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Lesson 10 Assignment
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Vision: To write touching family stories that educate and entertain.
What I learned doing this assignment is using the techniques to enhance the scenes I wanted. The other scenes that I currently have already have the elements I’m looking for, but the ones listed below are the scenes that I wanted to make more intriguing. As I continue writing I’ll use this technique for other scenes in the script as I go:
SCENE 1 – EXT. APARTMENT – DAY
Beginning: (Intrigue) Tina makes dinner and sets the table to celebrate her boyfriend’s promotion.
Middle: (Surprise) Tina hears noises coming from the bedroom.
End: (Betrayal) A woman, wearing an unbuttoned shirt and jeans, sneaks out of Tina’s bedroom with her boyfriend who is supposed to be at work. Tina finds out he’s never had a job to begin with and he’s cheating with this woman.
Scene 1 (redeveloped) – INT. APARTMENT – CONTINUOUS
Beginning: (Mystery) Tina goes to her boyfriend’s job and finds out he doesn’t work there and never has.
Middle: (Betrayal) Tina goes home and sees her boyfriend kissing another woman on her couch.
End: (Uncomfortable moment) Tina kicks out her boyfriend and the woman he’s cheating with. She throws his belongings out onto the street.
Scene 5 – INT. SANCTUARY – DAY
Beginning (Intrigue): Tina arranges a date using a dating site on her smartphone while she’s at church during the sermon.
Middle (Uncomfortable Moment): Tina gets up from her seat and sings a solo with the choir.
End: (Mystery): As soon as the song is over Tina rushes out of the church and gets in a strange man’s convertible. He gives her roses and speeds off. Her kids watch her leave with him from the front of the church.
Scene 8 – EXT. SUNDAY SCHOOL – DAY
Beginning: (Intrigue) Barry introduces himself as an assistant pastor to the adults.
Middle: (Major Twist) When the adults leave, he tries to talk to a little girl in the Sunday School area.
End: (Uncomfortable Moment) Barry tries to give the little girl his phone number to text him about games.
Scene 11 – INT. PARK – DAY
Beginning: (Uncomfortable Moment) Barry takes selfies with Tina’s daughter and repeatedly puts his arm around her.
Middle: (Intrigue) Tina’s daughter hugs him. He rubs her leg. Tina notices but blows it off.
End: (Betrayal) Barry tries to touch Tina’s daughter but Tina distracts him.
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Brandyn Cross’ Fascinating Scene Outlines!
My vision for success in this program is to develop and hone my skills to the extent that my screenplays will be produced and widely viewed.
What I learned from this assignment is a means of tweaking literally any element or detail in a scene to increase the impact of it… some of which may conceivably completely alter the direction the story takes from that point.
ACT 1
1) EXT. GRAVEYARD – NIGHT
Beginning: (Internal Dilemma) Alex sits alone at a grave, drinking as snow falls.
Middle: (Suspense) Starting to gain confidence and defiance. What’s he going to do?
Ending: (Uncertainty) Makes decision to kill himself, gets up and leaves.
2) EXT. FREEWAY – NIGHT
Beginning: (Uncertainty) Alex drives his car in the snow while drinking.
Middle: (Surprise) He floors the accelerator.
Ending: (Cliffhanger) Crashes into an overpass pylon at high speed.
3) INT. HOSPITAL – DAY
Beginning: (Mislead) Alex awakens in a hospital bed.
Middle: (Misinterpretation) He realizes where he is, and is surprised to discover he survived his suicide attempt.
Ending: (Internal Dilemma) Feels no better about his life, and wishes he had succeeded in killing himself.
4) INT. HOSPITAL – NIGHT
Beginning: (Intrigue) Alex thinks he sees a figure moving around in his room.
Middle: (Uncertainty) He dismisses this as imagination.
Ending: (Surprise) He clearly sees a dark figure in his room that shouldn’t be there.
5) EXT. PARK – DAY
Beginning: (Mislead) Alex is alone in the park, sitting in a wheelchair.
Middle: (Uncomfortable Moment) A 10-year-old boy approaches Alex, introducing himself as Sandy.
Ending: (Intrigue) Alex rejects the boy, telling him to get lost.
6) INT. ALEX’S APARTMENT – NIGHT
Beginning: (Suspense) Alex sits in his apartment, alone in his wheelchair.
Middle: (Surprise) Sandy suddenly appears to Alex, inside his apartment.
Ending: (Major Twist) Sandy confirms to Alex that he is a ghost.
7) INT. ALEX’S APARTMENT – NIGHT
Beginning: (Uncertainty) Sandy tries to convince Alex that he can use his ability to see ghosts to help other ghost children.
Middle: (External Dilemma) Alex doesn’t want Sandy, or any other ghosts, bothering him.
Ending: (Reveal) Alex says if he were going to help any ghost children, it would be his own son who had passed away.
ACT 2
8) INT. ALEX’S APARTMENT – NIGHT
Beginning: (Major Twist) Sandy introduces Alex to Rorie, a ghost child that Sandy says needs Alex’s help.
Middle: (Uncertainty) Alex again refuses.
Ending: (Intrigue) Despite Alex’s refusals, he starts being taken in by the angelic and friendly ghost children.
9) EXT. FREEWAY – NIGHT
Beginning: (More Interesting Setting) Sandy introduces Alex to Angel, his heavenly mentor.
Middle: (Uncomfortable Moment) Angel shows Alex his car accident from an observer POV. Alex is enraged and says it’s no one’s business.
Ending: (Surprise) As Alex watches, he sees a boy get out of a car and run into the road, making him realize his solitary act may have affected other people.
10) INT. ALEX’S APARTMENT – NIGHT
Beginning: (Uncomfortable Moment / Intrigue) Sandy makes another appeal to Alex to write Rorie’s story.
Middle: (Uncertainty) Alex again refuses Sandy.
Ending: (Suspense) Sandy’s implication that Alex owes it to Rorie convinces him to write the book, even though he doesn’t know exactly what connection they may have to one another.
11) INT. RORIE’S HOUSE – DAY
Beginning: (Uncertainty / Suspense) Alex goes with Sandy and Rorie to deliver Rorie’s book to his parents.
Middle: (Major Twist / Uncomfortable Moment) Rorie’s parents reject Alex as crazy, and refuse to accept the book.
Ending: (Internal Dilemma) Alex, and even Sandy, begin to doubt whether they can succeed in bringing the ghost children and their families together.
12) INT. ALEX’S APARTMENT – DAY
Beginning: (Uncertainty / Mislead) Alex is perfectly happy to just forget about writing the ghost children’s stories, despite Sandy’s insistence that they have to find a way to get through to Rorie’s parents.
Middle: (Surprise) Alex realizes he has forgotten some of his recently acquired memories of his son.
