Day 2 Assignment

Andrea Higgins

Member

November 18, 2021 at 3:57 pm

Andrea — Putting Essence to Work

What I learned is…look at the scenes in isolation in order to see them clearly.

Script I choose: Andrea’s untitled screenplay

Scene 1 Location: Professor on the Quad – Act 1
Logline: The bad guy from last night turns out to be a respected member of the community.
Essence I’ve discovered: His anger is a result of a blow to his pride: a professional humiliation.
New Logline: A scientist thinks he’s made his greatest discovery, yet the people who pull the strings think he’s nuts.

Scene 2 Location: Middle Act 1
Logline: A professor meets extremists interested in his research.
Essence I’ve discovered: The extremists play into his insecurities and needs.
New Logline: A scientist on the fringe connects with people who want to keep him there.

Scene 3 Location: Act 2 early
Logline: The scientist needs someone on the inside.
Essence I’ve discovered: He is known in the community—he needs a foil that won’t be connected to him.
New Logline: The bad guy’s got a plan but he can’t set it into motion without risking discovery and ruin, so he sends in a foil.

Scene 4 Location: Act 2 midway
Logline: The bad guy wants a new test subject, and selects an unsuspecting member of his crew.
Essence I’ve discovered: The bad guy has suspicions about the crew member.

New Logline: The bad guy has suspicions about the crew member and takes steps to ensure his loyalty.

Scene 5 Location: Act 3 beginning
Logline: The bad guy has taken hostages in an effort to get his hands on what he wants.
Essence I’ve discovered: His hostage is a colleague who has questioned his research.
New Logline: A scientist think he’s about to prove to the world the value of his discoveries, but a colleague thinks he’s nuts.

Connie Barr

Member

November 27, 2021 at 9:47 pm

Creative
Mastery Lesson 2 assignment

Constance
Barr Puts Essence to Work

What
I learned is that this is a powerful skill to add to my writer’s tool
box. I love the idea of being clear about the essence as I am writing
rather than going back after to make certain I have captured the
essence and expressed it well.

Script
I choose: Love Dance

Scene
1 Location: A park bench outside the library where she
works.
Logline:In the opening scene we meet Daisy Duncan as
she eats her lunch while reading a book, the title of which tells us
a lot about her. A homeless guy runs off with her lunch and she gives
chase yelling at him.
Essence I’ve discovered:This
introduction shows her feisty nature but does not show how obsessed
with dance Daisy is.
New Logline: In Daisy’s immaculate
home living room, she reads a book, the title of which tells us she
desires love despite being in her 50’s, as old time rock and roll
music plays. When a super upbeat number comes on, she grabs her
dog, Elvis into her arms and expertly dances with him.

Scene
2 Location: Murphy’s Chinese restaurant
Logline: Having
escaped yet another crappy blind date, Daisy commiserates on her cell
with her sister, PT.
Essence I’ve discovered:This scene’s
function is to show how discouraged Daisy is about her search for
true love.
New Logline: Daisy speaks to her BFF, thanking
her for calling to rescue her from yet another crappy blind date and
sharing her frustration with the impossible task of finding her
soulmate. Her pal urges her to not give up on her quest.

Scene
3 Location: Buck’s back yard
Logline: Daisy’s ultimate
love interest, Buck prunes a tree when he spots a painted rock in his
yard which brings back memories of his dead wife
Essence I’ve
discovered: This scene is intended to show Buck is still deeply
wounded by the loss of his wife several months or years later.
New
Logline: Buck digs around a dying tree, unearthing a painted rock
which his wife placed by the seedling before her passing. This brings
up painful memories for Buck as he slides to the ground overcome by a
happy flashback of his wife. He laughs through his tears.

Scene
4 Location: Split screen/PT-
Collage/ Daisy – Library
Logline: PT
encourages her sister after the death of a former colleague pulls her
into a depressed funk about her own future.
Essence I’ve
discovered: This scene would be
stronger between Daisy and her BFF and in a different location rather
than a split screen view. PT is not the most positive character and
she would not be the one to help Daisy out of her depression.
New
Logline: While in the gym
locker room before yoga class, Daisy and her pal discuss Daisy’s
situation and crushed dream of finding love before her life is over.

Scene
5 Location: Downtown Portland
Farmer’s Market
Logline:
Buck and his best bud, Ernie
park their motorcycles and converse about Buck’s reluctance to try
dating but Ernie encourages him as they head to the Farmers Market.

Essence I’ve discovered: This
scene shows again that Buck is too wounded to seek love again. I see
that it might be over egging the pudding so to speak and could be a
great opportunity for Buck and Daisy to pass one another and
experience some electricity of attraction.
New Logline:
As Buck and his best bud,
Ernie park their motorcycles
and head to the Farmers Market, they pass by Daisy and PT. The
electricity between Buck and Daisy is palpable. She drops her produce
purchase and he picks it up for her.

