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Day 10 Assignments
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10 Replies
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Cameron Martin’s Ad for A-List
What I learned is…Don’t hold back. A little mystery goes a long way. The first couple pages are all about selling. In essence, they’re the movie trailer. In addition, watching both FRIDA and THE MITCHELS VS THE MACHINES was helpful in learning this as well. So much is communicated about the main characters in their first introductions, both through the action and the descriptions given to these characters. It reminded me of PREDATOR, and how the characters are introduced in that film as well. Again, even a little can carry a good distance. Mac doesn’t say much as Blain in the opening helicopter flight (Blain – “This stuff will make you a goddamned sexual tyrannosaurus…just like me.”). Mac just shaves an already clean shaven face, telling us he’s a little OCD, or at least somewhat perfectionistic. Sure, it’s a little weird comparing the simplicity of the characters in PREDATOR to the complex relationships in THE MITCHELS VS THE MACHINES, or the complex characters in FRIDA. I think what I like about PREDATOR, as a case study, is its simplicity. It’s a perfect starting point to show what can communicated with very little, then expanding in other movies to see what else can be communicated in the opening. Thinking about it, I’ll have to give GUARDIANS OF THE GALAXY another watch to see how well those openings sell the characters to the audience and actors.
Character’s Names: Sully & Isaiah
What is the Interesting Situation?
1. Alien worms, infected humans, and space exterminators are all killing each other, and Sully is caught in the middle.
2. Sully’s son, Isaiah, is coughing up blood, recently infected by alien spores.
What is the Insight about this character?
1. Sully’s loving, inventive, and blames himself for whatever is wrong with Isaiah.
2. Isaiah doesn’t want to be carried, he wants to be heard.
What Action and Description will sell this character?
1. Sully is inventive
2. Isaiah is weird
EXT – SPACE
A nebula in the visage of snarled teeth glitters red.
A planet sails through the vast black between the stars, it’s facade reminiscent of earth, but masked by circulating green clouds.
EXT. ALIEN PLANET – NIGHT
The acid rain showers a facility with plumes of black clouds towering above the smoke stacks and mixing with the green skies above. Several ships are docked at various corners of the compound. Encircling the structure – a swath of stumps where jungle once blanketed the landscape.
INT. SPACE COLONY – LIVING QUARTERS – NIGHT
Walls once white are coated in splotches of maroon blood.
Guttural screams and blasts of air argue over each other in a hallway, as SULLY, a man in his early thirties, carries both his 10 year old son, ISAIAH, and a baseball bat with two electric staplers taped to the end.
Sully has been as quick to shush his child to silence as he’s been willing to fuck death itself to save him.
Meanwhile, Isaiah, a high-functioning Aspie, kicks against Sully. Isaiah is desperate to be free from his father’s uncomfortable grasp, as he coughs up blood onto his dad’s sleeve.
A man dressed in a light, tactical space suit runs out into the hallway, sees Sully and Isaiah, and raises his firearm.
Sully drops Isaiah to the ground…
Grips his bat with both hands…
And swings it into the head of the spaceman…
Leaving two nails embedded into the spaceman’s helmet and subsequent skull.
Isaiah, on all fours. He struggles to catch his breath, but hacks up a small splattering of blood.
Sully goes to pick his son up, but Isaiah pushes his hands away.
ISAIAH
They’re almost ready to hatch.
SULLY
Please, let me save you.
Sully picks up Isaiah, who’s too weak to fight back.
ISAIAH
The spores have used up all the moisture in my lungs. They’ll come out through my mouth. It’ll hurt. It’ll hurt really, really bad.
SULLY
I’m sorry. I’m so, so sorry.
Sully catches sight of another spaceman.
He ducks down and runs into another room…
Grabs a small sauce pan off of the oven…
And hides behind a kitchen counter.
ISAIAH
Dad?
SULLY
(grabbing saran wrap off of the counter)
Shhh.
The spaceman enters the apartment living quarters. Another spaceman joins him. They’re visibly shaking as they begin to search the room.
Sully carefully tears the saran wrap, makes a cut in the center of it with a pocket knife, and wraps it around the opening of the sauce pan.
Sully clutches his son close to him, leaving his bat at his side, while Isaiah breathes into and out of the plastic opening in the sauce pan.
ISAIAH
I wish I was normal.
SULLY
Shhh, shhh. This is my fault. All of this is my fault.
A shot gun blast sounds off in the room.
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Matthew Frendo’s Ad for A-List
What I learned doing this assignment was how to introduce characters in a way that gives insight and the strengths of the character. This will make them more compelling and give a more intriguing portrait of the lead.
Character: Alicia
a. What is the Interesting Situation? They are taking the people who were chosen into custody for the punishment games.
b. What is the Insight about this character? Shows her craftiness, her bravery, her compassion and her fearfulness at once. It shows that even in the midst of her own danger, she still has compassion and cares for those who are hurting. It also shows that she has fear, but also is brave and stands up for herself.
c. What Action and Description will sell this character? Being crafty in trying to escape and a beautiful girl in an ugly world who has been hardened through struggle.EXT. DIRTY STREET – DAY
A BROWN-HAIRED LADY is walking through the bustling, dangerous street, holding on to her child’s hand way too tightly.
She grabs it even harder, causing her CHILD to flinch.
BROWN-HAIRED LADY
Come on, you filthy ingrate. Useless. Just bloody useless! If you–
Just then, a girl with a hood over her head runs into her.
BROWN-HAIRED LADY
Watch where you’re going, you waste of fucking air!
The hooded girl throws a piece of bread to the Child, who grins. Before he can take a bite, the lady grabs it.
BROWN-HAIRED LADY
What do you do to deserve this? You shouldn’t have any–
BLAM!
All of a sudden, she’s thrown to the ground. Two soldiers in pure white outfits sit on top of her.
BROWN-HAIRED LADY
Whoa! What the–
She looks at them all.
BROWN-HAIRED LADY
No! No! I didn’t get called! I didn’t get called!
They pull a blinking wristband from her bag.
BROWN-HAIRED LADY
That’s not mine! Mine’s on my wrist!
They look and it is. They start looking around.
Another man, NICK, is calmly getting taken by soldiers. He meets the eyes of the girl in the hood and sees her pull her sweatshirt over her bare wrist.
He smirks to himself, then points.
NICK
Yo, there she is!
She looks back, as the hood falls. We see ALICIA, a beautiful girl that stands apart from her ugly surroundings…but who also has a hardness and determination that comes from a life of lonely struggle on the streets.