Ending: (Reveal) He realizes that his memories of his son are directly tied to his working on the ghost children’s stories.
13) EXT. GRAVEYARD – DAY
Beginning: (Uncertainty) Alex ponders how to get through to Rorie’s parents.
Middle: (Mystery) As Alex devotes his thoughts to Rorie and his family, he regains some memories of his son.
Ending: (Misinterpretation) As Alex regains these memories, Sandy becomes convinced that he, too, will be reunited in heaven with his father.
14) INT. RORIE’S HOUSE – DAY
Beginning: (More Interesting Setting) Alex, Sandy and Rorie convince Rorie’s parents to accept his book.
Middle: (Reveal) As they accept the book, they are able to see Rorie, and they can all say ‘goodbye’ properly, and gain closure over Rorie’s death.
Ending: (Character Changes Radically) Seeing the monumental difference his book made, Alex has a real change of heart, and wants to help more children and families gain that kind of closure. He’s now all in.
ACT 3
15) INT. ALEX’S APARTMENT – DAY
Beginning: (Suspense / Mislead) Alex is anxious to get to work with another ghost child on their book.
Middle: (Uncertainty) He accepts that his own reunion with his son may be delayed by his work with other ghost children, but accepts that price now.
Ending: (Suspense / Mislead) With Alex’s acceptance of delaying his own father/son reunion, Sandy now becomes impatient and frustrated about this possible delay.
16) INT. ALEX’S APARTMENT – DAY
Beginning: (Mystery) Sandy introduces Alex to Beth, the next ghost child.
Middle: (Suspense) Alex begins interviewing Beth and learning her story, so he can quickly complete her book.
Ending: (Internal Dilemma / Uncomfortable Moment) Sandy seems jealous of the attention Alex is paying to Beth, becomes short-tempered and somewhat negative about the work he and Alex are doing.
17) INT. ALEX’S APARTMENT – DAY
Beginning: (Intrigue) As Alex works with Beth, he becomes a bit cavalier and complacent about his extraordinary psychic connection to ghosts, and starts taking credit for his successes.
Middle: (Suspense) Sandy tries to bring Alex back down to earth.
Ending: (Betrayal) Alex rejects Sandy’s rebukes, and accuses him of being a spoiled, selfish little kid.
18) INT. HOSPITAL – NIGHT
Beginning: (Uncertainty / Suspense) Alex, Sandy and Beth deliver her book to her parents, who accept it as a gift from their daughter without question.
Middle: (Major Twist / Mislead) Alex and Sandy then learn that Beth’s mother, Rose, has committed suicide.
Ending: (Misinterpretation / Betrayal) Blaming himself, Alex refuses to work on any more ghost child books, and tells Sandy not to ever talk to him again.
19) EXT. PARK – DAY
Beginning: (Betrayal) Sandy feels betrayed by Alex.
Middle: (External Dilemma) Angel tries to comfort Sandy, and convince him to keep trying to convince Alex to continue their work.
Ending: (Suspense / Cliffhanger) Sandy is too hurt and angry to talk to Alex, and refuses to contact him again.
ACT 4
20) INT. MORGUE – NIGHT
Beginning: (More Interesting Setting / Uncomfortable Moment) Angel and Beth force Alex and Sandy together for an intervention, despite their initial refusal to speak to one another.
Middle: (Major Twist / Reveal) Beth and Angel show them that Rose was eternally destined to kill herself but, without Sandy’s and Alex’s influence, she would have taken her husband and remaining kids with her.
Ending: (Mystery) Seeing that what appeared failure might have been a success, Alex and Sandy reluctantly make up, and agree to resume work with the ghost children.
21) EXT. FREEWAY – NIGHT
Beginning: (More Interesting Setting / Intrigue) Angel introduces Kody, the next ghost child, to Alex and Sandy.
Middle: (Reveal) Alex has another flashback of his accident, and suspects he might recognize Kody as the kid who ran into the road.
Ending: (Intrigue) Alex and Sandy begin working on Kody’s story, though Alex suspects there may be more to this than meets the eye.
22) EXT. HEAVENLY CLOUD – DAY
Beginning: (Uncertainty) They finish Kody’s book, and Alex asks where to deliver it, which Kody doesn’t know.
Middle: (Mystery) Kody only then realizes he is dead, and needs to cross over, to be reunited with his family.
Ending: (Major Twist / Reveal) Angel appears and Kody now recognizes her as his mother, and they are allowed to reunite in heaven. Not even Sandy saw this one coming, and he and Alex are both shocked at the magnitude of the work they are doing.
23) EXT. HEAVENLY CLOUD – DAY
Beginning: (Surprise / Mystery) Kody and Angel thank Alex, and say they forgive him.
Middle: (Surprise / Mystery / Suspense) Rorie, Beth and Rose then appear, also thanking Alex and saying they forgive him.
Ending: (Cliffhanger / Mystery) Alex is completely confused, and then Sandy tells him all that’s left is for him to forgive himself, although he has no clue what this forgiveness is all about.
24) EXT. FREEWAY – NIGHT
Beginning: (More Interesting Setting / Major Twist / Reveal / Character Changes Radically) Alex now remembers everything. He realizes he’s been dead since his suicide attempt, that he was responsible for the ghost children’s deaths, and he now recognizes Sandy as his son.
Middle: (Suspense) Sandy begs Alex to forgive himself for his suicide, and the deaths of the ghost children, so he and Sandy can be reunited in heaven.
Ending: (Intrigue / Uncertainty) Alex is too consumed with guilt over the ghost children to forgive himself.
25) EXT. HEAVENLY CLOUD – DAY
Beginning: (More Interesting Location / Surprise / Reveal) Angel transports Alex to Jesus, where he is told to lay his sins at the feet of Jesus.
Middle: (Major Twist / Suspense) Alex lays his sins at Jesus’ feet, and Jesus says he is forgiven.
Ending: (Character Changes Radically / Reveal) His guilt lifted from him, Alex can begin to forgive himself.
26) EXT. HEAVENLY GATE – DAY
Beginning: (Suspense) Alex and Sandy stand at the heavenly gates, hoping for acceptance.
Middle: (Reveal) They are accepted into heaven, and are reunited as father and son.
Ending: (Reveal) Alex and Sandy enter heaven to begin their eternity together as a family.
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Paul’s Fascinating Scene Outlines.
5. Vision of success from this program: I want to write scripts that become movies that change people’s lives.
6. What I learned from this assignment is that being challenged to ensure there are interest techniques in each scene really stretched my creative skills. It totally changed my opening scene, making it (I think) far more interesting. I also looked with a more critical eye at some scenes that were not really contributing anything to the story. This was a challenging assignment, but I do feel it has increased the quality of my current draft and set the bar high for future scenes I might add.
