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Lesson 6
Reply to post your assignment.
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3 Replies
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I have not received Lesson 6 and should be receiving lesson 7 today. Plus, I have not heard back from Support about the lessons. @cheryl-croasmun can you please let me know if there’s a glitch in the matrix?
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Cherryl’s Transformational Structure
What I learned while doing this exercise: Having a structure in place enables you to see all the layers of your story. And gives you openings to shift, if you need to shift. I likely will revisit this many times before I’m settled with it, but leaning into a structure is a great start. One question that arose during this assignment for the TV pilot project: Do I apply the MMM structure for each episode or for the entire season?
1. When her father dies, Veda Brooks is torn between loyalty to her mother and keeping the peace with her late father’s mistress, who moves into the family house she inherited from Veda’s father. Who and what will she choose?
2. Transformational Character: Veda Brooks Change Agent(s): Vona (mistress’ daughter), the spirit of Veda’s father (Vernon Stout), her clients
3. The MMM
MM #1 – Pages 1 – 15 – Veda’s ordinary world is spending time with her family, being a stellar professional in her therapy practice, and holding the family together after her father dies. The inciting incident happens when her late father’s mistress moves into the house with her family.
Turning Point: Call to Adventure.
MM #2 – Pages 15 – 30 – Veda joins her mother and sister in icing out the mistress. They consult attorneys and try to find a loophole in her father’s will. Offer the mistress “consolation prizes” to move out. Try to reason with her. Ultimately, they realize she is within her legal right to stay in the house with them and they’re locked in.
Turning Point: Locked in.
MM #3 – Pages 30 – 45 – After her first “visitation” from her dead father, Veda decides to host a family dinner for everyone in the house in order to ease the tension. The dinner fails miserably when two people stomp away from the table.
Turning Point: Standard ways fail.
MM #4 – Pages 45 — 60 – Veda tries to keep the peace between her sister Violet and the mistress (Phoebe). Violet doesn’t budge. During her conversations with Phoebe, Veda discovers that Phoebe is “human” and she has a lot in common with her. She likes Phoebe as a person though she doesn’t like the tension of her living in the house.
Turning Point: Plan backfires.
MM #5 – Pages 60 — 75 – Veda realizes her mother knew about Phoebe all along, and she’ll have to let go of her grudge. She wants to blast her mother for not saying anything before now … but can’t. She has an undying, unhealthy fear of opposing her parents. She settles into her work as a death doula and finds some lessons for her own life. She questions whether she’s equipped to negotiate the tensions in her family.
Turning Point: The decision to change.
MM #6 – Pages 75 – 90 – Veda speaks up more and takes a position, which puts her at odds with her mother and sister. She starts to stand in her own voice and find her power in this situation, which means there may be sacrifices.
Turning Point: The ultimate failure.
MM #7 – Pages 90 – 105 – Veda feels more confident about standing up to people and taking the positions her late father would have taken. Dealing with both a natural disaster and the possibility of losing her mother, she realizes she has to often be the voice of reason and lead the family out of its tension. Violet and her husband Clem announce that they are moving out, and Veda is heartbroken.
Turning Point: Apparent victory.
MM #8 – Pages 105 – 120 – Phoebe’s livelihood, a local café, is placed in jeopardy when a new local builder who has purchased all the other commercial space around her pressures her to sell. The women must all come together to help Phoebe save the shop.
At the end of this last battle, all the women except Violet are friendly with one another. Veda is at peace with her father’s legacy. Her therapy practice is thriving. But a health crisis is forcing her to face the possibility of losing her mother. (A new transformation journey begins.)
Turning Point: New status quo.
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Madeleine’s Transformational Structure
What I learned doing this assignment: Using the emotional gradient process really works. Now, I can see how my lead character is going to change over time. In the process, I also realized my B story character also experiences a transformation. This is going to make my story so much better. Yay!!!
1. Transformational Logline:
After the murder of her uncle and an attempt on her life by a person or persons unknown, a self-sufficient woman reluctantly accepts the help of an estranged childhood friend in tracking down the killer.
2. The main character (transformational character) is Anna-Maude Stone, the self-sufficient woman..
Another transformational character is Tony Oxley, Anna-Maude’s estranged childhood friend, who returns to the valley after a 17-year absence.
The Change Agent is Owen Cross, the sniper who killed Anna-Maude’s Uncle Jack, initiating a murder investigation by Sheriff Sergeant Mike Williams.
