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Lesson 5 Assignment
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VISION – To write touching, entertaining family stories that have a message to teach and entertain audiences at the same time.
What I learned doing this assignment is doing the below:
My protagonist can do one or more of the following when she discovers her current boyfriend is cheating and lying about being employed:
– shame him on social media or in public
– get revenge by doing the same thing to him
– get violent by physically attacking him
– ignore him while putting his belongings on the curb
My antagonist can do one or more of the following when confronted about placing secret cameras in the bedroom of a minor:
– lie about it
– blame someone else
– cause a distraction by escalating an argument or getting violent
– gaslight the person confronting and make them think they’re crazy or imagining things
– leave while being confronted
– pretend he knows nothing about it
– kidnap the minor
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Madeleine’s Character Action Tracks!
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 that this step also help to get the characters more defined and distinguish from each other. I also adjusted some beats according to the new character traits.
ACT 1 – 1.1 Opening: Old way: Alex teaches frontal and loses it with Mirai who asks a critical question. Alex is inattentive to his environment (students).
Deeper layer: Alex is irritable because he is in a new life stage.
AJ 1 – Beginning: Corrie is dreaming about future, gift for Alex, is not satisfied with her life.
AJ 2 – Inciting Incident: Corrie offers Alex a new garden house to start a new life at home.
Deeper layer: Alex openly hates his birthday present because he wants more career time next year (fear of birthday, fear of decline, fear of death).
1.2 Inciting Incident: Alex wants to become dean.
Refusal of call: Luke wants Alex to do a health check
Genre convention, build up: Doc reveals menopause.
1.3 Turning Point 1: Alex starts application, is tired and lies about it.
AJ 3 – Turning Point 1: Corrie realizes that Alex wants to apply and secretly informs Luke about his health.
AJ 4: Corrie checks out job opportunities.
Genre convention Alex: Alex finds out that Flavia applies as well.
Genre convention Alex: Luke advices support from Mirai.
ACT 2 – 2.1 New plan: Alex sees no problem to contact Mirai for support.
Genre convention Alex: Mirai demands a workshop and personal involvement.
2.2 Plan in action: Alex self-medicates for marathon
AJ 5 – Turning Point 2 / Midpoint: Corrie finds Alex medication and secretly changes pills.
2.3 Midpoint: Alex suffers heart attack.
Genre convention Alex: Flavia becomes interim dean because Luke passed away.
Deeper layer: Alex builds garden house as therapy.
Genre convention: Flavia reduces hours.
AJ 6 – Act 3: Corrie has a job and starts an affair.
ACT 3 – 3.1 Rethinking: Alex starts a self-sufficient life and feels good about it without asking his family.
Deeper layer: Eve shares her dad’s new strange life and gets Mirai’s attention.
3.2 New Plan: Alex destroys home to force family to live in garden
3.3 Huge Failure: Corrie and Eve move out (poverty trauma).
AJ 7 – Turning Point 3: Corrie moves out because she hates Alex’s new self-limiting lifestyle (poverty trauma).
Recovery: Mirai’s visits Alex and is fan of his new life. Alex changes his lecture.
Genre convention: Flavia sabotages Alex’s lecture.
Reveal: Alex finds Luke’s letter and plant.
Reveal: Alex discovers Eve’s garden house “We must cultivate our garden 2.0”.
4.1 Climax: Alex invites Corrie and Eve for his birthday.
AJ 8 – Act 4 Climax: Corrie comes after midnight to talk about divorce or conflict about future of the family (dean vs family – just one family). (Maybe different versions by the narrator Eve).
Deeper layer and moral action: not just one planet, one family, also just one life (celebration birthday, but nobody comes)
AJ 9 – Resolution: Corrie starts her career and a new family life.
4.2 Resolution: New way of life and family. Corrie works, Alex teaches workshop at home, Corrie works successfully, Spends time with her affair and thinks about her future (every age has its needs), admits that he was an asshole and lets her free, Alex does workshop at home with student.
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Brandyn Cross’ Character Action Tracks!
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 how to augment the character’s personalities through specific actions vs. just dialogue, what emphasize who they are, and the process they’re going through.
ACT 1
OPENING
Alex drinks at a grave during a snow storm, shown from the side, so we don’t see a name on the headstone.
Alex is then driving in the snow. Despondent over his failing career, Alex intentionally crashes his car into an overpass pylon in a suicide attempt. A few cars pull over, and a few men run to help.
We are led to believe that Alex survived the crash, but is left disabled. As he awakens in hospital, a news report in the background reports on the crash, claiming it involved several vehicles and that there were multiple fatalities, but he is seemingly oblivious to the report. Alex would want to get out of the hospital. He would be rebellious and refuse doctor’s orders.
