Lesson 9

[LJ (Lawrence John) Seliski]

LJ’s Scene Requirements

My vision is to write incredible high-concept screenplays that are made into popular, financially successful movies.

What I learned from doing this assignment is how knowing about Scene Requirements and applying them adds meaning to every scene in a screenplay.

Genre = Sci-Fi
Title = Defiant Allies
Concept = An eighteen-year-old woman who was abused as a foster child rescues a gifted, exiled alien twelve-year-old Princess, and agrees to help her avoid capture by the Princess’s twenty-four-year-old identical twin sister, an adversary who wants to misuse the Princess’s gift and is involved in a conspiracy that threatens both humanity and alien kind.

ACT 1
Scene 1: FOSTER HOME – DAY
Scene Arc: The scene begins with Mia preparing to leave the foster home. It ends with Mia comforting Claire and Rosie as they express their fear of being unprotected.
Essence: Establishing Mia's difficult past and her sense of responsibility towards the younger children in the foster home.
Conflict: Mia's decision to leave the foster home and the fear expressed by Claire and Rosie about being unprotected.
Subtext: Mia's traumatic past influences her decision to leave, but her empathy for Claire and Rosie drives her to comfort them.
Hope/fear: Mia hopes to find safety and purpose outside the foster home, but fears leaving Claire and Rosie vulnerable.
Scene Requirements:
• Introduce Mia's troubled past and her protective nature.
• Establish the abusive environment in the foster home.
• Highlight Mia's internal conflict about leaving Claire and Rosie behind.
• Create empathy for Mia's character through her interactions with the younger children.
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Scene 2: DYSTOPIAN STREET – DAY
Scene Arc: Mia encounters Ariael being captured by Zarael's men. It ends with Mia using her skills to help Ariael escape.
Essence: Introducing the conflict between Ariael and Zarael, and establishing Mia's courage and resourcefulness.
Conflict: Ariael's capture by Zarael's men and Mia's decision to intervene to help her.
Subtext: Mia's willingness to help a stranger reflects her compassionate nature and her desire to protect others from harm.
Hope/fear: Mia hopes to rescue Ariael and prevent her from falling into the hands of her enemies, but fears the consequences of confronting Zarael's forces.
Scene Requirements:
• Introduce Zarael as the main antagonist.
• Establish Ariael's vulnerability and the threat she faces.
• Showcase Mia's bravery and combat skills.
• Set up the initial alliance between Mia and Ariael.
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Scene 3: HOVER VAN – DAY
Scene Arc: Ariael shows unexpected kindness towards Duke and Josh, surprising Mia. It ends with Ariael bonding with Mia over a meal.
Essence: Revealing Ariael's compassionate nature and her ability to see beyond appearances.
Conflict: Ariael's conflicting behavior towards her captors, Duke and Josh, and Mia's confusion about Ariael's motives.
Subtext: Ariael's actions hint at her complexity as a character and foreshadow her willingness to trust others despite her circumstances.
Hope/fear: Mia hopes to understand Ariael's intentions and build a genuine connection with her, but fears the uncertainty of their alliance.
Scene Requirements:
• Develop Ariael's character beyond a simple victim.
• Establish a sense of camaraderie between Mia and Ariael.
• Hint at Ariael's ability to manipulate situations to her advantage.
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Scene 4: ALLEY – DAY
Scene Arc: Mia learns about Zarael's intentions and agrees to help Ariael in exchange for a job and protection. It ends with Mia suggesting the foster home as a safe haven.
Essence: Cementing Mia and Ariael's alliance and setting up their future plans.
Conflict: Mia's reluctance to get involved in Ariael's conflict with Zarael and her decision to ultimately accept the offer of employment.
Subtext: Mia's past experiences influence her decision to join Ariael, as she sees an opportunity to protect others from suffering.
Hope/fear: Mia hopes to find purpose and safety by aligning with Ariael, but fears the risks involved in confronting Zarael.
Scene Requirements:
• Solidify Mia and Ariael's partnership.
• Establish the foster home as a central location for the story.
• Set up Mia's internal conflict about getting involved in Ariael's mission.
