in the midst of her fantasy, Elly and Bruce are
placed in a sandwich by Dave.
Elly snaps back to reality and realises that they are both
lying between two slices of bread.
They remain calm and cuddle up contently.
Suddenly, the sandwich is carried to Dave’s gaping mouth.
He bites into it, causing yolk and tomato ketchup to squirt
and ooze from the sides.
Cut to black screen

This was my first draft of the script, so it is very long. I decided to put all of my ideas on paper so that i could see which scenes would work best and then i could cut down the length.

Draft 2

SCENE 1 INT. REFRIGERATOR INTERIOR, MORNING

SFX: A song with music accompany the film throughout.
Inside, the refrigerator is black with darkness. Only ELLY’s
blinking eyes are visible.
The refrigerator door opens and the interior light flickers
on.
Instinctively, Elly ducks down inside the egg box. She peaks
through the gap between the lid and the base.
Suddenly, DAVE’s hand reaches into the refrigerator and
rummages around the bottom shelf.
Moments later, he retrieves a packet of bacon.
Elly glances down at the bacon packet and makes eye contact
with BRUCE.
Slowly, Elly’s eyes widen and her jaw drops, as she begins
to stand up in the egg box.
Bruce’s eyes also widen, and his jaw drops as, slowly, he
begins to sit up inside the bacon packet.
But, unaware of the transparent, plastic wrapper in front of
him, Bruce’s face collides with the packet and sticks to the
inside.
Elly blushes and giggles shyly behind her hands.
Suddenly, the refrigerator door slams shut, and Elly is
alone in the dark, once again.
Elly’s eyes blink sadly in the darkness.
Moments later, the door is reopened and Dave’s hand enters
the refrigerator once more.
He grabs Elly and two neighbouring eggs, and removes them
from the refrigerator.

SCENE 2 INT. KITCHEN - MID-AIR, MORNING

The once white ceiling and its patches of flaking paint are
all that is visible, as Dave juggles the eggs in the air.
Carrying the eggs away from the refrigerator, Dave throws
Elly into the air.
Initially, she frantically waves her arms and legs and
screams fearfully.
But as he throws Elly the second time, she begins to enjoy
herself.
Smiling, Elly poses in mid-air as though skipping happily.
As she falls her world changes from reality to fantasy.

SCENE 3 EXT. CLOUDS, DAYTIME

In the distance, the sky a pale, misty pink, stretches
infinitely.
Thick, fluffy, baby pink clouds form a staircase that lead
to a large, ominous silhouette, similar to Bruce’s.
Streaks of light circle the silhouette slowly.
Elly falls from the sky and lands with a bounce, on the
first spongy cloud.
She sees the bright silhouette and joyfully skips towards
it.
As she gets closer, Bruce’s face emerges from the light.
Elly smiles and reaches out to the light, whilst continuing
to climb the staircase.
Bruce smiles back, but remains still, glowing ominously.
Elly reaches the last cloud and is an arm’s length away from
Bruce.
But suddenly, his face contorts ad his smile becomes the
last squashed expression she saw against the inside of the
bacon packet.

SCENE 4 INT. KITCHEN - MID-AIR, MORNING

Elly snaps out of her dream.
Ahead of her is in fact a bright light bulb, surrounded by a
rotating fan, attached to the ceiling.
Elly is petrified, as she realises she is only inches away
from the blades of the fan.
Suddenly, a second egg shoots past her and into the chaos of
the blades.
The egg is ripped apart and splattered across the ceiling.
Elly’s face and eyes are also spattered with yolk.
She tries to wipe her eyes clean as she falls through the
air.
O.S.: Dave catches Elly and the remaining egg and puts them
in two eggcups on the work surface.

