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Day 10 Assignments
Reply to post your assignment.
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8 Replies
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Armand’s Ad for A-List
What I learned…
“KEYS TO A GREAT CHARACTER AD:
Your first character introduction not only sells the character, it sells the movie…or it doesn’t. So you want to make sure you use all three keys here to intro your two lead characters.
A. The character splashes onto the page in an INTERESTING Situation.
B. The scene delivers an INSIGHT into who this character is in a big way.
C. The initial action, dialogue, and description ALL SELL THE CHARACTER
You are not trying to put everything from the profile into the scene, but instead, trying to highlight the INSIGHT that makes this character amazing.
Introduce your character through their “best part.”
Character’s name: Maddie, the final girl.
What is the Interesting Situation? The killer returned, and is about to kill the new college kids, even with Tyler’s attempts to help…
What is the Insight about this character? Her determination to stop more people from dying
What Action and Description will sell this character? Fight sequence, her disguise as the gas station attendant.
INT. MANOR – NIGHT
Tyler closes his eyes. The killer charges at Lex and Dallas with his knife. Suddenly, the killer is tackled to the ground. It’s the Gas Station Weirdo, holding an axe.
The Gas Station Weirdo charges at the killer on the floor. The killer dodges the attack, hits the Gas Station Weirdo on the stomach.
The Gas Station Weirdo lands on his back, losing his hat and… a fake beard. He gets up, and we discover this shaggy weirdo is a woman in her late thirties.
TYLER
Maddie?
LEX
(to Tyler, only she can hear him)
The final girl?
Maddie reacts to Lex’s words. She turns around, the killer is gone.
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1) Sixty-something BOAT BOB splashes on to the scene at sunrise by decamping his homeless tent beside the East River, Cloroxing everything so the park police won’t take note or smell humanity, and transforming himself into a clean, middle-aged, middle income hiker with a large backpack, expensive sneakers, and fashionable jogging outfit. A fancy electric car slows down and veers off the FDR. BB gets in the back seat. IBRAHIM AL HARBI is driving. It is strange that they say nothing as they drive through north Manhattan and on to the GW Bridge where BB’s eyes light up. CLOSE ON You are not alone. Call 911.
2) Insight is revealed through 3) action and dialogue
EXT. IBRAHIM’s CAR – DAY
Ibrahim picks up Boat Bob, quickly transformed from a homeless man camping out by the East River Esplanade to a clean, sixty-year-old hiker with a big backpack.
4) EXT. GW BRIDGE – DAY
Looking at the signs and the net.IBRAHIM
Suicide is haram in Islam unless it is Jihad. You are not alone. Call 911. This is the choice place for non-essential New Yorkers to commit suicide.BB
We can help.IBRAHIM
Falling off this magnificent, famous GW bridge is more dramatic. And it’s like winning the lottery—a tiny chance you will be saved by global attention.
BB
I like death too much to end it forever. I need to keep enjoying it as long as I can.They notice Jake running with his client.
IBRAHIM
Now there’s a man who uses every second. He was training my family at dawn on the roof.Once on the Jersey shore, Jake leaps up the side rocks and pockets a small sharp basalt rock from the Palisades cliffs.
BB
Don’t tell me Jake also throws stones.
IBRAHIM
I hate to be rude and crude but shut the fuck up. Fermes ta gueule. Fermez la bouche. It’s a pandemic!BB covers his face and soul with a face shield and N95 mask. He pulls sanitizers out of his backpack and refills them with condensed COVID as if he were methodically preparing for a camping trip.
5) EXT. PALISADES – DAY
Ibrahim and BB pick up LITONYA LENAPE, a geologist at the Earth Observatory who gets into the car with a bag of rocks. No hellos, or how are you, this world-class 45 year old rock climber is a woman of direct discourse.LITONYA
I love nature. I would kill my fracking father again. I am not reformed after seven years in jail.BB
Jail sucks. I spent seven months in jail and that was enough. By the way, those are beautiful stones—they’d make gorgeous jewelry.LITONYA
I hate jewels and cosmetics.BB
You are naturally beautiful.It is important to pretend to be honest, matching her on the nose dialogue with his friendly rejoinder, but the truth is that he deserves to spend seven lifetimes in jail, or worse. Ibrahim narrows his black eyes in the rear view mirror and BB gets the signal to shut down into servile silence so the two of them can discuss their business for the EvergreenEnergy Company etc.