4. Outline with interest techniques.
ACT ONE:
1. INT. 2-STAR HOTEL, CULIACÁN, MEXICO. DAY.
Beginning: (More interesting setting) Lilia, a chambermaid, enters room to clean it. Sees papers suggesting guest is an American government official.
Middle: (Uncomfortable moment) Lilia she hears laughter in bathroom and gets ready to leave.
End: (Conflict) Door of bathroom pulled open and she sees man and woman. Seems they’ve been doing drugs. Man shouts at Lilia to get out and she leaves in a hurry.
2. INT. BUS. SAME.
Beginning: (Uncertainty) Lilia is travelling home on bus and sees Mexican Army trucks deploying around the streets.
Middle: (Major twist) The bus meets a road-block. All the passengers have to descend.
End: (Mystery) Lilia tries to find out from other passengers what is going on.
3. EXT. STREET. SAME.
Beginning: (Suspense) Lilia has to challenges the soldiers to let her through to get home. They won’t tell her what’s going on.
Middle: (Major twist) Lilia discovers the army is “de-commissioning” a fentanyl lab in a house in her street.
End: (Surprise) A man in his 60s runs out of the house. He is shot in the back as he runs, and falls at Lilia’s feet.4. EXT. STREET. SAME.
Beginning: (Conflict) Lilia against soldiers trying to take man away.
Middle: (Internal dilemma) Lilia stares at wounded man, then helps woman who runs, screaming, out of nearby house.
End: (Suspense) Lilia helps the woman drag the man into her house.
5. INT. DYING MAN’S HOUSE. SAME.
Beginning: (Uncertainty)Lilia and woman lay the dying man on the floor of his impoverished house. Try to save his life.
Middle: (Major twist) The man dies.
End: (Surprise)The man’s handicapped son appears in a wheel chair asking what’s wrong with his father.
6. EXT. STREET OUTSIDE DEAD MAN’S HOUSE. SAME.
Beginning: (Character changes radically)Lilia explodes at the soldiers who killed the man.
Middle: (Mislead) One of the officers comes to Lilia’s rescue as things heat up. Tells her to remind her father of the money he owes him.
End: (Intrigue) A plain-clothed DEA agent says he recognizes Lilia.
7. INT. LILIA’S HOME.
Beginning: (Surprise) Discover quiet bookish environment in Lilia’s humble home. Father, Tino, reading a book. Daughter (Marisol) studying.
Middle: (Reveal) Lilian tells father about soldier and the money he owes. It is to protect his family.
End: (Uncertainty) Marisol gets back to her studies. Her goal is to escape poverty and crime in Culiacán.
8. EXT. STREET. NEXT DAY.
Beginning: WORK IN PROGRESS
Middle:
End:
9. INT. LILIA’S HOUSE. SAME.
Beginning: (Major twist) Lilia arrives home and is greeted with news that Marisol has won a scholarship to US college.
Middle: (Conflict) Tino does not want his grand-daughter to leave for USA.
End: (Internal dilemma) Lilia has mixed feelings about daughter leaving home.
10. EXT. CULIACÁN AIRPORT. DAY.
Beginning:
Middle:
End: (Mystery) Tino hands his daughter an envelope. She discovers it contains a wad of US$.
11. INT. LIBRARY US COLLEGE. DAY.
Beginning: (Major twist) Marisol in expensive, US college.
Middle: (Uncomfortable moment) Male student invites her to party. Marisol wants to give priority to studies, not partying.
End: (Suspense) Despite misgivings, Marisol accepts invitation to party.
12. INT. POSH HOUSE. EVENING.
Beginning: (Uncertainty) Marisol at party with drug-taking students.
Middle: (Betrayal) Boy who invited Marisol to party twists her arm to try drugs.
End: (Cliffhanger) Marisol collapses unconscious.
13. EXT. POSH HOUSE. NEXT MORNING.
Beginning: (Surprise) Journalist milling outside house, seeking to interview owner.
Middle: (Major twist) Father of boy hosting party is US Senator and hawk in drug war. Journalists want to know how girl died from drugs in his house.
End: (Cliffhanger) Senator accuses Mexican girl of bringing drugs into the country.
12. INT. 2-STAR HOTEL. CULIACÁN. NEXT DAY.
Beginning: (Suspense) Lilia busy at work, cleaning hotel room.
Middle: (Surprise) Other chambermaid rushes in, showing news on cell phone.
End: (Cliffhanger) Lilia listens to Senator’s accusations against Marisol.
13. INT. LILIA’S HOUSE. SAME.
Beginning: (Internal dilemma) Lilia tells father, Tino, the news. Frozen with grief
Middle: (Conflict) Lilia and Tino disagree about what to do.
End: (Cliffhanger) Tino promises Senator and is son will regret what they ever met Marisol.
END ACT ONE
NB In order not to fall further behind schedule, I am posting just Act One.
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KZ’s Fascinating Scene Outlines
Vision: To master screenwriting so that I can turn any of my ideas into sellable scripts and help get them made into movies.
What I learned doing this assignment: Using the interest techniques showed me that some scenes just weren’t that interesting, and led to a completely different opening and a re-ordering of some events. ** since the High Speed Writing has already started, I’m posting before truly completing this outline. For many scenes, I haven’t found the Interest Technique that seems to fit. Is that because I need a different interest technique, or is the scene more boring than I could make it? I hope to find out while writing the scenes.**
ACT 1
1) INT. BANK – DAY
A gunman orders customers on the floor and Wendy tries to negotiate.
Beginning: (More interesting setting) Bank robbery
Middle: (Uncomfortable moment) Wendy uses business negotiation strategies to convince the gunman to let the hostages go. The gunman “shoots” the hostages and Wendy.
End: (Twist) It was a training exercise, which Wendy failed.
2) INT. AUDITORIUM – DAY
Wendy’s instructors critique her failed bank robbery negotiation. Her skills are exactly what’s needed in the corporate world, and she receives a job offer.
Beginning: (Uncomfortable moment) Wendy’s instructors give her a terrible review.
Middle: (Suspense) She is approached by the representative from a big financial firm.
End: (Twist) She is offered a coveted job because they appreciated her cutthroat techniques
3) INT. HOTEL SUITE – NIGHT
Wendy joins a group of young negotiators to play strip poker.
Beginning: (Uncomfortable moment) Wendy agrees to play poker, only to discover it’s a game of strip poker.
Middle: (Surprise) Both Wendy and Darwin are excellent players because they’re naturally good at bluffing.
End: (Twist) Though they might like to see the other naked, they both have their clothes on at the end of the game. The others are pairing up, making out. One miffed player who lost most of her clothes but hasn’t found a mate leaves in a huff, saying she doesn’t care because Day of the Triffids is on, and she’d rather watch Sci-Fi. One nerdy guy who was making out with another breaks it off and leaves to watch Day of the Triffids with her.