SCENE 5 INT. KITCHEN WORK SURFACE, MORNING

Elly is wedged firmly in an eggcup at one end of the work
surface. The other egg is to her left, in the same position,
only upside down.
Laid out on the surface ahead of her is an obstacle course
of food, waiting to be prepared and cooked by Dave.
At the other end of the work surface is the packet of bacon,
with Bruce inside it.
To the left of the work surface is a large stove, on top of
which are several saucepans and a large frying pan, which i
bubbling and spitting oil violently.
Elly blinks slowly, finally clearing her eyes of egg debris.
Looking ahead of her, Elly sees the bacon rashers starting
to climb out of the packet.
The bacon rashers huddle together in a circle, as though
conversing, when one of them turns around and catches Elly’s
eye. Immediately, she presumes that this is Bruce.
So with a sense of urgency, she struggles to free herself
and pops out of the eggcup.
Elly soars through the air, before landing in a tub of
mushrooms.
Upon impact she is immediately sent flying into another
mushroom and then another, bouncing between them, as though
in a pinball machine.
Finally, Elly is launched into the air again. She looks
nauseous, as her eyes roll around their sockets.
She lands head first in a small block of lard.
The lard slides on impact, until it collides with a plum
tomato, spilt from the tin to the left of it.
The collision causes Elly to roll upright onto the tomato.
But as she sits on it, her weight causes the tomato to
deflate.
SFX: The music and song stops.
SFX: ’Blowing a raspberry’.
To the right of Elly, the tomato spits juice over two
disgruntled sausages. They simply stand still, blinking
through the juice.
Elly stares at them awkwardly until the tomato deflates
entirely.
SFX: The music and song continue.
Elly stands up and starts to run towards the bacon rasher,
smiling.
The rasher smiles back and starts to run towards Elly.
O.S.: Above them, Dave clumsily spills a tin of beans into
the air.
Beans begin to fall on the both of them.
But Elly pays no attention and overcome with joy, she enters
another fantasy.

SCENE 6 EXT. MEADOW, DAYTIME

The sun is strong and bright in the crisp blue sky.
Flowers of different colours fall gently from the sky,
raining softly on top of Elly and the bacon rasher.
The two of them continue to run at each other, their arms
open wide.
They meet in the middle of the meadow and hold each others’
hands.
The bacon rasher launches himself forward over-eagerly and
puckers his lips.
Elly winces in shock and disgust.
She realises that this is not Bruce after all, and slaps him
in the face.

SCENE 7 INT. KITCHEN WORK SURFACE, MORNING

Elly snaps back to reality with the impact of the slap.
She is back on the kitchen work surface, standing in a pool
of beans.
The bacon rasher sinks into the beans. His face is
disfigured from the slap and his body rigid.
Ignoring him, Elly looks ahead at the group of bacon,
leaning left and right, trying to find Bruce in the crowd.
But, mysteriously, the crowd seems to be getting larger. As
she looks around, images of Bruce materialise in front of
her.
First, a nearby sausage takes the shape of Bruce.
Next to the sausage, a pair of salt and pepper shakers takes
the same form.
They jumped in the air and bash stomachs with each other.
Salt and pepper particles shoot from their heads and rain
down on top of them.
Then, behind the shakers, a bottle of tomato ketchup turns
into Bruce.
Pepper dust rises into his face and he sneezes. As he does
so, he jumps into the air and squirts tomato ketchup from
his bottom.
He lands back on the work surface and blushes
embarrassingly.
Lastly, behind the ketchup bottle, a toaster takes the form
of an overweight Bruce, laying on his back and eating toast.
Elly shakes her head, snapping out of the hallucination and
looks towards the stove.

SCENE 8 INT. KITCHEN STOVE, MORNING

At the centre of the stove is the large frying pan, spitting
out small bursts of oil, like mini Giza.
Surrounding it on both sides are saucepans. They are
steaming, but their contents is unknown.
Dave is standing in front of the frying pan, ready to start
cooking bacon.
Dave takes a rasher of bacon and throws it into the air.
Elly jumps back and gasps in fear, as she sees the stilldisfigured
Bruce rising into the air above the frying pan.

SCENE 9 INT. KITCHEN WORK SURFACE, MORNING

Elly makes an attempt to save Bruce, but she still needs to
cover the distance of the adjacent work surface, separating
her from the stove.
On this second work surface are more objects that Elly uses
to aid her rescue attempt.
Elly runs out of the pool of beans and turns left, onto the
second work surface.
She passes a pasta pot and grabs several lengths of
spaghetti.
She takes one in her left hand and launches the rest with
her right.

SCENE 10 INT. KITCHEN - ABOVE THE STOVE, MORNING

Bruce is reaching his peak in the air. His rigid and
contorted body is spinning slowly.
The lengths of spaghetti fly through the air like javelins,
arranged in such a way that Bruce’s contorted arms and legs
will hook onto them and catch him above the oil.
However, the spaghetti travels too quickly to catch him and
flies through his limbs.
They pin a second piece of bacon to the tiles behind the
stove.

