Day 16 Assignments

[Marie Wilson]

Marie’s Profound Map

What I learned: This Map could be better laid out by using more accurate references back to the 15 lessons we just did. As it is, there are different headings in different places, making it a headache to follow: brain work that could better be applied to the content of my screenplay. (Also, Soth needs to fact check his Casablanca MM Analysis: “…Ugarte is shot, slipping the transit letters in Rick’s pocket.” C’mon! That’s not the way it goes down.)

Title: A Girl Like I

Written by: Marie Wilson

1. What is Your Profound Truth?

It’s not enough to say you care or give lip service to a cause, you must act.

2. What is the Transformational Journey?

Old Ways: Practically the whole town is stuck in the Old Ways of life but they are most clearly represented by a posse of drama club members. These folks believe in a binary of all things: good/bad, black/white, man/woman. Their rule of do unto your neighbour and “be kind” is shallow. Their kindness is something they practice by rote, not by understanding and accepting people different from themselves, therefore it is insincere and hypocritical. The lead character, while not of this small town mentality discovers her own superficial ways while trying to bring her hometown into the 21st century.

New Ways: Going through the process of putting on the play and getting to know the cast, the townsfolk realize that there is nothing wrong with being gender fluid or transgender. Their minds are opened up to the possibilities beyond a binary definition of everything. They develop paths of true understanding (not just lip service) so they can truly accept the trans character as well as others who are different from themselves. The lead character has also come to accept the townsfolk in all their imperfection, although not going so far as to tolerate their bigotry – she feels a love for them as they take baby steps into a more enlightened future, and this love has replaced her previous disdain.

Transformational Logline:

1. Transformable Character with an issue…

2. …takes a journey that challenges them deeply…

3. ..and concludes with the transformation.

A Hollywood actress’ sentence for disorderly conduct is to help an amateur theatre group put on their Christmas play but she throws the whole town into an uproar when she casts a young trans woman in the lead female role.

3. Who are Your Lead Characters?

Change Agent (the one causing the change): Emoke Slater

Transformable Character(s) (the one who makes the change): Kay Morgan, Sandra Morgan, various townspeople

Betraying Character (if you have one): Josephine

Oppression: Small town small mindedness

4. How Do You Connect With Your Audience in the Beginning of the Movie?

A. Relatability – Kay comes from a small town, she loves her mom but finds her overbearing; Emoke loves books and kids.

B. Intrigue – she’s an actress playing a princess on a popular TV show – the intrigue of celebrity; Emoke’s her gender is intriguing to many.

C. Empathy – Kay feels stifled by her mother and some neighbours and wants to get away from it all; Emoke is abused just for being who she is; makes her a loner.

D. Likability – Kay has a good sense of humour and beneath the TV star veneer seems very down to earth; Emoke likes children, books, the arts and she’s witty and amusingly sarcastic.

5. What is the Gradient of the Change?

What steps do the Transformational Characters go through as they are changing?

Gradient 1. The Emotional Gradient

A. The “Forced Change” Emotional Gradient

1. Emotion: Denial

2. Action: She ignores the court order and hands the play over to Eunice

3. Challenge: She’s forced to stay in this small town that she hates, helping with an amateur play which she hates. Weakness: Self-involved

1. Emotion: Anger

2. Action: casting Emoke in the lead

3. Challenge: if she must do this play she will do it her way; Weakness: her only form of rebellion is to lash out and it doesn’t achieve lasting results

1. Emotion: Bargaining

2. Action: she gives Eunice a good role in exchange for her co-operation

3. Challenge: Eunice is a bigot. Weakness: Kay doesn’t know how to call out bigotry when it is in disguise, so she does nothing

1. Emotion: Depression

2. Action: abandons the play and leaves for LA

3. Challenge: To be a better actress getting more serious roles. Weakness: lack of confidence in her abilities as an actress.