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Janeen’s Ad for an A-List Actor
What I learned is focusing on showing character at every turn makes the scene more interesting, the character interactions more vivid and cuts extraneous lines.
Daniel Richards <div>
Interesting Situation – Daniel makes nice with a ridiculous client and her irrational demands and then takes his frustration out on his wife and kids
Insight — We see that he has two personas — fabulously accommodating and successful designer and despotic abuser
Action and Description — He takes a call as he’s nearing his driveway, is extremely submissive and agreeable to the client’s absurd demands, mutters to himself that he’ll be doubling the cost, smiles to himself, opens the door and sees his wife just taking the kids upstairs and loses it, hits her, yells at the toddler and 4-year-old for crying, slaps his wife because she can’t get them to stop, goes to the table and sits down to the beautiful dinner she has set out for him, smiling and humming to himself and then smiling and being very nice to her when she takes her seat opposite him.
SCENE
EXT. RICHARDS HOME – EVENING
DANIEL RICHARDS, fashion designer extraordinaire, drives a posh car up to the gates of his posh home. He takes a phone call while punching in his code.
DANIEL
Lola, dear, it is wonderful to hear from you. Your dress fits perfectly, right?
LOLA
It’s lovely, but there is a problem — nothing big, but I’m sure you can fix it before the awards show on Thursday.
Daniel pulls into the driveway with concern on his face and helpful conciliation in his voice.
DANIEL
Whatever is wrong, my dear?
LOLA
Terrence has picked a different tie. You’ll have to re-dye my dress – and the shoes and clutch, of course, but you should have plenty of time – it’s three days.
Daniel clutches the steering wheel as he parks the car in front of the house.
DANIEL
What color is the new tie?
LOLA
Green. A lovely shade. I’m sure you can match it.
Daniel clenches his teeth, but his voice is still smooth and sweet.
DANIEL
Yes, Lola, dear. I’m sure I can match it. Send me the tie, dear.
LOLA
I’ll have my chauffeur drop it off in the morning.
Lola clicks off and Daniel glares at the phone.
DANIEL
You stupid bitch. I can’t dye a red dress green.
To his phone
DANIEL
Message to Tara. See if we have enough of the white silk to remake Lola’s dress. Get another pair of shoes and a clutch to dye too. She’ll send the new color tie – green, this time – in the morning.
He pushes the button to send the message and exits his car. He stops before opening the door, closes his eyes, takes a deep breath, relaxes, and steps in.
INT. RICHARDS HOME – CONTINUOUS
To one side, the dining room is set for a romantic dinner for two.
On the home’s elaborate staircase, AMBER RICHARDS, late 20’s, beautiful, dressed for dinner, but herding a 4-year-old, DAN JUNIOR and a 2-year-old, ALICE, up the first couple of stairs. She turns, startled, then afraid, when she hears the door opening.
DANIEL enters, looks quickly at the dining room and smiles. Then he sees Amber and the kids on the stairs and is immediately furious.
DANIEL
You idiot! You know the kids are supposed to be in bed by seven-thirty and it’s seven-thirty-one.
Amber quickly puts Alice’s hand in Dan’s and waves them up the stairs. Alice balks at leaving Amber
AMBER
I’m so sorry, Daniel. I heard you at the gate as I was taking the kids up, but thought I should put your dinner on the table first. It will only take me a second to get them upstairs. They’re all ready for bed.
Daniel rushes to the stairs and slaps Amber hard on the face.
DANIEL
They should already be up there. You know that
DANIEL
(slap)
How many times do I have to tell you before you do as I ask?
Daniel hits her arm with his fist and Amber falls back against the stairs. Alice cries and Dan tries unsuccessfully to shush her. Amber glances at them in fear and struggles to get up off the step and away from the stairs to take the focus off the kids.
AMBER
I was halfway up the stairs when you got to the gate. Your dinner is on the table. A beautiful steak, just the way you like it. And –
Daniel slaps her face again.
DANIEL
Shut up and stop making excuses.
Daniel storms to the dining room and Amber turns to motion the kids, both crying now, up the stairs.