3. & 4. My Mini-Movie Structure with the Emotional Gradients Identified:
MM #1 – Pages 1 – 15 – Status Quo and Inciting Incident. Our hero’s status quo, his ordinary life, ends with an inciting incident or “call to adventure.”
We start in the woods lining the Rio Grande River. There’s a sniper in the woods. His sights are on Cottonwood Farm where Anna-Maude and Jack live a quiet, simple life, until he shoots Jack in the head and moments later, shoots Jack’s dog Roy, too.
We also meet most of the other main characters in this section:
My hero, Anna-Maude, is shown to be a strong, independent woman, who works her farm and also teaches as an adjunct professor of archaeology at SNMU.
Tony Oxley, a recently discharged Army Veteran, is back in the valley to recover from combat and to look into a cold case for his father. The cold case involves the disappearance of his sister, Sally, 17 years before.
Sheriff Sergeant Mike William meets Anna-Maude at SNMU. He wants her to reconstruct the face of an identified man, whose bones were found in a crag in the Organ Mountains.
We see Archaeology Department Head Quentin Jones spying on Anna-Maude via CCTV and a surveillance app on his mobile phone.
Later, Quentin catches Anna-Maude in the hall and tells her the department’s new tenure-track professorship has been approved and that her adjunct contract will not be renewed. She will be out of a job at the end of summer.
The section ends when Anna-Maude learns from Owen Cross, a prominent rancher in the valley, that her stallion has jumped the fence, and her Uncle Jack is not answering his phone.
Turning point:
Anna-Maude rushes home, where we know she will discover the body of her murdered Uncle Jack.
Change Agent: The unknown shooter.
Transformational Characters: Anna-Maude and, possibly Tony.
Old Ways: Anna-Maude is strong, self-reliant, believes she can take care of herself. Tony, back from a tour of Afghanistan, suffers from PTSD, exhaustion, and wants nothing more to do with a firearm. Against his wishes, his father is pestering him to investigate his sister’s disappearance 17 years before.
The Vision: Anna-Maude says, “I hate monsoon season. Rattlesnakes, ants, centipedes, every kind of horror rising up from the earth. Every year, I pray to God I live through it.”
Challenge: #1 A sniper in the woods has shot Anna-Maude’s Uncle Jack through the head, Jack’s dog, Roy, too. Who is he?
#2. Murl Gayle has painted a cowboy standing on the running board of an old pickup parked on the side of a road in farm country. It’s his only memory from the night Sally disappeared.
#3. Murl Gayle has a second painting, one of Sally and Anna-Maude when they were 13 years old and taking art lessons from him.
#4. Anna-Maude’s going to be out of a job at the end of the summer.
Weaknesses: #1. The sniper gets away. #2. Tony doesn’t recognize the cowboy in the painting. #3. The painting of the girls conjures up unhappy memories for Tony. The agony of losing his sister returns. The sorrow over his behavior toward Anna-Maude resurfaces. #4. Anna-Maude’s troubles are multiplying. Does she have arms long enough to wrap around them all.
MM #2 – Pages 15 – 30 – Locked into Conflict. Our hero’s denial of the call, and his gradually being “locked into” the conflict brought on by this call.
On her way home to Cottonwood Farm, Anna-Maude encounters Tony Oxley and Delinda Cross, Owen Cross’s daughter. Delinda’s dog has run out in front of Tony’s car, causing him to swerve and bury one of his car’s rear wheels up to its axel in a pothole.
Though Anna-Maude and Delinda grew up with Tony, neither recognizes him. He’s different looking from when he was 15 years old.
While she’s helping Tony get his car out of the pothole, Kenny Cross, Delinda’s brother, arrives on the scene with Anna-Maude’s delinquent stallion.
Shortly after arriving home with the stallion in toe, Anna-Maude finds her Uncle Jack’s dead body in the horse corral.
She can’t believe what she’s seeing. “No, no, no!” When she can’t revive him and realizes he’s dead, she calls 911.
Sheriff Deputy Mike Williams, Crime scene technician, Sally Beach, and Deputy Sheriff Umberto Gonzales arrive on the scene.