1. Emotion: Acceptance

2. Action: goes back and tries to gain control of play

3. Challenge: putting on the play when the whole town is against her and threatens to boycott the play. Weakness: feels inadequate as a director, fear of failure

6. What is the Transformational Structure of Your Story?

Mini-Movie 1 ­ Status Quo and Call to Adventure

The court order to direct the drama club Christmas play. (Kay is in denial that she’s been court ordered to do this and thinks she’ll just slip out of it somehow, like paying her way out of other jams.) Old ways: self involved. Challenges: ordered by a higher authority that doesn’t recognize her fame nor her fortune.

Weaknesses: she’s acting like a child – privileged and whiny

Mini-Movie 2 ­ Locked Into Conflict

The Judge auditions for the play. If he gets cast by Eunice, whom Kay has handed her duty over to, then he will observe that Kay is not fulfilling his court order of directing the play. Kay decides she must take control of the casting process so that she can exclude the Judge from the play and also not give Eunice a part, since she finds Eunice to be a toxic person.

But the stage manager says that not casting the Judge and/or Eunice would have dire consequences – the two of them are staples in the Yuletide show, they rep Christmas itself to the Haywood townsfolk, who would rise up with pitchforks if they were not included in the show. Kay is trapped (or locked). Old ways: festering resentment against her high school teacher Eunice Crupp. Challenges: has to co-operate with the teacher, respect the Judge. Weaknesses: she’d rather just bask in the adoration for her mediocre TV show

Mini-Movie 3 — Hero Tries to Solve Problem But Fails (or Standard Ways Fail)

Kay tries to play along as if she’s fulfilling the court order; she will just do a good acting job of pretending to direct or even care about the production (which she doesn’t). When that can’t work out (because the Judge is in play) then she makes a plea to her agent Schultzy to help get her out of this jam. Schultzy consults a lawyer who says that Kay’s best recourse is to suck it up, do the few months penance, and put it behind her. Schultzy reminds her that the press coverage will be even worse if Kay tries to wriggle out of helping her hometown with their beloved Christmas play, and that carry through with it can be spun to make Kay look really good. Old ways: relying on her privilege to get her out of jams. Challenges: to direct a play with amateurs and former neighbours that she abhors. Weaknesses: she has no real substance, just a manipulative approach to life

Mini-Movie 4 ­ Hero Forms a Plan (or Plan Backfires)

The bigger plan: she take the reins due to the Judge auditioning. She is fuelled in this by her hatred of Eunice (who has to be cast) so she decides to run the show just to spite Eunice and her mother and the whole town. She casts Emoke and this is the “goes horribly wrong”; Eunice has tremendous influence in the town and she doesn’t like this casting choice so takes it out on Kay’s mother (who was previously Eunice’s friend) by putting a social freeze on her. This tips the mom into a mental breakdown. The revolt against Kay signals the “vital info she lacked about the forces of antagonism against her”. The vital info she discovers is that the kind people of this town are bigots way beyond what she might have suspected. Old ways: doing things out of hatred or spite (the “I’ll show you!” method). Challenges: getting past the town’s bigotry. Weaknesses: obedience and reliance on her mom, causing her pain over her exclusion by Eunice.

Mini-Movie 5 ­ Hero Retreats & Antagonist Wins (or Decision to Change)

So Kay has been doing all that casting business that upsets everyone from a selfish motive, determined to show the townsfolk who gave her a hard time growing up that she’s better than they are. She’s not considering the real people involved, primarily Emoke. It seems as if Kay has just cast her to play devils advocate. Emoke may even accuse her of tokenism. She has a glimmering of understanding, as she retreats to lick her wounds, that her motives are wrong.

