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Lesson 10
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I’m writing a TV Series that is [Format/Genre] about [Concept] with [Lead Characters]. Can you generate [Plot Layers] and [Character Layers] that could play beneath the surface and be revealed in Turning Points or Cliffhangers. Definition of Layer = A new level of meaning beneath the surface that changes things. It makes us rethink what has happened up to that point and/or causes us to anticipate a new future. You start with a Surface Layer. Then a new layer is revealed. That new layer becomes the new surface. It is what we know as the “reality.” When the next layer is revealed, it surprises us, but soon becomes the next new surface. PLOT LAYERS = Story beneath the story. – Major scheme revealed – Mystery revealed – Thought the story was one thing, but it is another – Major shift in Meaning – Hidden history – Hidden plan CHARACTER LAYERS = identity beneath the identity. – Secret identity – Intrigue layers – Hidden relationships and conspiracies – Hidden Character history – Hidden Agenda – Wound Format/Genre =Biopic historical thriller Concept = “Fortune’s Fugitives”: Dona Gracia wages a perilous war against the Inquisition, orchestrating a human smuggling network while fending off her sister’s vendetta in this riveting renaissance historical thriller. Conflict =Between Dona Gracia and her sister who wants her part of her inheritance. Between Dona Gracia and Emperor Charles V who accuses her to be a false convert to confiscate her inheritance. Between Emperor Charles V and Sultan Su;eiman the Magnificient for the control of the mediterranean. Lead Characters = Dona Gracia who wants to smuggle the crypto Jews to Safety in the Ottoman empire. Brianda who wants to force her sister Dona Gracia to give her part of her inheritance. Charles V Holy Roman Emperor who wants to confiscate the fortune of Dona Gracia by accusing her to be a crypto-jew. Queen Mary of Austria tries to convince Dona Gracia to marry her daughter to a Spanish nobleman to help her brother Charles V put his hands on Dona Gracia’s fortune. Sultan Suleiman the Magnificent provides refuge to Crypto-Jews and help Dona Gracia fight the Inquisition and Weaken Charles V and the European powers and reduce their influence on the Mediterranean Sea
PLOT LAYERS:
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Major Scheme Revealed: Dona Gracia discovers that the Inquisition’s reach extends further than she anticipated, with spies infiltrating her network of human smuggling. The Inquisition aims not only to stop her operations but to capture her alive, unveiling a larger conspiracy to undermine her efforts.
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Mystery Revealed: Brianda, Dona Gracia’s sister, harbors a secret alliance with a powerful cardinal within the Vatican. This cardinal seeks to discredit Dona Gracia and seize her fortune under the guise of religious righteousness, adding a layer of betrayal and familial intrigue to the conflict.
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Thought the Story Was One Thing, but It Is Another: Initially, Dona Gracia believes her struggle is solely against the Inquisition and Emperor Charles V’s greed. However, she uncovers evidence of a clandestine pact between Charles V and Brianda, revealing that her sister’s vendetta is merely a pawn in a much larger political game for power and control.
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Major Shift in Meaning: Dona Gracia’s mission evolves from a personal crusade for survival to a symbol of resistance against religious persecution and political tyranny. Her efforts transcend her own safety, inspiring a movement among the oppressed to reclaim their identities and liberties.
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Hidden History: Dona Gracia learns of a hidden lineage tracing back to a legendary figure who resisted oppression centuries ago. This revelation not only strengthens her resolve but also unearths a legacy of defiance and resilience that empowers her in the face of seemingly insurmountable odds.
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Hidden Plan: Sultan Suleiman the Magnificent unveils a grand strategy to shift the balance of power in the Mediterranean, leveraging Dona Gracia’s network to weaken European dominance while fortifying Ottoman influence. His support for her cause is not merely altruistic but part of a calculated geopolitical maneuver to expand Ottoman sovereignty.
CHARACTER LAYERS:
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Secret Identity: Dona Gracia conceals her true motives behind a facade of wealth and privilege, presenting herself as a respectable widow navigating the treacherous waters of Renaissance Europe. However, beneath this guise lies a fiercely determined leader willing to risk everything for her people’s freedom.