She glares at Nick and spits in his face. His smirk drops.
Then, she sees the soldiers rushing at her…and bolts.
She jumps over a garbage can, as she runs through the street.
She dodges vendors, hurdles over debris and runs swiftly.
She jumps off the side of a building over a tent…and stops suddenly when she’s about to run into a hurt dog.
BLAM! The soldiers grab her from behind and throw her to the ground. When they lift her up–
WHAM! She kicks one in the face, trying to get free.
ALICIA
It was just stealing food! It was just stealing food!
BZZZ! They stun her, knocking her out, and carry her off.
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DAY 1O AN AD FOR AN A-LIST ACTOR
CLAY CAINE
Insight into his character: Prideful, resolute, self-righteous
What I learned in doing this lesson is how just even a slight lean toward a trait can add a significant change to my approach. No matter how many times I had imagined this scene, once I added the traits, it went in a completely different way. One I like a lot!
Action to sell this character: His status as a leader is popped like a balloon in plain sight, his bravado pulled out from under him like a rug. His vulnerability and hubris exposed.
EXT. LANGSTON FAIR GROUNDS – WHITE SUPREMACIST RALLY – SUMMER DAY
A foul wild wind blows while dark clouds shift across the sky– weather this country fair refuses to acknowledge. Rusty fair rides rattle in the wind, balloons and banners pull loose.
A CHILD tries to eat her cotton candy, but it pulls out of her hands and blows away. She chases it passed…
…a stage festooned with a wind-ripped American flag. Despite the wind whipping at their lyrics, a COUNTRY BAND plays. At song’s end, the band thanks their adoring crowd and takes their leave to wild applauds. Then, as if the weather was virtually controlled by him alone, the wind stops dead as former marine CLAY CAINE (forties), dressed in white shirt with sleeves rolled up and jeans, takes the stage. He smiles and nods to the crowd. These are his people. He steps to the microphone. The crowd is silent, attentive. Clay revels in the weather change, his inner knowing tells him it was just for him.
CLAY
You know, I’ve been asked why am I a Klansman? And this is what I say: Because this is my country!
Clay waits for the crowd’s rousing response but there is none. That’s okay. He’ll get ‘em with this: With a sweeping gesture, he points to the American flag.
CLAY
And that– is my flag!
Nothing. He shifts his balance, nods nervously, smiles, tries it again.
CLAY
Did you know the red on that flag stands for our forefathers? Our forefathers who were baptized in their own blood for our freedoms!
The crowd shifts impatiently. Clay’s shook. Okay, so he’s being tested. He girds himself.
CLAY
The Klan, the Ku Klux Klan stands for Race Pride. It stands for you, and me, and for all Whites!
He waits for it! Their pent-up cheers mixed with their frustrations. These will bathe him in glory. But there’s nothing. Clay taps on the microphone.
CLAY
Hey, is this thing working?
The mic’s shriek says it is.
CLAY
Can you all hear me?
WHITE MAN #1
Yeah! We hear you alright and you’re full of shit!
The audience is coming around.
WHITE MAN #2
You’re nothing but a SINO!
The man plays to the crowd.
WHITE MAN #2
You all know what that is, right? A SINO, a Supremacist In Name Only!
Now the crowd bursts to life, nodding, laughing, agreeing.
WHITE MAN #2
Dude! You’re nothing but status quo! Get off the stage!
WHITE WOMAN
Yeah! Bring on Adam! Adam Spencer!
At the mention of him, the crowd goes wild, chanting, repeating his name. The crowd pushes young twenty-something ADAM SPENCER, dressed in jeans and t-shirt, toward the stage. The good-looking, next-generation white supremacist takes the stage to cheers, nods to Clay.
ADAM SPENCER
No offense, man, but time to let a real patriot rock their world.
CLAY
Who do you think you are?!
ADAM SPENCER
Adam Spencer.
(to the crowd)
Leader of the Sons of Patriots!
As the crowd goes wild over him, the wind kicks up, forcing Clay to yell against it.
CLAY
Well, I’m Clay Caine! Grand Dragon of the Ku-
Though the wind overwhelms Clay, Adam stands arms spread, embracing it while it literally seems to force Clay off stage while the crowd repeatedly shouts Adam’s name…
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Day 10 An Ad for an A list actor
June Fortunato’s Retirement
What I learned: I decided to re-write my opening scenes.
Actions to sell this character:
He’s charming, crazy as hell, but also has a strong moral standing. Protective of the
vulnerable and strays.
Fade In
EXT. SUZY’S RENTAL – LATE AFTERNOON
Roy, late 60s, scruffy despite the “interview blazer” he wears, wiry dude with nervous energy,
tries the front door. Locked. He knocks.
ROY
Suzy? Oh Suzy-Q! Yo yo. Open open! Your Mr. Man is here!
No response. He leans his ear to the door. He knocks. Then he sings through the door to the
Beatle’s tune of Honeypie
ROY
(sung)
Suzy-Q. You are driving me crazy. And you think I am lazy.. but won’t you let me come home?
Silence. He hunts the yard for flowers (weeds) fists a bouquet and holds it up to a window at the
top of the door.
ROY
(sung)
Oh Suzy-Q. I am freezing my ass off. And I long to be near you. So won’t you let me come in?
Silence.
ROY
(spoken)
Babydoll. I’m sorry for … whatever I did. Said. I dunno.
Pause.
Come on honey. Let me rub your aching little feet. Let old Roy make it right like I do. …. Your
Mr. Roy reporting.. at your command…. Very cold out here. Cold.
Nada. He shuffles around the side of the house and lights a fire in the grill to warm himself. He
keeps looking up at the house.
EXT. SUZY’S RENTAL- NIGHT
It’s dark. Fire’s gone down. He smashes his mug into the window and makes weird faces to
make her laugh. Nothing. He slips the window open, steps onto the hot grill (ouching), and slides
himself inside.
INT. SUZY’S RENTAL- NIGHT
Cleared out. A few straggles of his clothes are on the floor. He knows what to do. He moves the
fridge and gets a worn-out box. Inside: a bottle of Jim Bean, a knife, and something shiny with a
ribbon, wrapped in a towel. And a note. From Suzy. It reads:
SUZY (V.O.)
You know this is hard for me but I can’t do this anymore. Take care of yourself you dope and
don’t do anything stupid. Oh, and this medal? So. Get your benefits. Not that anyone can tell you
what to do. Roy. I’m out. Take care.