She watches Daniel for a moment to be sure he’s not turning back to her and then rushes up the stairs, picking up Alice and grabbing Dan’s hand to get them moving more quickly.
INT. RICHARDS HOME – MINUTES LATER
DANIEL is smiling as he works on his steak and wine when AMBER comes into the room, a smile pasted to her face, slap marks bright pink.
DANIEL
The steak is excellent. You’re a good cook. Please, sit.
Daniel half-stands as he motions Amber to her chair with loving politeness.
DANIEL
Let me get you some wine.
AMBER
(smiling)
Thank you, dear.
</div>
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Amy’s Ad for A-List
What I learned doing this assignment is that you can determine traits for your character but you don’t really get to know them until you start writing them. I don’t think I’ve quite had the breakthrough that I need to have with this character yet.
Character: Andrea Richardson
a. What is the Interesting Situation?-Andrea is trying to cover a story about the theft of a very expensive piece of art from the local art museum, but when she interviews the curator, he professes his love for her on the air.
b. What is the Insight about this character?- she’s is very dedicated to getting the story and not easily deterred from her mission. She has a sense of humor.
c. What Action and Description will sell this character?-When the curator professes his love for her, Andrea reminds him that he is working with Detective Richardson, her husband on the case. Also, the curator keeps talking about his love for her, but she keeps asking him questions about the art theft.
INT. – NEWS DESK – DAY
ANDREA RICHARDSON peers into a mirror. She fixes her lipstick and rights a stray hair.
FLOOR MANAGER (O.S.)
Going live in 30.
Andrea quickly slips the mirror under the desk. She checks her script.
FLOOR MANAGER
In 5-4-3-
The floor manager points to Andrea.
She plasters a huge smile on her face and looks directly into the camera.
ANDREA
Good evening and welcome to WBEN’s 5 News at Noon. Breaking at this hour, the late David Miller’s painting entitled “Love Unrequited” was stolen from the Johnston City Museum.
Andrea turns to the monitor behind her on the set.
ANDREA
With me now is the museum’s curator, Seth Meyers. Seth, thank you for joining me.
INT. MUSEUM – DAY
SETH MEYERS stands in front of a blank wall.
SETH
You bet, Andrea. You’re looking very pretty today.
INT. – NEWS DESK – DAY
ANDREA
Uh, thank you. Seth, this painting was valued at 4 million dollars, correct?
INTERCUT CONVERSATION
SETH
That’s correct, Andrea. This was David Miller’s last painting before he passed away. It was a portrait of Sadie Wilson, the woman who was the love of his life. Sadly, his love was unrequited, thus the title of the painting, ‘Unrequited Love.”
ANDREA
Seth-
SETH
Andrea, I wanted to take this opportunity to let you and all your viewers know I too have unrequited love. It’s you, Andrea.
LAUGHTER CAN BE HEARD in the studio.
Andrea stifles laughter herself.
ANDREA
Well. I understand you’re working with my husband, Detective Richards to solve this case. Is that correct?
Seth’s shoulders slump.
SETH
Oh. That’s your husband?
ANDREA
Seth, tell me. Have you gotten any leads on who might have taken the painting?
SETH
Not yet. Are you happy?
Andrea chokes but quickly recovers.
ANDREA
Um, have you determined when the painting was stolen? I understand you discovered it missing when you opened the museum this morning.
SETH
I have a surprise for you.
Seth begins to SING A LOVE SONG.
More LAUGHTER FROM THE STUDIO.
Andrea looks at her hands and seems to talk to them.
ANDREA
Oh, dear.
She looks back up at the camera.
ANDREA
Folks, we’re going to move on to the next story.
Seth CAN BE HEARD SINGING until he suddenly disappears from the monitor to be replaced by the WBEN logo.
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This reply was modified 3 years, 7 months ago by Amy Falkofske.
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This reply was modified 3 years, 7 months ago by
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BOB SMITH’S AD FOR A-LIST
What I learned is…?
The importance of intentionality in revealing a killer introduction of a character in order to ‘sell’ a character tp an actor.
1. Brainstorm an introduction that will accomplish 3 keys to a Great Character Ad
A. The character splashes onto the page in an interesting Situation.
Emil Jannings – For the introduction of this star of “The Blue Angel” there is a ready made splash! After WW2, he appeared before the US Army Headquarters, wielding his Oscar statuette and shouting to the soldiers: “Don’t shoot! I won an Oscar.” This is the opening scene of my screenplay.