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Intrigue Layers: Brianda’s seemingly altruistic intentions mask a web of deceit and ambition, as she maneuvers behind the scenes to undermine her sister’s authority and claim her rightful inheritance. Her outward facade of familial concern belies a ruthless thirst for power and recognition.
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Hidden Relationships and Conspiracies: Dona Gracia discovers unexpected alliances among unlikely allies, from disenchanted nobles sympathetic to her cause to covert sympathizers within the ranks of the clergy. These clandestine connections blur the lines between friend and foe, forcing her to navigate a complex web of loyalties and betrayals.
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Hidden Character History: Charles V’s relentless pursuit of Dona Gracia stems from a deep-seated fear of losing control over his empire’s wealth and influence. His tumultuous past, marked by betrayals and political intrigue, fuels his obsession with maintaining power at any cost, revealing a vulnerability beneath his regal facade.
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Hidden Agenda: Queen Mary of Austria’s seemingly diplomatic overtures mask a hidden agenda to exploit Dona Gracia’s fortune for her brother’s gain. Her proposals of marriage and alliance conceal a deeper scheme to consolidate power within the Habsburg dynasty, further complicating Dona Gracia’s precarious position.
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Wound: Dona Gracia carries the scars of persecution and loss from her past, fueling her unwavering determination to defy oppression and injustice. Her experiences shape her identity as a resilient survivor, but also leave her vulnerable to emotional turmoil and doubt amidst the turbulent landscape of Renaissance Europe.
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Dr. Robert Amador’s inciting incident (outline)
Lesson 10: What I learned in this assignment: the story was revealing me plot points and characters at the beginning, but in this lesson I started to lose focus. I was making it up as I went along. I also threw in a “flashback” in the “middle” section of an arc in scene. I’m not sure if that works or if that’s allowed. Hopefully, somebody can help me with that question. I’m happy that I’m getting better at outlining, and once I get to know my character’s motives better, I can improve the outline before going on to writing another draft.
ACT 1 BEAT SHEET
I/E – FRONT PORCH – NIGHT
Zoe sees her parents fighting. Robert storms out of the house. Zoe chases after her dad. She tells robert to go to upcoming astronomy conference. She’s smart like her dad. He says he’s not ready—that he’s happy the way he is and if she would understand that. Zoe refuses to accept that. She tells her dad he’s a winner and should present his paper at conference! Robert Agrees.
INT. NM STATE UNIV. OBSERVATORY – LATER
Robert rummages through old boxes, finds what he’s looking for in box. ON SCREEN : Location and time of conference. Night Shift Astronomer Tells him Peter Rosinski, his nemesis will be there. Robert insists he’s ready for him. He’s motivated.
INT. ASTRONOMY CONFERENCE – DAY
At conference, presents paper. Cheers at first then harsh criticism from Dr. Peter Rosinski.
INT. ASTRONOMY CONFERENCE STAGE – LATER
After conference, Robert stands at podium humiliated, Portman says not to lose faith and keep going. At first, Robert brushes him off, he’s humiliated in public and can’t face life. Portman convinces him to discuss things.
INT. PORTMAN’S HOUSE – NIGHT
Portman tells Robert secret project and convinces Robert to join team. Robert Agrees.
INT. SECRET GOVERNMENT FACILITY – DAY
At facility, PORTMAN introduces ROBERT to the very same Dr. ROSINSKI, his nemesis. At first Robert refuses to work with him. Portman convinces him to man up and take the challenge. Robert finally agrees.
…Becomes…
ACT ONE OUTLINE
I/E – FRONT PORCH – NIGHT
Beginning: ZOE chases after her dad, asks him to please stay. Robert agrees.
MIDDLE: She tells robert to go to upcoming astronomy conference. She’s smart like her dad. He says he’s not ready—that he’s happy the way he is and if she would understand him; he’s got to make money.
END: Zoe tells him she’s ok without a present. She tells her dad he’s a winner and should present his paper at conference! That would be her present. Robert Agrees.
INT. NM STATE UNIV. OBSERVATORY – LATER
Beginning: Robert rummages through boxes, he’s motivated, taking action.