Roy is surprised that Suzy knows. It shakes him. He drinks. Then he gathers himself and gets to
it. He fills the tub and slips into the bath. He shaves off his beard and stares at himself.
ROY
Yo asshole. Haven’t seen you in a while.
Wrapped in the clothes he uses as towels, he locates a few hidden tools under the sink:
screwdriver, multitool, gloves. He sets everything out. He sets his shoes out. His box. He puts his
coat by the window. He’s ready.
INT. SUZY’S RENTAL – DAWN
Roy sleeps in the hallway, clothes packed around him and piled on top of him when a key turns
the lock. Roy bolts awake. The landlord enters with a crowbar in his hand. Two cleaning ladies
lean in behind the landlord to catch a glimpse of Roy.
LANDLORD
Get out.
ROY
Goooooood morning!
LANDLORD
Out.
ROY
Yo, let a man take a morning dump, would ya?
Roy sprints into the bathroom and locks the door. The landlord tries the bathroom door. To the
cleaning ladies:
LANDLORD
Go ahead and start in the kitchen.
The landlord hears Roy singing through the door.
LANDLORD
I’m not as patient as Suzy. You got one minute and I bust down the door.
Roy gathers his tools puts on his shoes, and talks while he opens the window.
ROY
And ruin this nice house? Don’t do that, Joe. It’s Joe, right? I had a friend name a Joe once….. He
died.
LANDLORD
Get the fuck out you mooch. I lost a great tenant because of you.
Roy shimmies through the window, calling back
ROY
Joe. Joe. You gotta work on your windows, man. Wax the sashes.
and runs to the beat up cleaning van.
EXT. SUZY’S RENTAL & CLEANING VAN – CONTINUOUS
Roy slides into the van and rams the screwdriver into the ignition.
ROY
Come on old girl… Make it rain.
He gets it to turnover, and backs out as
INT. SUZY’S RENTAL
The landlord pounds on the bathroom door.
LANDLORD
Yo. Get out. Now!
The landlord forces the door as the van pulls onto the road. Joe finds the window open and a pile
of shit on the floor.
INT/EXT- VAN – CONTINUOUS
Totally wired, leaning on the filthy steering wheel, ROY forces the accelerator to the floor
freaking out every other car who dodges the maniac, swerves and pulls over.
ROY
Yeah baby! Rock em sock em! Step aside Uncle Roy knows how to fly!
Sirens behind. Roy looks back at them.
ROY
That’s the plan! Free room and board comin up from behind. Watch out guys, old Roy’s coming
in for a landing.
He swerves into a PIGGLY WIGGLY and slams into the building. Nobody’s hurt but the front
of the van now looks at the sausage counter inside.
ROY
Hot dang! I ain’t felt that good since I blew up the ammo tent in Nam. Fuckers exploded for
hours!
The MANAGER of the Piggly Wiggly runs out waving his arms – PEOPLE with coffee cups
scream at him- The COP CAR parks sideways behind him and TWO COPS jump out- GUNS
aimed. Still at the wheel, Roy rehearses:
ROY
Officer, Officers, a man needs his java bean. So sorry, but I seem to have mistakenly hit
something. I can’t see shit with these eyes- I’m a veteran, Yes, sir, fucked up. Nam. Hell, you’re
just a young pup- aren’t you, son. Pop that zit. So where do I get my coffee?
INT. JAIL HOLDING CELL
THREE MEN, strung out and acting jaggy and a terrified TEEN TYRONE, share the holding
cell with Roy. The teen looks back and forth – eyes dart, scared and shaky. The big guy barfs a
load at the kid’s feet while Roy yanks Tyrone out of the way just in time.
ROY
Christ, what was that? Spaghetti?
To the kid.
ROY
Gotta dodge.
But Tyrone seems paralyzed. The guy who puked, Pukeface, stares at Tyrone. The other two,
SKANK and BUTTROT are nervous, and pound the walls. Skank rolls on his side back and
forth.
SKANK
Pain! I’m in fucking pain!
Buttrot heads to the open toilet. Severe case of diarrhea which drips all over his legs. It reeks.
Tyrone holds his nose.
PUKEFACE
(to Tyrone)
I know you.
Roy stands in front of the kid and blocks Pukeface.
ROY
No no no pukeface. You have a case of “mistaken I. D. Ent- IT tee.”
PUKEFACE
(to the kid)
Where is it?
He gets close and reaches to grab the kid and Roy shoves his arm out of the way.
PUKEFACE
Where’s the fucking blow?
ROY
Back off big boy.
TYRONE
I don’t have no drugs. I took a car. I don’t have drugs.
ROY
You’re standing in your slop Pukeface. Watch you don’t slip.
Roy gives the Puke a shove and the man falls backwards and face down near the toilet. Tyrone
backs up and Roy sits his ass down next to him.
BUTTROT
Shit, shit, shit, shit.
He heads to the toilet again, and Pukeface rolls away.
ROY
I took a car, too.
TYRONE
You did?
ROY
Yes sir. Yes sir. Why’d you take a car?
TYRONE
Tik tok.
ROY
Tickety tockerdy now you’re in the stockardy. How’s that for a life plan?
A guard comes and bangs the bars. He carries a tray with gray slop which supposedly holds
something to eat.
GUARD
Shut up. Back away.
He slides it in.
GUARD
Goddamn junkies. You reek.
And walks away. The kid is starving, but when he tastes it, he spits it out. Even the Pukeface
laughs. The kid stares.
Calling back to the guard.
ROY
Now that’s fine service!
He smells it.
ROY
It would appear that my retirement plan is misguided. I think a hospital is a much better option,
don’t you? Tyrone, why don’t we play “slide on the slop then throw it where you flop?
ROY
Watch me fellas. (to Tyrone) Like this.
Roy splashes his food onto the floor and slides across the room in it. Tyrone is amazed. He joins
in. Together, they slide all over the cell. Skank gets agitated and starts yelling.
SKANK
Pain! Fuck fuck fuck!
Skank grabs his stomach and rolls around with severe abdominal cramps. Buttrot takes another
dump. The floor is slick and a stinking mix of so-called food and shit. Skank throws his food at
Roy.
A guard comes by to stop the chaos.
ROY
Just a little food fight, officer.
GUARD
You’re gonna eat that shit.
Exactly as Roy expected.
ROY
(feigns terror)
Uh oh. Sorry officer. So sorry. I was just cooling it down.