Old ways: doing things to show people she’s good and worthy. Challenges: her own ally Emoke even sees through this motive. Weaknesses: not considering others

Mini-Movie 6 ­ Hero’s Bigger, Better Plan! (or The ultimate failure)

Kay goes back to LA – something about being there has her understand her self-involved approach, hits her hard, things people say at her party – realization of what she’s done to people, using them, Emoke in particular. She realizes she really likes these folks who have been working on the play. So she goes back and hatches the new plan – meeting with the Judge and Eunice and Emoke. But: “very nearly destroyed by it” – the upshot of this meeting is that Eunice goes to the press and says horrible things about Kay and what she’s doing to their beloved Christmas play. As a result Kay is called in to the town council, given ultimatums. And then comes the “revelation” – this is when she gets celebrity LGBTQ community to put on a Christmas fair and sell the play. Old ways: back to the adored party girl and TV star. Challenges: realizes she can’t leave the cast in the lurch like this. Weaknesses: wants to sink into the comfort of an LA lifestyle: partying, brunching

Mini-Movie 7 ­ Crisis & Climax (or Apparent victory)

The fair is a huge success, Kay has new fervor, and has turned the tables on Eunice and her posse. Victory as they go back into rehearsals without Eunice and with more support of the townspeople. Tables turn one more time… Old ways: Kay is still working from a resentment angle. Challenges: getting the play mounted now that several people have quit. Weaknesses: wanting approval.

Mini-Movie 8 ­ New Status Quo

Eunice’s last attempt to defeat her might be picketing the play…Kay has to put down that attempt by having Harry and other helpers coral the protesters (there are only about four at this point) and let the audience in for opening night.

The successful opening night is the wrap up to the story; a new revelation is that Kay will return each winter to stage the Christmas play. Also that Eunice tells the picketers to go home and hug their children and grandchildren (this must be understood as her acceptance of new ways.)

Kay moves into a new world which is a deeper, truer and richer, and those who stick with her – from here she can take on better roles than her TV princess, from here she can help with her hometown’s Christmas play every year, make it something as special as this one turned out to be. Old ways: acting out of self-serving. Challenges: the show must go on. Weaknesses: scared of her future with the amateur theatre group

7. How are the “Old Ways” Challenged?

What beliefs are challenged that cause a main character to shift their perspective…and make the change?

Kay’s belief system allows her to blindly remain a privileged person.

A. Challenge by “Should Work, But Doesn’t” 1) Kay expects her money to solve her legal problem. 2) Kay doesn’t expect to actually have to carry out her court order. If her agent can’t get her out of it, then she will just show up and pass the duty along to others, like she always does. 3) Eunice’s position as a teacher has helped her wield power by treating everyone like a student that needs to be disciplined. 4) Sandra thinks that treating Kay like a child will get the same “proper” behaviour results from Kay that it did when she was actually a kid.

B. Challenge through Living Metaphor – 1) Diagrams that go up on the bulletin board that show where actors move on what lines, like a football game more than a creative endeavour. 2) Sandra’s exaggerated heartburn episode, which gets her out of having to meet Emoke.3) The theatre’s lift in the trap room. 4)The name of Emoke’s bookstore is Love & Squalor, suggesting a binary with no grey area.

8. How are You Presenting Insights through Profound Moments?

A. Action Delivers Insight

a) Insight: People are not always who you think they are so if you don’t know how they identify, then you shouldn’t care one way or the other. Action: Wes shows Kay a photo of himself as a child, she sees a little girl and understands that he was misgendered at birth; no one else in town knows this. Later this will be echoed when Wes challenges Eunice on her knowledge of peoples’ identities.

b) Insight: People who seem different from you (in this case non binary and trans folks seeming different from the townspeople), can be just as valuable as anyone else. Action: The Christmas fair is put on by a merry gang of queer folk and everyone has a wonderful time, especially the children, demonstrating that these people are fun-loving and valuable members of society.

c) Insight: Conforming will lead to trouble because life is about change not stasis, life is about being creative not cookie-cutter. Action: Sandra, who has valued Eunice as a good friend, is not invited to Eunice’s annual big bash, forcing Sandra to realize that Eunice is only a friend when Sandra conforms to her idea of who she should be – which is the same as her whole posse.

d) Insight: People who seem different from you (and that you disapprove of) could come to your aid in compassionate ways. Action: When Sandra thinks she’s having a heart attack Emoke stays with her to comfort her until the ambulance arrives.

e) Insight: Putting on a play or any artistic endeavour is more about the process or the journey than it is about the product. Action: Kay has the cast go through some fun exercises to discover their characters which contrasts sharply with Eunice’s blocking by diagrams.