SCENE 11 INT. KITCHEN WORK SURFACE, MORNING

Elly has one length of spaghetti left. Ahead of her is a
plate of bread, a tub of butter, spilt oil and a black
pudding.
In order to get to Bruce in time, Elly needs to pass these
obstacles swiftly.
Still running, Elly decides to use the last piece of
spaghetti as a pole vault.
She forces it into the ground and pushes herself up into the
air.
But it begins to break away, bit by bit from the bottom,
juddering forwards, as the spaghetti gets shorter.
Just as the spaghetti runs out, Elly lands on her bottom in
a puddle of spilt oil.
She skids along the work surface and passes the tub of
butter. With both hands she grabs the butter knife perched
on top.
Elly uses the knife as an oar, in order to build up speed.
Ahead of her sees a leftover piece of black pudding.
Travelling at high speed, Elly hops to her feet and skates
on the oil. Approaching the black pudding, Elly swings the
knife over her shoulder.
Then, skidding to a stop, Elly hits it with the knife.

SCENE 12 INT. KITCHEN - ABOVE THE STOVE, MORNING

Bruce is falling closer and closer to the frying pan, as
Elly makes a final effort to whisk him away from danger.
The black pudding flies through the air towards Bruce.
It appears as though it is going to catch him and carry him
away from the stove.
But at the last second it narrowly misses and soars
underneath him.

SCENE 13 INT. KITCHEN STOVE, MORNING

Bruce plunges into the frying pan, but Elly does not quit
and continues to pursue him by venturing onto the stove.
Elly sees Bruce fall out of sight into the frying pan.
She drops the knife and covers her mouth, her eyes wide with
shock.
A huge wave of oil cascades over the edge of the frying pan,
causing smoke to rise like a blinding mist.
Now next to the stove, Elly jumps up, grabs the edge of the
nearest saucepan and pulls herself up.
She bends her knees swings her arms forward and attempts to
jump to the other side.
But, she fails and plummets into the saucepan. Orange
coloured tomato sauce splashes over the sides.
Elly’s hands reach over the edge of the pan.
She pulls herself out to reveal that her arms and legs are
covered in spaghetti hoops. She shakes them off impatiently.
Elly hops to the next saucepan and begins to run around the
rim.
As she builds up speed, she tucks in her arms and legs, and
starts to roll, getting faster and faster.
Elly hits top speed, reaches out and yanks herself over the
edge of the saucepan, rocketing into the air.

SCENE 14 INT. KITCHEN - ABOVE THE STOVE, MORNING

Elly soars high above the stove. Her arms and legs are
outstretched,as she tries to gain more distance and land in
the dreaded frying pan.
Suddenly, a spatula cuts through the air and slices Elly in
two.
Her once determined face immediately shows fear, as she
starts to fall.

SCENE 15 INT. THE FRYING PAN, MORNING

Elly lands in the frying pan, but is forced to show her
inner self now that her shell has been broken in two.
She soldiers on in her search for Bruce and realises that
the frying pan is not as scary as it appears from the
outside.
Surrounded by her broken shell, Elly slowly gets to her
feet.
She begins to walk forwards, gazing straight ahead.
To her left, a bacon rasher is lying down, wearing
sunglasses and rubbing oil into his body.
He stops and stares at Elly as she walks past.
To her right, a large, muscular piece of bacon has fashioned
a barbell from a sausage and two black puddings, and is
working out.
He too, stops and stares at her admiringly.
Elly walks past him, but suddenly comes to a halt. Ahead of
her she sees a large pool of steaming oil.

SCENE 16 INT. THE FRYING PAN, MORNING

Elly and Bruce finally see each other face to face and
embrace one another.
The pool of oil begins to bubble and move, agitatedly.
Slowly, Bruce emerges, rising dramatically from the boiling
oil.
It pours off his body, as he looks up at Elly.
Steam rising from his shoulders, he starts to approach her.
Elly smiles ecstatically, her face glowing, as the oil
behind her glistens and sparkles in the colours of the
rainbow.
Then she runs towards Bruce.
Finally, they embrace. They both lean in and kiss each other
passionately.
As they kiss, Elly enters another fantasy.

SCENE 17 EXT. CLOUDS, DAYTIME

Elly is so happy to be with Bruce, that she imagines them
lying together peacefully among the clouds. The sky in the
distance is a warm pink.
Elly and Bruce lay in each others’ arms on a soft, fluffy
white cloud.
Covering them, is a shimmering, golden blanket made from
silk.
They lay there and smile blissfully.

SCENE 18 INT. KITCHEN, MORNING

O.S.: Whilst in the midst of her fantasy, Elly and Bruce are
placed in a sandwich by Dave.
Elly snaps back to reality and realises that they are both
lying between two slices of bread.
They both remain calm and cuddle up contently.
Suddenly, the sandwich is carried to Dave’s gaping mouth.
He bites into it, causing yolk and tomato ketchup to squirt
and ooze from the sides.
Cut to black screen.

