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FADE IN:
1. INT. EDIT BAY — 3:47 A.M.
A folder of raw clips glows on the monitor. No script. No notes. Just footage, and a deadline that already passed.
The scene is in there. You just do not have it on the page yet.
MATCH CUT TO:
frametopage.com/j/tears-of-steel
processed · 12:14 · 7 speakers
The sample video is temporarily unavailable. The screenplay remains available to read.
FADE IN:
CAPTAIN (V.O.)
We have main engine start, four, three,
CAPTAIN (V.O.)
Two, one.
EXT. ROCKET LAUNCH FACILITY - DAY
A cluster of massive rocket engine bells towers into the haze.
The engines IGNITE in a blinding column of flame.
Pillars of fire ROAR down from the engine cluster.
The rocket climbs on a single pillar of flame above the industrial skyline.
EXT. CANAL BRIDGE - DAY
CELIA
You're a jerk, Tom.
THOM
Look, Celia, we have to follow our passions. You have your robotics, and I just want to be awesome in space.
CELIA
Why don't you just admit that you're freaked out by my robot hand?
THOM
I'm not freaked out, but it's...
CELIA holds her mechanical right hand up at THOM on the bridge over the canal.
THOM (CONT'D)
All right, fine. I'm freaked out. I'm having nightmares that I'm being chased by these giant robotic claws.
CELIA
Oh, whatever, Tom. We're done.
INT. CONTROL ROOM - DAY
Holographic wireframe figures — one orange, one blue — re-enact the bridge argument above a bank of machinery.
The wireframe pair turn on each other in jerky playback.
A glowing holographic interface blooms with playback controls.
A hand rides a fader on a console layered in holographic readouts; a timer counts down.
TECH HEAD
Robot's memory synced and locked.
TECH HEAD, curly-haired, squinting through cracked glasses, hunches over the console among white-suited technicians.
Technicians work the decks as holograms flicker over the room.
A human brain sits wired on a plate, holographic rings orbiting it.
The CAPTAIN leans over the brain, studying it through the multi-lens implant covering his right eye.
CAPTAIN
This is pretty freaky.
TITLE CARD: "TEARS OF STEEL"
EXT. RUINED AMSTERDAM - DAY
A colossal machine crouches over the rooftops beside a church tower, smoke drifting across the skyline.
INT. BELL TOWER - DAY
Between the great bells, a sniper nest overlooks the machine.
OLD THOM dozes beneath a newspaper.
INSERT - THE NEWSPAPER: "ROBOTICIST CREATES KILLER ROBOTS"
Through a rifle scope: a flying machine hovers over the rooftops.
BARLEY peers through the scope of a heavy sniper rifle.
Old thom lies among candles and sandbags while barley keeps watch behind him.
OLD THOM
Shouldn't you be down there?
OLD THOM
I heard you guys talking last night.
Old thom pushes himself upright.
OLD THOM (CONT'D)
It's not my fault you know.
Barley keeps his eye to the scope.
Barley sips from a small juice carton, eyes still on the machine.
INT. RUINED CHURCH - DAY
Old thom lowers himself on a rope in front of the towering organ pipes.
The rope coils on the stone floor at his boots.
INT. RESISTANCE HEADQUARTERS - CONTINUOUS
Old thom steps into the lamplit parlor; DJENGHIS, a young soldier with a radio pack, turns to him.
He crosses the overgrown ruin that opens into the cluttered room.
CAPTAIN
Are you ready? Of course you're ready. You're a rock star.
The captain comes up behind old thom and grips his shoulders.
INTERCUT - PHONE CALL
CAPTAIN (CONT'D)
(INTO PHONE)
How's it looking, Barley?
In the bell tower, barley sights the machine through his scope.
BARLEY
We should have about 10 minutes.
CAPTAIN
Well, that's perfect. We're only one. All systems go. Yeah, you, go. Go.
The captain lowers the phone; old thom and djenghis wait.
A technician throws switches on a console crawling with holograms.
CAPTAIN (CONT'D)
Move your asses. Go, go, go. I love it. Go.
High above, the machine's ringed lights BLAZE to life.
An orange scan sweeps across the apparatus.
The technicians race at their stations.
The captain throws his arms wide.
A dome of holographic light blossoms around him.
CAPTAIN (CONT'D)
That's nice. Nothing to worry about. Tom!
In the projection, the giant robot towers on the canal bridge.
The captain steadies himself, arms out, old thom and djenghis at his shoulders.
CAPTAIN (CONT'D)
Tom, there she is. Now, you love her.
CAPTAIN
She's your passion. Be tender to her.
The three stand before the shimmering projection, the captain's arm around old thom.
CAPTAIN (CONT'D)
Be honest.
CAPTAIN
Be tender.
CAPTAIN
Remind her what love is.
The captain pats old thom's back.
EXT. CANAL BRIDGE - DAY
Paper scraps drift over the canal railings.