He scrapes it and dumps it into the already full toilet and then flushes. All of it floods the cell.
The guard watches it all.
PUKEFACE
Motherfucker!
He pummels, kicks, and beats Roy senseless.
GUARD
You like that, Roy? Asshole. (to Pukeface) Back off.
Tyrone stands back in awe.
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Kate’s Ad for A-List.
What I learned is you get to know your character well when you introduce her/him with a bang. I think I found a new trait for her I didn’t know before – she has a great sense of humor and can laugh at herself.
Nia Intro Scene
a) What is the Interesting Situation?
The troupe arrive at the campsite, and Nia literally falls out of the bus onto the ground.
b) What is the Insight about this character?
She wants to please others, can’t say no but is also wild and expansive, seeing magic in all. Nia has a sense of humor and is aware she has to grow up. We also see something of a key relationship.
c) What Action and Description will sell this character?
Nia throws up (carsick) but immediately recovers, seeing beauty and hope in her surroundings and setting off to explore.
EXT. A PEACEFUL FIELD ON THE EDGE OF TOWN – EARLY EVENING
A brightly painted red, white and blue old school bus, with a load on the roof and small trailer also packed high, drives up the dirt track and parks near a stand of trees.
Eight young people (20s) emerge in various states of disarray, carrying bags and backpacks, stretching and yawning. It has been a long drive.
Two begin to unpack the trailer, the rest are wandering toward the trees.
Out of the bus comes a young Asian-American man (SHAUNN) with a backpack, stepping backwards and calling into the bus.
SHAUNN
Come on Nia. You’ll feel better if you just get up and come out here.
He stops and leans in.
SHAUNN
Good girl! See? Better, right?
He steps back off the steps holding out his hand. A brightly be-ringed hand clutching a blue towel, attached to a long slender, purple-sleeved arm, reaches for his outstretched hand and a young elf of a woman, (half black/half white), steps onto the bottom step. Draped in an over-sized purple cardigan, hanging half-off a faded red T with the words ‘Mother-f–’ on it, over pink flannel PJs decorated with black puppies barely holding on to her tiny hips, NIA is not feeling well.
A weave of wild, dreadlocked, reddish hair is loosely tied up into a dangerously unstable knot on her head, mirroring the large red clogs on her feet as she misses Shaunn’s hand and topples off the step onto the grass.
She lies on her back, eyes closed, the blue cloth to her mouth.
SHAUNN
Shit, Nia. Are you alright?
NIA
Do I look alright?
SHAUNN
You look like crap, cute crap but crap.
Nia opens her eyes as he looks down at her.
NIA
Thank you. I think I’m going to throw up.
She rolls over quickly and barfs (a little) into the towel.
Shaunn sighs and holds back the teetering dreads.
SHAUNN
Now do you feel better?
Nia sits up, definitely feeling better.
NIA
Yes. Oh yes much. Sorry. Been wanting to do that for the last hour. Got some water?
Shaunn helps her up, carefully avoiding the towel.
SHAUNN
In my backpack.
As he searches for the water bottle, Nia stows the towel under the step and looks around.
NIA
Oh! This is gorgeous! Almost worth those terrible curves. Why does Susan drive so damned fast?
SHAUNN
To get here before dark. If we hadn’t stopped for the hamburgers…
NIA
Don’t mention them! It was that awful bison burger and the driving that did me in.
SHAUNN
You didn’t have to eat it.
NIA
I know but the girls wanted to share – they’re so expensive – I couldn’t say no.
Nia takes the water and smiles warmly at him.
SHAUNN
And look where it got you? Me holding a towel under your face for an hour.
NIA
You’re the best. I‘m sorry. I was so excited to be back on the road. In this strange, wonderful new place with all the wild west food!
SHAUNN
You’re always excited. It’s not the West, it’s southern California.
NIA
Sure not Pittsburg! I’m going to explore. It’s a magic kingdom. There’s a thrill in the air – like something incredible is going to happen!
SHAUNN
Come out of fantasy land – again! and help unpack!
NIA
I will! I will! Just give me a moment to soak this in. And then I’ll unpack like lightening and make my super-best, mouth-watering, over-the-top pancakes for Everyone!
SHAUNN
Yesss! Deal! Finished with the water?
NIA
Can I take it with me? My mouth … Hey, positive side – I didn’t throw up in the bus!
SHAUNN
There is that. You have amazing self control over that sort of thing – even if your imagination is out of hand.
Nia laughs and starts off. Then she turns to Shaunn.
NIA
Thank you Shaunn. For holding me together. I keep thinking I’m over the car-sick thing. One day I’ll grow up. One day I’ll even say no to food I don’t really want!!
She wanders off, away from the trees to the open field. Shaunn watches her a moment then shoulders the pack and joins the others.
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Alice’s Ad for A-List
What I learned, doing this assignment is
I mostly introduce MIROPOLIS, and I’m not sure yet how to do this with actors as that is as if it must be. However, I can see dialogs are so-so. I’m afraid to do it now, as the whole thing is very composite, otherwise they are to be brainstormed.
OPENING SCENE:
Representation of how SEPARATION works. Life moves on another rails. “What new qualities did you acquire?” “I can move walls apart”
EXT. TOP OF RESIDENTIAL – DAY
On the roof of beautiful residential building there is a square basin.
Keeping granddaughter on his lap, JUDGE watches, how his son is fishing, sitting on the edge of the basin, with legs into water.
JUDGE
That is a FISH! He caught it!
He says to kid, as his son pulls out a fish, sparkling under sunrays.
INCITING INCIDENT:
On a flight back home from resort area.
North of Miropolis. Plane crosses from their Far East, Hawaii-like resort area back to Eastern shore of Western Hemisphere. Just some strip of Ocean water.
PILOT
Free citizens of the WEST! We are experiencing slight weather trouble due to the Northern winds, please remain seated. Landing on West Shore of Miropois in about one and a half hour supposedly.
Really, plane shakes a bit, moving up and down under winds.
THANAKH, (34), middle-height, light-haired, even-tempered, as if everything in him is some kind of tempered ideal, Scientist working at Research Institute, travels back with his girlfriend KIAT (27), subtle attractive brunet, her skin darkened under sun they spent weekend under.
THANAKH
Kiat, awake, we are home!
Kiat awakes, pulls out cosmetic mirror, and puts on lipstick, making her lips really dark red.
She glances on Thanakh, and they hold hands, trying to make it less visible, and looking away from each other.