My main aim for the second draft was to shorten the script so that the story would realistically fit into a 3 minute film, as well as changing obvious spelling and gramatical errors. I took out scenes that could be removed seamlessly and allowed the story to flow without alteration. I think that the scenes i removed only added comedy rather than a progression in story.

Draft 3

SCENE 1 INT. REFRIGERATOR INTERIOR, MORNING

SFX: A song with music accompany the film throughout.
Inside, the refrigerator is black with darkness. Only ELLY’s
blinking eyes are visible.
The refrigerator door opens and the interior light flickers
on.
Instinctively, Elly ducks down inside the egg box. She peaks
through the gap between the lid and the base.
Suddenly, DAVE’s hand reaches into the refrigerator and
rummages around the bottom shelf.
Moments later, he retrieves a packet of bacon.
Elly glances down at the bacon packet and makes eye contact
with BRUCE.
Slowly, Elly’s eyes widen and her jaw drops, as she begins
to stand up in the egg box.
Bruce’s eyes also widen, and his jaw drops as, slowly, he
begins to sit up inside the bacon packet.
But, unaware of the transparent, plastic wrapper in front of
him, Bruce’s face collides with the packet and sticks to the
inside.
Elly blushes and giggles shyly behind her hands.
Suddenly, the refrigerator door slams shut, and Elly is
alone in the dark, once again.
Elly’s eyes blink sadly in the darkness.
Moments later, the door is reopened and Dave’s hand enters
the refrigerator once more.
He grabs Elly and one other neighbouring egg. His hand
covers their faces.
The screen becomes black.
O.S.: Dave removes Elly and the remaining egg from the
refrigerator. He puts them in two eggcups on the work
surface.

SCENE 2 INT. KITCHEN WORK SURFACE, MORNING

Elly is wedged firmly in an eggcup at one end of the work
surface. The other egg is to her left, in the same position,
only upside down.
Laid out on the surface ahead of her is an obstacle course
of food, waiting to be prepared and cooked by Dave.
At the other end of the work surface is the packet of bacon,
with Bruce inside it.
To the left of the work surface is a large stove, on top of
which are several saucepans and a large frying pan, which i
bubbling and spitting oil violently.
Elly blinks slowly, finally clearing her eyes of egg debris.
Looking ahead of her, Elly sees the bacon rashers starting
to climb out of the packet.
The bacon rashers huddle together in a circle, as though
conversing, when one of them turns around and catches Elly’s
eye. Immediately, she presumes that this is Bruce.
So with a sense of urgency, she struggles to free herself
and pops out of the eggcup.
Elly soars through the air, before landing in a tub of
mushrooms.
Upon impact she is immediately sent flying into another
mushroom and then another, bouncing between them, as though
in a pinball machine.
Finally, Elly is launched into the air again. She looks
nauseous, as her eyes roll around their sockets.
She lands head first in a small block of lard.
The lard slides on impact, until it collides with a plum
tomato, spilt from the tin to the left of it.
The collision causes Elly to roll upright onto the tomato.
But as she sits on it, her weight causes the tomato to
deflate.
SFX: The music and song stops.
SFX: ’Blowing a raspberry’.
To the right of Elly, the tomato spits juice over two
disgruntled sausages. They simply stand still, blinking
through the juice.
Elly stares at them awkwardly until the tomato deflates
entirely.
SFX: The music and song continue.
Elly stands up and starts to run towards the bacon rasher,
smiling.
The rasher smiles back and starts to run towards Elly.
O.S.: Above them, Dave clumsily spills a tin of beans into
the air.
Beans begin to fall on the both of them.
But Elly pays no attention and overcome with joy, she enters
another fantasy.

SCENE 3 EXT. MEADOW, DAYTIME

The sun is strong and bright in the crisp blue sky.
Flowers of different colours fall gently from the sky,
raining softly on top of Elly and the bacon rasher.
The two of them continue to run at each other, their arms
open wide.
They meet in the middle of the meadow and hold each others’
hands.
The bacon rasher launches himself forward over-eagerly and
puckers his lips.
Elly winces in shock and disgust.
She realises that this is not Bruce after all, and slaps him
in the face.