Anna-Maude goes through Jack’s cabin with Mike. They find Jack’s cellphone and find a clue to a possible motive for Jack’s murder. Turns out, Jack’s dog, Roy, was killing chickens on Pete Calendaria’s chile farm. A text on Jack’s phone reads, “Catch that chicken-killing dog on my property again, I’ll put a bullet in his skull.
Anna-Maude doesn’t believe Pete could kill Jack, but Mike still needs to rule him out.
After Pete leaves, Anna-Maude falls apart. When her friend Stella arrives on the scene, she tells her, “If I had sold up and moved into town when mother died –“
Stella’s response is quick and firm, “Stop it. This isn’t your fault.”
Turning Point:
The section ends with Anna-Maude receiving a phone call from a Chinese woman in San Francisco. Apparently, Jack had Chinese artifacts he wanted authenticated and appraised before he died.
Could the artifacts be the reason Jack died?
Anna-Maude is locked in.
Challenge: Anna-Maude finds Jack’s dead body. Reeling from the tragedy, all she can do is call 911. She’s reminded of a previous tragedy in her life, that of losing her best friend, Sally Oxley, when she disappeared without a trace and the subsequent drowning of Mrs. Oxley.
Weakness: Plagued by guilt all these years, suddenly, she feels Jack’s death is somehow all her fault.
Anger: She throws a pitchfork into the barn wall.
Challenge: Why would anyone want to kill Jack? Sheriff Sergeant Mike Williams suspects Anna-Maude’s neighbor, Pete Candelaria. Anna-Maude resists this notion. “Pete might shoot Roy, but he’d never kill Jack.”
Weakness: Anna-Maude’s prejudice. She has long-held opinions about the people she’s lived around all her life.
Vision: Jack’s killer needs to be found.
MM #3 – Pages 30 – 45 – Hero Tries to Solve the Problem but Fails. Our hero’s first attempts to solve his problem, the first things that anyone with this problem would try, appealing to outside authority to help him. Ends when all these avenues are shut to the hero.
Anna-Maude and Stella pray for Jack.
The story shifts to Tony’s house. Delinda pays him. She has learned who he really is and has returned to talk and drink and laugh and talk some more.
Tony is exhausted, but he lets Delinda in. They drink wine and look at the painting of the cowboy Tony bought from Murl Gayle. The question is, who is the cowboy?
Delinda doesn’t know who the cowboy is, but she knows that Jack is the man carrying a metal detector on Oxley Farm in a photo Tony shows her. She also knows that Jack is dead and tells Tony so.
As far as she is concerned, no one had a reason to kill Jack. Anna-Maude would have been the more likely target.
Tony is puzzled about why anyone would want to kill Anna-Maude, but Delinda can’t give him a clear answer.
Instead, she tells Tony that she’s always wanted to display Murl Gayle’s paintings in her gallery, but he always says no. Tony promises to put in a good word for her.
Later, at the Cross farmhouse, Delinda gives Owen the news that Tony is back in town to run his father’s farm. This riles Owen, who has had his eye on the land for years.
The second bit of news Delinda shares is that of Jack’s murder. Just in time to hear the bad news, Delinda’s drunk mother stumbles in disbelieving that Jack could be dead.
Back at Cottonwood Farm the next morning, Anna-Maude buries Roy. Then she and Stella go through Jack’s cabin getting rid of his things. While in the cabin, Anna-Maude recalls the mention of Chinese artifacts and realizes that they are not in Jack’s possession.
What she does find is a clearing in the dust where they must have been. Maybe the artifacts are the reason Jack was killed.
Switching back to Tony on his bicycle looking at the river and remembering seeing his mother’s dead body being lifted out of the river onto a bridge in a basket litter, Anna-Maude’s trying to comfort him, and his cruel rejection of her. The memory devastates him, “I’m a damn fool.”
The next day, Anna-Maude confronts Tony trespassing in the Oxley farmhouse. Not knowing his true identity, she tells him to leave and then calls 911.
Anna-Maude leaves to search for the bullet that killed Jack.
As Anna-Maude departs, Delinda appears on the scene, she flirts with Tony.
Tony wants to know what Jack was looking for on his property. Together, they start a search, which ends abruptly when Delinda finds a human skull peeking out of the soil.
Mike and Sammy arrive on the scene and a crime scene investigation begins.
Meanwhile, at Anna-Maude’s, while she’s feeding the horses, an Asian man with a dragon tattoo breaks into Anna-Maude’s farmhouse looking for Jack’s Chinese artifacts.