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Scene 5: FOSTER HOME – DAY
Scene Arc: Mia and Ariael confront Gina about her abusive behavior towards the children. It ends with Ariael suggesting Mia's involvement in running the foster home.
Essence: Highlighting the injustice within the foster home and Mia's commitment to protecting the children.
Conflict: Gina's abusive behavior and Mia's determination to stand up for the children's rights.
Subtext: Ariael's intervention emphasizes her role as a catalyst for positive change and hints at her leadership qualities.
Hope/fear: Mia hopes to create a safer environment for the children, but fears the repercussions of challenging Gina's authority.
Scene Requirements:
• Address the ongoing conflict within the foster home.
• Showcase Ariael's insight and empathy towards the children's plight.
• Establish Mia's growing sense of responsibility towards the foster home and its residents.
• Set up the potential for positive change within the foster home under Mia and Ariael's leadership.
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Scene 6: MIA’s BEDROOM – DAY
Scene Arc: Ariael and Mia discuss their living arrangements and Ariael's need for her own space. It ends with Ariael reluctantly accepting Mia's proposal.
Essence: Establishing the dynamics of Mia and Ariael's living situation and their differing needs.
Conflict: Ariael's desire for privacy clashes with the limited space available in the foster home.
Subtext: Ariael's acceptance of Mia's offer hints at her adaptability and willingness to compromise for the sake of their partnership.
Hope/fear: Ariael hopes to find a sense of security and belonging in her new environment, but fears the limitations imposed by her circumstances.
Scene Requirements:
• Develop the relationship between Mia and Ariael as roommates.
• Highlight Ariael's need for independence and privacy.
• Establish Mia as a supportive and accommodating friend to Ariael.
• Set up the foster home as a temporary refuge for Ariael while she plans her next move.
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Scene 7: WASHROOM – DAY
Scene Arc: Ariael confronts Gina about her abusive behavior and negotiates the sale of the foster home. It ends with Gina agreeing to Ariael's terms.
Essence: Resolving the conflict with Gina and securing the foster home for Ariael and Mia's use.
Conflict: Gina's resistance to Ariael's authority and Ariael's determination to protect Mia and the children.
Subtext: Ariael's use of her powers to assert control over Gina highlights her resourcefulness and strategic thinking.
Hope/fear: Ariael hopes to create a safe haven for herself and Mia, but fears Gina's retaliation and resistance.
Scene Requirements:
• Resolve the conflict with Gina and establish Ariael's authority over the foster home.
• Showcase Ariael's ability to negotiate and manipulate situations to her advantage.
• Highlight Mia's growing trust in Ariael's abilities and judgment.
• Set up the foster home as a base of operations for Mia and Ariael's mission to thwart Zarael's plans.
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Scene 8: MIA’s BEDROOM – DAY
Scene Arc: Ariael proposes making Mia and Brett co-owners of the foster home. It ends with Mia and Brett accepting Ariael's offer.
Essence: Solidifying Mia and Brett's involvement in Ariael's mission and establishing their commitment to protecting the foster home.
Conflict: Mia and Brett's uncertainty about their roles in Ariael's plans and Ariael's need for allies.
Subtext: Ariael's gesture reflects her trust in Mia and Brett and her recognition of their value as allies.
Hope/fear: Ariael hopes to strengthen her alliance with Mia and Brett, but fears their reluctance to get involved in her conflict with Zarael.
Scene Requirements:
• Cement Mia and Brett's commitment to Ariael's cause.
• Establish Mia and Brett as integral members of Ariael's team.
• Highlight Ariael's strategic thinking and her ability to inspire loyalty in others.
• Set up the foster home as a united front against Zarael's threats.
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Scene 9: FOSTER HOME – DAY
Scene Arc: Ariael handles the legalities of purchasing the foster home and hiring a housekeeper. It ends with Ariael finalizing the arrangements.
Essence: Establishing Ariael's authority over the foster home and setting up the infrastructure for their mission.
Conflict: Ariael's need to secure the foster home and Mia's concern about the housekeeper's suitability.
Subtext: Ariael's actions demonstrate her capability as a leader and her commitment to Mia's well-being.
Hope/fear: Ariael hopes to create a stable environment for herself and Mia, but fears the challenges of managing the foster home.
