Lesson 6

[Karen Brandin]

SUBJECT: Karen Brandin Character Intros

What I learned from doing this assignment: Don’t introduce a character doing something mundane, like walking the dog, unless the character does something exciting while doing so.

Character intros:

Charlotte (protagonist) and Iris (Charlotte’s grandmother): While skiing, they both fly off the ski run, and are airborne when they burst through trees where Charlotte crashes into a home’s reindeer decorations. Iris is fine. Charlotte crashed into the decorations so she wouldn’t hit Iris.

Finn (Charlotte’s romantic interest) and John (Finn’s grandfather): They run out of the house to help Charlotte. Finn is a doctor. He checks Charlotte out and determines she needs an x-ray at the hospital. John and Iris realize they knew each other in school and exchange banter. Finn carries Charlotte to his truck while John gives Iris a ride back to her car at the ski resort.

Tina (Charlotte’s cousin): Tina leads a cooking class where all four of the above characters come together. She’s solicitous toward her injured cousin, but teases her by having reindeer cookies as the focus of the class rather than gingerbread men.

REWRITTEN INTRO FOR TINA:

Tina and her four rambunctious kids descend on Charlotte the morning after the accident, bearing baked goods. Food equals love to Tina, so she brings two baskets of muffins, etc. while trying to keep the kids from knocking over Iris’s breakables. She is strict but patient with her kids as they run amok.

[Robert Kerr]

Karen:

Good adjustment to have Tina be more of a facilitator. Set-ups the dynamic of her being the cousin who is busy trying to light the spark between Finn and Charlotte.

A suggestion, if the cooking class is focused on making something like taffy, where there is more opportunity to set-up the spark between Charlotte and Finn. Since it takes two to pull taffy and it is also very tactile.

Like the way these characters are developing. Great work.

[Robert Kerr]

Bob Kerr Character Intros

What I learned from this assignment is the opportunity to elevate the character introductions provides the foundation to build story and add drama. This increases the entertainment value of the characters and the story.

CURRENT BEATS OF CHARACTER INTROS

Fran (protagonist) is ambushed by divorce papers. She can no longer live , with her daughter, in her soon to be ex-husbands home. She packs up her car with all their belongings and heads to her fathers farm.

Vespoli: Ally of Fran: He is returning from his daily workout in preparation for the World Rowing Championships. He receives a phone call from Wichita, Kansas. offering him the job as Executive Director of the Wichita Rowing Association., The catch is he has to secure the boats and equipment with a shoestring budget. His condition, he has complete authority over the rowing program and he will coach both a men’s and a women’s crew.

SELECT A DIFFERENT TYPE OF INTRO:

Action shows primary trait:

Fran is pushed and bullied by two native American friends of her husband. They tell her she doesn’t belong with the tribe. Fran fights back and declares she has earned the right to be with her husband who is the father of her daughter.

Vespoli is wrapping up a row with his National teammates. They put up the boat and suggest they all go out for a beer. Vespoli declines stating he needs to do a 5 mile run so that he can maintain his workout schedule.

WRITE OUT THE BEATS FOR THE NEW CHARACTER INTRODUCTION

1. Fran is bullied and pushed around by two members of her husbands tribe.

2. They claim the goals of A.I.M. has no room for a white woman.

3. Fran fights back.

4. Fran states she got the supplies for their journey to the protest at Wounded Knee.

5. Fran says that since her husband is the father of her daughter, she has a right

to be part of the movement.

6. Fran is slapped and told white women have no rights.

7. Fran retreats.

WRITE A SCENE THAT INTRODUCES THE CHARACTER USING THE RESULTS FROM #2 & #3.

INT: WICHITA HOUSE – AFTEROON

Fran is confronted by two members of her husbands tribe. Fran is initially curious as to why they are confronting her but she isn’t afraid of them. All of a sudden one of them grabs her and pushes her against the wall. The other one is starting to grope her and twist her hands as she reaches up to push the first one away from her.

FRAN:

Let me go! You don’t have the right! My husband will kill you for this!

FIRST NATIVE AMERICAN:

You are the one who doesn’t have the right. Your husband sent us. He doesn’t want you around anymore.

Fran continues to struggle and pushes the groping hands away from her blouse.

FRAN
I got the supplies for Wounded Knee. I’m the mother of his child.

SECOND NATIVE AMERICAN

None of that matters. You need to take your child and leave. There is no place in our movement for one who is not pure Sioux.