MIDDLE: FLASHBACK to his childhood with his Grandfather in Mexico, Learns of MAYANS and their knowledge of the cosmos.
END: Co-Worker at the Observatory warns him that rival critic of his Paper will be there, that he should be ready for Dr. Rosinski’s pompous voice. Robert says he’s never been more ready.
INT. ASTRONOMY CONFERENCE – DAY
Beginning: Robert sees Colleagues from the past. Discussing latest research Topics. Robert corrects them on important overlooked detail. His Colleagues are impressed. Robert shines with confidence.
Middle: Robert gathers his notes. Appears organized, sharp. Makes his presentation. The whole room comes together mesmerized.
End: Dr. Peter Rosinski rises from front of Audience. Makes slow mocking CLAP. Peter humiliates Robert in public. Previous colleagues that were in awe of him now jeer at Robert. The whole conference hall of nerds bust out with laughter when Peter says funny remark about Robert’s presentation; Peter is a one man show full of quick witted comments; you’d better have your presentation tight in front of this asshole. Robert is palpably on verge of tears.
INT. ASTRONOMY CONFERENCE STAGE – LATER
BEGINNING: General Portman stays behind as lecture hall empties. He climbs onstage to console Robert.
MIDDLE: Portman tells Robert that he get’s it. That he’s on to something. Robert is annoyed why he didn’t speak up.
END: General Portman insists they speak privately at his home. Robert agrees, he’s got nothing to lose.
INT. PORTMAN’S HOUSE – NIGHT
BEGINNING: General Portman tells Robert of recent phenomena occurring in space, he tells Robert how long they have been sighting weird flashes of blue light.
MIDDLE: General Portman tells him to join team space research team as he would be a good asset. That it pays good money. But its top secret.
END: Robert Agrees.
INT. SECRET GOVERNMENT FACILITY – DAY
BEGINNING: Robert goes through “Top Secret” protocols. General Portman introduces him to Team Leader: it’s Peter Rosinski ! His Nemesis!
MIDDLE: Robert is livid. He refuses to work with him. The General and Peter said they had to shut him down. He had discovered something and put government “Alien” secret in danger of becoming public.
END: The General and Peter convince him he is the only man for the job! Robert finally gives in; He agrees to join the research team.
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SUBJECT: Mark Napier’s ACT 1 Inciting Incident and Protagonist Reacts Emotionally to the Inciting Incident
What did I learn? I think I just learned the basic steps to Outlining then laying out the Scene dialogue to capture flow, but to serve as a checks and balance that the story is flowing in the right direction and captures all aspects of characters, to scenes and emotions.
ACT 1:
OUTLINE:
INCITING INCIDENT:
BEGINNING: Mark and Station’s Chief of Security (Tom) arrive in Tikrit, Iraq to take Gary back for deportation from country. Gary pleads for Tom to read his supporting evidence, but is ignored.
MIDDLE: Mark takes custody of Gary at the flight line to ensure his departure. Mark notices the the flight line Security Chief’s facial reaction to Gary’s pleas for help.
END: Gary reveals the secret of what transpired between him and Joe and that child pornography was involved. He was merely admonishing Joe for his illegal activity and did not use a knife to attack Joe as he had claimed..
ACT 1:
INCITING INCIDENT:
SLUG: EXT–CIA Flight Line, Baghdad, Iraq–Night
DESCRIPTION: In the dark of night Mark and Tom are wearing helmets and gear as they sit strapped into their seats and deep into their own thoughts. Mark has known the Station Chief of Security from 12 years since when both were assigned to the Security Duty Office and Operations Center at the time of the 1993 CIA Headquarters shooting incident perpetrated by Mir Aimal Kansi.
SLUG: EXT–CIA Military Liaison Cell Flight Line, Tikrit, Iraq–Night
DESCRIPTION: Mark and Chief of Security disembark the helicopter that remains on standby and both walk to the building that houses Mark’s team. Mark enters the office and finds Gary with his duffle bag at his feet already prepared for their arrival as if he knew what was coming. Tom bravely takes a position behind Mark using him as a human shield, if something were to go wrong that Gary did not wish to be disarmed.