As Alex rehabilitates, we see him as depressed, despondent and self-absorbed, filled with negativity and concerned only with how his misfortunes have made him a perpetual victim. We would see Alex working at rehabilitation, although out of a sense of wanting to get out of the hospital, rather than a genuine concern with the rehab. He has however developed psychic abilities following the accident enabling him, among other things, to connect with ghosts. We would see Alex as this psychic phenomena manifests, and he sees the ghosts. He would certainly fight against that, and try to deny it is really happening. The first ghost he would connect with is Sandy, as Sandy would come to Alex. Sandy would want to engage with Alex, but Alex wouldn’t want to at all.
INCITING INCIDENT
Alex is visited by Sandy, a child ghost, who tells him he has the power to help grieving parents, and help their departed children cross over to eternity. Alex would not welcome this, and would probably intentionally ignore Sandy at first, not wanting to be bothered by a distraction like a ghost haunting him. Sandy, on the other hand, would be kind but persistent, refusing to so much as acknowledge Sandy. Sandy would be dejected by this, but still try to engage with Alex.
Not known to Alex, Sandy died and has been waiting to be reunited with his father when his time comes. We see Sandy’s mentor, an angel named Angel, who gives Sandy his assignment and encourages him along the way. Angel would give Sandy instructions and encouragement, as Alex’s unwillingness to engage with him would leave him both despondent and confused.
Sandy learns that his father has never gotten over Sandy’s death, and his life has spiraled downhill, culminating in his suicide. Because of all this baggage he still carries, he is not able to join Sandy in heaven.
TURNING POINT
Sandy is told that his father can join him if he is redeemed by helping some other ghosts who are in turmoil, and in need of closure.
Three other ghost children are assigned to Sandy as those whom Alex must help, and Sandy understands that these ghosts are some kids whose forgiveness Alex needs to bring about his own redemption. Angel would give this information to Sandy, but Sandy can’t reveal any of that to Alex. Sandy, being 10 years old despite being a ghost, would be unsure what to do.
Alex is initially not interested. He is adamant that if he is going to connect with ghost children, he wants to connect with his own departed son, the details about whom he has very little recollection. This would leave Sandy conflicted and a bit hurt since, in reality, Alex is connecting with his son. But Sandy can’t tell him that.
When told he can’t do that, Alex is a little pissed and not interested. He would therefore, at least initially, refuse to help Sandy. And Alex would be pretty short-tempered with Sandy, and would tell him flat out that he doesn’t want to have anything to do with Sandy. This would really hurt Sandy’s feelings, in addition to jeopardizing Sandy’s mission. Rather, Alex dedicates his efforts to trying to revive his career, and ignores his psychic connections. But, no matter how hard he tries to ignore them, he is haunted by his abilities and feels a compulsion toward them. This would be in no small part to Sandy continuing to contact Alex.
Alex is unable to work because he is haunted by the ghosts, and by strange memories. He remembers being at a grave, showing a little more of the headstone, but still no name.
He also remembers being at the crash as the drivers who pulled over fight to get him out of the car. Alex’s connection to Sandy, whether he wants to acknowledge it or not, is largely responsible for him regaining these memories, which Sandy needs to prey on to get Alex to agree to fulfill his destiny.
From there, he is able to psychically see Rorie, the first ghost child Sandy introduces him to, and his family, who are grieving over Rorie’s death. Alex would be frustrated by the distraction even more as it interfered more with his work. Again, Alex would take this frustration out on Sandy, since he’s the only one available to vent to, which would further hurt Sandy’s feelings, and make Sandy more frustrated over his inability to get Alex to connect with him, much less acknowledge him.
ACT 2
Alex still has no interest in using his powers to assist others rather than himself, and tries to ignore these powers. Although now, Alex is also having to deal with being in psychic contact with Rorie as well as Sandy. He would, at this point, get frustrated to the extent of probably threatening Sandy.
As Sandy tries to convince Alex to help Rorie, Alex discovers he is unable to suppress his powers, and is unable to ignore an internal need to bring these dead children and their parents together to help them achieve closure. We should see some sign of Alex starting to break down, which would make him want to resist even more, despite knowing it’s a futile fight.
Sandy is almost desperate to convince Alex to do so, seemingly more invested in this than makes sense. As Sandy is not allowed to reveal his true identity to Alex, he has to guard the secret of their relationship, and that this is what Alex needs to do so he and Sandy can be reunited.