Scene Requirements:
• Solidify Ariael's control over the foster home through legal means.
• Establish the housekeeper as a supporting character in their mission.
• Highlight Mia's cautious optimism about their new living arrangements.
• Set up the foster home as a base of operations for Mia and Ariael's endeavors.
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Scene 10: ARIAL’S BEDROOM – DAY
Scene Arc: Mia helps Ariael settle into her new living quarters. It ends with Ariael expressing gratitude towards Mia.
Essence: Developing the bond between Mia and Ariael and establishing a sense of camaraderie.
Conflict: Ariael's discomfort with her new surroundings and Mia's efforts to make her feel welcome.
Subtext: Ariael's gratitude towards Mia hints at her growing attachment to her as a friend and ally.
Hope/fear: Ariael hopes to find stability and friendship in her new environment, but fears the challenges ahead.
Scene Requirements:
• Deepen the friendship between Mia and Ariael.
• Showcase Mia's nurturing side and her empathy towards Ariael's situation.
• Establish Ariael's vulnerability and her need for support in her exile.
• Set up Ariael's integration into the foster home community.
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Scene 11: WAREHOUSE – DAY
Scene Arc: Zarael instructs Dugan to capture Ariael alive for their nefarious plans. It ends with Zarael plotting to use Ariael's powers for her own gain.
Essence: Introducing Zarael's scheme and raising the stakes for Ariael and Mia.
Conflict: Zarael's desire to control Ariael's powers and Mia's determination to protect her friend.
Subtext: Zarael's manipulation of Dugan reflects her cunning nature and her willingness to exploit others for her own ends.
Hope/fear: Zarael hopes to use Ariael's powers to further her ambitions, but fears Mia's interference in her plans.
Scene Requirements:
• Establish Zarael's role as the primary antagonist.
• Introduce Dugan as a henchman under Zarael's control.
• Highlight Mia's commitment to protecting Ariael from harm.
• Set up the conflict between Ariael and Zarael over control of Ariael's powers.
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Scene 12: FOSTER HOME – DAY
Scene Arc: Mia reassures Claire and Rosie about their safety in the foster home. It ends with Mia and Ariael leaving to visit Brett.
Essence: Establishing the foster home as a safe haven for the children and setting up Mia and Ariael's next move.
Conflict: Claire and Rosie's fear of being abandoned and Mia's efforts to comfort them.
Subtext: Mia's reassurance reflects her protective instincts and her sense of responsibility towards the children.
Hope/fear: Mia hopes to create a sense of security for Claire and Rosie, but fears the challenges ahead.
Scene Requirements:
• Reinforce the foster home as a place of safety and refuge.
• Develop Mia's relationship with Claire and Rosie.
• Establish Mia and Ariael's next destination and their ongoing mission.
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Scene 13: BRETT’S WORKSHOP – DAY
Scene Arc: Mia and Ariael discuss Mia's martial arts training with Brett. It ends with Ariael discovering Mia's biomechanical arm.
Essence: Exploring Mia's background and setting up Ariael's discovery.
Conflict: Mia's reluctance to discuss her past and Ariael's curiosity about her abilities.
Subtext: Ariael's fascination with Mia's biomechanical arm hints at her deeper understanding of human technology.
Hope/fear: Mia hopes to keep her past hidden from Ariael, but fears the consequences of revealing too much.
Scene Requirements:
• Develop Mia's backstory and her relationship with Brett.
• Highlight Ariael's curiosity about human technology and culture.
• Foreshadow Ariael's discovery of Mia's biomechanical arm.
• Set up future conflicts between Mia's desire for secrecy and Ariael's quest for knowledge.
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Scene 14: ROBOT MUSEUM – DAY
Scene Arc: Mia and Ariael evade capture by using Ariael's powers to transform Duke and Josh. It ends with Mia and Ariael continuing on their mission.
Essence: Demonstrating Ariael's abilities and Mia's resourcefulness in navigating dangerous situations.
Conflict: Duke and Josh's pursuit of Ariael and Mia, countered by Ariael's use of her powers to escape.
Subtext: Ariael's quick thinking and mastery of her abilities underscore her potential as a powerful ally.