TE 5: Mark says with sympathy…”Hi Gary! You no doubt know why we are here. ” Gary nods his head yes.
Mark says:…“I am sorry, but I am going to have to ask you for your side arm. Gary says..”Yeah, no problem!” Gary hands over his Glock 9mm with magazines to Mark.
Tom comments sourly:…”And the knife too.” Gary complies and hands Mark the knife that has about a 6 inch bell shaped blade to it.
Mark says:…”OK…Well let’s go. We have a helicopter outside waiting.”
Gary says:.. “But wait!
DESCRIPTION: Gary extends a handful of documents out to the Chief of Security.
Gary says:…”Can’t you read this first?” Please???
DESCRIPTION: Tom nods his head to say no and makes no effort to take possession of the documents.
Chief of Security says:…”No. Let’s go!”
SLUG: EXT–CIA Flight Line Baghdad, Iraq–Night
DESCRIPTION: After a 45 minute flight, Mark disembarks the helicopter with Gary to ensure he is on the outbound flight for Washington, DC. Tom decides he will go back to Station. Mark and Gary stay on the flight line awaiting the CIA’s ‘J-Lo flight’ to arrive. Gary is starting to stress out and begins to feel ostracized for doing what he thought was right. The flight line Security Chief arrives soon after to meet them and knows only what the Station Chief of Security has told her.
DESCRIPTION: Sally (CIA flight line Security Chief): Struts up to Mark and Gary and introduces herself.
Sally: “Hi!…Early good morning to you both. Which one is Gary?” Gary raises his hand and moves closer to her.
Sally: “I have a container here so you can place your belongings in. Is there anything else I can help you with?”
Gary asks Sally and Mark: “I cannot believe what’s going on here. Why am I being treated this way? Why is Joe not being kicked out as well? I mean I did nothing wrong!”
DESCRIPTION: Sally who is standing closer to Gary winces in surprise when Gary leans forward to tell her something, but Mark cannot hear what was said as an aircraft was landing.
Sally: “Would you like me to arrange for you to speak with a psychiatrist in Jordan during your layover? I can tell you are visibly stressed about the ordeal.”
Gary: “Yes…..Yes I think I need to.” Sally then wishes Mark goodbye and for Gary to have a safe trip and departs.
Gary then addresses Mark: “Look can you do me a big favor and read this material I tried to give to the Station Chief of Security? ….Please?
DESCRIPTION: Gary extends about 20 pages of handwritten notes to Mark who accepts it and briefly scans through it. At this point, the aircraft that landed as Gary was speaking to Sally happened to be the CIA’s J-Lo flight and being refueled.
Gary: “Please call OMA in Washington. “They will tell you what is going on.?”
TE 6: Gary: “This incident is about Joe downloading child pornography onto two CIA Top Secret computers… Mark winces in surprise.
Gary: “ Joe’s wife is from Thailand and you know what it’s like with those folks. They could be 18 years old but look like a 8 year old. I am a grandfather and when I saw that shit I was so pissed I chewed his ass. I told him I was going to kick his ass.”
Gary: “Then Joe said…’You got a knife!’…so I pulled the knife from my pocket and tossed it on the couch and told him I am ready to kick his fat ass! That is when the fat bastard ran to the phone to call Banks.”
Mark: “You never laid a hand on him or threw the knife at him?”
Gary: “Hell no!”
OUTLINE:
PROTAGONIST REACTS EMOTIONALLY TO INCITING INCIDENT:
BEGINNING: After Gary reveals his secret, Mark contacts CIA Headquarters’ home office who confirms that child pornography was downloaded onto two Agency Top Secret computers.
MIDDLE: HQs asks Mark to stop the expulsion, but its too late as Gary has just minutes to go.
END: As a gesture of good will and faith in restoring some dignity to Gary that lost over the ordeal, Mark hands back Gary’s knife demonstrating trust and belief in him. However, two days later Mark notices, in sharp contrast, how Joe is permitted to leave country with dignity.