Ruthie Harris

Member

January 12, 2022 at 10:29 pm

Ruthie Puts Essence to Work

What I learned is… I learned to look at my previous scene to see if there was a stronger transition into the next scene. I also applied the four questions to each scene I wanted to elevate.

Script I chose: Action

Scene 1 Location: INT. BIANCA’S APARTMENT – DAY
Logline: Bianca is talking to her Handler about her previous hit and her next tricky assignment.
Essence I’ve discovered: The obliviousness of my protagonist that she’s being deceived.
New Logline: Bianca is talking via tablet with her female Handler, unaware it’s really a man – who’s deceiving her.

Scene 2 Location: INT. SUBURBAN HOUSE – DAY
Logline: Bianca arrives to routinely kill her next target.
Essence I’ve discovered: That Bianca’s target knows more than normal.
New Logline: A fierce fight eventually sees Bianca overpower her target but not before realizing the woman she killed was expecting her.

Scene 3 Location: INT. KITCHEN – NIGHT
Logline: Adrien morphs into a woman looking to avenge her sister’s killing by Bianca.
Essence I’ve discovered: Bianca can’t trust anyone – only herself.
New Logline: Everyone is out to kill Bianca.

Scene 4 Location: INT. HOUSE – NIGHT
Logline: The Handler’s goons are coming for Bianca and Adrienne and an almighty fight ensues.
Essence I’ve discovered: This is a set-piece action scene and Act Two turning point of no going back.
New Logline: A kick-ass fight scene ensues – it’s life, death, and total carnage. There is no turning back.

Scene 5 Location: INT. HANDLERS’ HQ – DAY
Logline: Bianca’s final showdown with her arch nemesis.
Essence I’ve discovered: Bianca must save herself and not be saved.
New Logline: Using every last shred of strength, Bianca finally overpowers and kills her arch nemesis herself.

Kimbal Thompson

Member

May 7, 2025 at 11:18 pm

CREATIVE MASTERY Assignment 1: 05.06.2025
Kimbal Thompson Finds the Essence
What I learned is that there is more depth to great writing and it all starts with getting to the essence of what you want to write.
Script I: “REVENGE”
Scene 1 Location: EXT. ATLANTIC OCEAN Logline: Emily and Daniel are apart walking the beach. Essence: They should be together
Scene 2 Location: INT. GRAYSON MANOR – NIGHT
Logline: A major party is happening at the Mansion Essence: The party is to congratulate Daniel and Emily
Scene 3 Location: INT. GRAYSON MANOR – NIGHT
Logline: two party goers decide instead to go skinny-dipping in the ocean Essence: To put them away from the party and where something else is about to occur
Scene 4 Location: INT. GRAYSON MANOR – HOME OFFICE – NIGHT Logline: Trouble is brewing beyond the Manor home office Essence: An investigation is underway involving the owners of the Manor.
Scene 5 Location: EXT. BEACH – NIGHT Logline: Ben drags a body from the surf as his cell rings. Essence: The body, person dragging body and others in the above scenes set the intrigue.
My selection for most profound essence: (Post scene here without worrying about formatting and then also post the essence and why you believe that is the essence).
INT. GRAYSON MANOR – HOME OFFICE – NIGHT 3
CONRAD GRAYSON, 50s, a virile alpha fox in his prime, barking
into the phone in his bedroom-adjacent office. He’s wearing a
slick white tuxedo, shirt open, black bow tie undone.
CONRAD GRAYSON:
Screw the subpoena. Get your ass
down there and do what you have to
do to protect me–
He slams the phone down. After a beat, WE HEAR a KNOCK–
WOMAN’S VOICE (O.S.)
Conrad, what’s keeping you?
THE OFFICE DOORS leading to the bedroom open and in steps VICTORIA
GRAYSON, a spectacular woman in her mid 40s, dressed in a
sophisticated scarlet gown. She quickly assesses her husband.
VICTORIA
People are beginning to ask
questions I don’t have answers for.
CONRAD
Do they work for Homeland Security?
(off her)
Federal authorities just confiscated
my Madison Avenue archives.
VICTORIA
(beat, then, unrattled)
Looking for what?
CONRAD
What do you think?
VICTORIA
Did you call Judge Barnes?
CONRAD
He’s not answering.
VICTORIA
What can I do?
CONRAD
You’ve done enough. I need to think.
Victoria turns, cool as they come, exits by way of the
terrace, shuts the glass doors behind her. Conrad SHOVES his
computer and files OFF his desk. They SLAM into the wall
beside him. Victoria doesn’t turn back.
Essence: Conrad and Victoria are involved in a cover-up; somethings bad between them