Anna-Maude returns and chases him off.
Turning Point: Standard ways fail.
She’s more convinced than ever that the artifacts are the motive for Jack’s murder, but she’s no closer to knowing where the artifacts are or who is after them.
Challenge: Anna-Maude fends off an intruder, an Asian man she thinks is after Jack’s artifacts.
Vision: The missing Chinese artifacts might be the motive for Jack’s murder. The Asian man might be the murderer and the thief. He must be found.
Challenge: Did the Asian steal the Chinese artifacts after killing Jack? If so, why did he come back and break in to Anna-Maude’s farmhouse? And will he come back if he didn’t find what he was after.
Weakness: Naïve: Anna-Maude is one woman against a murderer. Does she even stand a chance?
Old Ways: Pride: Anna-Maude, living on her own in an empty house on an isolated farm with a murderer on the loose, declares herself capable of taking care of herself. But, can she really defend herself from another break in?
Fear: Tony has another unsatisfactory encounter with Anna-Maude and still has not divulged his true identity.
Challenge: Tony and Delinda discover a human skull on Oxley Farm. Whose skull is it? Sally’s?
Weakness: Fear: Tony is scared the skull might belong to his sister, Sally.
MM #4 – Pages 45 — 60 – Hero Forms a New Plan. Our hero spawns a more grandiose, more extreme plan. He prepares for it, gathers what materials and allies he may need then puts the plan into action—only to have it go horribly wrong, usually due to certain vital information the hero lacked about the forces of antagonism allied against him.
Mike Williams responds to Anna-Maude’s call for help with the break in. He and Anna-Maude speculate whether or not the Asian man already has Jack’s artifacts, and if he already has them, why did he come back. If the artifacts are the motive, is the Asian man the killer. Anna-Maude has doubts.
Anna-Maude makes a drawing of the Asian man, and Mike puts out an APB on him.
The next scene switches to San Francisco’s Chinatown, where Chen Diu and Wu Meili discuss Anna-Maude’s expertise and the value of the artifacts.
When alone, Wu Meili contacts a man and verifies that the artifacts are worth millions and worth the risk to obtain them.
Switching back to the Rio Grande River valley, we see Anna-Maude behind the wheel of her pickup, loaded down with hay and oats, driving through rain. She witnesses a big white dually truck deliberately bump a cyclist into an irrigations ditch. Horrified, she stops the truck, jumps out, and goes to the cyclists rescue.
The cyclist turns out to be Tony Oxley. Anna-Maude takes him home and administers first aid. While she is doing this, she recognizes a scar on Tony’s back and suddenly knows who he is.
She Forms a New Plan:
The next morning after staying with Tony through the night, Anna-Maude notices a gun safe in the house’s dining room. She remembers seeing a sniper tattoo on Tony’s arm and thinks he might be Jack’s murderer. As she’s approaching it, Tony confronts her, accusing her of wanting to rob him. He opens the safe for her and shows her there are no guns inside.
Turning Point: Plan backfires.
He asks her, “You really think I’d kill your uncle for trespassing?”
She responds, “You still blame me for what happened to your mother and to Sally.”
He corrects her, telling her none of it was her fault, and “I’m not a dumb ass kid anymore.”
All the guilt she’d been harboring since childhood is suddenly gone, but if Tony isn’t the killer, who is? Somebody who is still out there.
Vision: Anna-Maude still wants to find Jack’s murderer, and she’s convinced the Chinese artifacts are the motive.
Challenge: Anna-Maude was forced to confront and chase off an intruder in her house.
Weakness: Pride. Fear. When Mike asks her find somewhere else to stay, she still insists she can take care of herself.
Old Ways: Anna-Maude is still hanging onto her pride and strength even if this might lead to her harm.
Challenge: Tony can’t help fear that the bones found on Oxley Farm are the bones of his sister, Sally.
Weakness: Hopelessness. Fear. For Tony, the likelihood that Sally is dead increases.
MIDPOINT: Treating Tony’s wounds, Anna-Maude recognizes one of his scars and suddenly knows who he is. Because of their childhood estrangement and the sniper tattoo on his arm, Anna-Maude suspects Tony of murdering her Uncle Jack. But he convinces her otherwise. He also lays to rest her guilt over being somehow responsible for Sally’s death.