ACT 1:
PROTAGONIST REACTS EMOTIONALLY TO THE INCITING INCIDENT:
SLUG: INT–CIA Flight Line (Security Office), Baghdad, Iraq–Night
DESCRIPTION: Mark and Gary quickly step over to the security office and make a secure line call back to our home office. Our Branch Chief Doug answers the phone.
Doug: “Office of Military Affairs Exercise and Contingency Office. How may I help you?”
Mark: “Doug this is Mark. I am standing on the flight line here in Baghdad just minutes away from tossing Gary out of country.”
Doug: “Mark, do you know what this is about?”
Mark: “Evidently not, since Station and I have been kept completely out of the loop on this.”
Doug: “This is about Joe downloading child pornography onto two of our Top Secret computers. You got to stop Gary from being expelled!”
Mark: “Look Doug. I am just now learning the truth of what’s going on and Gary is a minute from getting on that aircraft homeward bound. I have no means of communication with Station as Banks is not in his office and it’s like 5 am here.
Mark: “Gary will have to leave as ordered. I am sorry, but you guys just ambushed me on this.”
DESCRIPTION: Mark concludes the call with Doug. Nods his head as if agreeing with Gary and at this point Gary asks for his knife back.
Gary: “Can I have my knife back, please?”
DESCRIPTION: Mark realizes that protocol would say “Oh Hell Naw!,” but Mark felt an injustice was being committed against Gary. So as a gesture of good will and to demonstrate faith in Gary, Mark pulls the knife from his cargo pocket and hands it back to Gary. Gary was visibly pleased and nods his head as a gesture of thanks, turns and walks briskly to the mobile stair to board the aircraft.
DESCRIPTION: Mark would be forced to stay at the flight line for another 2 days before travel back to Station could be arranged. Upon his return by helicopter he notices Joe is onboard. In sharp contrast, however, Joe is allowed the dignity of departing country with grace and has his sidearm with him.
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ASSIGNMENT 10: ACT 1 INCITING INCIDENT
What I learned doing this assignment is to just write it. Don’t overthink it. Things will need punching up in later drafts but it feels good to get words on the page and let the characters take me for a ride.
1. Outline Key Scenes 2 & 3 for Act 1.
2. Write your Inciting Incident scene.
INT. CARLA’S BEDROOM – NIGHT
Carla lays in bed eyes open in the dark as tears silently stream from her eyes.
CARLA
I’m so worthless.
A curtain bellows by the window. Carla sits up and looks at it. She stares. Gets out of bed to check that the window is closed. It is. That was weird. Carla climbs back into bed and pulls the covers up over her head and rolls over closing her eyes to go to sleep.
HARRIET
(VO) Girl you’ve got to get your shit together.
INT. CARLA’S BEDROOM – MORNING
Carla’s eyes open and she lays there for a moment. She grabs her phone to check the time. Of course there are no messages.
CARLA
Oh shit. We slept in. SAM!
Carla gets up and her and Sam collide in the hallway.
SAM
Mom.
CARLA
Hey buddy. You slept in. You never sleep in.
SAM
Yesh. That was weird.
CARLA
Okay well, we gotta hustle if we;re gonna make it to school on time. Brush your teeth adn get dressed! I’m gonna get some coffee and make breakfast!
Sam heads to the bathroom and Carla heads to the kitchen.
SAM
Can we have pancakes?
CARLA
No! We’re late! Pancakes are for weekends.
INT. KITCHEN – MORNING
CArla bustles about the kitchen still in her pajamas and robe, making Sam’s lunch and breakfast. Talkning to herself.
CARLA
I can’t believe he slept in. Of course he slept in, it’s a school day. Can’t sleep in on the weekends that would be to perfect.
Carla pulls out the coffee tin to discover that there is no coffee.
CARLA (CONT’D)
Great! No coffee. Ha ha. It’s gonna be one of those days. Come on. Get it together Carla. It doesn’t have to be one of those days. We can turn this day around yes ma’am. The day is not shot yet.
Sam enters having brushed his teeth but still in his pajamas.
SAM
Who are you talking to?
CARLA
Nobody. Why aren’t you dressed?
Sam just looks at her.