B. The scene delivers an INSIGHT into who this character is in a big way.
The first keys to a great character ad is that he is or was a prominent actor seeking asylum in the free sectors of divided post war Berlin.
The next scene, inside the office of the headquarters, a Major Kershaw interviews Jannings and will be his advocate before the panel that will vet Jannings as to whether or not he needs to be de-nazified. The Major is glad to meet Jannings as he was the star of one of his favorite films, “The Blue Angel.” He further asks him, “What was it like making “The Blue Angel”?
Jannings wants to live free and return to acting but has to explain why he appeared in Nazi propaganda films – which he knows could cause him to undergo de-nazification and ban him from the public indefinitely.
Jannings answers these two questions by telling the story of the making of “The Blue Angel – his narration is the film of “Moths Around a Flame” which now unfolds on the screen.
C. The initial action, dialogue and description all SELL THE CHARACTER.
As above. It will whet actors’ appetites.
2. Tell us the character’s name and answer these three questions.
NAME; Emil Jannings. Prominent Oscar-winning actor and star of “The Blue Angel.”
A. What is the interesting Situation?
As above, but to reiterate:
This actually happened – Opening scene: WW2 has ended. Jannings approaches the US Army Headquarters in the American Sector of Berlin. He brandishes an Oscar Statuette, shouting, “Don’t shoot! Don’t shoot! I won an Oscar!”
B. What is the insight about this character?
Jannings is a one time prominent Oscar-winning actor who seeks asylum in order to live free in the American Sector of divided post-war Berlin and revive his acting career. The Officer he speaks with (Major Kershaw) is a film buff who liked “The Blue Angel” and wants to know what it was like making the movie. However, he also has business to discuss before Jannings could be granted asylum: He asks, “Why did an actor – a man of your stature allow himself to be used as a tool in Nazi Propaganda films?” Jannings answers: “Survival.” But to give a full answer to both questions, Jannings begins to tell him his story, which begins with the story of the making of “The Blue Angel.”
C. What action and description will sell this character?
D. The bold wielding of his Oscar as a passport to freedom and the quizzing of Major Kershaw (the inciting incident) reveal Jannings is a great actor who is at the threshold of either a new life with the revival of his acting career, or obscurity if he is deemed to undergo denazification and banned from public appearances.
THE SCENE:
Title card: BERLIN AMERICAN SECTOR – AUGUST 1945
EXT. POST WORLD WAR 2 BERLIN AMERICAN SECTOR U.S. ARMY HEADQUARTERS – DAY.
Plaque on the exterior wall says, U.S. ARMY HEADQUARTERS.
TWO UNIFORMED MILITARY POLICE GUARDS are on duty at the gate.
The figure of a man emerges from rubble, walking toward the Guards. He is EMIL JANNINGS.
The Guards put their rifles at the ready to aim and shoot.
GUARD #1
Halt. Who goes there?
JANNINGS
(brandishing the Oscar statuette)
Don’t shoot! Don’t shoot! I won an Oscar!
The Guards ease up and go to welcome Jannings.
JANNINGS
Thank you, officers. I am Emil Jannings. It’s
inscribed on the Oscar. I have no official papers,
so, I hope the Oscar will suffice. I am seeking
political asylum in the freedom of your American
sector and maybe America. I once lived in
Hollywood, you know. I want to revive my
acting career.
GUARD #2
You’ll have to first speak with Major Kershaw.
JANNINGS
I hope there will be no problem. I don’t want to live
in the Soviet Sector.
GUARD #2
Come this way, sir.
Guard #2 escorts Jannings through the gate and up the steps to the front door of headquarters.
They enter.
INT. U.S. ARMY HEADQUARTERS – OFFICE – DAY.
Jannings is seated at the desk of Major Kent Kershaw. Whose name and rank are on a name plate facing Jannings. Jannings has placed his Oscar on the Major’s desk.
KERSHAW
It’s an honor to meet you Mr. Jannings. I never
dreamed I’d have an Oscar on my desk belonging
to a most distinguished actor. I remember when you
were awarded this Oscar.