SCENE 4 INT. KITCHEN WORK SURFACE, MORNING

Elly snaps back to reality with the impact of the slap.
She is back on the kitchen work surface, standing in a pool
of beans.
The bacon rasher sinks into the beans. His face is
disfigured from the slap and his body rigid.
Ignoring him, Elly looks ahead at the group of bacon,
leaning left and right, trying to find Bruce in the crowd.
But, mysteriously, the crowd seems to be getting larger. As
she looks around, images of Bruce materialise in front of
her.
First, a nearby sausage takes the shape of Bruce.
Next to the sausage, a pair of salt and pepper shakers takes
the same form.
They jumped in the air and bash stomachs with each other.
Salt and pepper particles shoot from their heads and rain
down on top of them.
Then, behind the shakers, a bottle of tomato ketchup turns
into Bruce.
Pepper dust rises into his face and he sneezes. As he does
so, he jumps into the air and squirts tomato ketchup from
his bottom.
He lands back on the work surface and blushes
embarrassingly.
Lastly, behind the ketchup bottle, a toaster takes the form
of an overweight Bruce, laying on his back and eating toast.
Elly shakes her head, snapping out of the hallucination and
looks towards the stove.

SCENE 5 INT. KITCHEN STOVE, MORNING

At the centre of the stove is the large frying pan, spitting
out small bursts of oil, like mini Giza.
Surrounding it on both sides are saucepans. They are
steaming, but their contents is unknown.
Dave is standing in front of the frying pan, ready to start
cooking bacon.
Dave takes a rasher of bacon and throws it into the air.
Elly jumps back and gasps in fear, as she sees the stilldisfigured
Bruce rising into the air above the frying pan.

SCENE 6 INT. KITCHEN WORK SURFACE, MORNING

Elly makes an attempt to save Bruce, but she still needs to
cover the distance of the adjacent work surface, separating
her from the stove.
On this second work surface are more objects that Elly uses
to aid her rescue attempt.
Elly runs out of the pool of beans and turns left, onto the
second work surface.
She passes a pasta pot and grabs several lengths of
spaghetti.
She takes one in her left hand and launches the rest with
her right.

SCENE 7 INT. KITCHEN - ABOVE THE STOVE, MORNING

Bruce is reaching his peak in the air. His rigid and
contorted body is spinning slowly.
The lengths of spaghetti fly through the air like javelins,
arranged in such a way that Bruce’s contorted arms and legs
will hook onto them and catch him above the oil.
However, the spaghetti travels too quickly to catch him and
flies through his limbs.
They pin a second piece of bacon to the tiles behind the
stove.

SCENE 8 INT. KITCHEN WORK SURFACE, MORNING

Elly has one length of spaghetti left. Ahead of her is a
plate of bread, a tub of butter, spilt oil and a black
pudding.
In order to get to Bruce in time, Elly needs to pass these
obstacles swiftly.
Still running, Elly decides to use the last piece of
spaghetti as a pole vault.
She forces it into the ground and pushes herself up into the
air.
But it begins to break away, bit by bit from the bottom,
juddering forwards, as the spaghetti gets shorter.
Just as the spaghetti runs out, Elly lands on her bottom in
a puddle of spilt oil.
She skids along the work surface and passes the tub of
butter. With both hands she grabs the butter knife perched
on top.
Elly uses the knife as an oar, in order to build up speed.
Ahead of her sees a leftover piece of black pudding.
Travelling at high speed, Elly hops to her feet and skates
on the oil. Approaching the black pudding, Elly swings the
knife over her shoulder.
Then, skidding to a stop, Elly hits it with the knife.

SCENE 9 INT. KITCHEN - ABOVE THE STOVE, MORNING

Bruce is falling closer and closer to the frying pan, as
Elly makes a final effort to whisk him away from danger.
The black pudding flies through the air towards Bruce.
It appears as though it is going to catch him and carry him
away from the stove.
But at the last second it narrowly misses and soars
underneath him.

SCENE 10 INT. KITCHEN STOVE, MORNING

Bruce plunges into the frying pan, but Elly does not quit
and continues to pursue him by venturing onto the stove.
Elly sees Bruce fall out of sight into the frying pan.
She drops the knife and covers her mouth, her eyes wide with
shock.
A huge wave of oil cascades over the edge of the frying pan,
causing smoke to rise like a blinding mist.
Now next to the stove, Elly jumps up, grabs the edge of the
nearest saucepan and pulls herself up.
She bends her knees swings her arms forward and attempts to
jump to the other side.
But, she fails and plummets into the saucepan. Orange
coloured tomato sauce splashes over the sides.
Elly’s hands reach over the edge of the pan.
She pulls herself out to reveal that her arms and legs are
covered in spaghetti hoops. She shakes them off impatiently.
Elly hops to the next saucepan and begins to run around the
rim.
As she builds up speed, she tucks in her arms and legs, and
starts to roll, getting faster and faster.
Elly hits top speed, reaches out and yanks herself over the
edge of the saucepan, rocketing into the air.