CARLA (CONT’D)
Dude? Go get dressed!
Sam leaves to go get dressed.
CARLA (CONT’D)
We have to leave this house in t-minus 2 minutes.
Sam yells from the other room.
SAM
But I haven’t had breakfast!
CARLA
You can eat a piece of toast while we walk!
3. Write the scene for the Reaction to the Inciting Incident.
EXT. ABBOTT KINNEY SIDEWALK – MORNING
Carla walks along towards home, talking to herself.
CARLA
I can’t believe Harriet’s back! And she looks so good, so cool. Gawd I look like such a schlub. Oh my gosh. What am I doing? What is wrong with me? I’m in my pajamas at drop off and the other moms look so cool. And then Harriet turns up and she looks so cool. How does everyone else have their shit together but me? Instead of having my shit together, I have shit literally on me! Did I say yes to going out out tonight? WHo am I? How am I planning to leave the house on a school night when Mark’s away? And now I’m walking down the street talking to myself. I am losing my mind. This is it. This is it, the end of the line for Carla Jenkins folks.
Carla’s phone rings. It’s Mark. SHe picks up.
CARLA (CONT’D)
Hi honey.
MARK
Hey babe.
CARLA
Thank goodness you called I was literally just walking down the street talkngin to myself like a crazy person.
MARK
Uh oh. Hang in there. I’m almost home.
CARLA
I know, but one more day huh? That sucks.
MARK
I know babe. I’m sorry. Couldn’t be helped.
CARLA
Yeah, I know. (then) Hey guess who I just bumped into?
MARK
Who?
CARLA
Harriet!
MARK
Who’s Harriet?
CARLA
She’s my old best friend from middle school. I can’t believe it. She’s back in town. Actually she invited me out tonight.
MARK
On a Tuesday?
CARLA
Yeah. She’s so cool. Always has been. She’s honestly like who I wish I was. Her clothes, her hair, she’s like always had swagger.
MARK
Are you gonna go?
CARLA
How am I suppposed to go? You’re not here. Who’s gonna watch Sam?
MARK
Good point. (then) Well maybe you gals could go out this weekend when I’m back, like normal people on a Friday.
CARLA
Yeah we’ll see. Oh crap I didn’t get her number!
MARK
How were you planning on meeting up tonight?
CARLA
SHe just said: The Brig at 10. Be there. Like I said she’s the coolest person I’ve ever known. I knew it in middle school.
MARK
Huh. I guess hopefully you bump into her again. Or you could try finding her on socials.
CARLA
Findinf her on socials? Look at you Sherlock Holmes. That’s a good idea.
MARK
Babe, I gotta go. My next meeting starts in 5 minutes. But you sound good, better than last night, I’m glad.
CARLA
Yeah. It’s been a morning.
MARK
Love you.
CARLA
Love you too.
EXT. CARLA’S HOUSE – DAY
Carla has walked all the way home while talking on the phone to Mark. SHe hangs up and heads inside.
4. Answer the question “What I learned doing this assignment is…?” and put it at the top of your work.
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Lesson 10
Trish’s Inciting Incident and Reaction to the Call
What I learned doing this assignment is that having the outline kept me on track, but it still took me 4 scenes to cover what I wanted with key scene 3.
1. Outline Key Scenes 2 & 3 for Act 1.
Key Scene 2
Beginning: Emma’s asleep in her room
Middle: she has a nightmare that shows various scenes from her marriage. Fights about working too much. She’s alone as an adult and kid.
End: She stifles any emotions. Decides to read for a bit.
Key Scene 3
Beginning: Emma hears more about other guests’ nightmares. This is more than coincidence. It keeps happening. But ppl are light on details.
Middle: She’s thinking something weird is going on, but is it her problem? She talks to a few people and staff. Richard reminds them to use the calming music.
End: Maybe they all just need to relax more. She accepts that premise.
Note to self: This isn’t emotional, but she doesn’t accept the call until after the turning point (key scene 4).
Key Scene 2
INT. EMMA’S BEDROOM – NIGHT
Emma lies in bed, the picture of comfort. Lush bedding. Sound of a river flowing plays in the background.