Yet, Alex still refuses. At this, Alex may get so frustrated and pissed that he literally tries to assault Sandy which, of course, wouldn’t be terribly effective on a ghost. Yet, at the same time, it would certainly hurt Sandy emotionally. At this point, Sandy would probably plead with Angel to be relieved of his assignment, feeling it futile but, even more so, being so hurt by his dad’s cruelty toward Sandy.
Sandy is despondent, but is encouraged by Angel.
Then, in another vision of his accident, arranged by Angel, Alex sees a kid get out of one of the cars at the scene. He starts running across the highway, but stops cold, looking down the road, terrified. Alex wouldn’t want to see this more clearly, but would also be affected by it to some extent.
TURNING POINT 2 / MIDPOINT
After a lot of effort and with Alex unable to suppress his psychic powers, Sandy convinces Alex to write the book for Rorie, both Rorie and Sandy helping him to do so. Alex would then begin writing Rorie’s story. He would have to spend some time with Rorie to learn his story, but he would probably still be pretty gruff with Rorie, since he really doesn’t want to do this. At the same time, while writing this story, Alex realizes he’s gaining some lost memory of his son.
Alex then contacts Rorie’s family to get the book to them, insisting their departed child compelled him to write it. They are skeptical and want nothing to do with Alex. Alex would be a bit like Whoopi in Ghost, making the obligatory contact, but not really caring if they accept it or not. From his perspective, success or failure isn’t the point. Rather, just making the effort. He would believe he could make the effort, they could reject it, and he’s done his job, so all the ghosts can now leave him alone.
Initially, Alex shrugs off their dismissal of him, rationalizing that he has done everything he can and it’s not his fault if they won’t listen to him. Sandy is nearly desperate to get Alex to press them and not accept ‘no’ for an answer. Alex would be argumentative with Sandy, insisting that if the family won’t believe him, there’s nothing he can do about it. Plus, he doesn’t want to waste any more time with it.
Alex listens to Sandy only when he realizes that, in writing Rorie’s story, he has gained a greater recollection of his own son. But, with the family’s rejection of him, he begins losing that newfound recollection and realizes that, for his own sake, he must succeed in bringing the family and their departed child together. Alex would push back to the family, but only because it benefits him. With that, he would come across as even more crazy to Rorie’s family than he did initially. But this time, he would take their rejections personally, and push back even harder.
He then remembers being at the grave again, camera a little more to the front. This connects him to the feelings this family feels, and leads him to the realization of what he needs to do go get Rorie’s family to believe him. This ‘vision’ ignites a stronger connection with Alex to Rorie’s family, and to Rorie, and he discovers how to get the family to believe him, and accept him. At the same time, Sandy would be emotionally affected by Alex’s connection to Sandy’s grave.
These psychic insights into Rorie’s family are successful, and he is able to bring Rorie and his family together, where they achieve closure, and Rorie is able to move on into heaven. Alex would, at this point, start having a change of heart, as he sees the change he’s able to make with Rorie and his family. He starts genuinely wanting to help them, and excitedly pushes Sandy to connecting him to someone else so he can do it again. Sandy would now, for the first time really, start becoming very optimistic about the chances of success, and his reunification with his dad.
At this point, Sandy introduces Alex to Beth and Kody, two other child ghosts, and shows them their families as well. Alex would be excited to get started on the next story. Sandy would be even more elated.
ACT 3
Alex feels connected to the grief of Rorie’s family and their resulting relief upon being able to say goodbye to Rorie. Sandy would feel a genuine connection there as well, partly because of his genuine concern for Rorie and his family, but mostly because it brings him close to achieving his own closure.
Alex’s longing to feel that for his own son grows even stronger, as Alex begins to understand on some level that all life is connected, and that he must develop an honest empathy for others going through the grief process if he wants to experience that same sense of peace regarding his son. Alex would start feeling a peace he can’t ever remember feeling. He’s pretty much converted and, right now, it appears everything is now on track. Sandy believes this too, and sets himself a little too strongly in the belief that they’ve all but succeeded at this point.
In further remembering his crash, Alex sees the child in the street, paralyzed in fear as a truck goes out of control as it approaches the crash scene. This time, though, he sees the face of the child, who looks somewhat similar to Kody, although still a little too cloudy to actually recognize him.
Alex remembers more of being at the grave, even further to the front of the headstone, but is still unable to see the name. This would begin a small nagging at Alex, an uneasy feeling that maybe something is still wrong, although he wouldn’t be able to put his finger on it. Sandy will start getting a little impatient and anxious to get this process all behind them.