SCENE 11 INT. KITCHEN - ABOVE THE STOVE, MORNING

Elly soars high above the stove. Her arms and legs are
outstretched,as she tries to gain more distance and land in
the dreaded frying pan.
Suddenly, a spatula cuts through the air and slices Elly in
two.
Her once determined face immediately shows fear, as she
starts to fall.

SCENE 12 INT. THE FRYING PAN, MORNING

Elly lands in the frying pan, but is forced to show her
inner self now that her shell has been broken in two.
She soldiers on in her search for Bruce and realises that
the frying pan is not as scary as it appears from the
outside.
Surrounded by her broken shell, Elly slowly gets to her
feet.
She begins to walk forwards, gazing straight ahead.
To her left, a bacon rasher is lying down, wearing
sunglasses and rubbing oil into his body.
He stops and stares at Elly as she walks past.
To her right, a large, muscular piece of bacon has fashioned
a barbell from a sausage and two black puddings, and is
working out.
He too, stops and stares at her admiringly.
Elly walks past him, but suddenly comes to a halt. Ahead of
her she sees a large pool of steaming oil.

SCENE 13 INT. THE FRYING PAN, MORNING

Elly and Bruce finally see each other face to face and
embrace one another.
The pool of oil begins to bubble and move, agitatedly.
Slowly, Bruce emerges, rising dramatically from the boiling
oil.
It pours off his body, as he looks up at Elly.
Steam rising from his shoulders, he starts to approach her.
Elly smiles ecstatically, her face glowing, as the oil
behind her glistens and sparkles in the colours of the
rainbow.
Then she runs towards Bruce.
Finally, they embrace. They both lean in and kiss each other
passionately.
As they kiss, Elly enters another fantasy.

SCENE 14 EXT. CLOUDS, DAYTIME

Elly is so happy to be with Bruce, that she imagines them
lying together peacefully among the clouds. The sky in the
distance is a warm pink.
Elly and Bruce lay in each others’ arms on a soft, fluffy
white cloud.
Covering them, is a shimmering, golden blanket made from
silk.
They lay there and smile blissfully.

SCENE 15 INT. KITCHEN, MORNING

O.S.: Whilst in the midst of her fantasy, Elly and Bruce are
placed in a sandwich by Dave.
Elly snaps back to reality and realises that they are both
lying between two slices of bread.
They both remain calm and cuddle up contently.
Suddenly, the sandwich is carried to Dave’s gaping mouth.
He bites into it, causing yolk and tomato ketchup to squirt
and ooze from the sides.
Cut to black screen.

Again for this draft, I looked to cut down the script further and be more ruthless with the storyline. I cut out another entire scene from the beginning of the script because although the content is visually rich due to the use of metaphors etc, it does not add to the plot. I also started to think about storyboarding the film whilst writing this draft and what actions I thought would be best seen or would be more effective as an offscreen action.

Draft 4

SCENE 1 INT. REFRIGERATOR INTERIOR, MORNING

SFX: A song with music accompany the film throughout.
Inside, the refrigerator is black with darkness. Only ELLY’s
blinking eyes are visible, as she peaks through the gap
between the lid and the base of the egg box.
The refrigerator door opens and the interior light flickers
on.
Suddenly, DAVE’s hand reaches into the refrigerator and
rummages around the bottom shelf.
Moments later, he retrieves a packet of bacon.
Elly glances down at the bacon packet and makes eye contact
with BRUCE.
Slowly, Elly’s eyes widen and her jaw drops, as she begins
to stand up in the egg box.
Bruce’s eyes also widen, and his jaw drops as, slowly, he
begins to sit up inside the bacon packet.
But, unaware of the transparent, plastic wrapper in front of
him, Bruce’s face collides with the packet and sticks to the
inside.
Elly blushes and giggles shyly behind her hands.
Suddenly, the refrigerator door slams shut, and Elly is
alone in the dark, once again.
Elly’s eyes blink sadly in the darkness.
Moments later, the door is reopened and Dave’s hand enters
the refrigerator once more.
He grabs Elly and one other neighbouring egg. His hand
covers their faces.
The screen becomes black.
O.S.: Dave removes Elly and the remaining egg from the
refrigerator. He puts them in two eggcups on the work
surface.