Hope/fear: Ariael hopes to evade capture and continue her mission, while fearing the consequences of being apprehended by her pursuers.
Scene Requirements:
• Showcase Ariael's powers and their effectiveness in evading capture.
• Highlight Mia's role as Ariael's protector and ally.
• Introduce the theme of using Ariael's abilities strategically to overcome obstacles.
• Set up the tension between Ariael's need for secrecy and the pursuit by Duke and Josh.
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Scene 15: FOSTER HOME – DAY
Scene Arc: Ariael reveals her true identity to Mia, explaining her situation. It ends with Mia processing the revelation.
Essence: Deepening the bond between Mia and Ariael through honesty and trust.
Conflict: Ariael's need to confide in Mia and Mia's struggle to accept the truth.
Subtext: Ariael's vulnerability in confiding her identity to Mia underscores the depth of their friendship.
Hope/fear: Ariael hopes for Mia's understanding and support, while fearing rejection or betrayal.
Scene Requirements:
• Establish Ariael's trust in Mia by revealing her true identity.
• Develop Mia's character through her reaction to Ariael's revelation.
• Deepen the emotional connection between Mia and Ariael.
• Set up future conflicts stemming from Ariael's alien identity and Mia's role in protecting her.
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ACT 2
Scene 16: ARIAEL’S PLANET – DAY
Scene Arc: Ariael introduces Mia to her allies on her home planet, demonstrating her leadership. It ends with Mia deciding to join Ariael's cause.
Essence: Immersing Mia in Ariael's world and solidifying her commitment to their mission.
Conflict: Mia's uncertainty about her role in Ariael's mission and Ariael's need for allies.
Subtext: Ariael's connections on her home planet showcase her status as a respected leader among her people.
Hope/fear: Ariael hopes for Mia's support and assistance in their mission, while fearing rejection or abandonment.
Scene Requirements:
• Establish Ariael's status and relationships on her home planet.
• Showcase Mia's decision to join Ariael's cause and her growing commitment to their mission.
• Set up future conflicts and challenges they will face on Ariael's planet.
• Develop the theme of loyalty and trust between Mia and Ariael.
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Scene 17: FOSTER HOME – DAY
Scene Arc: Mia decides to trust Ariael and commit to helping her. It ends with Mia expressing her determination to stand by Ariael's side.
Essence: Solidifying Mia's commitment to Ariael's cause and setting up their next move.
Conflict: Mia's internal struggle to trust Ariael and her own instincts.
Subtext: Mia's decision to trust Ariael reflects her growth and willingness to confront her own fears and doubts.
Hope/fear: Mia hopes to make a difference and protect Ariael, while fearing the challenges and dangers ahead.
Scene Requirements:
• Showcase Mia's character development and her decision to trust Ariael.
• Establish Mia's role as Ariael's ally and partner in their mission.
• Set up the next phase of their plan and the challenges they will face together.
• Reinforce the theme of loyalty and solidarity between Mia and Ariael.
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Scene 18: FOSTER HOME – DAY
Scene Arc: Mia confronts Ariael about her inability to pay her daily salary, expressing her concerns. It ends with Ariael explaining the urgency of their situation.
Essence: Highlighting the practical challenges of Ariael's mission and Mia's need for financial stability.
Conflict: Mia's frustration with Ariael's inability to pay her and Ariael's desperation to fulfill her mission.
Subtext: Ariael's financial difficulties underscore the high stakes of their mission and the obstacles they face.
Hope/fear: Ariael hopes for Mia's understanding and patience, while fearing her potential abandonment.
Scene Requirements:
• Address the practical challenges of Ariael's mission and the need for resources.
• Develop Mia and Ariael's relationship through their conflict and resolution.
• Establish the urgency of their mission and the risks they face if they fail.
• Set up future conflicts and challenges stemming from their financial constraints.
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Scene 19: ZARAEL’S CUBICLE – EVENING
Scene Arc: Zarael struggles with her conflicting emotions regarding Ariael. It ends with her determination to capture Ariael.
Essence: Highlighting Zarael's inner turmoil and her relentless pursuit of power.
Conflict: Zarael's inner conflict between her desire for revenge and her moments of doubt and sympathy.