B. Conflict Delivers Insight –

a) Having the cast experience the tension of rehearsing using old ways like blocking then see instantly how freeing it is to use creative approaches

b) Casting an “outcast” in the play which upsets the town who calls for recasting, causing some townspeople to see how unjust and hurtful their attitude is

c) Eunice calls the police suspecting Kay doesn’t have a permit for her fair, illustrating to closed minds how destructive the “opposed to others” can be

d) Kay is flippant about drinking although she’s been ordered to go to AA; her insight comes when Wes tells her about his alcoholism, just as she is about to flaunt the order and have a drink.

e) Kay rebels against the court order to direct the play by secretly letting their star attraction (Eunice) run the whole show; the insight happens when she is forced to take the reins because not only is the judge in the show but so is someone (Emoke) for whom the opportunity means a lot, someone marginalized and generally denied opportunities that others (like Kay) take for granted.

C. Irony Delivers Insight

a) Kay wants the world to see the talent in Emoke but in casting her in the play, the townspeople boycott the play. Insight: You can lead horses to water but you can’t make them drink.

b) Instead of a fun afternoon where Kay introduces her mom to Emoke, her mom has a heart attack. Insight: You can’t force people to have fun or to like someone.

c) In her apron, humming merry tunes, Sandra bakes pies to raise money for the drama club. Kay helps. But Sandra’s cheery good-neighbour attitude does not extend to including a so-called outsider into the club, and she threatens to destroy her apple pies if Kay insists on including Emoke in the play. Insight: a cheery attitude and an apple pie are just fake if that attitude is selective.

d) Kay goes to the bookstore to apologize to Emoke for breaking her window, expecting the usual adulation because she’s a TV star, but instead Emoke tells her off for being such a whiny drunk princess the night the window got smashed. Insight: Check your privilege.

e) Opening night is sold out; there are a few picketers, but mostly a feeling of celebration as audience arrives. Some Eunice supporters show up to heckle, but when an egg gets pitched at a cast member, it is Eunice herself (having gone through her own gradient steps) who stops the show to tell them to sit up and pay attention to the hardworking actors. Insight: Even the most strident of opposition can see the light.

9. What are the Most Profound Lines of the Movie?

a) I’d do anything for you.

b) If this is the squalor, where is the love?

c) And everything in between.

Pattern A: Height of the Emotion

a) Height: After hearing jeers and laughs from the other auditionees, Emoke is so crushed and overcome with fear that she can’t perform her monologue. Lines that deliver deeper meaning: Kay to Emoke: “Every time someone like you steps up to the plate, steps up on a stage or up to a podium, you bring so many others along with you.” “Sure, the loud and horrible come crawling out of the woodwork. But every time you step up, you create avenues for good folks and they are legion.”

b) Height: After walking out on the play and leaving town Kay returns and Emoke is overjoyed. Emoke tells Kay what life has been like before the play. Lines that deliver deeper meaning: Emoke: “I’ve dealt with a lot of haters. I always have and I guess I always will.” “This play…this is the love amidst the squalor.”

c) Height: Kay is terrified that her mother will die. Lines that deliver deeper meaning: Kay to Mom: “Nothing matters to me as much as you do.” “I’d do anything for you.” “Without you I am nothing.” “I owe you everything.”

d) Height: Kay is enraged that her mom may have faked her attack, opening her eyes to the fact that her mom is one of the shallow townspeople, so Kay packs and leaves. Lines that deliver deeper meaning: “I simply don’t care anymore. I can only wonder how you can stand to stay in this horrible little town, with everyone bowing and kowtowing to that vicious woman.”

e) Height: In the midst of an LA party Kay realizes she has grown to love the people in the play, especially Emoke. Lines that deliver deeper meaning: “That’s the love amidst the squalor.”