INT. PROTAGONIST’S APPARTMENT – DAY
Small but cozy one-room apartment of Thanakh, which combines bedroom, guest room with a screen, and office with computer, is submerged in dusk.
Thanakh enters. Phone rings. He picks it up.
THANAKH
Hello!
DIRECTOR (O.S.)
Did you receive documentation?
THANAKH
Yes.
DIRECTOR (O.C.)
You had to read it already!
Director drops the phone.
Phone rings again, him calling back.
THANAKH
What is it?
DIRECTOR
You have to be prepared for Monday!
THANAKH
It’s done. Are you sure it went through?
DIRECTOR
Yes, it did!
SHORT AFTER
Thanakh switches comp on, and gets to window, displaying files, all reports from labs quarter work he needs to speak of at tomorrow’s meeting. He opens first file, and makes printout, as he reads it briefly on screen.
INT. PROTAGONIST’S APPARTMENT – NIGHT
One of the files appears to be dark, he cannot open it. It’s damaged.
Thanakh gets angered at Director, who promised all files delivery.
THANAKH
Swine!!!
EXT. CITY STREET – NIGHT
Empty night street. Thanakh jumps into taxi to run to Research Institute, where he can retrieve that file.
EXT. BEFORE GATES OF RESEARCH INSTITUTE – NIGHT
Sideway of RI, where there is security check.
Thanakh jumps out of taxi, running inside.
INT. LOBBY OF RESEARCH INSTITUTE – NIGHT
Thanakh runs inside.
SECURITY GUY
In a hurry?
THANAKH
File doesn’t open.
Goes on his way.
INT. OFFICE – NIGHT
Dark desolated office.
Thanakh switches comp on, opens file, an attempts to print it, but printer is lacking paper.
INT. CORRIDOR – NIGHT
Thanakh unlocks wall cabinet, searching for printing paper.
Voice at the back.
NIGHT GUARD (O.S.)
What are you doing in here?
THANAKH
And you?
Thanakh turns around to face Night Guard. Night Guard drops gun down.
NIGHT GUARD
Ahh, this is you!
THANAKH
Don’t play on my nerves, don’t stay at my back.
Guard walks away down the corridor.
Thanakh pulls out box with paper, and looks into back of retrieving Night Guard guy. There is some weakness in the way he walks down the dark corridor, illuminated only by blue light out of windows. Shouts to his back.
THANAKH
Hey!
Night Guard doesn’t turn, instead making pacifying gesture with his hand, still holding weapon down. And continues his relaxed night walk.
INT. OFFICE – NIGHT
File that was damaged, belongs to the lab, leaded by ANAUPSH, her name is printed on top. Thanakh continues on files, as radiophone beeps. It prints on small display ‘I LOVE YOU’. This is message from Kiat.
Thanakh continues to work. And falls asleep right there at the desk.
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Day 10 of ‘Seducing Actors Module’: Anita Gomez’s Ad for A-List.
What I learned: Although this character has been previously introduced in my story as a young girl who has already revealed herself to be psychologically unwell, this is the first scene we see Dianna as a young woman, and how we will recognize her throughout the rest of the story. I also needed to ‘up the ante’ on her twisted actions. I don’t believe this scene warrants any dialogue, her actions speaking for themselves.
Create an introduction scene for a lead character that will guarantee an actor will want to play the role. Tell us the character’s name and answer these three questions.
DIANNA
a. What is the Interesting Situation? Dianna is at her High School Homecoming Game, but alone, devoid of emotion, and completely isolated in a high-energy crowd.
b. What is the Insight about this character? She is a cold and cruel sociopath.
c. What Action and Description will sell this character? She poisons the school mascot.
SCENE:
EXT. HIGH SCHOOL BLEACHERS – NIGHT
It’s the Homecoming Game for “The Bulldogs”. They’re ahead and the crowd is jubilant and rowdy.
DIANNA, now a H.S. Senior, stands alone at the sidelines near the edge of the bleachers. Everyone is engrossed in the game, even the handler for the school’s mascot – a big sleepy-looking bulldog who has wandered away from the handler to sit near the bleachers.
Dianna isn’t paying attention to the game. She’s watching the dog.
Dianna pulls something wrapped in paper from her pocket and walks closer to the bulldog who perks up as he scents something… the something in Dianna’s hand.
She unwraps the paper and holds it toward the big dog who licks his chops and follows her under the bleachers.
Dianna holds out the meaty treat which the mascot greedily wolfs down. Then she watches.
Suddenly the dog goes stiff and falls over on its side, going into seizures.
Dianna just stands there coolly observing, as the crowd goes wild in the background over a touchdown.
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Anna Harper Ad for an A list actor Woody Norman: Poledark, Troy, C’mon C’mon
What I learned from this assignment. a different POV to see the script from the actor’s eyes helped me to tune it up, I eliminated buffer scenes that featured other actors and just went for Dylan’s content. I treated it as though it was a pitch of sorts.
SILENT NIGHT
Character’s Name
DYLAN MARTIN
SITUATION
Dylan is a 13-year-old boy. He has been electively totally mute since his mother died in a car crash two years ago. He lives with his father Steve who does not entirely understand why Dylan will not come out of his ‘bubble’. Dylan is having all sorts of trouble, he gets bullied by other boys and his Grade 6 teacher is his arch-nemesis who wants him sent away to a boarding school. Dylan is rescued by a dog with superpowers Alfie, who is able to communicate with Dylan telepathically gradually breaking through Dylan’s silence. Dylan in turn rescues Alfie and learns to be caring and make connections with others.
DESCRIPTION
Dylan is a gifted artist. He likes to express himself by dressing in “boarder” shorts even in winter, has an earring in one ear, wears his hair like a rock star, (long), and favors Kaleo band T-shirts as his favorite way of dressing. His father indulges him in expensive runners/trainers which he cannot really afford. He has one friend Daisy who has her own problems with her parents.
EXT. VILLAGE HIGH STREET/DAY ESTABLISHING
Lyme Regis, a small historic English seaside village (used to shoot The French Lieutenant’s Woman, Persuasion, Wonka, and others)) is all decked out for Christmas. Beautiful lights are strung across the high streets and hanging baskets with Christmas arrangements swing from the antique wrought-iron street lamps. The shop windows sparkle with Christmas displays. A band of street musicians are playing Silent Night. From the top of the High street, the road runs down to the winter blue sea sparkling in the afternoon sun. Christmas tourists and locals create a busy, happy energetic street scene. A light dusting of snow is on the ground.