MM #5 – Pages 60 — 75 – HERO RETREATS & THE ANTAGONISM PREVAILS
Having created his plan to solve his problem WITHOUT changing, our hero is confronted by his need to change, eyes now open to his own weaknesses, driven by the antagonist to change or die. He retreats to lick his wounds.
The next day, Tony tells Delinda the artist she admires is willing to show his paintings in her gallery. She’s SO EXCITED.
At the University Camilla Cross, Owen’s wife, identifies the head Anna-Maude’s just finished reconstructing. He’s her boyfriend from high school, Eloy Muñoz, who went missing in the Organ Mountains 40 years ago.
Mike believes the boy was the victim of foul play. This thought frightens Camilla.
Umberto finds Eloy’s cold case files. Turns out Jack and Owen were on the mountain with Eloy when he went over the cliff.
Umberto and Mike go up to the Organs and speculate what could have happened to Eloy. They are pretty convinced that he was hit on the head then rolled over the edge of the cliff. What they don’t have is proof.
Mike tells Umberto, “All we can do is hope someone out there knows something and comes forward.”
Chen Diu and Li Fang visit Anna-Maude the archaeology museum. They have a Li Family book which tells the story of Jack’s Chinese Artifacts. They were sold in the Philippines in the late 1500s to a Manilla Galleon Captain in gratitude from saving him from drowning in Manilla Bay.
During the visit with Chen Diu and Li Fang, Anna-Maude discovers Quentin’s listening device and accuses her Chinese guests of planting it. She tells them that her house was broken into by an Asian man with a dragon tattoo.
The expression on Chen Diu’s face suggests she knows the Asian with the dragon tattoo. She has to verify a few things.
Anna-Maude tells them she’s turning the device over to the Sheriff.
Quentin visits Tony. He wants to take charge of the dig on Oxley Farm.
Turning Point: The decision to change.
Tony wants Anna-Maude to do the dig. He knows her job is in jeopardy, and he wants to help her.
Anna-Maude’s initial response is not to accept the dig, but suddenly, she realizes this is what she must do to give her edge up on her competitors for the tenure-track faculty position that’s just opened up. She accepts the dig. By doing this, she takes a baby step toward accepting outside help.
She and Tony are now both on the bad side of Quentin. He tells Tony, “You’ll regret this. So will Anna-Maude. I’ll see to it.”
New Ways: Tony is reaching out to help Anna-Maude. Anna-Maude is accepting help from Tony.
Vision: While investigating Jack’s murder, Mike and Umberto are also trying to determine what happened to Eloy Muñoz, who now has been identified by Camilla Cross.
Anna-Maude takes on the dig but is still pursuing the Chinese artifacts as the possible motive for Jack’s murder.
Challenge: Mike must rely on someone who knows something to progress Eloy’s case. Weakness: No tangible evidence of foul play.
Challenge: Someone has been surveilling Anna-Maude. What should she make of this? She accuses the Chinese of surveilling her. She tells them about the Asian man breaking into her house, and it seems like Chen Diu may know the man. Anna-Maude doesn’t trust them and turns the listening device over to the Sheriff.
Weakness: Anger. Distrust.
MM #6– Pages 75 – 90 – Hero’s Bigger, Better Plan. Our hero spawns a new plan, but now he’s ready to change. He puts this plan into action…and is very nearly destroyed by it. And then…a revelation.
Chen Diu finds the Asian man with the dragon tattoo and notifies U. S. Customs and Border Protection.
Anna-Maude reconstructs the face of the woman found in the ground on Oxley Farm.
The bullet she found earlier turns out not to have been fired from Pete’s rifle.
Anna-Maude is invited to the art exhibition at Delinda’s gallery. She decides to take Stella with her.
Anna-Maude and Stella go to Delinda’s art gallery exhibition. While there, Anna-Maude views two paintings that take her back to her scarred childhood. One of them is Tony’s painting of the unknown cowboy.
Anna-Maude recognizes the cowboy and remembers the night the painting depicts. The whole business sends her into a tailspin.
Jack’s body is released, and his funeral takes place at the Cathedral. After Jack’s remains are laid to rest, Anna-Maude tells Tony what she knows about the night she saw the cowboy, Owen Cross, and his son, Kenny, in the pickup.
Anna-Maude tells Tony that his sister and Kenny were an item. And that she was always sneaking out of her window to meet him.