JANNING
Thank you for saying so, Major.
KERSHAW
Wasn’t it for “The Blue Angel”?
JANNINGS
It was for “The Way of All Flesh” and “The Last
Command.”
KERSHAW
Oh, sorry I got that wrong. I guess it’s because
“The Blue Angel” is one of my favorite movies.
Your performance was superb.
I’d like to know what it was like making
that film. However, we have business to
discusss. You see, I am from Army Intelligence
For you to be given the privileges you
request, you have to appear before a panel.
I will advocate for you as best I can, but
you must explain, how did an actor – a man
of your stature allow himself to be used
By the Nazis in propaganda films.
JANNINGS
That’s easy. I did it in order to survive. Had I
refused I would have ended up with the Gestapo
carting me off to God- knows-where. I put up
with twelve years under Hitler. I do not want to live
in the Soviet Sector for the rest of my life under
Stalin. That’s why I am here.
KERSHAW
Tell me all about it. The panel must be satisfied
that you do not need de-nazification.
JANNINGS
De-nazifiecation? I never was a Nazi.
KERSHAW
Tell me how it happened that you were used by
the Nazis
JANNINGS
Well, it all goes back to the time of the making
of “The Blue Angel.”
AT THIS POINT JANNINGS STARTS TO NARRATE
AND THE STORY UNFOLDS ON THE SCREEN.
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Budinscak Ad for A-List
What I learned doing this assignment is:
o Get your characters in action, no delays.
o We have a lot of tools to work with to entice A-List talent.
o The assignments have defined the traits of my Protagonist and the Antagonists.
Character’s Name – Jack
What is the interesting situation? It’s the opening scene, our introduction to our hero and protagonist, Jack. We also meet the antagonists (Puck, Sal and Don Vito) as well as the inciting incident.
What is the insight about this character? We see Jack in his environment, gain insight that he does some nefarious things, has a dislike for his nephews, is quite the chef in the kitchen and has his own unique views about family.
What action and description will sell this character? Jack’s street smarts, his running commentary and dialog and his ability to handle adverse situations with his nephews in tow.
INT. CARMINE’S – NIGHT
KITCHEN
Music plays from a small radio on an upper shelf.
JACK, late 20s, moves gracefully in synch to the music when he cooks, he’s a natural in the kitchen.
He spins a knife and in one move, slices a loaf of Italian bread in half. Jack pulls a wad of cash from his pocket and stuffs it between the bread. He writes ‘F H’ on the bag and stores it on a shelf.
Jack approaches a large pot of sauce and takes a deep breath. He tastes his sauce, closes his eyes and nods.
JACK
This is intoxicating. I didn’t know I was this good, but I must be.
Knock, knock – someone knocks on the kitchen door.
JACK (sing-songy)
Who is it?
TOMMY (OS)
It’s your brother with a surprise.
The door opens and TOM, 40ish and bearish, drags two boys behind him, PUCK and SAL, preteen cousins. Jack ain’t happy.
JACK
As long as it isn’t those two little ass … hello there Puck and Sal. And what brings you two mutts here? Tommy, did they come willingly?
TOMMY
They wanted to help bring food to the table, right boys?
SAL
Not really.
Jack’s stare makes Sal look away.
PUCK
How come we have to help?
JACK
You know what you two need? A concentrated dose of your uncle, but I only do that for nephews I like.
The boys roll their eyes. Jack cuffs the back of Sal’s head – not too hard, but hard enough.
SAL
Hey!
JACK
Puck, grab the meat. Sal, you grab the sauce. Now go.
Tommy holds the door as the nephews carefully exit the kitchen. Tommy laughs as Jack mouths a few expletives.
JACK
Let me throw out some of this trash and I’ll be right there.
EXT. CARMINE’S – NIGHT
Jack tosses a couple of bags of garbage in the dumpster. He stoops to pet an orange tabby cat.
JACK
Hey there, Rusty.
At the funeral home across the parking lot, a hearse pulls up to a garage door. MEN exit the hearse, run to the back and open the door. They struggle with a body bag that jerks around wildly.
JACK
Looks like someone’s making a late night delivery. Except they ain’t dead yet.
Jack turns to leave and … steps on the cat’s tail. YEOW! The men by the hearse stop and look over, but they never see the back door of Carmine’s close.