EXT.VILLAGE SCHOOL/DAY
DYLAN exits the school nervously looks around, and starts to run, looking back towards the school, he sees a pack of boys begin to follow him. They all start to run after Dylan. The boys are shouting, “weirdo, Dumbo, retard, you haven’t got a mother, that’s why you are a lame weirdo.”
(Music opening bars “We are going down.” Kaleo)
MISS ELIZABETH PERKINS the Grade 6 teacher, is standing on the school steps watching the boys passively, with a malevolent smile.
EXT. VILLAGE HIGH STREET/DAY
The boys continue to run after a terrified Dylan. Dylan runs panting, stumbling, and flings himself into the bakery shop doorway, opens the shop door, then hides inside.
INT.BAKERY/DAY
The bakery is festooned with Christmas garlands, snowflakes decorate the window. Piles of Christmas goodies are on display. A young attractive woman, MICKEY the baker is behind the counter.
MICKEY
Hey fella, what’s up, what’s happening? Are you alright? Are those boys giving you a hard time? Can I help you, my friend? Do you want me to kick their ass?
The boys run past the window. Dylan is coughing and spluttering for breath. Dylan checks they are down the street and then runs out the door, doorbells ringing behind him in the opposite direction.
Again he hears the boys yelling, taunting, getting closer. He runs up a side alley behind the Fresh from the Sea fish and chip shop. Desperate, he lifts the lid of a large garbage skiff, climbs in, and closes the lid on himself.
INT.GARBAGE SKIFF/DAY
Panting, coughing, and starting to cry in the darkened, garbage-filled skiff. The sound of the boys bullying voices, calling Dylan names, threatening, fade into the distance.
Dylan emerges from under the trash, dazed. There are sounds of rustling in the trash, Dylan is terrified, crying, he huddles in the corner.
DYLAN V.O.
Rats, there are rats in here!
A huge scruffy all-black Newfoundland dog emerges from under the trash with a large piece of fish and chip wrapper in his mouth. Dylan screams.
ALFIE
Shhh! Or those nasty bully boys will be back.
DYLAN V.O.
Who is talking to me?
ALFIE speaks to Dylan telepathically.
ALFIE V.O.
It’s me I am talking to you, silently, inside your head, I have superpowers. We can talk like this and no one can hear us. Brilliant isn’t it?
DYLAN V.O.
I must have banged my head, I must be imagining this.
ALFIE V.O.
Nope, it’s me super dog Alfie at your service.
Dylan’s body language is one of fear, cowering in the corner.
DYLAN V.O.
This is some kind of trick!
ALFIE V.O.
No, it’s just you and me talking silently, like I said this is my superpower, what is your name?
DYLAN V.O.
It’s Dylan and I still don’t believe this is happening.
ALFIE V.O.
We are talking telepathically. From my mind to your mind. Got it. It’s just us, you and me talking, no one can hear us. Kinda like on Star Trek.
I’m starving, licking the fish and chip paper didn’t help. I know let’s go to the butcher shop trash and see if there are any tasty bits of raw meat left in the bin!
DYLAN V.O.
That’s disgusting, revolting, and you are the dirtiest dog I have ever seen! You stink! Gross man!
ALFIE V.O.
See! I told you. We are talking silently inside each other’s heads, it’s not a trick it’s a superpower. Now let’s get out of here before the boys find us.
DYLAN V.O.
We are not going to eat raw dirty old meat from a bin!
ALFIE V.O.
I’m a homeless dog, Dylan. And I’m starving. Can’t remember when I last had a decent bowl of grub or slept in a warm place, so I’m off to the butcher’s shop bin, are you coming? If you stay with me I can protect you from the bully boys.
DYLAN V.O.
We had better go to my house. We have some time before my Dad gets home from driving the bus. Maybe there’s some food in the fridge.
EXT. VILLAGE HIGH STREET/DUSK/EVENING
Dylan and Alfie walk through the village streets, all decorated for Christmas, Christmas music is being played by street performers.
EXT.ESTABLISHING/DYLAN’S COTTAGE/DAY
INT.DYLAN AND STEVE’S COTTAGE/EVENING
DYLAN and ALFIE enter the cottage through the back door, into the cottage kitchen.
ALFIE
I smell bacon, there is bacon somewhere in here! I’m so hungry I think I might pass out.
DYLAN
Dylan and Alfie open the fridge door.
Check this out, there’s a couple of sausages a leftover pork chop from last night. Look at the big mess we have made on the floor! We have to clean this up before my Dad gets home. And you are going to have a bath Alfie, how did you get so dirty?
ALFIE
Noooo! No bath, I hate baths. I’ve been sleeping rough, I’m a homeless dog.
DYLAN
No bath, no meat, got it! Bath first, or no meat for you!
INT.BATHROOM DAY
Dylan runs a bath with a load of bubbles and begins to shampoo a reluctant Alfie.
ALFIE
Ok, I have told you my secrets, now you have to tell me your secrets, why don’t you talk like other humans?
DYLAN
My Mom died in a car crash. Now I don’t want to talk to anyone or answer their stupid questions. When I am in my bubble, as my Dad calls it, I can feel like my Mom is still close. If I talk, I am scared she might go away. So I stay silent and they can all just bug off and leave me alone.
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PS81 – Dana’s Add for A-List Actor
What I learned from this assignment:
I am already reconsidering my opening. The Interesting Situation helps set up the movie, but it may not be engaging enough to attract the A-List actor. I may reconsider this scene, opening with my protagonist counseling a patient, but for now I need to more forward. I can always change the opening as long as it remains true to the character and the story.
INTERESTING SITUATION: Ellen is having a bad start to her morning. Late for a station meeting, rushing through commuter traffic on the Bay Bridge into San Francisco, she jumps lanes, trying to gain minutes, apologizing to the other drivers.
She receives a phone call from her husband. His car won’t start. He’s called Uber and will take their two daughters to school. But he needs Ellen to pick them up, asking her to make a sacrifice, putting his own career before hers. Reluctantly, she surrenders.
ACTION: The phone call from her husband establishes the start of kidnapper/killer’s plan.
INSIGHT: Ellen is kind and accommodating, willing to sacrifice for others to avoid conflict.
SCENE:
FADE IN:
EXT. SAN FRANCISCO BAY BRIDGE – AERIAL SHOT – DAY
The morning commute across the bridge. A black SUV spits out from the Treasure Island tunnel. It slides in and out of the lanes without signaling, the driver trying to gain the edge against the other drivers.