Anna-Maude gets closer to identifying the woman dead since the Oñate Expedition.
Turning Point: The ultimate failure.
An arsonist with a crossbow sets Anna-Maude’s farmhouse on fire with her inside it. Tony rescues her just in the nick of time.
The farmhouse burns to the ground, and Anna-Maude is forced to take up residence in Jack’s cabin, accompanied by Tony, who refuses to accept her declaration that she can take care of herself. Clearly she can’t
The next morning, several horse owners show up at Cottonwood Farm to pick up their horses. One of them tells Anna-Maude, “Sorry for the short notice Anna-Maude, but this is the way I see it. The way we all see it. A villain’s got you in his crosshairs. First Jack. Last night, your house. Tomorrow, could be the barn. Can’t afford to take the risk.”
Anna-Maude has lost everything: Her house and her livelihood from boarding horse’s and teaching at the university.
Worse, she’s in the villain’s crosshairs and may have been the intended victim of the shooting instead of Jack.
Challenge: Anna-Maude recognizes the cowboy in the painting. That and the painting of her and Sally send her back to the night Sally disappeared. It was awful then. It’s awful now.
An unknown arsonist burns down Anna-Maude’s house, almost killing her in the process.
The bullet Anna-Maude found is the bullet that killed Jack, but it wasn’t fired from Pete’s gun.
Weakness: Guilt. Vulnerability. Impotence. Jack’s killer is still a t large. Sally’s disappearance is still as big a mystery as it was 17 years before.
MM #7 – Pages 90 – 105 – Crisis and Climax. The revelation allows our hero to see victory, and he rejoins the battle with a new fervor, finally turning the tables on his antagonist and arrives at apparent victory. And then the tables turn one more time!
The revelation allows our hero to see victory, and he rejoins the battle with a new fervor, finally turning the tables on his antagonist and arriving at apparent victory. And then the tables turn one more time!
Anna-Maude agrees to stay with Stella.
Tony will stick around the farm and continue to feed the remaining horses.
The Asian man is arrested by U. S. Customs and Border Protection. He doesn’t have the Chinese artifacts.
Anna-Maude’s and Stella’s research identify the woman from the late 1500s.
The research also confirms that Jack’s artifacts came from the dig on Oxley Farm.
Anna-Maude now believes that Jack stole the artifacts and fears that Jack might have killed Eloy Muñoz as well.
She visits Tony at his rental house to tell him her suspicions when she takes another look at the painting of the cowboy and notices there’s no rose garden.
Anna-Maude and Tony and Pete go to the place that the cowboy painting depicts and start digging up the rose garden.
Turning Point: Apparent victory.
They find a dead body, which turns out to be Sally Oxley, and Anna-Maude finds evidence that suggests the murderer is Owen Cross.
But then, when Mike and Umberto are about to put handcuffs on Owen, he grabs Anna-Maude and takes her hostage.
Challenge: Jack is a thief and might even be a murderer.
Weakness: Anna-Maude’s ashamed.
Challenge: Anna-Maude sees something in the painting of the cowboy that leads her to Sally’s dead body and evidence that points to Owen Cross and Kenny Cross as her killers.
Challenge: Mike and Umberto arrest Kenny Cross, but fail to take Owen.
Weakness: They underestimate Owen.
MM #8 – Pages 105 – 120 – New Status Quo. The hero puts down the antagonist’s last attempt to defeat him, wraps up his story and any sub-plots, and moves into the new world he and his story have created.
Owen takes Anna-Maude hostage.
Delinda betrays Tony by trying to stop him from killing Owen.
Tony shoots Owen as he’s dragging Anna-Maude away.
Kenny is interviewed about his part in Sally’s killing.
Camilla brings Owen’s rifle which she believes killed Jack.
Working together, Anna-Maude and Tony find Jack’s artifacts and arrange to have them authenticated and appraised.
Because they were found on Tony’s land, they belong to him. Anna-Maude’s fine with that. It absolves her of guilt over Jack’s thievery.
Turning Point: New status quo.
The murder is solved. The artifacts are found and promise to be worth a fortune. On top of that, a romantic relationship begins to develop between Anna-Maude and Tony. She’s not alone anymore.
New Way: The estrangement between Anna-Maude and Tony is completely over. They are friends again.
Profound Truth: No crime goes unsolved forever if we can overcome our differences and our desire to assign blame and work together to find the truth.
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