Subtext: Zarael's internal struggle reveals her complexity as a character and adds depth to her motivations.
Hope/fear: Zarael hopes to assert her dominance and eliminate Ariael as a threat, while fearing the consequences of failure.
Scene Requirements:
• Explore Zarael's internal conflict and her motivations for capturing Ariael.
• Develop Zarael's character by highlighting her vulnerability and her ruthless ambition.
• Set up the climax by emphasizing Zarael's determination to achieve her goals at any cost.
• Foreshadow the final confrontation between Zarael and Ariael.
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Scene 20: ARIAL’S BEDROOM – DAY
Scene Arc: Ariael transforms herself and Mia to execute a plan to obtain money from her financial institution. It ends with them preparing for the mission.
Essence: Demonstrating Ariael's resourcefulness and her ability to adapt to different situations.
Conflict: Ariael's need to acquire funds without attracting attention and Mia's reluctance to participate in the risky mission.
Subtext: Ariael's decision to involve Mia in the mission highlights their partnership and mutual trust.
Hope/fear: Ariael hopes to secure the resources they need to continue their mission, while fearing the risks involved in the operation.
Scene Requirements:
• Establish the necessity of obtaining funds for Ariael's mission and the risks involved.
• Develop Ariael and Mia's partnership through their collaboration on the mission.
• Set up the tension and suspense of the mission and its potential consequences.
• Foreshadow future conflicts and challenges stemming from their actions.
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Scene 21: FINANCIAL INSTITUTION – DAY
Scene Arc: Ariael successfully obtains the necessary funds with Mia's assistance. It ends with them leaving the institution.
Essence: Resolving the immediate conflict of acquiring funds and advancing their mission.
Conflict: Ariael's need to navigate the financial institution undetected and Mia's role in assisting her.
Subtext: Ariael's skill in manipulating others and her resourcefulness in acquiring funds demonstrate her determination to succeed.
Hope/fear: Ariael hopes to secure the resources they need and evade detection, while fearing the consequences of failure.
Scene Requirements:
• Resolve the conflict of acquiring funds and advance the plot.
• Showcase Ariael's abilities and resourcefulness in manipulating others to achieve her goals.
• Develop the tension and suspense of the mission as they navigate the financial institution.
• Set up the next phase of their plan and the challenges they will face.
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Scene 22: FINANCIAL INSTITUTION – DAY
Scene Arc: Mia and Ariael decide to follow Duke after overhearing his conversation. It ends with them tracking Duke to a warehouse.
Essence: Setting up the next phase of their mission and introducing a new challenge.
Conflict: Mia and Ariael's decision to follow Duke and the potential risks involved.
Subtext: Mia and Ariael's determination to uncover Zarael's plans and protect themselves underscores their commitment to their mission.
Hope/fear: Mia and Ariael hope to gather valuable information and thwart Zarael's plans, while fearing the dangers they may encounter.
Scene Requirements:
• Establish the new challenge of tracking Duke and uncovering Zarael's plans.
• Develop Mia and Ariael's partnership as they work together to gather information.
• Set up the tension and suspense of their investigation and the dangers they face.
• Foreshadow the confrontation with Zarael and the climax of the story.
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Scene 23: WAREHOUSE – DAY
Scene Arc: Mia and Ariael transform into pigeons to infiltrate the warehouse. It ends with them eavesdropping on Tyrell and Zarael's conversation.
Essence: Continuing their investigation and gathering crucial information.
Conflict: Mia and Ariael's need to gather information covertly and avoid detection.
Subtext: Mia and Ariael's resourcefulness and adaptability in using their abilities to gather information demonstrate their determination to succeed.
Hope/fear: Mia and Ariael hope to uncover Zarael's plans and stop her, while fearing discovery and the consequences of failure.
Scene Requirements:
• Advance the plot by gathering crucial information about Zarael's plans.
• Showcase Mia and Ariael's resourcefulness and adaptability in using their abilities.
• Develop the tension and suspense of their investigation and the dangers they face.
• Foreshadow the climax and the final confrontation with Zarael.