Alex now believes he must succeed in getting these other families to believe in his ability to connect them with their departed children, not knowing for sure, but suspecting, that his own salvation may lie in the balance. This kind of zeal, and personal investment, could create problems in their own right. If any of the families reject Alex, they could have harassment charges brought against him or something. I’m thinking Beth’s mom might do that. Or at least Alex may believe that has happened.
Alex is now unwilling to accept failure, and becomes absorbed in helping these other families to move beyond their paralyzing grief. In losing himself in the selfless service of others, he forgets entirely about reviving his career, as that no longer seems important. Alex is becoming overly zealous at this point, and Sandy isn’t stopping him because he needs so badly for Alex to succeed, so he is blind to the potential problems as well.
Sandy and Beth help Alex create Beth’s story, and he is super-confident in presenting her book to Beth’s family, including her mother and father. Alex is now as obsessed with writing Beth’s story as he had been before about reviving his career. And Sandy is 100% behind Alex, maybe to the point of ignoring warning signs that they would be looking for.
Beth’s father accepts Alex’s story without question, encouraging his wife to accept it as a message from their daughter that she is safe in the arms of heaven. In some ways, it seems easier than it should have been, but Alex becomes almost so overconfident and egotistical over the success that he pats himself on the back for it.
Sandy is brimming with hope, but Angel tries to keep his hopes a little tempered. But he is so enamored with positive glare that he won’t really listen any more than Alex initially listened to Sandy.
TURNING POINT 3; HUGE FAILURE / MAJOR SHIFT
Sandy’s hopes are dashed when Beth’s mother, Rose, commits suicide after Alex delivers Beth’s book to the family. First, before killing herself, Rose files a harassment report against Alex. So, when she commits suicide, Alex is arrested and blamed for causing her death. Or, at least Alex believes this happened. In reality, she really couldn’t have actually filed a report since Alex is dead and only ghosts and their families can interact with him. But, she could certainly have told him she would do that, putting the thought into Alex’s mind, so that he believes she has done that, and he mentally constructs a reality in which he is in jail.
Alex insists to Sandy that he is doing more harm than good by meddling in the grief of these families and that he’s done with it. He refuses to continue working on any other books, and tells Sandy to leave him alone, saying he wants nothing more to do with Sandy or these other kids. Alex would get out on bail, and with these new troubles, and bothered by Rose’s death, he rejects Sandy entirely and refuses to work with any more ghosts. We need to think this through a little though, because if Alex is dead, and only the ghosts and their families can interact with him, he couldn’t really be arrested… however, that doesn’t mean he can’t THINK that he is. What if he just ends up in a jail cell, but no one else is there, and he just kind of ‘ends up’ out of jail, where he confronts Sandy and says ‘no more?’
Sandy is now consumed with despair. Angel encourages him to keep trying to convince Alex, but he refuses. Not only has Alex become bitter and lost his confidence, but so has Sandy.
ACT 4
Beth intercedes and, with Angel’s help, shows Sandy what Beth’s mother would have done without the intervention of Alex and Sandy.
Sandy then shows Alex. As it turns out, her suicide was out of the hope of being reunited with Beth. Without Alex’s book, she would still have committed suicide but, in that case, would have been out of the hopelessness of feeling that Beth was gone from her forever. It would have been an act of despair rather than a misguided act of hope. In that state of mind, she would have also taken her husband and other kids with her.
Sandy and Beth convince Alex to speak with Beth’s dad, who confirms that his wife’s suicide was probably unavoidable but that, before receiving Beth’s book, he had been unable to reach her. He thanks Alex for bringing Beth back to them for even just one more moment.
With Angel’s help, both Sandy and Alex decide to resume their work, and help Kody by writing his book.
CLIMAX / ULTIMATE EXPRESSION OF THE CONFLICT
In fleshing out Kody’s story, Alex and Sandy realize that, unlike the other stories, Kody is the one in need of resolution and closure. Alex discovers that Kody’s book was necessary to help Kody come to terms with his death so he could cross over and be reunited with his mother, Angel, who had died earlier and had been waiting for her reunion with Kody.
We then learn that even Sandy’s heavenly mentor had a stake in this of eternal proportions. Alex and Sandy are able to see the heavenly reunion of Kody and Angel. Alex and Sandy would both be struck with wonder at the magnitude of what they’re doing, and how much farther it reaches that just the two of them. Even as a ghost, this comes as a wondrous shock to even Sandy. Alex would become resolute on finishing Kody’s book.
Kody and Angel express their gratitude to Alex and Sandy, and tell Alex that they forgive him for Kody’s death. He is confused and, at that moment, Rorie, Beth and Rose also appear and thank Sandy and Alex. They also tell Alex that they forgive him, and now he’s beyond confused.