Fran breaks away from the hold of the first one and slumps to the floor. Holding her head in her hands.

FRAN

I’ll leave. But, my Poppa will make you pay for this insult!

• This reply was modified 2 years, 1 month ago by  Robert Kerr.

[Lisa Paris Long]

DAY 6 – Introduce Characters Powerfully

Lisa Long’s Character Intros

What I learned doing this assignment is that there are endless possibilities to change up characters and scenes. And it is difficult to know which is the best choice.

Create new introductions for your two lead characters.

CURRENT CHARACTER BEATS

MOLLY

· In the back seat is a 12-year-old MOLLY clutching a small suitcase with an old pair of ballerina toe shoes attached.

· Molly slowly opens the car door and takes her suitcase.

· Molly slowly walks toward the restaurant then turns around.

· Molly pleads with her mom not to leave her! Molly cries. April jumps in the car and Kurt takes off. Molly runs after the car down the road. Teary-eyed April waves goodbye.

· Molly running, falls in the middle of the road as the car drives out of sight. Molly lies in the sandy dirt, crying. A Chesapeake Bay Retriever DOG runs up behind her and licks her hand. She looks up at him through her tears. Then she sits up and hugs the DOG. Edgar comes up behind her and takes her suitcase.

· Molly stands up and looks around. She wipes the tears from her face and walks toward the restaurant. “She’ll be back!”

EDGAR

· EDGAR, 69 years old with a ponytail and a beard, comes out of the restaurant and stands on the porch.

· April, Molly’s mom does all the talking. Edgar stares at her while she speaks.

· Edgar nods. As April gives Edgar a hug, he slips some cash into her hand.

· Edgar looks annoyed. (With April)

· Edgar comes up behind her (Molly) and takes her suitcase.

· Molly marches past Edgar. Edgar turns and follows.

· Edgar says, “Why do you want to stay with someone who doesn’t want you?” Molly says, “What?!” Edgar says “Never mind. Come on” They enter the restaurant.

DIFFERENT TYPE OF INTRODUCTION

Action shows primary traits.

<b style=”font-family: inherit; font-size: inherit;”>BEATS FOR EACH NEW<b style=”font-family: inherit; font-size: inherit;”> CHARACTER INTRODUCTION

MOLLY – New Beats

· In the back seat is a 12-year-old MOLLY clutching a small suitcase with an old pair of ballerina toe shoes attached.

· Molly refuses to get out of the car.

· She yells at April that she is not staying here!

· April says they talked about this and orders her to get out of the car.

· April drags Molly out of the car as Molly screams.

· Edgar comes over and introduces himself to Molly. He takes her suitcase.

· Molly cries in her mom’s arms.

· April explains that she needs to go to school, and Edgar will take care of her. April jumps in the car and drives off.

· Molly stands in the road crying.

· Edgar takes her hand and leads her into the front door.

EDGAR – New Beats

· EDGAR, 69 years old with a ponytail and a beard, comes out of the restaurant and stands on the porch.

· Edgar is clearly nervous. He says to April that maybe this isn’t a good idea. April assures Edgar that it’s only temporary and Molly will be no trouble.

· Edgar nods. As April gives Edgar a hug, he slips some cash into her hand.

· Edgar is annoyed that April has put him in this situation. He tells April “Well, it’s not like I could say no”.

· Edgar takes Molly’s suitcase.

· Edgar takes Molly’s hand and leads her to the front door.

· Edgar says, “Why do you want to stay with someone who doesn’t want you?” Molly says, “What?!” Edgar says “Never mind. Come on” They enter the restaurant.

Write a scene that introduces at least one of those characters using the results from #2 and #3.

NEW OPENING SCENE – Introduction of three main characters

EXT. BIG ED’S SEAFOOD HUT – DAY

Open on a two-story house on the shore of the Chesapeake Bay in Virginia. On one side is a gravel road with tall reeds lining it and a gravel parking area adjacent to the house. On the bay side is a beach. The first floor of the house is a seafood restaurant with a sign on the front “Big Ed’s Seafood Hut”. The residents live over the restaurant.

A CAR races along the gravel road towards the restaurant. Through the car window we see APRIL, a woman of about 35 sitting in the front seat next to KURT driving. In the back seat is a 12-year-old MOLLY clutching a small suitcase with an old pair of ballerina toe shoes attached. The CAR pulls over onto the gravel parking area and stops short.

APRIL

(Turning around)

We’re here, honey.