Kimbal Thompson

Member

May 12, 2025 at 2:15 am

Creative Mastery Lesson 2: Discovering the Essence
Kimbal Thompson puts Essence to work
What I’ve learned is cutting to the essence.
Script I choose: “INDIA SLATE”
Scene 1 Location: EXT. COUNTRY ROAD IN INDIA – DUSK
Logline: In a tiny black Fiat, all asleep except the driver, they suddenly awoke, feeling the car swaying to honking horns.
KAI
(eyes widening)
Holy shit!
Immediately ahead a small one-lane bridge led into a little town. Equidistant from and heading into the other side of the old steel-trussed bridge, horn honking, is a small faded old school bus, parcels tied on top.
Bicyclers on each end of the bridge fall sideways away from the road as suddenly, fronting the car, a cow appeared slowly climbing onto the road from below followed by, actually being pushed by a bull, mounting her from behind.
Essence I’ve discovered: All brace for impending disaster
New Logline: A sacred cow steps onto the roadway
Scene 2 Location: Opening Scene
Logline: Several older men in suits are talking as a younger man, Kai, dressed in an Aloha Shirt and Khakis enters.
KAI
Aloha gents, you're all duded up. Having a good morning?
OLDER MEN
(in unison, grumpily)
Good morning.
KAI
(sarcastically)
Well, at least you all know your competition.

The Board Room door opens.
ROBERT
Good morning, Kai, please come in.
KAI
(looking at the other men)
Well, good luck. Enjoy your wait.

The door to the Board Room closes.

Essence I’ve discovered: Kai’s not sure what’s happening but is taking advantage of it.
New Logline: With a positive attitude, Kai is undeterred.
Scene 3
Location: EXT. STREET IN UPSCALE RURAL NEIGHBORHOOD – EVENING
Logline: As Kai approached his new home in the well-established rural neighborhood, he notices a bandana head-banded jogger, SLATE JOHNSON, mid-forties DEA Agent, nearing his driveway. He engages his turn signal as he slows his late-model BMW.
SLATE JOHNSON (JOGGER)
(turning toward Kai's car)
Hello?
KAI
(concerned, lowering his window)
Aloha, can I help you?
SLATE
(taking in Kai's car)
Nice car.
KAI
(carefully)
Thanks, I like it.
SLATE
(eyeing Kai)
This your house?
KAI
(thinking what's it to you?)
Yes, it is.
SLATE
Pretty nice car and house for a young guy, may I ask what you do?
KAI
(taken aback)
Yes, I'm an architect and have an architectural firm.
SLATE
(as he turns away, whispering)
Oh. or a drug dealer!)

Essence I’ve discovered: Kai is naively self- confident
New Logline: Kai arrives home unaware the jogger is a wounded DEA agent.

Scene 4 Location: INT. DRUG ENFORCEMENT AGENCY (DEA) OFFICE – MORNING
Logline: The next morning, following the local DEA office morning briefing. Slate
approaches his superior.
SLATE
(nervously)
Sir, can we meet in your office?
CLIFF (STATE DEA CHIEF)
Sure Slate, what's on your mind this morning?
SLATE
Last night, I came upon a young man driving a new BMW who lives
in what appears to be an expensive new house. I suspect he's a
dealer.
CLIFF
(cautiously)
Why is that Slate, you've had some wild goose chases before.
SLATE
Just a feeling, guy says he's an architect, young, and they don't
make that much.
CLIFF
(curtly)
Until you have some better reason, leave that poor feller alone.
SLATE
(disappointed)
But I know I'm onto something.
CLIFF
(bluntly)
If you really have something, let me know.
Essence I’ve discovered: NO way Kai could know Slate was also a flake.
New Logline: Slate does not have the best history as a DEA agent.
Scene 5 Location: INT. HONOLULU DEA SUPERVISOR'S OFFICE – NIGHT
Logline: The DEA local office is confidentially contacted by the DEA Administrator , Washington DC to assist with a secret arms deal.
C LIFF
(alone on phone)
Yes sir, it's a secure line.
DEA ADMINISTRATOR
(calling here from SCIF)
Sorry to call you in at night, Cliff. We've been enlisted in
something above Q.

CLIFF
(agitated)
Why us?
DEA ADMINISTRATOR
(confidentially)
Geographic, I suppose. The less we know, the better.
CLIFF
(inquisitively)
Go ahead.
DEA ADMINISTRATOR
Have you anything on-going anywhere in Asia that can be a
cover for another operation?
CLIFF
Not really, but how soon?
DEA ADMINISTRATOR
Apparently, someone's needed in the next few weeks.
CLIFF
(thinking)
Someone also knowledgeable of their undercover role?
DEA ADMINISTRATOR
Negative, someone best to not even have any clue.
CLIFF
(smiling)
Actually, we may be able to assist, I'll get back with you.

Essence I’ve discovered: Cliff may have a solution.
New Logline: Slate is about to receive a new assignment.

This reply was modified 15 hours, 49 minutes ago by Kimbal Thompson.

Andrea Higgins

Connie Barr

Ruthie Harris

Kimbal Thompson

Kimbal Thompson

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