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Lesson 9
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4 Replies
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Cherryl’s Old Ways Challenge Chart
What I learned while doing this exercise: I have already built in some of the old ways and challenges, but this exercise made me want to dig deeper. I’m itching to get more specific about what happens in the challenges to old ways. How will I set that up?
OLD WAY
Bitterness and resentment. Assumption that Phoebe is the enemy.
CHALLENGE
In the same house with her, the Stout women get to see Phoebe is human and much like them. Sharing space guarantees that everyone present will evolve in the minds of others as more human.
OLD WAY
Not saying what you think but acting it out in ways that don’t solve the issue.
CHALLENGE
Tough questions posed by everyone. Moments that call on characters to say what they really think or perish in silence.
OLD WAY
Fear of standing up to parents or people who have influence and authority over you.
CHALLENGE
Veda stands up and stands in for her father. And she learns to speak back to her mother so that her mother won’t always assume she knows her well enough to know her heart and mind. Veda is a matriarch in training without really knowing it.
OLD WAY
The assumption that people are defined only by their choices.
CHALLENGE
The storm, the contractors who come after Phoebe’s shop, and the community’s opinions about the Stouts’ living situation expose the idea that people are far more than the choices they make.
OLD WAY
Living separate lives in two neighboring cities.
CHALLENGE
As long as Vernon Stout’s families are living apart, they each can buy into whatever reality they choose, but living together changes the reality. They are forced to really deal with each other — and either accept or reject truths.
OLD WAY
The Patriarch makes all the decisions, has all the answers, and controls the world of his family.
CHALLENGE
After Vernon Stout’s death, the women are forced to take on all of these roles together.
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Penny Wingert, Old ways in my script is to be afraid of Aliens, the new way is to try to communicate and work with them, live among them understand them and gain from them. what I Learned is that in order to grow you must accept difficult challenge and grow together because JESUS wants us all in his kingdom
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Madeleine’s 12 Angry Men Analysis
What I learned doing this assignment is that for every old way of being and thinking, there is a way to challenge it by questioning, recreating, and threatening isolation, among others. Very cool!
Old Ways:
1. Not caring/Just wanting this over.
2. Assumption that the boy received a fair trial.
3. Assumption that the witnesses were telling the truth.
4. Prejudice toward the defendant, a nineteen year old boy born in the slums.
Challenges Presented to these old ways:
1. Locking the jurors, people who don’t know one another and don’t feel comfortable with one another in a room where they have to talk to each other. Then have them take a vote that is not unanimous 11 to 1. Now the deliberation begins.
2. One of the juror’s (Number 8) takes on the role of the devil’s advocate. He questions everything: Facts? Defense attorney? Witnesses? Reminds me of Socrates.
3. Questioning whether or not the trial was fair by recreating the stabbing.
4. Questioning whether or not the witnesses were telling the truth by recreating the old man’s journey from his bed to the door in 15 seconds. Couldn’t have happened. And questioning whether or not the old woman across the EL could have seen the murder clearly without her glasses. Probably not.
5. Having the one holdout be the man who is prejudiced against slum kids. By the time his prejudice is coming out, all the other jurors are voting not guilty.
6. Telling the most prejudiced and also the most conforming juror that if he votes guilty, he be all alone. When prejudice is weighed again the desire to conform, conforming wins out.
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Madeleine’s Old Ways Challenge Chart
What I learned doing this assignment is I can build into my script challenges to my characters’ old ways of thinking and believing and moving them to a new way of thinking and believing.
Old Ways:
Evil has a foothold in the valley.
The valley has known more than its fair share of tragedies: Eloy Muñoz’s unsolved disappearance, Sally’s unsolved disappearance, and now, Jack’s unsolved murder.
The unsolved crimes have left many broken hearts in their wake.
Anna-Maude still feeling guilty over Sally’s disappearance and her mother’s drowning, now dedicating her life to raising the dead, partly through facial reconstruction, and taking care of her Uncle Jack and the family horse farm. She’s proud of being self-sufficient.
Tony suffering from PTSD and wounds from Afghanistan is back in the valley recuperating and wanting nothing to do with guns. He’s also carrying the grief of losing his sister, Sally, who went missing, and his mother, who drowned. He feels guilty about accusing Anna-Maude of being to blame for his sister’s disappearance and his mother’s drowning. He’s focused inward on his sins.
Camilla Cross’s childhood sweetheart went missing without a trace their senior year in high school.
Sheriff Sergeant Mike, who has dedicated his life to fighting crime is new to the valley.
Challenges to the Old Ways:
Anna-Maude’s belief that she can take care of herself starts to unravel.
Quentin Jones is jealous of Anna-Maude and wants her gone from the Archaeology Department.
Anna-Maude’s finds Jack dead from a shot through the head. The bullet’s nowhere to be found.
Possible clues start to surface suggesting the cold cases might eventually be solved.
With the help of hypnosis, Murl Gayle, an artist who taught both Anna-Maude and Sally as teenagers, paints a cowboy, who might have something to do with Sally’s disappearance. The trouble is he doesn’t know who the cowboy is. Neither does Tony.
Anna-Maude refuses to believe that Jack had any enemies, but the evidence accumulating seems to suggest otherwise.
Sheriff Sergeant A text message threatening to kill Jack’s chicken-killing dog. This might be a motive for Jack’s murder.
Chinese artifacts said to be in Jack’s possession are nowhere to be found. They might be the motive for Jack’s murder.
Challenge Anna-Maude’s self-sufficiency by putting her adjunct professorship in jeopardy, by having her lose her Uncle Jack to murder, and by having Anna-Maude’s house torched by someone who wants her dead. She escapes death only because Tony notices the fire and rescues her.
Starting to look beyond his own pain and suffering, Tony puts his mind to finding Sally. He starts by looking for anyone who might know something about Sally’s disappearance.
Tony arranges a showing of Murl Gayle’s paintings, hoping someone who views them will recognize the cowboy. No one does until Anna-Maude comes along. She knows who the cowboy is, but it doesn’t seem to answer the question of what happened to Sally.
Anna-Maude’s belief that Jack was a kin to a saint starts to unravel when evidence suggests that Jack was a thief and possibly a murderer .
Bones surface on Oxley Farm. They lead Anna-Maude to find the origins of Jack’s Chinese artifacts. This forces Anna-Maude to admit Jack might be a thief.
The boy whose face Anna-Maude is reconstructing is identified by Camilla Cross. He’s her high school boyfriend who went missing forty years before. He was a friend of Jack’s and Owen Cross’s, Camilla’s husband.
Both Jack and Owen were on the mountain with Eloy when he disappeared.
Anna-Maude thinks she knows where Sally is.
A second look at the painting of the cowboy, points Anna-Maude to where Sally might be buried.
Clues at Sally’s unmarked grave lead Anna-Maude to be suspicious of Owen Cross.
At the sight of Sally’s bones being dug up, Kenny, Owen Cross’s son, accuses his father of the murder.
Owen takes Anna-Maude hostage. The once self-sufficient woman is now rendered completely helpless and at the mercy of a killer.
Tony shoots and kills Owen and saves Anna-Maude.
New evidence links Owen to Eloy’s disappearance and Jack’s murder.
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