Molly remains quiet.

APRIL

Molly?

MOLLY

No mom. I’m not staying here!

APRIL

Molly, get out of the car.

MOLLY

No!

APRIL

Molly, you’re embarrassing me. Get out now.

Molly doesn’t move.

EDGAR, 69 with a beard and ponytail is standing on the porch watching this exchange. He slowly walks across the gravel parking area.

APRIL

Edgar. How are you?

EDGAR

April.

APRIL

(Quietly) Seems Molly doesn’t want to get out of the car.

EDGAR

Can you blame her? You’re just dropping her off here.

APRIL

Come on, you know what’s going on. Can you help? Please.

Edgar goes over to the car and leans down to Molly.

EDGAR

Hi Molly. I’m Edgar, but most call me Ed. How about we go inside and meet my dog Chessie.

Molly just stares at him through her tears.

April grabs Molly’s suitcase and gives it to Edgar.

Molly gets out of the car but runs to April and throws her arms around her.

MOLLY

Mom don’t do this to me.

April leans down.

APRIL

We talked about this. Ed will take good care of you.

MOLLY

How do you know?

APRIL

I just know. You’ll have fun here. There’s a beach and you can go to school and make some friends.

MOLLY

I want to be with you.

APRIL

I’ll come see you, don’t worry.

MOLLY

When, mom?

APRIL

I’ve got to go. You go with Ed.

Edgar takes Molly’s hand and leads her away from the car. Molly sobs. April jumps in the car and it drives off.

EDGAR (to himself)

Why do you want to be with someone that doesn’t want to be with you?

MOLLY

What?!

EDGAR

Nothing. Let’s go meet Chessie.

Molly and Edgar enter the restaurant.

[Deb Johnson]

Hi Lisa!

We made it through another difficult (for me!) assignment! (Whew.)

Just a couple of things I noticed upfront –

I like how the beat changed from just a random dog – to the introduction of Chessie – who plays a bigger role in the story.

Molly is now more defiant – she’s doing all she can to prevent this “disaster” from happening.

Edgar is also a little more fleshed out (didn’t realize the age difference between Ed and April!) He comes across as softer and more sympathetic to Molly. I like him right away.

I don’t really like April – but I think that’s the point!

Definitely feel sympathy for Molly.

Great work!

[Deb Johnson]

Day 6 – Introduce Characters Powerfully

Deb’s Character Intros

What I learned from this assignment: I didn’t realize all the many possibilities we have to introduce a character. I’m pleased with some of the things I unearthed during this process and realize there are many more ways to make my characters STAND OUT.

Current Character Beats:

Victoria

1. The outside of the art studio displays gregarious banners “Victoria Hartmann presents The Plastic Bag; this weekend only.”

2. Delia and Abby stand in a long line, in the rain and discuss Victoria’s notoriety and fame.

3. Inside the packed exhibit is a party atmosphere with music, drinks, and appetizers.

4. Victoria, in an impeccable gown, floats through the room like a queen greeting her subjects. Her daughter/curator Paisley is at her heels.

5. Victoria doesn’t like that people are outside, waiting in the rain to get in.

6. Paisley tries to warn Victoria about a notorious art critic headed towards them, but she can’t remember his name. Victoria already knows who it is – calls him out – and tells him they will “spar” later.

7. Through the window she is amazed to see her old friend Abby waiting in line and rushes outside, devil may care, into the rain to greet her friend.

8. She greets Abby and Delia (Delia can’t believe it). Victoria is getting drenched. Paisley runs up with an umbrella (a little too late).

9. Victoria leads the whole crowd into the art studio (and out of the rain.)

New Beats for Victoria:

• A small kitchen area – there’s a blender. A plastic grocery bag is opened, and hands take out the frozen fruit, almond milk, frozen avocado, fresh spinach

• A young man’s voice tells his grandma not to put spinach in his smoothie.

• The grandma’s hands measure the ingredients carefully and puts the spinach in any way.

• As the blender blends, this grandma steps away from the kitchen area – we only see her body, and, for 60 years old, it’s a stunning body – We’re talking Denise Austin gorgeous. She only has on a bra and underwear and wears a fun pendant necklace. She stoops down and puts on some comfortable tennis shoes.

• She turns off the blender and pours four glasses – puts a straw in one.

• Paisley (40) enters wearing a sharp business suit. She carries a beautiful, full-length gown and helps Grandma into it. We can’t see the tennis shoes anymore.