Alex asks Sandy what they meant, and Sandy is in tears. Sandy tells Alex that’s what this was all about, and that now Alex just needs to forgive himself.
At that moment, with his redemption complete, Alex recalls everything. He sees the accident scene clearly. He sees himself in his car as the rescuers- the parents of the ghost children- realize that Alex is dead. Alex would be in complete shock as all the missing elements of his life are now revealed to him, and he realizes what this has all been about. This would become stronger and stronger with each new realization. Sandy would also react, as the moment of his dad’s reclamation is at hand.
Just then, the truck plows through the cars that had stopped to help. Alex watches in tears as the truck plows through the cars containing Beth and Rorie, and strikes Kody as he runs across the road, all of whom are instantly killed.
Alex is beyond consolable, not only realizing that he is dead, but that in selfishly killing himself, he also caused the deaths of Rorie, Beth and Kody. At this point, Alex would be devastated. He would not yet be in a position to forgive himself. He would think right now he deserves to burn in hell forever, which is really part of the required process of his redemption. Everyone must go through their own purgatory before receiving forgiveness and moving on.
Sandy insists again that Alex has to forgive himself. Alex can’t do it, but Sandy is desperate. He insists that God has forgiven him, and that Rorie, Beth and Kody, along with their families, have as well, and that it’s imperative that he forgive himself.
Alex insists that he deserves to burn in hell and that, at this point, wants to. Sandy is in tears, begging Alex to accept everyone’s forgiveness, and forgive himself. He tells Alex he’s just beginning to learn of all the good he has done for others. Alex asks what’s the point. Alex would be emotionally desperate right now, overcome with guilt and shame.
At that moment, Alex sees himself directly in front of the grave, where the name Alexander “Sandy” is on the headstone. He realizes that Sandy is, in fact, his son, who had died previously and led to his isolation and loss of interest in living. We would see glimpses of Sandy’s death, and how it affected Alex and drove him into despair and isolation. Alex would now be an emotional wreck, torn between his shame and guilt, and his desire to accept forgiveness and be reunited with his son.
RESOLUTION
Alex completely realizes that he has been dead throughout the story. This whole journey has, in reality, been about his own reclamation and redemption, which he must undergo before being allowed to join his son, Sandy, in the eternities. Right now, though Alex recognizes what he has to do, he isn’t sure he can emotionally go there. He still feels like he needs to pay for what he’s done. At this point, either through Angel or directly, Alex needs to be brought mind-to-mind in connection with Jesus, where he is able to accept forgiveness, and forgive himself, when he feels the power of his sins taken from him and placed at the feet of Jesus.
Alex takes Sandy in his arms and asks Sandy if he can forgive him for the fool that he has been. Sandy just hugs him. With Sandy’s blessing, Alex is able to at least begin to forgive himself. He comes to terms with his suicide, and is able to recognize Sandy for who he is, at which point they are reunited in heaven. Alex would be filled with relief, and be at peace with himself for the first time ever. And Sandy would now finally be happy.
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Paul’s Character Action Tracks!
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, once again, it stimulates creativity. It makes me come up with scenes that I hadn’t thought of earlier and to think more about my characters. Also, getting my characters to speak through their actions rather than words, will make the script more interesting. I still have huge gaps, but at least I know how to approach future scenes by displaying character in action.
2. a. Protagonist
Lilia: Caring & loving mother; a warrior for justice; street-wise; distrustful of men.
1. INT. BUS. DAY.
Lilia riding home from work after as cleaner in private homes. We see the poor streets of Culiacán. See military road block ahead. Passenger comments on “Doing the gringos’ job.” Lilia argues with bus-driver to stop.
2. EXT. STREET. SAME.
Lilia gets off bus. Road to her house blocked by military vehicles. A fentanyl lab in neighboring house is being destroyed. Lilia forces her way through. Witnesses violence against the women working in the lab. Man escaping lab is shot in the back as he tries to escape. Lilia goes toe-to-toe with soldiers to defend the women. Helps get dead body of man back to his house.
3. INT. DEAD MAN’S HOUSE. SAME.
We see the poverty that forced the man into drug production. Lilia outraged at family’s suffering. Lilia argues with uniformed ambulance staff who come to take body away.
4. EXT. STREET. SAME.
Lilia continues walking home, past the soldier and cops as they finish destruction of fentanyl lab. A plain-clothed DEA agent recognizes her. She ignores him. One of the cops follows her to her front door. Reminds her of the 500 pesos she owes for “protecting” her house. (First hint of police corruption).