But she scowls.
EMMA’S DREAM MONTAGE
— Emma and her husband, DANIEL, yell at each other. Snippets are heard in this well worn argument.
DANIEL
…missed dinner again…
EMMA
…deadline…job important…
— Daniel’s at a party without her, he checks his phone, looks at the door.
Emma’s at work with her colleagues, doing what it takes to get whatever it is done. Her phone lights up, but she doesn’t see it.
— Different day, Emma walks down the hall to their bedroom, but Daniel has moved into the spare room. She looks in as he closes the door in her face.
— Emma as a little girl, playing alone in her walk-in closet.
END OF DREAM
Emma’s eyes open. No crying or bolting out of bed for her. She turns over, readjusts, sighs. Should she try to go back to sleep?
After a few seconds, she gets up and finds her iPad, opens the Kindle app, and selects a book.
She settles in to read.Key Scene 3
INT. HOTEL DINING AREA – MORNING
Emma enters the dining area where guests are having breakfast. People chatter and look quite disturbed.
As she walks to the food area, she eavesdrops.
RANDOM GUEST
…had that dream again…
OTHER GUEST
…horrible…couldn’t stop it….
INT. HOTEL DINING AREA – MOMENTS LATER
As she eats, she continues to eavesdrop.
GUEST
…and then my father shot him!
OTHER GUEST
Damn! Didn’t you have the same dream yesterday?
GUEST
Yeah!
Emma eats, perplexed. It’s very weird. The hubbub is all about the dreams.
INT. HOTEL LOBBY – LATER
Emma spots the bellhop, Sam, leaning against the counter.
When he spots her, he stands upright, doffs his figurative cap.
SAM
Good morning, Ms. Harper. Is there anything I can get you today?
She looks at the two ladies at the front desk that he’s leaning on. She’s still across the lobby.
EMMA
I, uh, was wondering…
He reads her body language and comes over. They walk together down the hall.
INT. HOTEL HALLWAY – CONTINUOUS
SAM
You were wondering?
EMMA
Yes, it’s silly maybe, but I keep overhearing guests talking about having bad dreams.
SAM
Yes, I’ve heard that too.
EMMA
I’m having them too. It’s not just having-watched-a-scary-movie type thing.
SAM
Ya know, these things happen.
She makes a quizzical face, but goes on.
EMMA
It’s like, something about this place seems to be provoking them.
SAM
I’ve heard about people getting sick on vacation. Something about the immune system. Maybe it’s like that.
EMMA
But en masse?
SAM
Well, everyone arrived at the same time to experience this retreat.
EMMA
Not a relaxing retreat, is it?
SAM
We’re here if you need us.
For what she doesn’t know. He walks off.
Richard steps out of his office behind them, likely to have heard their conversation.
INT. HOTEL – DAY
Guests are in various places in the hotel. The intercom turns on and they listen up.
RICHARD
(through the intercom)
Good afternoon, [hotel name] guests. Just a friendly reminder to please remember to take advantage of the sleep sounds machine in your rooms, allowing you to listen to your choice of pleasing water and nature sounds to enhance a relaxing night’s rest.
INT. LOUNGE – CONTINUOUS
Emma and Olivia sit together in the lounge, separately reading.
After the intercom shut off, Emma hears light music playing somewhere in the air.
EMMA
Has that music always been playing?
OLIVIA
Oh, I don’t know. I think so? I think it’s all around – part of the ambiance.
EMMA
I’m not sure we can take any more ambiance. This place is spooky. Everyone’s so stressed out.
OLIVIA
I know. How are we supposed to relax when we can’t sleep?
EMMA
Were we all stressed out before and only just noticed when we got here and tried to “relax”?
OLIVIA
Maybe. When you’re used to a hectic schedule, like most people have, sitting around doing nothing can be its own stress.
EMMA
Maybe we’ll all chill out soon and be able to enjoy this so-called retreat.
OLIVIA
I hope so, I can’t take much more of this.
Emma examines Olivia’s face to read her expression. What did she mean by that?
Olivia looks out the window, not meeting her gaze.
EMMA
For real.
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