• In this stunning dress, grandma delivers the smoothie to a young man in a wheelchair. We don’t see his face either because he faces a large television monitor that hangs on the wall. He’s watching the Drew Barrymore Show. He sips through the straw and complains about the spinach.

• A Producer wearing a headset comes in through the door – and tells Victoria they are ready for her.

• Paisley takes the shake. Victoria offers a smoothie to the producer who declines.

• As they walk a hallway together, the producer compliments Victoria’s necklace. Victoria takes off her necklace and offers it to the producer – who protests, but Victoria insists that she take it. The producer takes the necklace.

• They are just off the set now. Someone clips a mic on Victoria. On the set, Drew Barrymore introduces Victoria – praising her artistic achievements and mentions her “Plastic Bag Show” that’s touring the US right now. Victoria sweeps onstage to much applause.

• We follow the producer back to the greenroom who tries to give the necklace to Paisley – but Paisley insists it’s okay for her to keep it and tells her to try some smoothie. It’s excellent.

• The young man in the wheelchair continues to watch the screen.

• On the screen, Victoria is now seated with Drew Barrymore. This is the first time we see her face, in close-up, and she is stunning. It’s a remarkable face – made so by hard times, hard work, and most of all, contentment.

• Victoria explains “My art is not biographical or chronological, it’s theological. I want someone who’s hurting to look at my art and find comfort… peace.”

Current Beats for Delia:

1. FLASHBACK – Delia (6) hangs on to dads legs – begs him not to go – he drags her down a hall.

2. Mom pulls her off – dad exits the front door

3. Delia runs for the door, mom locks the glass door

4. Delia crashes through the glass and jumps onto hood of dads car

5. Mom picks her off – dad drives away

6. Present Day: Delia stands at same glass door – house is worse for wear

7. She looks at the scars on her wrists and takes out her phone

8. Grandma pulls up – she calls to her mom – she’s leaving

9. Mom gives her a plastic bag full of snacks – Delia rolls her eyes

10. Delia leaves to go with grandma

New Scene for Delia: (since I combined the current beats and added a monologue (utilizing the Character Philosophy type of intro) – I decided to put the two together to create this new scene.

Delia Voice Over:

“When I was a kid, I was a superhero.”

FLASHBACK – Delia’s father walks down a hall. He carries a duffle bag. Delia (6) does a flying leap and embraces her father’s legs. He almost falls. She begs him not to go – he drags her down a hall.

• Mom pulls her off and dad makes a quick dash/exit out the front door

• Delia runs for the door but mom stops her and locks the glass door.

“I used all my superpowers.”

• Delia crashes through the glass and jumps onto the hood of dad’s car

• Mom takes her off the hood.

“But my family couldn’t be saved.”

• She reaches out to him, arms and feet bleeding, as he drives away.

“Now I’m just an angry teen who hates pretty much everything. Except for maybe pizza… and cats…”

• Present Day: Delia (16) stands at the same glass door wearing a coat and a backpack.

• She looks at the scars on her wrists

“I’ve heard that when a kid loses a parent it’s pretty traumatic. We like to play it down like it’s no big deal ’cause it’s so common – kind of like the way we see dead animals in the road – it’s horrible and disgusting, but it doesn’t bother us all that much.”

• Grandma Abby pulls up into the driveway – she’s got bugs splattered on her windshield

• Mom gives Delia a plastic bag full of snacks – Delia rolls her eyes

“I don’t know – there’s a lot to hate in this world. I see things for what they really are. And what really is – really sucks.”

• Delia exits the house and gets into Grandma Abby’s car

• She buckles up and pulls out her phone.

“And yes, like most teenagers, I’m addicted to my phone. I mean, it’s an escape. Right? Escape. Get away from this lousy world that I hate. Listen to music. See what’s going on. Watch other people do something stupid for 30 seconds. It makes me laugh. Is that so terrible?”

• Grandma Abby’s car drives away

“Let somebody else save the world.”

[Lisa Paris Long]

Hi Deb,

I like what you did here. Showing Victoria as a beautiful superstar. And yet she is humble, still making smoothies for others. The surprise that she is on the show is fun too.

Delia’s rework…I like that we can see what happened when her dad left and it’s dramatic with the crash through the glass door! Only question I have is, are the wrist scars from going through the glass door? Or is it meant to show a suicide attempt? I wasn’t sure. I’d rather see Delia’s actions reflect her current philosophy of life instead of the VO, but that’s my opinion. Take it or leave it.