4) INT. HOTEL SUITE – NIGHT
Wendy and Darwin try to negotiate the terms of a proposed one-night stand.
Beginning (ironic moment) Others who “lost” the game pair off into the rooms that adjoin the common room.
Middle: (uncomfortable moment) As Wendy and Darwin try to negotiate the terms of their one night stand, an occasional murmur of lovemaking is heard from behind the closed doors.
End: (twist) Wendy decides that in order to maintain superiority in the situation, she’s going to walk out. Darwin accuses her of walking out as a strategy. She and Darwin each wind up alone in their respective rooms, watching the Sci-Fi movie, Day of the Triffids.
5) EXT. BRIDGE – DAY
Darwin negotiates with a woman threatening to jump from the bridge.
Beginning: (More interesting setting) The woman threatens to jump.
Middle: (Suspense) Darwin uses techniques to persuade Ms. Lonelyhearts.
Ending: (Twist) He gets her to agree to come down by promising her a date.
6) INT. AUDITORIUM – DAY
Darwin gets feedback, then suddenly leaves.
Beginning: (Uncomfortable moment) Although the woman was talked out of suicide, Darwin lied to achieve the result, and his teachers explain why that’s a problem.
Middle: (Uncertainty) Wendy waits nearby, hoping to see Darwin again, although the “jumper” is clinging to him.
End: (Twist) After an administrator gives Darwin a private message, he runs out. Wendy asks the administrator what happened. She said that Darwin’s father just committed suicide.
Five years later…
7) INT. WENDY’S OFFICE – DAY
The business world is suddenly interested in meditation.
Beginning: (_________ ) Wendy and her assistant, Pamela, watch Warren Buffet on TV espousing meditation as a way to get an edge in business.
Middle: (Uncomfortable moment) Wendy instructs Pamela to get her top of the line meditation gear and to find the best class for her to attend.
End: (Betrayal) Wendy comes out of a meeting past 5pm to find her assistant has left a bunch of high-end gear for her, but has taken the last place in the meditation class for herself.
7a) EXT. MEDITATION CLASS – DAY
Wendy runs into Darwin on the way to the Meditation class.
Beginning: (External dilemma) Wendy and Darwin negotiate on whether he will hold the door open for her, who should be first in line.
Middle: (Surprise) They recognize each other from the class.
End: (Twist) Darwin is allowed in the class, Wendy is turned away.
8) INT. MEDITATION CLASS – DAY
Wendy manipulates her way into class.
Beginning: (Uncomfortable moment) Wendy’s assistant avoids making eye contact – doesn’t want to leave the class.
Middle: (Twist) Wendy texts her: “The class or your job” – Wendy takes Pamela’s place.
End: (Twist) The instructor, Myra, has everyone shift onto their neighbor’s Zafu cushion, to emphasize that “we’re all one” and to discourage spiritual materialism.
9) EXT. MEDITATION CLASS – NIGHT
Wendy pretends she has a hot date, hoping to catch Darwin’s attention.
Beginning: (Suspense) Everyone’s leaving the class. Pamela asks Darwin whether he’s going out with everyone for drinks afterwards.
Middle: (Uncomfortable moment) Darwin bails, saying he’s got a standing dinner date. Pamela assumes that Wendy is free. She replies that she also has a date.
End: (Twist) Wendy arrives at her destination: a Speed Dating event.
10) INT. EVENT HALL – NIGHT
Wendy ruins every one-minute encounter with her potential dates.
Beginning: (Suspense) Lots of possibilities – but we sense that Darwin is the one for her, so we fear she’ll do well and find someone else.
Middle: (Uncertainty) Wendy is terrible at this. She says the wrong thing, negotiates and argues.
End: (Twist) Everyone else has paired off. The last guy standing turns and walks away, leaving her alone.
11) INT. DARWIN’S HOUSE – NIGHT
Darwin must stop his mother from trying to set him up with prospective wives.
Beginning: (Suspense) Darwin comes home to find that his mother has prepared dinner for four: the two of them and a prospective bride and her mother.
Middle: (Uncomfortable moment) Darwin’s mother tries to sell the other two on her son as a husband. We understand her real concern when she insists that she must be allowed to live with the couple in her old age.
End: (Twist) Darwin announces that he’s gay and therefore unavailable for marriage.
12) EXT. HOT DOG STAND – DAY
Wendy arrives to find a long line at the hot dog stand. She checks her watch, no time.
Beginning: (Suspense) A long line – it’ll take half the lunchtime to get through this line.
Middle: (Suspense) Wendy pretends to know someone close to the front, and tells him “she’s buying.” Will he accept?
End: (Twist) Despite the others behind them doubting that they know each other, the guy plays along, and she buys his and hers fully-loaded hot dogs. He adds on a bunch more stuff, making the most of the freebie.
13) INT. THERAPIST’S OFFICE – DAY
Even Wendy’s therapist can’t take her.
Beginning: (Uncomfortable moment) – The therapist is about to eat lunch at her desk because Wendy’s late.
Middle: (Uncomfortable moment) – Wendy complains that she scares men away, and the only man who seems to appreciate her is her boss, and he’s married, too old for her, and unattractive. When the therapist offers advice, Wendy argues and uses personal information against the therapist to win.
End: (Twist) The therapist declares Wendy cured, and terminates the relationship.
14) INT. MEDITATION ROOM – DAY
Wendy is too controlling to meditate successfully.
Beginning: (Twist) Wendy tries to control sitting on her own expensive gear, but this time, Myra has everyone shift in the opposite direction.
Middle: (Suspense) Will Wendy be helped by meditation? She follows Myra’s guided meditation, focusing on her breath.
End: (Uncertainty) A kid wreaks havoc while they meditate, and no one seems to mind but Wendy. The kid even pops bubble wrap. Hope/fear that Wendy will be helped by meditation, doubtful that she’s the meditation type.
15) INT. WENDY’S APARTMENT – NIGHT
Wendy lives alone with fake house plants. “No pets, no plants” No complications in her life.
Beginning:
Middle:
End:
16) INT. DARWIN’S HOUSE – NIGHT
Darwin comes home to find his mother has out-maneuvered him.
Beginning: (Uncertainty) Did Darwin’s mother believe his excuse?
Middle: (Uncertainty) Mrs. Ghosh has arranged another date.
End: (Twist) She’s invited a roly-poly man named Gary for dinner. Gary promises he would let her live with him and Darwin, so as far as she’s concerned, it’s a match.
17) INT. WENDY’S OFFICE – DAY
We see how Wendy’s office operates.