Pattern B: Build Meaning Over Multiple Scenes

a) Line: “I’d do anything for you.” Arc: Being made under duress, to qualifying the comment, to really meaning it. Different Meaning in each scene it appeared:

Sc.1: Kay feels like an emotional toady to her mom. Sc 2: Kay is taking a stand against the power her mom holds over her. Sc 3 Kay has uncovered her true love and respect for her mom.

b) Line: “If this is the squalor, where is the love?” Arc: The squalor is more predominate than the love but by the end it’s been flipped – love overtakes. Different Meaning in each scene it appeared: Sc.1: Squalor (representing negativity and haters is predominate, the love is hard to see. Sc 2: Love is overtaking squalor in Kay’s world Sc 3: Squalor takes a backseat in the larger world of the town, and love reins.

c) Line: “And everything in between.” Arc: From rejection of anything other than the binary to acceptance of “everything in between.” Different Meaning in each scene it appeared: Sc.1: The tagline for the bookstore: it’s meaning here is mostly hidden and has to be explained. Sc 2: Nasty sarcasm. Sc 3: These “others” that make up the colourful “in between” are accepted and celebrated.

10. How Do You Leave Us With A Profound Ending?

Profound Truth:

It’s not enough to say you care or give lip service to a cause, you must act.

Changes in Transformable Character and Change Agent:

Kay has seen her entitlement and moved to change it with support of others who do not share her privileges. Emoke sees that others who say they care will go out of their way to support her. Eunice is letting go old beliefs but has yet to embrace new.

Setup/Payoffs:

The set up has been the difficulty mounting a play in a small town that is set in its traditional ways; the pay off is that they succeed in putting the play on in a new way and that it is accepted by a huge portion of the town. And that accomplishment reps a new way of thinking, a more inclusive bunch of people, putting care of neighbours above nice decor, putting action where there was just lip service

Inevitable Ending with Surprise:

I’m designing it to show the resilience of the people who are trying to break new ground with the Christmas play. They come up against formidable opposition but we see them spring back each time, such that it will seem inevitable that the play will not only open but be a success. Surprising? Hecklers show up with tomatoes and eggs to throw at the performers on stage. Others in attendance, fans of Eunice, are there to see the play fail or see various actors humiliated. The big surprise will be that Eunice will be the one to step up and tell the hecklers to stop it, while handing her handkerchief to Emoke to wipe egg off her dress. The play continues and the last big reveal is MJ Rodriguez playing the part of the angel.

Parting Image/Line:

Image: Kay and MJ come out for curtain call – they part a path for Emoke who gets a standing O. The joyous look on her face casts us back through the journey to the guarded Emoke we first saw.

Line: So far, I have Eunice tell one of her posse just outside the theatre, as she takes the protest sign out of her hand and throws it down: “Go home and hug your grandchildren.” I can do better.

[William Peed]

My Profound Map Version 1

Title: The Escape of the Ingenious Hidalgo Miguel Cervantes of Madrid

By: Me

1. What is your profound truth

– True love means caring for others more than yourself.

– True love will set you free

2. What is the Transformational Journey?

Old Ways: Selfish, scheming, willing to sacrifice anyone for his freedom.

Journey: Miguel is a prisoner in Algiers who will do anything to escape., until he falls in love with Daniella, the Pasha’s favorite concubine.

New Ways: Caring, planning, gives up his own freedom so Daniella can escape.

Transformational logline: A Spanish war hero plotting his escape from Ottoman captivity must choose between his freedom and the love of his life.

3. Who Are Your Lead Characters?

Change Agent: Daniella, Hamad

Transformable Character: Miguel

Betraying Character: El Lobo

Oppression: Hassan Pasha. Slavery.

