Mapped.

Elizabeth wants to call it Leap Right On (what does that sound like when you say it quickly?) and I want to call it Sunday Dancey Sunday. We’ll let the Weinsteins decide. Here’s a sneak peak of the three plot lines:

Story A: the dance plot

Rural Irish farm girl – Irish dancer, but she breaks out of the mold – she joins street dance crew in NYC – bring to Ireland in the end

Story B: the father-daughter plot

her father and the LAND – her father wants her to take the farm over – but she wants to dance. He’s on death bed – tells her he’s proud of her

Story C: the love plot

One guy from Sandymount – his dad is evil developer – wants to buy dad’s land. The other guy is black guy form NYC – takes him back to Ireland

How they intertwine

The arc we envision, and by ‘envision,’ we mean ‘copy from every dance movie ever made’ is to have all three stories start together, peak together (peak is when they all go wrong), but end separately. The B story – she and her father reconciling on his death bed is obviously going to happen before the end of the movie, when there’s a hip hop dance off on the Cliffs of Moher and the kiss on the sunset. This is what it will look like:

There’s also, of course, the underlying race relations and what it means to be human, but that’s unchart-able.

Point is, even stupid stories follow this basic structure.

• You need 2 to 3 plot lines
• Your plot lines have to intersect somewhere,
• and they can’t all conclude at the same time (otherwise, you’d spend the whole emotional ending explaining everything. And then you’d need a voice over).

Plot is fun. It’s like a wireframe: you can draw it and move stuff around. But the plot is just the beginning . . . Stay tuned for our character outlines, storyboards, and choreography.