5. INT. LILIA’S HOME.
Lilia’s father, TINO, reading. Daughter, MARISOL, doing homework. Lilia asks if heard news outside. Tino says it’s nothing new. Comments about the hypocrisy of drugs war. “Why don’t they go after consumers the way they go after producers?” Told Marisol to ignore noise and keep studying for her “ticket out of this hell.” Lilia to daughter: “Your Dad’s right.” Prepares evening meal.
6. EXT. STREET. NEXT DAY.
Lilia walking home with shopping bags. See places discreetly selling drugs.
7. EXT. LILIA’S HOUSE. SAME.
As Lilia approaches house, Marisol rushes out to announce she has won the scholarship. Lilia in tears.
8. INT. LILIA’S HOUSE.
Mother and daughter jubilant. Tino not so sure. Not like idea of grand-daughter going to live in USA. Expresses anti-gringo sentiments. Lilia warns her about American men.
9. EXT. CULIACÁN AIRPORT. DAY.
Lilia and Tino saying farewell to Marisol. Tino issues warnings. Slyly passes her a wad of US dollars. Lilia waves good-bye with tears in her eyes.
…
13. INT. MIDDLE CLASS HOME IN CULIACÁN. NEXT DAY.
Owner of house asks Lilia how daughter is getting on. Lilia not had any news for 2 days. Checks cell-phone. No messages. Lilia worried.
14. EXT. LILIA’S HOUSE. LATER SAME DAY.
Lilia returning home. Neighbor meets her. Shows her video on cell-phone. Senator SANDOVAL claiming Mexican girl brought drugs to his house and she died. Not his son’s fault. Lilia runs to her house, trembling.
15. INT. LILIA’S HOUSE. SAME.
Tino already seen the video. Lilia vows revenge. Says she will kill Senator’s son, like his son killed her daughter. [Turning point].
ACT TWO: Senator’s son kidnapped and brought to Culiacán.
21. INT. UNDERGROUND ROOM. SEVERAL DAYS LATER.
Hank Sandoval blindfolded. Tino introduces Lilia to the man who killed her daughter, his grand-daughter. Lilia grabs a hand-gun and shoots to kill. Fails. Hank wounded. Tino controls Lilia. Tells her he has better plans for her daughter’s killer. Lilia has to be restrained by cartel gun-men.
23. INT. UNDERGROUND ROOM.
Hank Sandoval still being held. Tino and Lilia plan his “trip” into the world of drugs’ supply. Each time Lilia passes next to Sandoval she strikes him.
24-26. EXT-INT. CULIACÁN. DAY & NIGHT.
Hank Sandoval on trip of discovery of reality of drug supply. Tino and Lilia are his guides. Lilia drags him around with a chain around his neck. The trip is filmed with Lilia’s phone. Uploaded to internet with anti-drug war commentary by Tino.
…
32. INT. LILIA’S HOUSE. SAME NIGHT.
Tino gets call, telling him Senator Sandoval has arrived. Tino tells Lilia. She is not interested. Suspicious of the father. Wants to finish the job with Hank Sandoval, the Senator’s son.
ACT THREE: Lilia finds herself up against the DEA and the Sinaloa Cartel as she campaigns on social media for an end to drug war.
34. INT. CARTEL BUNKER. DAY.
Senator Sandoval being held by gunmen. Lilia enters bunker to give Hank Sandoval another beating. Senator Sandoval recognizes her as his former lover. Calls her name. Plastic surgery and name change makes him unrecognizable. Lilia in shock and wants him dead too.
35. LILIA’S HOUSE. SAME DAY.
Lilia reports to her dad, Tino, on her discovery. Tino disturbed. Does not explain why.
…
37. etc.
Cartel want him dead. Lilia demands he pay for repatriation of her daughter’s body. Decides to protect him. Gets him to a safe house.
…
39. etc. Lilia’s online postings getting a following world-wide. Makes online demands justice for the drug suppliers against the powerful drug consumers. Provokes opposition from drug cartels, DEA, United Nations.
…
ACT FOUR: Lilia is murdered by DEA/Sinaloa Cartel working together. Senator Sandoval returns to US with his freed son. He now has an anti-drug war message. Lilia’s legacy is global demands to end the drug war.
b. Antagonist
Luis Sandoval, US Senator: concerned father; conformist; arrogant politician; conflicted.
12. EXT. POSH HOUSE. NEXT MORNING.
Journalists gather in front of house. Reporting on discovery of dead Mexican girl in the house of SENATOR SANDOVAL, a hawk in the drug war. Sandoval blames Mexican girl for bringing drugs into the US.
…
27. INT. SENATOR SANDOVAL’ OFFICE. DAY.
Senator Sandoval contacts friends in DEA to organize visit to Culiacán to search for his son.