4. How Do You Connect With Your Audience at the Beginning of the Movie?

a. Relatability – Values his freedom. Wants to be the master of his own destiny.

b. Intrigue – Why is Miguel in this situation? Why is he in love with the Pasha’s favorite concubine? Will he survive it?

c. Empathy: He is a slave. His life is at the whim of others.

d. Likability: He tries to take responsibility for the escape.

5. What is the Gradient of the Change?

Emotional Gradient: Forced Change. Miguel has to go from being willing to sacrifice anyone for his freedom to being willing to sacrifice his freedom for the woman he loves.

We watch him go through these stages:

Denial: Tells Daniella he won’t sacrifice anyone for his freedom, even though he would.

Anger: Rodrigo get’s ransomed. Hassan chooses de Garza’s play so he can go home.

Bargaining: Tries to convince Hamad and Daniella to help him plan an escape.

Depression: Daniella chooses to accept Hassan’s proposal and stay in Algiers instead of trying to escape with Miguel.

Acceptance: Miguel accepts that Daniella is strong enough to do what’s best for herself. Says so in his improvisation of de Garza’s play.

ACTION GRADIENT:

Setup:

– Miguel is being held hostage in Algiers by the Pasha. He is constantly scheming to find a way to escape.

– He has fallen in love with Daniella, the Paha’s favorite concubine. The Pasha confides to Miguel that he is planning on marrying Daniella. Miguel convinces him to wait.

– When his friend Sosa is sentenced to death, Miguel has to plan another escape.

Journey:

– Miguel tries to use Hamad’s interest in the concubine Zoraida to convince him to help him escape.

_ Miguel tries to use Daniella’s feelings for Zoraida to convince her to help him escape.

– They agree, but they have their conditions.

– One of which is that Miguel suck up his pride and act in de Garza’s play. As a woman.

– Daniella tells Miguel that she can’t try to escape with him. Hassan Pasha has asked her to marry him. “I’m not some character in one of your dramas.”

Payoff:

– Miguel, Hamad, Zoraida and Sosa are using the play to cover their escape. Daniella arrives with Hassan Pasha.

– Miguel improvises. Plays the character having learned what Daniella wanted him to learn. She realizes that his love is real.

– Daniella joins them in their escape.

– They are caught by Hassan’s men. Miguel gives himself up so that the others can get away.

Challenge/Weakness Gradient:

Challenge: Miguel loves Daniella. He can’t love without her, but he doesn’t want to risk her life by bringing her along. But he knows he can’t succeed without her.

Weakness: Selfishness.

Challenge: He doesn’t want Hassan to have her.

Weakness: Puts his own happiness over hers.

Challenge: To take advantage of Hamad and get him to help him escape

Weakness: WIll risk anyone’s life to help him escape.

Challenge: Can’t Live without Daniella.

Weakness: Would rather live in captivity than live without her.

Challenge: Let’s her go

Weakness: He’s giving up the love of his life

6. What is the Transformational Structure of your movie?

Mini Movie #1: Status Quo and Call to Adventure

We Open in 16th century Algiers, a city made rich by war and piracy. A Prisoner, Miguel Cervantes, a wounded hero of the Ottoman Wars, is dragged through the streets in chains.

In the Pasha’s harem, Miguel’s younger brother entertains the concubine’s, including the Pasha’s favorite, Daniella, with his tales of bravery. They are interrupted by the news that Miguel has been recaptured. And that Hassan has returned from a raid.

At a feast to celebrate Hassan’s return, Miguel and his fellow escapees are sentenced for their escape attempt. Miguel accepts responsibility. His guard is executed for helping them escape.

Hassan visits Miguel in the dungeon where he is heavily chained. The Trinitarians are trying to ransom him. Hassan is going to ask Daniella to marry him. El Lobo as chosen de Garza’s play for the Easter Pageant.