Beginning: (Uncertainty) Wendy’s boss and Pamela share a powerpoint about her upcoming negotiation opponent.
Middle:
End:
19) INT. CONFERENCE ROOM – DAY
Wendy negotiates a business deal.
Beginning: (_________) Wendy uses information from the powerpoint to throw her opponent off psychologically.
Middle: (Suspense) Wendy meets her opponent across a negotiation table. We see some of her ruthless techniques, based on what she’s been told about him in advance.
End: (Surprise) She makes her opponent cry, which makes her boss smile.
20) INT. WENDY’S OFFICE – DAY / INT. DARWIN’S OFFICE – DAY
Wendy and Darwin find out they’ll be facing each other for an important, high dollar negotiation coming up.
Beginning: (Uncomfortable moment) Intercut Wendy and Darwin being shown the dossier reel, which reveals weaknesses of their opponents.
Middle:
Ending:
21) INT. AIRPLANE – DAY
Wendy and Darwin are going to the same conference.
Beginning: (________) Wendy boards the plane and sees Darwin asleep.
Middle: (___________) She sits down across from him and tries indirect techniques to wake him up.
Ending: (Twist) Mrs. Ghosh and Gary board the plane, wake Darwin up, and sit next to him – much to his dismay and Wendy’s confusion.
22) INT. CONFERENCE – DAY
Wendy and Darwin are on a panel with two other panelists and a moderator.
Beginning: (_________) Panelists are introduced.
Middle: (____________) Montage of moments
Ending: (___________) Someone suggests that negotiators should look for the win/win. Both Wendy and Darwin laugh heartily at that suggestion. (bonding)
23) INT. CONFERENCE – DAY
Wendy and Darwin are paired for a demonstration negotiation in the equivalent of an interrogation room with the audience outside.
Beginning (_________) Wendy and Darwin each use psych out techniques to unbalance the other
Middle (___________) As they negotiate, the moderator from the panel explains their techniques to the audience.
Ending (________) It’s a draw. Neither wins, but also the objective is not achieved.
24) INT. HOTEL BAR – NIGHT
Wendy learns the secret of meditation.
Beginning: (________) Wendy sits alone on a sofa in the bar.
Middle: (__________) Mrs. Ghosh joins her. Wendy asks for the secret of meditation. Mrs. Ghosh won’t tell her. Wendy bribes her.
Ending: (__________) Mrs. Ghosh gives her a technique. She tries it and it works.
25) INT. MEDITATION CLASS – DAY
A visiting Monk leads the meditation, and his narration leads to Wendy, Darwin, Myra and the Monk landing on the train to Nirvana.
Beginning (_________) Myra introduces the Visiting Monk. It’s obvious that she’s smitten with him.
Middle (__________) The monk leads a guided narration, telling the class to “look for who’s looking.” Most of the class is fiddling with their cell phones, not paying attention, etc., but our four are focusing.
End (_____________) Wendy winds up in her head, observing herself as if from a great height. The lights go out suddenly as though the train entered a tunnel, and she hears the sound of a train hurtling across the tracks.
26) INT. FIRST TRAIN CAR – NIGHT
As the darkness lifts, Wendy realizes she’s on a train. But it’s still dark outside, and she can’t get her bearings. Where is she? How did she get here? Where is the train headed? She decides to explore in the train and figure out what’s going on.
Beginning (Suspense) – Wendy is on a train. How did she get there?
Middle (Mystery) She can’t see out the window – it’s dark out there, and she senses that the train is moving fast.
Ending (Suspense) – She goes to explore on the train and we’re worried for her.
27) INT. TRAIN CORRIDOR – NIGHT
Beginning (Suspense) – She hears the sound of humming from down the corridor
Middle (Suspense) Just as she’s about to reach the sound of humming, she passes another car. A hand reaches out and grabs her and pulls her in.
Ending (Twist) It’s Darwin.
28) INT. SECOND TRAIN CAR – NIGHT
Beginning (Mystery) Darwin and Wendy try to figure out how they wound up on the train.
Middle (Mystery) Darwin proves to Wendy that they’re not dreaming: they can read.
Ending (Cliffhanger) They decide to go investigate the source of the humming.
29) INT. TRAIN CORRIDOR – NIGHT
Beginning (Suspense) They draw closer to the humming.
Middle (Mystery) They look inside and see a collection of monks with their backs to them, occupying an entire car, and all resonating with a single sound: Ommmmmmm
Ending (Surprise) Just as they’re jiggling the car’s handle, their names are called,. Myra and the Visiting Monk from meditation class are coming toward them. They beckon them into Darwin’s empty car.
30) INT. SECOND TRAIN CAR – NIGHT
Set up the opposition between Wendy and Darwin (who want to get off the train) and Myra and VM (who want to continue on to Nirvana)
Beginning (Mystery) Wendy and Myra are convinced they are dreaming. Darwin explains that they are not. VM (Visiting Monk – as yet unnamed) explains that he believes they are on the train to Nirvana.
Middle ( ) They try out different theories of how they got there. VM explains that he thinks it happened at a certain point in meditation and that Wendy and Darwin must be very good at meditation to have landed there. He goes on to explain that they can’t return to reality without ruining the party for everyone else.
Ending (twist) Myra and VM are excited to be headed to Nirvana – and they dance.
31) INT. FIRST TRAIN CAR – NIGHT
Wendy and Darwin attempt to work together to get off the train.
Beginning – Wendy and Darwin confer – they have to get back to reality and to the negotiation that is happening the very next day.
Middle – They come up with a plan to get Myra on their side by convincing her that only back in reality can she have a relationship with VM
Ending – They put the plan into action.
32) INT. SECOND TRAIN CAR – NIGHT
Myra and VM bond
Beginning – Myra and VM realize that Darwin and Wendy are gone.
Middle – VM urges Myra to free her mind of thought so that they can contribute to the vibe of the train and perhaps join the monks in the communal car ahead of them. They hold hands while meditating.
Ending – VM goes into a trance, but Myra sees Darwin and Wendy motioning her outside. She shushes them and joins them in the corridor so they won’t wake VM..
33) INT. TRAIN CORRIDOR – NIGHT
Wendy and Darwin join forces to try to bring Myra to their side, but they’re still too competitive with each other to succeed.
Beginning – Myra urges Wendy and Darwin to join them in chanting.
Middle – Darwin and Wendy use negotiation techniques on Myra – they succeed in getting her to come to their car.
Ending – Darwin and Wendy go to work on Myra using subtle techniques that make her want to stay on earth and not go to Nirvana. Without a unified front, Myra rejoins VM.
34) INT. FIRST TRAIN CAR – NIGHT / INT. TRAIN CORRIDOR – NIGHT
Wendy and Darwin learn to work together.
Beginning – Wendy and Darwin retreat to her car to come up with a strategy.