The back door opens, and a hand slips out a saucer of milk.
JACK (OS)
Sorry, Rusty.
INT. CARMINE’S – NIGHT
KITCHEN
Jack walks in and the radio switches from music to news.
RADIO
A key government witness has been reported missing.
Jack hesitates just a second before he shuts the radio off.
INT. DINING ROOM – NIGHT
Jack enters a room full of family, food and drink. His sister, CAT, mid 30s, looks like a librarian, compliments him on the food.
CAT
Jack, we’re talking about having a party for everyone, like a family reunion.
JACK
Union.
CAT
What?
JACK
It’s a union. How can it be a RE-union if you haven’t had the first one yet?
PUCK
Do you even know what a reunion is?
JACK
Do you know what a U J A is?
Puck shakes his head.
JACK
It’s an Uncle Jack Attack. You boys don’t want that.
Puck and Sal exchange glances as Jack watches them.
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Jodi’s Ad for A-List – Day 10.
To get A list actors interested in your script it is crucial to sell the lead character(s), by interesting situations, insights on who they are, and their initial action, dialogue, and description. These features all lend to selling the character.
Pam Karras: She’s the lead investigator in a possible homicide. She knows her dictum holds sway with most people in her town. She shows compassionate to someone who’s died. Being a compassionate and somewhat aggressive person, Pam bars the local reporter from entering the crime scene, trying to respect the dead girl from sensationalism.
EXT. CANYON FIELD – DAY
Karen Bailey’s car is crushed and dented at the crime scene. The sloped field where Karen’s car rests is sixty yards from the curved highway. Yellow crime scene tape block any unauthorized people from approaching the scene. DETECTIVE SALT AND DETECTIVE MILLER, along with the local CORONER, JEB are diligently working the crime scene. Show tunes are blasting in this canyon, which creates a loud echo. The show tunes and the echo get louder with each second.
EXT. CANYON ROAD SHOULDER – SAME
A police car pulls up blasting the show tunes, the car stops, the canyon is quiet and peaceful. PAM KARRAS, a police officer, steps out of the car. If in a perfect world Pam would have loved to be a hoofer, singing and dancing are her passions, but unfortunately she’s tone deaf with two left feet. Whip smart with piercing eyes, she has follow-up questions before you’ve even finished your sentence. Her handicap is often failing to read subtext, which can be a challenge in her line of work.
EXT. CANYON FIELD – SAME
Ducking under the perimeter tape Pam heads towards the wreckage, the two officers meet her and give her the rundown on the findings so far.
PAM
What’ve we got?
DETECTIVE SALT
It’s a rollover, the occupant is deceased, Jeb is examining the site, we should have more information soon.
Detective Salt walks towards Coroner Jeb.
DETECTIVE SALT
Jeb, what’ya got?
The Coroner glances Detective Salt’s way, smiles and addresses Pam as she approaches him.
CORONER JEB
Jeez, that pin’s all you got for your twenty mark?
PAM
Budget cuts, what can I say.
CORONER JEB
That’s our local girl scout, taking one for the team.
Detective Miller chuckles quietly.
DETECTIVE SALT
She should have at least gotten a goody two shoes badge.
They all laugh, they all seem like friends.
PAM
Funny, funny, funny, you guys are hilarious. What’ya got Jeb?
CORONER JEB
(Still a little amused)
Okay, Switching gears. Without further examination she looks to be in her mid-teens. I see trauma to her head from the car rolling, but her death was caused by her broken neck. It appears there’s internal bleeding.
Pam nervously downs Peanut M&M’s while listening to him. The Coroner looks at her curiously.
CORONER JEB
Good huh?
PAM
Peanuts are my jam. Can’t get better than wrapped up in chocolate. Such a baby, I never get used to this.
Pam eats more M&M’s. Jeb nods in agreement.
PAM
I’ll quit when I do.
CORONER JEB
Yep.
(beat)
Okay. Once you’re finished, let me know, we can’t know specifics without the autopsy.
PAM
Of course, thanks, Jeb.
The Coroner walks past her. A second thought for Pam…
PAM
(loudly)
BLS been called?
CORONER JEB
(Shouting back to her)
I think one of your Officer’s took care of that.