Mini Movie #2: Locked into conflict

Miguel and his new guard Hamad. Miguel ditches him.

Miguel and Daniella at the harem. They have an ongoing relationship which, while platonic, could get them both killed, should Hassan find out. She’s angry because he left without her. He tells her he came back for her. She believes him.

Sosa is captured for touching a Koran.

Mini Movie #3: Hero Tries to Solve the Problem, but Fails

Miguel meets with the Trinitarian Friars who have been sent to negotiate his release. They are frugal. There’s so many Christians to be ransomed, and only so much money. And that damn letter from Don Juan!

Miguel tries to talk Hassan into letting Sosa go. Hassan tells him the Friars have finally agreed to pay his ransom. But since Hassan lost money on O’Driscoll and the Guard, Hassan can’t let Miguel go.

Mini Movie #4: Hero Forms A New Plan

Miguel has convinced Hassan to let Rodrigo go instead. “I insisted”. We don’t know it yet, but we’ll find out later, that he is already planning his next escape with Rodrigo’s help.

Miguel uses Hamad’s interest in Zoraida to convince him to help him escape.

Mini Movie #5: Hero Retreats and Antagonism Prevails

Miguel and Daniella fight. She is falling for Hassan. Not romantically. Practically.

Hamad talks Miguel into sneaking into the harem so he can see Zoraida.

While there, Hassan’s guards come in. Miguel and Hamad escape dressed as women.

They bond.

Mini Movie #6: Hero’s Bigger, Better Plan

Miguel tries to convince Daniella to help them escape. She’s not interested. Until he uses Zoraida. She agrees if he lets her plan it. “I’ve planned three escapes” “And you’ve been caught three times.”

Daniella goes to de Garza, convinces him to let Miguel be in the play. On one condition.

Miguel in rehearsal for the play. He’s playing a female character.

They plan their escape for the night of the play.

Mini Movie #7: Crisis and Climax

The night before the escape, Daniella tells Miguel she’s not going. Hassan has proposed. Miguel lets it slip that he knew already. “You knew? And were going to take me away without telling me?” “It didn’t matter. I was going to rescue you.” “Who asked you to rescue me?”

Miguel pumps Hassan for information on his marriage. He’s already growing bored.

Miguel tells Daniella is going to kill her. She thinks he’s just jealous.

The night of the play, Miguel improvisses. Plays the character as Daniella. She realizes that he really loves her.

Miguel switches with Sancho. Daniella goes with Miguel.

In the desert, they hook up with a guy Miguel had met on his last escape attempt. He really did come back for Daniella. He was trying to set up an escape attempt. But he promised the guy a concubine from the harem. Zoraida! When the guy tries to collect his payment, Miguel has to fight him off.

Hassan’s men catch up with sight of a boat, brought by Rodrigo. But they’ll never make it. Unless…

Miguel fights them off, giving himself up so they can escape.

Miguel back in Algiers. Hassan has been recalled by the Sultan. He’s taking a broken Miguel with him. Until…

The Trinitarians show up at the last minute with his ransom.

7. How are the Old Ways Challenged?

A. Challenge through questioning

You don’t care who dies so long as you get your precious freedom.

B. Challenge by Counter Example

Hamad choosing Zoraida over his sense of Duty.

Daniella’s caring for Zoraida.

C. Challenge by Should Work But Doesn’t

Tries to accept responsibility for the escape. O’Driscoll loses his head.

Tries to talk Hamad into helping him escape. He won’t.

Tries to talk Daniella into escaping with him. She won’t.

Tries to talk his Collaborator into letting Zoraida go. This speech should mirror his speech when he tries to accept responsibility for the first escape.

D. Challenge Through Living Metaphor

Miguel loves his freedom more than anything. So did O’Driscoll. O’ Driscoll lost his head.

de Garza’s play. The Main Character is based on Miguel. Miguel plays his love interest.

Hamad chooses his love for Zoraida over his sense of duty.