Middle – They decide to play good cop / bad cop.
Ending – They go to work on Myra. They prove that she’s having thought; they make her feel guilty about her little cat at home that will surely starve to death; they paint a picture of a world rife with procrastination if there is no death. Finally, they get her to agree to wake up VM.
35) INT. SECOND TRAIN CAR – NIGHT
Wendy and Darwin destroy VM’s serenity in order to get him to divulge the secrets of the train to nirvana.
Beginning: They bring VM out of his trance
Middle: They try to convince him that he’s actually experiencing emotions, and in the process, they make him angry.
Ending: VM tells them what he knows of the Train to Nirvana – that it’s the collective consciousness that drives the train forward. Darwin gets him to admit that for the two negotiators, instead of being a positive thing, they may have entered the “Dark Night of the Soul”. VM urges them to join in meditation, but they say they want to get some sleep. VM tells them that the closer they get to Nirvana, the more they will lose all appetites for things they cared about in the real world.
36) INT. FIRST TRAIN CAR – NIGHT
Wendy and Darwin fall in love.
Beginning: Wendy and Darwin are in their bunk beds, talking about what they’ll miss on Earth.
Middle: They confess that if it hadn’t been for Darwin having to leave the conference suddenly, they probably would have slept together. Darwin says he feels relieved he’s headed to oblivion because life has been painful and his mother is driving him crazy. They tell each other the lowest amount their respective employers would have gone to.
Ending: Since it looks like they’re heading towards oblivion anyway, Wendy climbs into Darwin’s bunk without negotiation.
37) INT. SECOND TRAIN CAR – NIGHT / INT. TRAIN CORRIDOR – NIGHT
VM resorts to manipulation to get Wendy off the train.
Beginning: VM tells Myra he thinks that Darwin is a good candidate for Nirvana, but that Wendy is not, and it would be in their best interest to get her off the train.
Middle: Myra goes to talk to Wendy, but she hears the sounds of lovemaking, and returns to the monk.
Ending: Myra returns to VM and explains that she thinks they’re in love. VM is more determined than ever to get Wendy off the train.
38) INT. CORRIDOR – NIGHT
VM manipulates Wendy into taking “the only seat” back to reality; but she aborts the mission and returns to free Darwin.
Beginning: VM gets Wendy’s attention and lies to her so that she’ll take the only seat on the train. Wendy finds out that no time will have passed on earth and that therefore, if she can return, she can still make the negotiation.
Middle: Armed with the piece of information she needs to win the negotiation, Wendy takes the single seat that is available to return to earth. She goes through the process of arriving at the negotiation and seeing her new opponent, before realizing that she can’t read and that she’s dreaming. She is given a choice of staying on earth or returning to rescue Darwin. She returns.
End: When she gets back on the train, she realizes that Darwin is slipping into a trance.
39) INT. FIRST TRAIN CAR – NIGHT / INT. CORRIDOR – NIGHT
“I am Samsara!”
Beginning: Wendy returns full of herself and tries to wake Darwin to receive praise for returning for him, but she finds him in a trance.
Middle: Wendy easily distracts Myra, who leaves VM’s side and joins her in the corridor.
Ending: Wendy convinces Myra that Nirvana won’t be all that it’s cracked up to be.
40) EXT. MONKS’ CAR – NIGHT
Wendy and Myra manage to disrupt the monks’ serenity, bringing them closer to stopping the train.
Beginning: Wendy and Myra can’t break into the monk’s car. By now, Myra is regretful about leaving the world behind. Eternity is not all it’s cracked up to be.
Middle: Myra discovers the tuning fork she used in class, which was in her pocket.
Ending: Wendy repeatedly sounds the tuning fork, repeating an idiotic mantra, causing the meditating monks distress. They move to the door – like Triffids.
41) INT. CORRIDOR – NIGHT
Wendy and Myra manage to stop the train.
Beginning: Wendy pulls the emergency stop cord – and this time the train comes to a screeching halt.
Middle: Both VM and Darwin are awakened by the jolt. They discover the monks in disarray.
End: (One of the monks? VM?) wants to end it all.
42) INT. CORRIDOR – NIGHT
Darwin’s true calling: Suicide negotiator
Beginning: (Suspense) The monk is threatening self-harm
Middle: Darwin overcomes the demons surrounding his own father’s death, and returns to the compassionate work that originally made him want to be a negotiator.
Ending: Darwin talks the monk off the ledge.
43) INT. MEDITATION CLASS – DAY
Wendy, Darwin, Myra and VM are restored to the class as though nothing ever happened. Except that VM is distraught.
Beginning:
Middle:
Ending:
44) INT. CONFERENCE ROOM – DAY
Beginning: The bosses face off, as though they’re coaches of rival athletic teams, each one certain that their prize negotiator is going to deliver a wonderful result and crush the opposition.
Middle: Wendy and Darwin face each other across the table. They each state what they feel the other would want in the negotiation.
Ending: They deliver a win/win. Their bosses are horrified, expecting them to leave the other side crying. The two quit before they can be fired.
45) INT. DARWIN’S HOUSE – DAY
Wendy and Darwin plan to announce their engagement. Darwin’s mother is missing. He Facetimes her. She and Gary are on a cruise.
Beginning: Darwin is nervous about breaking the news to his mother.
Middle: They arrive at the house – she’s missing. Darwin facetimes her and finds that she’s on a cruise with Gary.
Ending: Wendy and Darwin negotiate over where they’re going to eat, but this time it’s with the other person’s happiness in mind.
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Fascinating Scene Outlines!
Vision: I am going to do whatever it takes for me to be a writer of amazing stories with meaning who can move the audience and change the world resulting in financial, critical and audience success.
What I learned from doing this assignment is: What I learned is although I don’t know yet everything perfectly, I go along and post so I can start with the first draft.
1. INT. UNIVERSITY, LECTURE HALL – DAY
Beginning: (Intrigue) Alex throws away the birthday card on his desk.
Middle: (Character changes drastically) Alex turns from a self-secure to an angry man.
Ending: (Reveal) Student mentions that Alex has changed lately.
Ending: (Suspense) Mirai threatens to report to the dean.
2. OUT. GARDEN CENTER – DAY
Beginning: (More interesting setting) Corrie and Eve stroll through a beautiful garden center.
Middle: (External dilemma) The cool garden house is too expensive.
Ending: (Surprise) There is a cheap version but it only will be delivered in a couple of weeks.
3. INT. UNIVERSITY, DEAN’S OFFICE / BALCONY – DAY
Beginning: (Superior position) Luke prepares little birthday reception. Alex gets call to come.
Middle: (Surprise) When there is the knocking on the door occurs, Luke is also annoyed about students.