PAM
(Shouting to the Detectives)
Who called the BLS Unit?
The Detectives look at each other, speaking in low voices.
PAM
(Straining to hear them)
Hey, I flunked mind reading in school, someone tell me the unit has been called to pick her up!
DETECTIVE MILLER
(clueless)
Hmmm, I didn’t have that…
PAM
Seriously!?
Enlightenment comes across Detective Miller’s face, Pam gestures with a finger salute and nod to Miller.
DETECTIVE MILLER
(smiles)
Oh, I gotcha.
DETECTIVE SALT
Miller, I asked you to do ONE thing!
Detective Miller’s smile is quickly gone as he gets on his phone and makes the call.
DETECTIVE MILLER
I’m on it, I’m on it.
DETECTIVE SALT
Pam, this is curious.
Detective Salt leans into the car as Pam approaches him and his find.
INT. KAREN’S CAR – DAY
DETECTIVE SALT
A wood chip. This is odd. There is nothing anywhere else in the car that it broke away from. Where did it come from?
PAM
Is that possibly what broke the window? I didn’t see any boulders that could have broken it during the rolling. But just to make sure, comb the pathway of where the car rolled for any rocks, boulders or stones.
Have Miller brush every single inch of this car for fingerprints. No stone unturned. Got it?
Pam searches the glove compartment, she pulls out Karen’s registration and the pamphlet the clinic gave Karen earlier that morning.
PAM
Okay. We’ve got a lead here. I’ll check it out.
EXT. KAREN’S CAR – SAME
Pam bags the evidence and starts walking away from the car, peering carefully at the ground.
PAM
We need to find what was at the end of that wood chip. Check Miss Bailey for woodchips and then cover her please.
DETECTIVE MILLER
Who’s Miss Bailey?
PAM
The beautiful young lady who was just robbed of her life.
EXT. CANYON ROAD SHOULDER – SAME
At that moment the obnoxiously intruding town REPORTER SHERRY, exits her car.
EXT. CANYON FIELD – DAY
Pam heads towards her from the field where Karen’s car is.
PAM
Salt, look for signs of force before BLS gets here. What can I help you with Sherry?
REPORTER SHERRY
Looks like a mishap here? What happened?
She continues to walk towards Pam and is close to the block off tape.
PAM
Do not pass the tape, this is a crime scene.
REPORTER SHERRY
That’s exactly why I’m here. I want the who, what, when, where, why and how of it.
PAM
You know I’m not going to give you any information. You’re wasting your time, go on back down the hill now.
REPORTER SHERRY
I can stand here if I want to, it’s a free country, I have my rights.
PAM
Stand all you want, but if you pass this tape, I will arrest you for tampering with a crime scene.
REPORTER SHERRY
You do and I’ll have the Mayor take your badge.
PAM
You threatening a Police Officer?
(beat)
I’m scared
(beat) Now off with you!
REPORTER SHERRY
You’re gonna be sorry Pam Karras! You can’t keep me from getting the facts.
As she is being threatened, Pam slowly walks towards Sherry while taking her handcuffs out. The Reporter turns and scurries behind her car. Pam stops and crosses her arms, staring Sherry down. Sherry crosses her arms. Pam proceeds slowly again toward Sherry and yanks on the handcuffs. Sherry gets in her car, and drives away. Pam starts chuckling, then turns and walks back towards the accident scene.
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PS 80 Michelle Damis Ad for A-List
What I learned from this assignment. I have learned the importance of taking this angle into consideration. And moving forward I will be looking at each main character from this perspective (I’m an actress so that helps)
Tell us the character’s name and answer these three questions. Ted the Vampire (changing name to Theo though)
a. What is the Interesting Situation? The situation is that he is a couple hundred year old vampire that is bored with existence, disgusted with humans behavior at large, but has also grown a conscience.
b. What is the Insight about this character? The first several minutes are a monologue/narration where a lot of info is going to be shared and history laid out.
c. What Action and Description will sell this character? Well, who doesn’t want to play a cool, moody, wise Vampire. And I think I have a very different take on the genre. He will be a hero for humanity in the end.
3. Write the scene to highlight the best part of this character.
Because this is a monologue
I have started just free writing as if he is writing his diary. So I ‘m not prepared to post that yet
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