INT./EXT. SUV – MOVING – CONTINUOUS
ELLEN LANDRY sits behind the wheel, her seat pulled forward to reach the pedals. It’s almost too much car for her.
She’s a petite woman in her thirties, dressed in a Saks Fifth Avenue skirt suit to project power, a look in direct contrast to her angelic visage. If not for her dark raven hair dusting her shoulders, she’d be fluttering over Disneyland sprinkling fairy dust.
Ellen is frantic, both hands on the wheel, constantly looking to change lanes. Her Starbuck’s coffee in the holder is being jostled. She jumps into another lane. A car HONKS at her long and hard.
ELLEN
Sorry. Sorry.
She glances at her watch. She’s late for something.
Her CELL PHONE RINGS. Ellen presses the phone button on her steering wheel. ROGER LANDRY’S VOICE fills the car through the speakers. She tries to concentrate on he driving.
ELLEN (CONT’D)
Hi, honey. What’s up?
ROGER
My car won’t start.
ELLEN
What? You just got it back from the shop. What’s wrong with it now?
ROGER
Who knows? Starter. Alternator. It won’t start, and I have to get the girls to school.
ELLEN
Okay…
ROGER
I ordered Uber, He’s a minute away.
ELLEN
And…?
Looking, looking… Ellen swings into another lane.
ROGER
What makes you think there’s an And?
ELLEN
I hear it in your voice.
ROGER
That’s what I get for marrying a radio shrink.
ELLEN
A radio shrink who’s late…
ROGER
I need you to pick the girls up after school.
Ellen’s entire body reject the idea.
ELLEN
Roger…
ROGER
Samantha just remembered today is a short day. And Dean Rogers wants to talk with me about my tenure track. I can’t blow him off.
ELLEN
I have my review this afternoon, and I’m already running late for the programming meeting. Today is make or break for my show.
ROGER
Wouldn’t that be a shame?
ELLEN
Excuse me?
ROGER
I’m sorry, babe. That wasn’t fair. I’m just frustrated.
(beat)
You know I respect what you do, but this isn’t just my tenure. It’s our tenure. And if I don’t get it, I’m terminal. Not just at Berkeley, but at all the UC’s.
(beat)
I really need your support here.
Ellen shakes her head. Every fiber of her being wants to say No, but they both knows she’s about to surrender. She signs loud.
ROGER (CONT’D)
I promise, I’ll make it up to you.
ELLEN
You’re bargaining.
ROGER
Dinner at Seven Hills?
ELLEN
(frustrated)
Tell the girls I’ll pick them up.
ROGER
I love you.
ELLEN
Don’t push it.
ROGER
Thanks, babe — There’s Uber. I’ll see you tonight.
The call drops.
Ellen puffs her cheeks and sighs, irritated with herself. She reaches down and grabs her coffee, and when she glances back, her eyes go wide as something in the road ahead. She hits the brakes, and the SUV jolts to a stop. The coffee lid pops, and coffee splatters on her skirt.
ELLEN
Oh, no! No-No-No. Damn it! Damn it!
Someone HONKS at her.
ELLEN (CONT’D)
Sorry. Sorry.
CUT TO:
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Antonio Flores’ Ad for A-List.
What I learned is…
This scene could be placed at the very start of the movie, non-linear fashion, then moving to the start where Parisa jogs on the treadmill.
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ASSIGNMENT
===========
Create an introduction scene for a lead character that will guarantee an actor will want to play the role.
CHARACTER: Parisa Nedellec, protagonist. A cheerleader coach who fights in the underground MMA to rescue her fiancé from the hands of a criminal ring led by The Ruler.
SITUATION: Parisa’s nightmare turns into reality. She is scheduled to fight Ruthless, the underground MMA female champion who threaten her to death and blatantly killed her bosom friend Sandy. Now, the two women are about to meet at the stare-down.
INSIGHT: This is only the first obstacle that Parisa must hurdle in order to rescue her fiancé from the hands of the criminal ring led by The Ruler.
ACTION: Cheerleaders also have painful strategies to hurt their opponents.
=============================
INT. DESERT — UNDERGROUND MMA COMPLEX — NIGHT
A storehouse equipped with state-of-the-art media and augmented reality technology. An octagon cage is in the middle of the facility. On the far end, a stage platform is ready for the weigh-in and stare-down events.
LOUD ELECTRONIC MUSIC… STAGE LIGHTS
There is no audience. Drone cameras broadcast the underground event to subscribers from a secret location. In the background, the voices of two sports anchors greet the audience.
Like a sunrise, PARISA NEDELLEC emerges from the horizon of the stage platform. Her hair bounces free with each step as she climbs up the stairs. Her eyes focused. She is a cheerleader coach who most recently joined the underground MMA fights.
SPORTS ANCHOR 1 (V.O.)
Here comes THE CHALLENGER — PARISA — NEDELLEC! She quickly proceeds to the weigh-in.
SPORTS ANCHOR 2 (V.O.)
We may need to point out that the underground fights don’t have weight rules.
SPORTS ANCHOR 1 (V.O.)
Oh, yeah. That’s a good point.
Parisa takes off her jacket, t-shirt, shoes, and track pants. Staff assists her.
SPORTS ANCHOR 2 (V.O.) (CONT’D)
So, many people wonder why fighters still have to go through the weigh-in protocol.
A tiny bathing suit barely covers Parisa’s slim, well-defined body. Her muscles radiate dynamic feminine strength, a unique type of beauty.
SPORTS ANCHOR 1 (V.O.)
Well, for what I can see, I’d say… I need no further reasons.
SPORTS ANCHOR 2 (V.O.)
No further reasons, uh?
SPORTS ANCHOR 1 (V.O.)
Oh, yeah. I totally support this protocol!
Parisa steps on the weigh-in balance.
SPORTS ANCHOR 2 (V.O.)
No, seriously, I like her style. You know how all fighters just flex muscles, but Parisa Nedellec comes from a cheerleading background.
SPORTS ANCHOR 1 (V.O.)
Yeah. I heard that she just recently joined martial arts practice.
Parisa steps down. She adopts a cross-step javelin pose.
SPORTS ANCHOR 2 (V.O.)
There you are! If you ever wondered what an Olympic goddess looked like…
SPORTS ANCHOR 1 (V.O.)
Totally different kind of beauty, man. Leaves no doubts!