Ending: (Major twist) Luke reveals he’s retiring and supports Alex’s candidacy.
4. INT. ALEX’S CAR / CORRIE’S CAR – NIGHT
Beginning: (Surprise) Alex and Corrie are both in their cars and do the same thing.
Middle: (Superior position) We hear both versions which are mutually exclusive.
Ending: (Suspense) Alex and Corrie with Eve practice versions of their life that will collide.
5. INT. FRIEDMAN’S HOME, DINING ROOM – NIGHT
Beginning: (Superior position) We know Corrie and Alex’s vision will clash.
Middle: (Uncomfortable moment) Alex hates his present. Corrie and Eve hate Alex’s idea.
Ending: (Internal dilemma) Alex forgets to open Eve’s gift.
6. INT. FRIEDMAN’S HOME, BEDROOM – NIGHT (NOT SURE YET)
Beginning: (More interesting setting) They crawl on the floor looking for a contact lenses.
Middle: (Uncomfortable moment) They bump into each other and have to laugh.
Ending: (Promise) Alex has to make a promise to see a doc.
7. EXT. SCHOOL – DAY
Beginning: … .
Middle: … .
Ending: … .
8. INT. MEN’S DOCTOR OFFICE – DAY
Beginning: (More interesting setting) Alex waits in the doctor’s waiting room (male assistant and awkward magazines).
Middle: (Major twist) Doc reveals that Alex got andropause.
Ending: (Internal dilemma) Alex is about to call Corrie but then does not do it.
9. INT. UNIVERSITY, ALEX and FLAVIA’S OFFICE – NIGHT
Beginning: (Internal dilemma) Alex has to decide to apply or not.
Middle: (Surprise/Major twist) Mirai reminds Alex of the apology.
Ending: (Character changes radically) Alex starts with his application.
10. INT. FRIEDMAN’S HOME, LIVING ROOM – NIGHT
Beginning: (Surprise) Alex brings flowers.
Middle: (Betrayal) Alex lies to Corrie about the doc’s diagnosis and why he is late and tired.
Ending: (Misinterpretation) Corrie catches Alex examining himself naked in the mirror.
11. INT. SUPERMARKET BINDENABTEILUNG, ELEVATOR– DAY
Beginning: (Surprise) Corrie bumps into Luke by on her way to enroll in the work agency.
Middle: (Major twist) Corrie realizes that Luke got cancer.
Ending: (Promise) Luke promises to take about Alex’s application.
12. INT. UNIVERSITY, ALEX and FLAVIA’S OFFICE – DAY
Beginning: (Uncomfortable Moment) Flavia seems to avoid Alex when they meet.
Middle: (Betrayal) Alex discovers that Flavia applies for the dean position.
Ending: (Misinterpretation) Alex sees Flavia and Luke laughing together.
13. OUT. UNIVERSITY, DEAN’S OFFICE TO BALCONY – DAY
Beginning: (Superior position) We know Luke is sick and that Alex knows Flavia applies.
Middle: (Character changes radically) Alex is not sure if Luke supports him anymore.
Ending: (Internal dilemma) Alex has to decide meeting his enemy Mirai.
14. OUT. UNIVERSITY, CAMPUS CHAPEL – DAY
Beginning: (More interesting setting) Alex meets Mirai in the campus chapel.
Middle: (Misinterpretation) Mirai thinks that Alex wants to apologize.
Ending: (Internal dilemma) Alex can’t accept Mirai’s proposal.
15. INT. FRIEDMAN’S HOME, FROM GARDEN TO OFFICE – DAY TO NIGHT
Beginning: (Character changes radically) Alex starts with physical training and is exhausted.
Middle: (Internal dilemma) Alex searches hormones.
Ending: (Illegal action) Alex orders illegal substances.
16. EXT. UNIVERSITY, SPORT FACILITY – DAY
Beginning: (…) …
Middle: (…) …
Ending: (…) …
17. INT. FRIEDMAN’S HOME, KITCHEN – DAY
Beginning: (Unmoral action) Corrie opens Alex’s parcelMiddle: (Misinterpretation) Corrie suspects Alex having an affair.
Ending: (Intrigue) Corrie exchanges the content of the pills.
18. OUT. SOMEWHERE INTERESTING – DAY
Beginning: (Superior position) Alex has an ambitious goal and we know the pills won’t help.
Middle: (Major twist) Alex suffers a heart attack but does not want to go the hospital.
Ending: (Cliffhanger) Will Alex survive the heart attack?
19. INT. HOSPITAL, ALEX’S ROOM – DAY
Beginning: (More interesting setting) Alex recovers in the hospital.
Middle: (Major twist) Corrie visits Luke and announces that Luke passed away.
Ending: (Cliffhanger) Will Alex survive the second heart attack?
20. INT. UNIVERSITY, ALEX and FLAVIA’S OFFICE – DAY
Beginning: (Uncomfortable moment) When Alex returns, nobody speaks with him.
Middle: (Surprise) Flavia’s desk is empty.
Ending: (Surprise) The movers tell Alex that they move the stuff to the dean’s office.
21. INT. UNIVERSITY, DEAN’S OFFICE – DAY
Beginning: (Surprise) Flavia is in the dean’s office.
Middle: (Major twist) Flavia is interim dean because Alex was in the hospital.
Ending: (Character changes radically) Flavia orders Alex to stay at home to recover.
22. OUT. FRIEDMAN’S HOME, GARDEN – DAY
Beginning: (Internal dilemma) Alex is very angry and does not know what to do.
Middle: (Character changes radcially) Alex starts building the garden house to exercise.
Ending: (Surprise) Alex feels good.
23. INT. SOMEWHERE INTERESTING – DAY
Beginning: (Major twist) Flavia writes Alex about reducing his workload because of dropping students’ interest.
Middle: (Surprise) Corrie seizes the opportunity to get a job, Alex does not stand a chance.
Ending: (Promise) Alex promises that he will do whatever to get the lessons back.
24. INT. SOMEWHERE INTERESTING – DAY
Beginning: (More interesting setting) to be decided.
Middle: (Uncomfortable situation) Because Corrie is nervous; a gal gets angry at here.
Ending: (Surprise) The gal is here new colleague IRA (47).
25. OUT. FRIEDMAN’S HOME, GARDEN – DAY
Beginning: (…) …
Middle: (…) …
Ending: (…) …
26. INT. CORRIE’S OFFICE – DAY
Beginning: (Betrayal) Eve turns against Alex when he wants to throw out unnecessary stuff.
Middle: (Character changes radically) Alex burns the unnecessary stuff.
Ending: (Promise) Corrie says if he continues like this, she will leave.
27. INT. CORRIE’S OFFICE – DAY
Beginning: (Uncomfortable moment) Ira surprise crying Corrie.