SCENE 2 INT. KITCHEN WORK SURFACE, MORNING

Elly is wedged firmly in an eggcup at one end of the work
surface. The other egg is to her left, in the same position,
only upside down.
Laid out on the surface ahead of her is an obstacle course
of food, waiting to be prepared and cooked by Dave.
At the other end of the work surface is the packet of bacon,
with Bruce inside it.
To the left of the work surface is a large stove, on top of
which are several saucepans and a large frying pan, which is
bubbling and spitting oil violently.
Elly opens her eyes slowly.
Looking ahead of her, she sees one of the bacon rashers
starting to climb out of the packet.
So, with a sense of urgency, she struggles to free herself
and pops out of the eggcup.
Elly soars through the air and lands head first in a small
block of lard.
The lard slides on impact, until it collides with a plum
tomato, spilt from the tin to the left of it.
The collision causes Elly to roll upright onto the tomato.
But as she sits on it, her weight causes the tomato to
deflate.
SFX: The music and song stops.
SFX: ’Blowing a raspberry’.
To the right of Elly, the tomato spits juice over two
disgruntled sausages. They simply stand still, blinking
through the juice.
Elly stares at them awkwardly until the tomato deflates
entirely.
SFX: The music and song continue.
Elly stands up and starts to run towards the bacon rasher,
smiling.
The rasher smiles back and starts to run towards Elly.
O.S.: Above them, Dave clumsily spills a tin of beans into
the air.
Beans begin to fall on the both of them.
Overcome with joy Elly pays no attention and enters her own
fantasy.
Fade out.

SCENE 3 EXT. MEADOW, DAYTIME

The sun is strong and bright in the crisp blue sky.
Flowers of different colours fall gently from the sky,
raining softly on top of Elly and the bacon rasher.
The two of them continue to run at each other, their arms
open wide.
They meet in the middle of the meadow and hold each others’
hands.
The bacon rasher launches himself forward over-eagerly and
puckers his lips.
Elly winces in shock and disgust.
She realises that this is not Bruce after all, and slaps him
in the face.
Upon impact there is a flash of white light.

SCENE 4 INT. KITCHEN WORK SURFACE, MORNING

Elly snaps back to reality with the impact of the slap.
She is back on the kitchen work surface, standing in a pool
of beans.
The bacon rasher sinks into the beans. His face is
disfigured from the slap and his body rigid.
Ignoring him, Elly looks ahead to discover a crowd of bacon
rashers has formed around the now empty packet.
Leaning left and right, she tries to find Bruce hidden
amongst the crowd.
But as she looks around, images of Bruce materialise in
front of her.
Elly looks left and notices a nearby sausage and a pair of
salt and pepper shakers also looking into the crowd.
Unprovoked, they spin around to face her, revealing
themselves to have Bruce’s face in place of their own.
She looks right, but meets Bruce’s gaze again, this time
from a bottle of tomato ketchup.
Finally, Elly looks back towards the group of bacon. But,
behind them a toaster takes the form of an overweight Bruce,
laying on his back and eating toast.
Elly shakes her head, snapping out of the hallucination and
looks towards the stove.

SCENE 5 INT. KITCHEN STOVE, MORNING

At the centre of the stove is the large frying pan, spitting
out small bursts of oil, like mini Giza.
To the right of it are two saucepans. They are steaming, but
their contents is unknown.
Dave is standing in front of the frying pan, ready to start
cooking bacon.
He takes a rasher of bacon and throws it into the air.
Elly jumps back and gasps in fear, as she sees the stilldisfigured
Bruce rising into the air above the frying pan.

SCENE 6 INT. KITCHEN WORK SURFACE, MORNING

Elly makes an attempt to save Bruce, but she still needs to
cover the distance of the adjacent work surface, separating
her from the stove.
On this second work surface are more objects that Elly uses
to aid her rescue attempt.
Elly runs out of the pool of beans and turns left, onto the
second work surface.
She passes a pasta pot and grabs several lengths of
spaghetti.
She takes one in her left hand and launches the rest with
her right.

SCENE 7 INT. KITCHEN - ABOVE THE STOVE, MORNING

Bruce is reaching his peak in the air. His rigid and
contorted body is spinning slowly.
The lengths of spaghetti fly through the air like javelins,
arranged in such a way that Bruce’s contorted arms and legs
will hook onto them and catch him above the oil.
However, the spaghetti travels too quickly to catch him and
flies through his limbs.

SCENE 8 INT. KITCHEN WORK SURFACE, MORNING

Elly has one length of spaghetti left. Ahead of her is a
plate of bread, a tub of butter, spilt oil and a black
pudding.
In order to get to Bruce in time, Elly needs to pass these
obstacles swiftly.
Still running, Elly decides to use the last piece of
spaghetti as a pole vault to cover a larger distance.
She forces it into the ground and pushes herself up into the
air.
But it begins to break away, bit by bit from the bottom,
juddering forwards, as the spaghetti gets shorter.
Just as the spaghetti runs out, Elly lands on her bottom in
a puddle of spilt oil.
She skids along the work surface and passes the tub of
butter. With both hands she grabs the butter knife perched
on top.
Elly uses the knife to push herself to her feet and skates
on the oil. Ahead of her sees a leftover piece of black
pudding.
Approaching the black pudding, Elly swings the knife over
her shoulder.
Then, skidding to a stop, Elly hits it with the knife.