I can see the progress in developing your characters and it’s exciting!

Good job,

Lisa

[David Wickenden]

David Wickenden Character Intro

What have I Learned?

Rather than come out and describe Adam, I can show his character through his actions. In the situation below, we also see the characters of some of the other characters as well.

EXT. JUVENILE PENAL CAMP – DAY

Four teenage boys pull heavy canvass straps around their shoulders, which are attached to an eight-foot log. Together they lean forward, dragging the log through the bush. Black Flies and mosquitoes swarm around their heads.

They stagger under the weight of the log, slipping and falling in the black muck which skirts a marsh. They are soon covered in the slime. Wiping sweat from their faces only spreads the mud across their faces.

The smallest of the four staggers under the weight and goes down, causing the log to dig into the mud. This drags the other boys to the ground and all come close to being crushed by the heavy weight.

ADAM, (15) drops the strap and braces himself against the trunk. He’s panting heavily.

ADAM

Everyone okay?

ROB, (15) a black kid who is the size of a Suma wrestler taps the log and waves before trying to untangle himself from the strap. FREDDY, (14) a tall slim lifts his face from the muck. His hair is no longer red, but slick with black mud.

Adam reaches for IAN, (14) the smaller boy who had stumbled, and helps him up. It’s clear that the boy is exhausted, his chest heaving as he tries to catch his breath.

From behind the group, DWIGHT (28), one of the guards stomps forward. His face is red with suppressed anger.

DWIGHT

Move it! No one gave the order to rest.

All four boys stiffen at his approach. A malicious smile crosses his unshaven face.

DWIGHT

You’re only as strong as the weakest. It’s up to the rest of you to make sure this loser…

(indicating Ian)

… doesn’t slow you down. How you do it, is up to you.

He’s tapping the side of his pantleg with a riding crop which he uses to intimidate the inmates.

Adam steps closer to the guard, both fists clenched at his side. His eyes are startling. Adam’s left eye is blue, while his right is dark brown, which enhances the fierceness of his expression.

Rob lumbers beside Adam, his massive frame dwarfing his fellow inmate, while Freddy vaults the log and looks ready to attack.

ADAM

The only loser here,

(beat)

Is you. Now back off.

The guard glares at Adam. The riding crop begins to rise.

DWIGHT

Don’t you be looking at me with those freaked out eyes, boy.

Rob steps closer, towering over the guard. The guard takes an involuntary step back. He is shaking with rage.

DWIGHT

Fine. You are all on report. We’ll see how you make out on half rations.

The guard turns on his heel and stomps away. He slips on the mud and makes a dance of regaining his balance, cursing under his breath. The boys watch him go.

IAN

Thanks, fellows. But you shouldn’t have done that. He’ll be watching to strike back.

The other boys all turn to him.

ADAM

No way, buddy. Separately, he might beat us, but together, he doesn’t stand a chance.

[Douglas E. Hughes]

Douglas E. Hughes – Character Intros

What I learned from this assignment is that a) my descriptions of these characters when they first appear needs a lot of work, and b) it’s actually one of my support characters, Blanche, whose introduction needs the most attention.

Jack Newman’s (lead, protagonist) Beats:

Jack, in his room at the retirement home “Transitions”, watches one of his old TV commercials from the 80’s on YouTube.

Jack’s phone rings. It’s his daughter Lisa. He declines the call.

Blanche comes in to prod Jack to come and say goodbye to their friend Wilf. He declines, then relents and joins her.

Robin Connor’s (antagonist) Beats

On the news, Connor’s hustled into a police station in handcuffs.

Connor collapses at his arraignment the next day and is rushed to hospital.

Connor’s in bed, catatonic, as a riot rages outside the hospital and the authorities decide what to do with him.

Connor’s stuck in the back of a hearse on a gurney and shipped to “Transitions.”

Jack wakes up to find Connor lying in the bed opposite his, staring at him vacantly.

Jack introduces Connor to his friends, who immediately set about plotting his murder.

Connor, wide awake and apparently healthy, tries logging onto Jack’s computer. He’s by a knock on the door. He puts on his catatonia act as Nurse Harper comes into the room.

Connor sneaks into the common room and calls his lawyer, Mortimer. He pleads to be moved out of this place before these old farts kill him.