…
ACT THREE: Lilia finds herself up against the DEA and the Sinaloa Cartel as she campaigns on social media for an end to drug war.
40. etc. Lilia being targeted. Senator Sandoval trying to protect her.
ACT FOUR: to be completed.
END
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KZ’s Character Action Tracks
Vision: to write quotable, memorable scripts (like the ones I love), and help them get made into successful films.
What I learned from this assignment is where there are areas that still need more development. For instance, I need more actions for my Antagonist, which will come about as I develop the plot.
WENDY (Protagonist)
On her way to work, Wendy sees a kid being abused by his mother. She intervenes with tough negotiation.
Then we see her ruthless side: as she steps into a negotiation, her boss advises her to “go for the jugular” and we see the end result: her opponent is in tears, and her boss high-fives her.
Wendy has her assistant obtain high-end meditation gear, including a very expensive Zafu cushion. Wendy advises her assistant never to say I love you first, unless you plan to be his love slave for the rest of your life.
Wendy wants to join Myra’s meditation class, but is told the class is full. Wendy tries her negotiation tactics on Myra, but can’t get past Myra’s serenity. Wendy spies Darwin for the first time and is smitten. She leans on a junior member of her team to give up his slot so that she can join the class.
Ignoring Myra’s instructions, Wendy insists on meditating with her handbag strap hooked around her ankle. To emphasize oneness, Myra tells everyone to shift their Zafu to the person to their right. Wendy is furious to give up her fancy cushion for a decidedly ratty one.
Wendy has her assistant, or maybe a private detective, supply her with backgrounders on her opponents… and now she adds Myra to the list.
Wendy speaks on a panel at a Negotiators’ conference, and Darwin is on the same panel. There’s a discussion about throwing one’s opponent off his game, which the other two on the panel don’t do because they always look for the win/win. Wendy demonstrates, using Darwin as her target. She says “Namaste” – telling the crowd that cultural appropriation can infuriate an opponent. She hits below the belt when she reveals she heard Darwin talking to his mother, and implies, cruelly, while smiling, that he’s a Mama’s boy.
At a game of strip poker, Wendy and Darwin are the only clothed ones left. Neither wants to admit attraction, which would put them in a weak position. Wendy tries to negotiate a hook up without seeming too interested. They can’t come to terms.
Darwin wants ____________ of Wendy’s – she trades for him giving her a secret of meditation: “observe the observer”. Wendy tries the technique and aces it. She may let out a victory whoop, disrupting the class.
Wendy is assigned a primo negotiation – the acquisition of a technology company. Her opponent will be Darwin. Wendy asks her P.I. to put together a backgrounder.
Before class, Wendy receives the dossier. She informs Darwin that they’ll be facing off… if his mother will allow it.
Wendy aces meditation and winds up on the train to Nirvana. She immediately tries to find the manager to complain.
DARWIN (Antagonist)
Wins a negotiation but surrenders to his mother’s will.
Despairs that he’s headed towards an arranged marriage with a woman of his mother’s choosing.
At the Negotiator’s conference, after Wendy insults him with “Namaste,” he asks her to get him a cup of coffee.
Darwin tells Wendy that he orchestrated her participation because he knew he could beat her.
Darwin explains that the Nirvana train is part of the “Dark Night of the Soul.”
MYRA (triangle)
Myra treats her students who feel entitled as though they’re petulant children.
Myra meets every situation with a beaming smile and equanimity
Myra “incorporates” sounds and events into her meditation.
Always sees the good in people, even when their intentions are evil.
Myra educates Wendy and Darwin about Samsara, and urges them to give up their suffering and stay on the train to Nirvana.
Myra recruits a monk on the train to show them how unhappy their lives are, to convince them to leave them behind.
Myra claims that there’s nothing she regrets leaving behind. She only hopes someone will feed her cat.
Myra challenges Darwin’s characterization of the Dark Night of the Soul, and offers instead the idea that One Man’s Ceiling is Another Man’s Floor
Myra outsmarts Wendy and Darwin’s attempts to sabotage the trip to Nirvana.
When Wendy and Darwin do sabotage her trip to Nirvana, Myra uncharacteristically has the meltdown that the audience has been waiting for.
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Raquel’s Character Action Tracks. I will add more to this assignment later.
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 what makes the screenplay well-written is to show characters through action rather than explanation as in dialogue. This sets apart the visual action world of screenplays from fiction such as novels.
Act 1
P.J. Miri right 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.
New Specific Beats:
Int. Nightclub-Warsaw
Miri plays violin to a mostly young crowd that sit at small tables. She is backed up by piano, drums and guitar.