SCENE 9 INT. KITCHEN - ABOVE THE STOVE, MORNING

Bruce is falling closer and closer to the frying pan, as
Elly makes a final effort to whisk him away from danger.
The black pudding flies through the air towards Bruce.
It appears as though it is going to catch him and carry him
away from the stove.
But at the last second it narrowly misses and soars
underneath him.

SCENE 10 INT. KITCHEN STOVE, MORNING

Bruce plunges into the frying pan, but Elly does not quit
and continues to pursue him by venturing onto the stove.
Elly sees Bruce fall out of sight into the frying pan.
A huge wave of oil cascades over the edge of the frying pan,
causing smoke to rise like a blinding mist.
She drops the knife and holds her face, her eyes wide with
shock.
Now next to the stove, Elly jumps up, grabs the edge of the
nearest saucepan and pulls herself up.
She bends her knees swings her arms forward and attempts to
jump to the other side.
But, she fails and plummets into the saucepan. Orange
coloured tomato sauce splashes over the sides.
Elly’s hands reach over the edge of the pan.
She pulls herself out to reveal that her arms and legs are
covered in spaghetti hoops. She shakes them off impatiently.
Elly hops to the next saucepan. Then, in order to build up
speed, she tucks in her arms and legs, and starts to roll,
getting faster and faster.
Elly hits top speed, reaches out and yanks herself over the
edge of the saucepan, rocketing into the air.

SCENE 11 INT. KITCHEN - ABOVE THE STOVE, MORNING

Elly soars high above the stove. Her arms and legs are
outstretched,as she tries to gain more distance and land in
the dreaded frying pan.
Suddenly, a spatula cuts through the air and slices Elly in
two.
Her once determined face immediately shows fear, as she
starts to fall.

SCENE 12 INT. THE FRYING PAN, MORNING

Elly lands in the frying pan, but is forced to show her
inner self now that her shell has been broken in two.
She soldiers on in her search for Bruce and realises that
the frying pan is not as scary as it appears from the
outside.
Surrounded by her broken shell, Elly slowly gets to her
feet.
She begins to walk forwards, gazing straight ahead.
To her left, a bacon rasher is lying down, wearing
sunglasses and rubbing oil into his body.
He stops and stares at Elly as she walks past.
To her right, a large, muscular piece of bacon has fashioned
a barbell from a sausage and two black puddings, and is
working out.
He too, stops and stares at her admiringly.
Elly walks past him, but suddenly comes to a halt. Ahead of
her she sees a large pool of steaming oil.

SCENE 13 INT. THE FRYING PAN, MORNING

Elly and Bruce finally see each other face to face and
embrace one another.
The pool of oil begins to bubble and move, agitatedly.
Slowly, Bruce emerges, rising dramatically from the boiling
oil.
It pours off his body, as he looks up at Elly.
Elly smiles ecstatically, her face glowing, as the oil
behind her glistens and sparkles in the colours of the
rainbow.
Then she runs towards Bruce, as he wades out of the oil.
Finally, they embrace. They both lean in and kiss each other
passionately.
As they kiss, Elly enters another fantasy.

SCENE 14 EXT. CLOUDS, DAYTIME

Elly is so happy to be with Bruce, that she imagines them
lying together peacefully among the clouds. The sky in the
distance is a warm pink.
Elly and Bruce lay in each others’ arms on a soft, fluffy
white cloud.
Covering them, is a shimmering, golden blanket made from
silk.
They lay there and smile blissfully.

SCENE 15 INT. KITCHEN, MORNING

O.S.: Whilst in the midst of her fantasy, Elly and Bruce are
placed in a sandwich by Dave.
As Dave slaps on the top slice of bread, Elly snaps back to
reality.
They both realise that they are laying in a sandwich, yet
they remain calm and cuddle up contently.
Suddenly, the sandwich is carried to Dave’s gaping mouth.
He bites into it, causing yolk and tomato ketchup to squirt
and ooze from the sides.
SFX: The music and song stops.
Cut to black screen.

This is the final draft of my script. Even in this draft I still found myself cutting out sections of the script or actions that would not be missed visually. I think that this draft is much more to the point, describing the story and each action more clearly. I also think that there is enough action to keep the audience fixed to their seats and not get distracted.