Jack’s intro as it stands is really #3. I decided to try giving him a kick in the pants by opting for #1 instead. To wit:

INT. JACK’S ROOM – NIGHT

INSERT – THE SCREEN OF A LAPTOP shows an image of a cheesy, 80’s-era huckster in his 40’s, bedecked in a diamond-studded tux with diamond rings on every finger, sits at a poker table. Stacks of money surround him and he is flanked by three scantily-clad cocktail waitresses.

JACK

Come on down to Diamond Jack Newman’s, where every hand’s a winner. I’ll buy your diamond rings, your earrings, your pendants, your necklaces — (holds up bundles of cash) — and I’ll pay you in cold, hard cash.

The waitresses execute a few steps of shaky choreography.

WAITRESSES

Oooh!

JACK

Don’t delay! Come down today! I’m the Jack of Diamonds and —

He holds up a poker hand: a royal flush in diamonds.

BACK TO SCENE

Present-day Jack, a charismatic, feisty old due in his late 70’s, watches the commercial on his laptop. He’s the quintessential self-made man, a genuine rags-to-riches story. He joins in with his younger self for the tagline:

JACK/YOUNG JACK

Have I got a deal for you!

Jack sighs and takes a large slug of whiskey. He checks his phone.

INSERT – PHONE SCREEN

Several calls to a ROBIN CONNOR are visible. Jack is about to dial the number again when his phone DINGS.

JACK

Finally!

He looks at his phone expectantly. His face falls as he sees it’s a message from LISA. It reads, “Dad, PLEASE call me already!”

JACK (CONT’D)

Oh for the love of Christ, leave me alone!

He deletes the text and taps on his phone. It RINGS as the name CONNOR shows on the screen.

COMPUTER VOICE

We’re sorry, this number is no longer in service. Please check the number —

He hangs up.

JACK

What? Goddamnit, what the hell is going on?

His computer DINGS. There’s a news alert. Jack clicks on it.

INSERT – COMPUTER SCREEN – POLICE STATION – NIGHT

A reporter stands in front of the station, microphone in hand, as a police vehicle pulls up beside her. ROBIN CONNOR, a well-dressed businessman who appears to be in his late 50’s is led out of the vehicle in handcuffs and towards the station by two POLICEMEN. Various REPORTERS try to get Connor to comment as a few other POLICEMEN keep them at bay.

REPORTER

In a stunning development, investment guru Robin Connor has been arrested for running a massive Ponzi scheme. Connor, whose investors included major charities, brokerage firms and pension funds, is accused of bilking his clients — many of them senior citizens — out of hundreds of millions of dollars, and could potentially end up spending the rest of his life in prison.

Over the reporter’s shoulder, the other reporters follow Connor and his escort toward the stations, hurling questions at him.

BACK TO SCENE

Jack stares slack-jawed at the computer screen.

JACK

Holy fucking shit.

He taps on his computer keyboard.

INSERT – COMPUTER SCREEN

Jack’s email account, showing five emails addressed to Robin Connor that have been marked “undeliverable.”

Alarmed, Jack opens his online investment account.

BACK TO SCENE

JACK

Holy fucking shit! Where did all my money go?

There is a KNOCK at the door.

JACK (CONT’D)

Yeah?

BLANCHE pokes her head in. She’s a beauty in her late 60’s who looks considerably younger than her age. Jack quickly closes the laptop.

BLANCHE

What are you doing, Jack? Everyone’s waiting.

JACK

Uh, I’m not going.

BLANCHE

You’re not going? Oh come on, you’ve got to say goodbye.

JACK

I said goodby already. Twice.

BLANCHE

But he’s your friend.

Jack sits, stone-faced.

BLANCHE

Oh, you’re impossible. Fine, have it your way.

She leaves. Jack takes another slug of whiskey, hauls himself up, opens the door and yells down the hallway.

JACK

Alright, alright, Blanche. I’m coming, OK?

He picks up his jacket, hesitates, then opens a drawer packed with bottles of single malt. He grabs one and leaves.

In the original version of the script, Jack doesn’t learn about Connor’s having swindled him and his friends out of their life savings until the following morning. But I thought it would make his journey (not to mention his character) a little more complicated if he learned about the theft before the others and chose not to say anything to them immediately. It also reinforces his reluctance to join Blanche and the others when they go off to say goodbye to their friend Wilf.

As for Connor, the beats as described above cover a good deal more than his introductory scene; but as he’s pretending to be catatonic until almost the end of the first act, it’s not until we get to see him break out of that state that we begin to see who he really is.