The crowd is lively and drinking. Some get up to dance.
Miri begins to introduce the other band members to the audience. She is commanding in her profession.
Inciting incident: A.J. -2 anti-semitic thugs attack a patron at music club.
The back door opens with a bang and 2 twenty-something men grab a patron up from his table and start to beat him calling him a dirty Jew.
Miri ends her introductions and drops music she is holding onto the floor.
Audience members grab the 2 men and throw them out the back and lock the door.
They help the Jewish man back to his table.
The MC urges the band to continue to perform.
Miri picks up her drink from a small table and takes a sip.
She introduces the next song.
The band plays.
The crowd is subdued.
The concert ends.
Miri and the others pack instruments to go home.
Miri’s boyfriend Andre joins and takes her violin to hold for her.
Exterior: They walk quiet streets to her apartment.
Andre speaks about the incident. Miri is silent.
Miri opens her apartment door.
Andre wants to come inside.
Miri is too tired.
They kiss at the door.
Andre who is Christian wants to marry Miri to protect her. He proposes.
She declines.
Deeper Layer Miri tries to maintain life as usual. Turns downs marriage proposal later that evening. Determined to live her free life.
Turning Point 1: P.J -Miri is now confined in the Jewish quarter of the Warsaw Ghetto.
Deeper Level: Miri faces her own death. She befriends other musicians for support to survive.
Miri sits at a communal table. She is served soup. Angie, seated on the other side calls her name. She recognizes Miri from performances.
Angie tells Miri that she is a pianist. She is looking for a piano and has heard there is one in the ghetto at a building where there will be music classes for children.
They walk together from the soup kitchen and pass hurriedly by a group of Nazi soldiers.
As they continue to walk one raises a rifle at their backs as if to shoot them. He lowers it and the soldiers all have a good laugh.
Angie takes Miri to the music school and tells her they can both teach the kids there.
Miri agrees to bring her violin to the class too.
Next day:
Miri and Angie enter a room with a piano and chairs.
Angie sits at piano- plays Yiddish song.
Miri takes her violin from its case and joins in.
Fifteen kids enter the room with Claude.
They gather around the two women.
<b style=”font-family: inherit; font-size: inherit;”>Claude tells the children to all take their seats.
He tells them that Angie and Miri will give them music classes.
They will sing songs they know and new ones too.
Angie sits at the piano and plays.
Miri leads the kids in singing a popular children’s song.
After class ends Angie is very warm to the kids- hugs them. Miri is standoffish.
Act 2: P.J. Miri is teaching a song to the class of children.
Angie is at the piano.
The class ends and the children are escorted out by Claude.
One boy (Jacob) remains behind and asks Miri for violin lessons as he already knows how to play from his father who is too busy to teach him. Miri refuses him at first. She tells him she is too busy but maybe later. 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.
Deeper Level: Years before Miri delayed going home to play at a gig when her younger brother was ill. To her shock when she returned home he had died. She avoids emotional/love relationships.
Turning point 2: Midpoint: P.J. Miri practices classical music to tryout for the ghetto orchestra.
Deeper level: Miri’s main purpose to play in orchestra is for the greater access to food which she will bring to her young music students.
A.J. Officer Heinrich hears Miri practice and starts a conversation about the great German composers. He forces a kiss which she rebuffs. He is aware of her now close relationship with Jacob. She will be his mistress or he will send Jacob to Treblinka.
Deeper level: He considers himself a cultured member of the Aryan race who has the right to control a Jewish prisoner.
Act 3: P.J – 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.
Deeper Level: Miri now uses her music skills to aid and save others while she puts her own life in jeopardy having changed from the time music was a selfish pursuit.
Turning pt. 3: A.J. Heinrich becomes suspicious of her absences and also hears she has a Jewish lover (Avi).
Deeper Level: He is enraged that Miri would dare not be under his thumb.
P.J.: Miri is worried for Jacob and helps hide him to escape from the ghetto. Her lover is killed aiding this escape.
Deeper Level: Miri is devastated that Avi died protecting Jacob. She stays alive to continue to smuggle weapons for the cause.
Act 4: Climax: A.J. Drunk Heinrich catches Miri with a potato sack filled with weapons. He lifts his weapon.
Deeper level: He drinks to numb himself against the killing he is part of.
Act 4: Climax: P.J. Miri raises a gun and kills Heinrich.
Deeper Level: It is the first time she has killed anyone and she shakes and cries.
P.J. Miri is helped to escape the ghetto so she will not be killed in retribution.
Resolution: The war is over. P.J. Miri hears 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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