SPORTS ANCHOR 2 (V.O.)
Well. For me, I guess the question is: can she fight?
SPORTS ANCHOR 1 (V.O.)
Wait, what’s going on?
Out of a sudden, the lights go out. Ruthless enters the scene. A spotlight follows her.
SPORTS ANCHOR 2 (V.O.)
Look. The champion is here! Ladies and gentlemen, let’s give it all for your UNDEFEATED — UNDERGROUND MMA — WORLD CHAMPION…. RUTHLESS!
Ruthless breaks protocol. She kicks the weigh-in balance off stage, snatches a wireless microphone from the hands of a staff member, and gestures Parisa to approach for the stare-down.
SPORTS ANCHOR 1 (V.O.)
It seems like she has something to say, uh?
The two women approach one another. Hands on guard, they stare at each other.
SPORTS ANCHOR 2 (V.O.)
Yeah, and for the looks of it, this might be urgent.
RUTHLESS
I warned you, but you didn’t listen. I told you to stay away, didn’t I?
Parisa focuses her mind on the lessons from her coaches.
RUTHLESS’ POV
The serene, extremely attractive face of Parisa, eyes focused.
BACK TO STARE-DOWN
MASTER WANG (V.O.)
Know yourself. Identify your weaknesses so you can build up strengths. Then repeat the process over and over again.
PARISA’S POV
Ruthless frowns, speaks sour words that can’t penetrate Parisa’s mental shield
RUTHLESS
(muffled)
… and crush you – – – so – – – you’ll suffer – – – and f…
MESTRE OLIVEIRA (V.O.)
Don’t think. Become one with the music of the berimbau. Let yourself flow…
BACK TO STARE-DOWN
RUTHLESS
Any questions?
Ruthless presses the microphone on Parisa’s throat for her to grab it.
PARISA
Mmh… I’m sorry. I… I got lost.
Ruthless gives an insane clueless stare at Parisa.
PARISA (CONT’D)
I mean… Are you serious? You said… I mean, does somebody really think you are pretty?
SPORTS ANCHOR 1 (V.O.)
OUCH! Ha-ha!
Ruthless scowls at Parisa. In rage, the brawny champion turns her back towards the challenger. Security staff chaperones her out of stage. The spotlight follows her. Parisa stays in the shade.
SPORTS ANCHOR 2 (V.O.)
I didn’t see that coming, yo!
SPORTS ANCHOR 1 (V.O.)
Neither I, man!
SPORTS ANCHOR 2 (V.O.)
Never mind. If you can’t see it, it can’t hurt you!
SPORTS ANCHOR 1 (V.O.)
What a SHARP comment, uh?
On her way out, Ruthless rolls eyes and clenches her fist. Boiling point. She turns around and charges on Parisa…
SPORTS ANCHOR 2 (V.O.)
WOW! WAH! What’s going on?
The brawny fighter pounces into the shade… just to find that Parisa vanished from the spot where she last saw her.
The spotlight follows Ruthless. Inertia makes her keep going until she crashes on staff, tools, and chairs…
SPORTS ANCHOR 1 (V.O.)
Wait. She’s gone? Where the–
Sounds of havoc, broken glass, a cascade of items that fall, shatter, bounce, roll on the floor… and finally stop.
SPORTS ANCHOR 1 (V.O.) (CONT’D)
WOW! Ha-ha! What a mess!
SPORTS ANCHOR 2 (V.O.)
Wait, but where did the challenger go?
Spotlights search everywhere on the platform.
Parisa emerges from a lower point in the middle of the stage—
SPORTS ANCHOR 1 (V.O.)
There she is! She was collecting her clothes.
SPORTS ANCHOR 2 (V.O.)
Oh, yeah. They might have been thrown away when Ruthless kicked the weigh-in balance off stage.
Parisa gets dressed.
SPORTS ANCHOR 1 (V.O.)
So the goddess didn’t go back to Mount Olympus, uh?
SPORTS ANCHOR 1 (V.O.)
Ha-ha! No, not yet! Well, but this is a good point to close our transmission.
SPORTS ANCHOR 2 (V.O.)
Yes. Let’s end in here. Just want to say that I anticipate this is going to be a great fight—
SPORTS ANCHOR 1 (V.O.)
Oh, wait! Wait! It’s not over!
Ruthless resurfaces from backstage. Several men try to stop her. She gets rid of them. Points at Parisa.
PARISA gesticulates “you’re talking to me?” Ruthless nods. Keeps approaching Parisa.
Parisa goes Parkour jumping over tables towards the octagon cage in the middle of the facility.
Ruthless chases her. Her awkward steps slow her down.
Parisa reaches the cage, goes underneath the canvas and into the base framework of the cage.
Ruthless follows. She opens up the canvas where Parisa disappeared just a moment ago.
SPORTS ANCHOR 2 (V.O.)
You think she will find her?
Foam discharged from a fire extinguisher pushes Ruthless out of the bottom of the cage. Parisa comes out of the canvas holding the extinguisher. She keeps spraying the brawny fighter.
SPORTS ANCHOR 1 (V.O.)
Guess what?
SPORTS ANCHOR 2 (V.O.)
Ha-ha! She found her!
Ruthless appears blinded and confused. Parisa adopts her cross-step javelin pose once again. This time she holds the fire extinguisher cylinder on one arm.
SPORTS ANCHOR 1 (V.O.)
OH! WHAH! The challenger is stealing the night!
After posing for a short instant, Parisa throws the cylinder on Ruthless head. WHAM! Ruthless collapses.
SPORTS ANCHOR 2 (V.O.)
WOW! What? Did you see that?
SPORTS ANCHOR 1 (V.O.)
Oh-my-oh-my! The fight has not even started and we already have a KNOCK OUT!
SPORTS ANCHOR 2 (V.O.)
The champion is on the floor! ON — THE — FLOOR!
SPORTS ANCHOR 1 (V.O.)
It’s a KNOCK OUT! The challenger outsmarted her!
Parisa climbs up on the stage. She gracefully does some ballet twirls around celebrating her victory. She ends with a knee on the ground. Smiles. Throws kisses at the drone cameras.
SPORTS ANCHOR 2 (V.O.)
Tonight is her night! PARISA — NEDELLEC — THE CHEERLEADER!
SPORTS ANCHOR 1 (V.O.)
I anticipate that she will bring a totally new game to the underground fights!
SPORTS ANCHOR 2 (V.O.)
Let’s see her in action tomorrow in the cage!
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