An orange wireframe flickers at the bridgehead.
THOM
Oh.
The wireframe solidifies into thom — young again, bandaged hand, lion-crested jacket.
Thom walks the bridge, taking in the quiet street.
He stops — the giant robot looms at the end of the bridge, cables trailing.
The machine's optic cluster swings toward him.
INT. RESISTANCE HEADQUARTERS - CONTINUOUS
The captain settles behind his desk like a director, red pointer in hand; djenghis stands guard.
CAPTAIN
And...
CAPTAIN
Action!
INT. CONTROL ROOM - CONTINUOUS
TECH HEAD
Memory override in progress!
CELIA
You're a jerk, Tom!
On the projection, the giant robot's optics ignite, burning white.
THOM
Oh, I'm sorry! Sorry.
The Tech Head winces at the feedback.
THOM (CONT'D)
Sorry.
A blue holographic scan ripples over the robot's face.
EXT. CANAL BRIDGE - CONTINUOUS
Celia's avatar stands before thom, solid as flesh.
SUPER: "LOOK CELIA, WE HAVE TO FOLLOW OUR PASSIONS"
THOM
Look, Celia. We have to follow our passions.
Celia watches him, unmoved.
THOM (CONT'D)
You have your robotics.
THOM
And I just want to be awesome in space.
EXT. RUINED AMSTERDAM - DUSK
The sun sinks behind the spires and the watching machine.
INT. BELL TOWER - DAY
Scope view: gabled rooftops drift past the crosshairs.
CAPTAIN (V.O.)
Get her coming. Two minutes left. Two minutes.
Barley adjusts his aim.
INT. RESISTANCE HEADQUARTERS - DAY
The captain's implant projects red digits across his eye.
The readout counts down.
EXT. CANAL BRIDGE - DAY
CELIA
Why don't you just admit that you're freaked out by my robot hand?
Celia raises the robot hand toward thom's face.
SUPER: "CELIA, I LOVE YOUR ROBOT HAND"
The mechanical fingers hover an inch from thom's cheek.
THOM
Listen, Celia. I was young. And a dick. But there's no reason to destroy the world.
Celia's eyes hold on him.
TECH HEAD
Why does she do this?
INT. CONTROL ROOM - CONTINUOUS
CAPTAIN
We already tried that one.
INSERT - THE BLACKBOARD: "INTERPRETIVE DANCE — Juggling = promising — CANDID UNDERSTATEMENT — CHOCOLATE — 'HELLO' — a rose, 2 roses, a dozen roses — WE HAVE TO SAY YOU'RE SORRY..."
TECH HEAD
Abort! No! No!
On the projection, the robot hand cups thom's jaw.
CELIA
You broke my heart.
THOM
I know.
The Tech Head gapes at his readings.
INSERT - CONSOLE PANELS: "ERROR!!!"
On the projection, celia rages at thom, the robot hand cradling his face.
CELIA
You forgot me on Earth.
THOM
I know.
CELIA
I should just crush you!
THOM
I'm... I'm sorry.
CAPTAIN
Go to ad-lib.
The captain and djenghis listen.
SUPER: "CELIA, I LOVE YOUR ROBOT HAND"
The captain slumps.
On the projection, tears well in celia's eyes.
The projection TEARS in a wash of blue static.
The Tech Head fights the console, jaw clenched.
TECH HEAD
It's not my fault!
TECH HEAD (CONT'D)
This time.
The Tech Head sags, exhausted.
CAPTAIN
We're out of time, we're out of time!
The captain seizes a control stick, implant whirring.
INT. BELL TOWER - DAY
Barley is hurled backward off his perch.
He lands flat on his back, staring up.
Robots swarm up the tower's carillon.
INT. MACHINE ROOM - DAY
Technicians in white suits uncrate mechanical control rigs.
A blond technician straps into a white articulated armature.
The crew snap their rigs into place.
The blond technician stares his rig down, eye to optic.
INT. RUINED CHURCH - DAY
Four crew members kneel on the church floor, rigs raised like puppeteers.
The giant robots rear up in answer.
A robot foot CRASHES down.
The blond technician throws his arm; the machine mirrors him.
The robots surge through the nave.
The four operators drive the machines onward.
INT. BELL TOWER - DAY
Barley scrambles up from the floor.
He hacks at a rope.
He leaps, rope in hand.
He swings out over the church as a giant robot smashes through the organ loft.
The organ collapses in an avalanche of pipes.
Barley swings through the exploding nave.
Barley HOWLS, riding the rope through the debris.
INT. CONTROL ROOM - CONTINUOUS
TECH HEAD
90%, Captain, we have to abort!
In the parlor, djenghis seizes the captain's arm.
EXT. CANAL BRIDGE - DAY
Thom looks up as the giant robot sags, cables slackening.
Thom watches the machine power down.
THOM
The world's changed, Celia.