8, How are you presenting insights through profound moments?

A. Action Delivers Insight

Action: Miguel gives himself up in order to allow Daniella and his friends to escape. (Also, Hamad and Zoraida have gone from being people he uses to actual friends.)

Insight: The lives of others are more important than our own personal freedoms

Action: Hamad turns his back on his service to the Pasha to help Zoraida escape.

Insight: True love is more important than duty

Action: Daniella agrees to marry Hassan. She doesn’t love him, but marrying him will allow her to help the other concubines in the harem.

Insight: Putting others ahead of yourself

Action: After Miguel gives himself up so that the others can go free, he is ransomed.

Insight: True love will set you free

B. Conflict Delivers Insight

Conflict: Daniella chooses staying with Hassan over escaping with Miguel.

Insight: She finds Hassan more reliable than Miguel.

Conflict:

C. Irony Delivers Insight

Irony: Miguel learns about Daniella by playing her in the play.

9. What are the Most Profound Lines of the Movie

1.) Everyone who tries to escape with you ends up dead You don’t care who dies so long as you get your freedom You’ll sacrifice anyone to get what you want.

2.) You knew? And didn’t say anything?

It didn’t matter. I’m going to rescue you.

Who said I needed you to rescue me?

3.) He’s going to kill you

He would never kill me. He asked me to marry him.

He’s killed everyone before you

This is different. He loves me.

I love you.

That’s what you say.

10.) How Do You Leave Us With A Profound Ending?

A. Express the Profound Truth: Miguel gives himself up to allow Daniella to escape.

B. The Change: Miguel has fallen in love with Daniella. And he’s realized that he will give up anything for her.

C. Payoffs: Miguel’s speech when he tries to save Zoraida mirrors his speech when he tries to save the other prisoners. Rodrigo comes back to save them. When the Escapees meet Miguel’s guy in the desert, we realize Miguel did come back for Daniella.

D. Surprising: Daniella chooses to go with Miguel. Miguel had offered Zoraida for their escape.

E. Parting Image/Line: Hassan leaving the port, Miguel being rescued at the last minute.

• This reply was modified 3 years, 6 months ago by  William Peed.
• This reply was modified 3 years, 6 months ago by  William Peed.

[Kathleen Gamble]

Kathleen’s profound map

What I learned from this assignment how to incorporate everything from the previous assignments to make my screenplay more profound.

What is the profound truth – Where you were born doesn’t define your destiny

What is the transformational journey?

Old Ways: Cassie is an insecure, recent valedictorian of her college. She has acute business savvy that is unsurpassed, but her social skills are lacking because of her appearance (thin, almost “Twiggy” like); therefore, she struggles with public speaking and selling herself to be successful.

New Ways: Though still a bit nervous, she presses forward and becomes the dynamic force in the business world that, at one time, was only a dream.

logline: The insecure daughter of a mistress, upon her father’s death, is bequeathed partnership in the family business if she joins forces with her unscrupulous siblings to save the company.

Change Agent: Mia Stone, best friend.

Transformational Character: Cassie Jenkins

Betraying Character: Rhonda West

Oppression: The timeline.

How do you connect with your audience in the beginning of the movie?

Relatability: Most can relate to stage fright.

Intrigue: Who is the man whose should we are looking over?

Empathy: We empathize with Cassie who has low self-esteem and don’t

Likeability: Cassie is a good person with flaws. People can identify with her.

Gradient of the Change:

Forced: Denial – That she could be a part of the Company

Anger – She was angry at the fact her sister didn’t want her there.

Bargaining – Asking her sister what can she do for them to work together

Depression – Nothing was working.

Acceptance – She knew she was on her own.

Desired: Excited to work at her father’s company

Doubt: Doubt that she would fit in.

Hope: that somehow they could work together

Discouragement: Because of the sabotage of her sister.

Courage: To stand up and win over the office.

Triumph!

[William Peed]

If anyone is interested in a critique of their map, let me know!