Middle: (Mislead) Corrie lies why she cries, Ira pretends believing Corrie.
Ending: (Character changes radically) Ira sympathizes with Corrie.
28. INT. NICE RESTAURANT – NIGHT
Beginning: (More interesting setting) Corrie invites her family to a really nice restaurant.
Middle: (Uncomfortable moment) Alex and Corrie argue loudly and embarrass Eve.
Ending: (Major twist) Corrie and Eve take a taxi and leave on the their own.
29. OUT. FRIEDMAN’S HOME, GARDEN – DAY
Beginning: (Uncomfortable Moment) Alex meets Mirai at the students’ market stand.
Middle: (Misinterpretation) Mirai thinks that Alex came to get their support for the presentation.
Ending: (Intrigue) Alex realizes that Flavia has not invited him to the presentation.
30. INT. FRIEDMAN’S HOME, OFFICE – NIGHT
Beginning: (…) …
Middle: (…) …
Ending: (…) …
31. INT. UNIVERSITY, AUDITORIUM – DAY / OUT. UNIVERSITY, GARDEN – DAY
Beginning: (Superior Position) Alex surprises Flavia by showing up for the presentation.
Middle: (Surprise) Alex’s presentation is an innovative curriculum.
Ending: (Major twist) Mirai supports Alex’s candidacy, Flavia has critical questions.
32. OUT. UNIVERSITY, ROOFTOP – DAY
Beginning: (Mislead) Alex thinks Flavia does not want him to become dean.
Middle: (Reveal) Flavia reveals that Luke was terminally ill and he asked Flavia to protect him from the position.
Ending: (Major twist) Flavia falls to her death.
33. INT. UNIVERSITY, ALEX’S OFFICE – DAY
Beginning: (Uncomfortable moment) Alex is alone in the dean’s office.
Middle: (Suspense) Police come to interrogate him.
Ending: (Surprise) Alex discovers Luke’s run down bonsai and takes it with him.
34. INT. FRIEDMAN’S HOME, EVE’S GREENHOUSE – NIGHT
Beginning: (Surprise) When Alex brings home bonai, he discovers Eve’s green house.
Middle: (Major twist) Super dean checks on Alex and asks Alex, if he wants to become dean.
Ending: (Major twist) Alex invites Corrie and Eve to his upcoming birthday.
35. INT. FRIEDMAN’S HOME, ENTIRE HOUSE – DAY
Beginning: (…) …
Middle: (…) …
Ending: (…) …
36. INT. FRIEDMAN’S HOME, DINING ROOM – NIGHT
Beginning: (…) …
Middle: (…) …
Ending: (…) …
37. OUT. FRIEDMAN’S HOME, GARDEN – NIGHT
Beginning: (…) …
Middle: (…) …
Ending: (…) …
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Raquel’s Fascinating Scene Outlines:
Vision: I want to go deeper into my writing to create screenplays where characters of depth are placed in compelling journeys with a fresh voice that Hollywood producers as well as independent film companies know they must make!
What I learned from doing this assignment is I have many scenes to develop and need to do this assignment a bit at a time rather than be overwhelmed!
I will add more scenes and repost this assignment
Act 1
Miri before the war is a rising blues violinist. She cherishes her freedom. She has casual affairs with men. Her music career is above family and friends.
SCENE 1. INT. WARSAW MUSIC CLUB-NIGHT
Beginning: Miri and her band perform. Miri is sure of herself and in command
Middle: ( SURPRISE) Two anti-semitic thugs attack a patron at music club.
Ending: (CHARACTER CHANGES RADICALLY)
Miri drops her music on the floor.
Audience members grab the 2 men and throw them out the back and lock the door.
SCENE 2: INT. WARSAW CLUB- MOMENTS LATER
Beginning: (MISLEAD/REVEAL) The MC urges the band to continue to perform<b style=”font-family: inherit; font-size: inherit;”>.
<b style=”font-family: inherit; font-size: inherit;”>Middle: (UNCERTAINTY) Miri regains her composure.
<b style=”font-family: inherit; font-size: inherit;”>Band plays.
Ending: (SURPRISE) Show ends- calmness restored.
SCENE 3.
Exterior:Warsaw STREETS- LATER
Beginning; ANDRE and Miri walk quiet streets to her apartment.
Andre speaks about the incident. Miri is silent.
Middle: Miri opens her apartment door.
They kiss.
(MISINTERPRETATION) Andre proposes. He can “protect” her as he is Christian.
ENDING: (INTERNAL DILEMNA) Miri declines marriage.
Miri is only focused on musical career.
Miri tries to maintain life as usual. Determined to live her free life.
Turning Point 1:
Miri is now confined in the Jewish quarter of the Warsaw Ghetto.
She befriends other musicians for support to survive.
To subvert the children’s degradation and provide them with normalcy.
Miri makes a plan with Angie to join her to teach music to class of kids.
Fifteen kids enter the room with Claude.
ACT 2:
Miri is teaching a song to the class of children
She learns from Claude that Jacob is pretending that his father is still alive.
The next class she has Jacob remain after and helps him play the violin.
Turning point 2: Midpoint:
Miri practices classical music to tryout for the ghetto orchestra.
Miri’s main purpose to play in orchestra is for the greater access to food which she will bring to her young music students.
Officer Heinrich hears Miri practice and starts a conversation about the great German composers.
He forces a kiss which she rebuffs.
Miri will be his mistress or he will send Jacob to Treblinka.
Miri becomes his mistress. She will use this position and performing outside the ghetto to join the resistance and smuggle guns,
ACT 3: Intrigue: Secret Identity:
Miri uses her time at her “rehearsals” at a Nazi officers club outside the ghetto to sneak over to the Aryan side – pass as a non-Jew and meet with resistance members in order to smuggle weapons into the ghetto.
Turning point 3: Heinrich becomes suspicious of her absences and also hears she has a Jewish lover (Avi).
Intrigue: Scheme:
Miri is worried for Jacob and helps hide him to escape from the ghetto. Avi is killed aiding this escape.
Intrigue: Covert Agenda:
Miri is devastated that Avi died protecting Jacob. She stays alive to continue to smuggle weapons for the cause.
ACT 4: Climax: Drunk Heinrich catches Miri with a potato sack filled with weapons. He aims his weapon to shoot her.
Climax: Miri raises a gun and kills Heinrich.
Miri runs away. She is being chased. Shots fired.
Intrigue: Conspiracy:
She has escaped ghetto so she will not be killed in retribution. She fights with Polish Partisans.
Resolution: Intrigue: Mystery:
The war is over. Miri hears a rumor that Jacob is alive. She searches for him and finds him at a Jewish orphanage. They are reunited but she has to say goodbye. He is being sent to relatives in Palestine.
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