INT. RUINED CHURCH - DAY
One by one the robots slump and die among the rusted pipes.
The great machine's ring-lights fade to black.
Old thom stands before the fallen robot's head.
OLD THOM
Maybe we can too.
TECH HEAD (V.O.)
Memory override complete!
SUPER: "MEMORY OVERWRITE 099.89%"
Old thom lays his hands on the robot's faceplate.
He eases the plate open.
INT. RESISTANCE HEADQUARTERS - DAY
The captain kneads his hands, implant glowing red.
OLD THOM (V.O.)
You know... There's a lesson to be learned from this.
The captain sinks into his desk chair; djenghis keeps watch by the door.
THOM (V.O.)
Twitter gamers.
The mirror SHATTERS as the dead machine sags against the ruin outside.
Outside, old thom embraces the robot's battered head.
TITLE CARD: "Director of Photography — JORIS KERBOSCH N.S.C."
TITLE CARD: "Music and Sound — JORAM LETWORY"
TITLE CARD: "Cast — Old Thom DEREK DE LINT, Barley SERGIO HASSELBAINK, Captain ROGIER SCHIPPERS, Thom VANJA RUKAVINA, Celia DENISE REBERGEN, Djenghis JODY BHE, Tech head CHRIS HALEY"
TITLE CARD: "DVD PRE-SALE SPONSORS..."
TITLE CARD: "This film has been realised with the support from Blender Foundation, Netherlands Film Fund, European Regional Development Fund of the European Committee... Produced by Blender Institute. Licensed as Creative Commons Attribution 3.0"
EXT. ROBOT GRAVEYARD - DAY
A mountain of dead robots rusts in the sunlight.
Barley sits atop the heap, rifle across his knees, sipping his juice carton, at peace.
FADE OUT.
Press play, or click any line to jump the footage there
(CC) Blender Foundation | mango.blender.org
Dailies — real footage, and the draft it wrote
2. INT. THE SCREENING ROOM — DAY
Rights-cleared samples run through FrameToPage. Open one and read the screenplay it came back with.
Tears of Steel
A live-action/VFX short with dialogue, memory playback, and action beats.
12 min · 7 speakers
Read the draft →
Sita Sings the Blues
An 82-minute long-form proof point for full-video screenplay conversion.
81 min · 16 speakers
Read the draft →
Oh, Mr. Porter!
A public-domain classic comedy for dialogue-heavy feature-length conversion.
80 min · 4 speakers
Read the draft →
(CC) Blender Foundation | mango.blender.org · Sita Sings the Blues by Nina Paley · Oh, Mr. Porter! via Internet Archive
The sequence — what runs between upload and download
3. INT. THE WORKROOM — CONTINUOUS
Prepare the video
We pull the audio and note timing, the spine everything else hangs on.
Transcribe dialogue
Spoken lines become timed dialogue, with speaker changes marked as they happen.
Watch the footage
The picture is read for scene changes, on-screen text, and action beats.
Write the draft
Dialogue and action interleave into screenplay elements: headings, cues, parentheticals, transitions.
Format downloads
Out comes a clean draft in four formats, ready to open. Nothing to install.
Deliverables — one upload, four files
4. INSERT — THE DOWNLOAD FOLDER
.fountain
Tears of Steel
Screenplay draft
.fountain — Plain-text screenplay markup. Opens anywhere.
.pdf
Tears of Steel
Screenplay draft
.pdf — Paginated screenplay layout, ready to read.
.fdx
Tears of Steel
Screenplay draft
.fdx — Final Draft file for your writing setup.
.txt
Tears of Steel
Screenplay draft
.txt — Just the words, for when all you need is the words.
Rates — pay by the length of the cut
5. INT. THE FRONT DESK — DAY
These are Standard rates — the grade available today. Deeper grades of read are priced separately when they open.
Up to
1 min
25¢
quick clips
Up to
3 min
50¢
pay only for the cut
Up to
5 min
$1
pay only for the cut
Up to
10 min
$2
pay only for the cut
Up to
20 min
$3
pay only for the cut
Up to
40 min
$4
pay only for the cut
Up to
1 hour
$5
pay only for the cut
Up to
2 hours
$8
pay only for the cut
Up to
3 hours
$10
current maximum
Payments by Stripe · Visa, Mastercard, and American Express accepted
Pay per video — no subscription. Start at 25¢ for quick clips, then step up only when your video needs more room. Keep a balance with a $5, $10, or $20 pack and each job draws down its rate. Compare all three grades →
Convert — upload or paste a public link
6. INT. THE TRANSFER BAY — DAY
1. Upload footage
Use a video/audio file or a direct public link. Clear audio makes the draft better.
2. We build a draft
FrameToPage watches and listens, then returns screenplay downloads.
SMASH CUT TO:
Your footage,
Your footage,
as a first draft.
Processed in the cloud and kept private. Nothing is public unless you create a separate share link, and your job files expire after seven days.