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Scene 24: EXT. WAREHOUSE – DAY
Scene Arc: Mia and Ariael witness Duke entering the warehouse, setting up a confrontation. It ends with them following Duke inside.
Essence: Building tension and anticipation as Mia and Ariael approach a crucial moment in their mission.
Conflict: Mia and Ariael's need to confront Duke and gather more information while avoiding detection.
Subtext: The intensity of the situation highlights the stakes for Mia and Ariael and the risks they are willing to take.
Hope/fear: Mia and Ariael hope to gather valuable information and stop Zarael's plans, while fearing the dangers they may encounter.
Scene Requirements:
• Introduce a new phase of the investigation as Mia and Ariael confront Duke.
• Increase tension and suspense as they approach the climax of the story.
• Develop Mia and Ariael's determination to uncover the truth and stop Zarael.
• Foreshadow the final confrontation with Zarael and the resolution of the conflict.
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Scene 25: EXT. ALLEY – DAY
Scene Arc: Mia and Ariael transform into pigeons to enter the warehouse undetected. It ends with them infiltrating the warehouse.
Essence: Continuing the suspense as Mia and Ariael infiltrate the warehouse to gather more information.
Conflict: Mia and Ariael's need to remain undetected while gathering information inside the warehouse.
Subtext: The tension mounts as Mia and Ariael approach the heart of Zarael's operation, underscoring the risks they face.
Hope/fear: Mia and Ariael hope to uncover crucial information and thwart Zarael's plans, while fearing discovery and the consequences of failure.
Scene Requirements:
• Build tension and suspense as Mia and Ariael enter the warehouse and approach the climax of the story.
• Highlight the risks involved in their mission and the dangers they face.
• Develop Mia and Ariael's determination and resourcefulness as they navigate the warehouse.
• Foreshadow the final confrontation with Zarael and the resolution of the conflict.
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Scene 26: INT. WAREHOUSE – DAY
Scene Arc: Mia and Ariael eavesdrop on Duke's report to Tyrell and Zarael's subsequent conversation with Tyrell. It ends with Zarael's decision to prioritize capturing Ariael.
Essence: Heightening tension as Mia and Ariael gather crucial information about Zarael's plans.
Conflict: Mia and Ariael's need to gather information covertly while avoiding detection by Zarael and Tyrell.
Subtext: The intensity of the situation underscores the urgency of Mia and Ariael's mission and the risks they face.
Hope/fear: Mia and Ariael hope to uncover Zarael's plans and stop her, while fearing discovery and the consequences of failure.
Scene Requirements:
• Advance the plot by revealing crucial information about Zarael's plans and motivations.
• Increase tension and suspense as Mia and Ariael approach the climax of the story.
• Develop Mia and Ariael's determination and resourcefulness in gathering information.
• Foreshadow the final confrontation with Zarael and the resolution of the conflict.
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Scene 27: INT. ARIAL’S BEDROOM – EVENING
Scene Arc: Ariael reveals her twin sister, Zarael's, identity to Mia, disclosing the imminent danger they face. It ends with Mia's commitment to aid Ariael.
Essence: Establishing the gravity of the situation and strengthening the bond between Mia and Ariael as they face a common threat.
Conflict: Mia's realization of the true extent of the danger posed by Zarael and the need to strategize a response.
Subtext: The revelation deepens the emotional stakes for Mia and Ariael, highlighting the importance of their alliance.
Hope/fear: Mia and Ariael hope to devise a plan to thwart Zarael's schemes and protect themselves, while fearing the potential consequences of failure.
Scene Requirements:
• Heighten the stakes by revealing Zarael's identity and her threat to Ariael.
• Solidify Mia and Ariael's bond as allies against a common adversary.
• Establish Mia's commitment to aiding Ariael and confronting Zarael.
• Set the stage for the final confrontation and resolution of the conflict.
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ACT 3
Scene 28: INT. BRETT’S WORKSHOP – DAY
Scene Arc: Mia and Ariael discuss their next steps and decide to return to the warehouse for further information. It ends with a renewed determination to confront Zarael.
Essence: Planning their strategy and reinforcing their resolve to confront Zarael and thwart her plans.
Conflict: Mia and Ariael's need to formulate a plan while under pressure to stop Zarael's impending threat.
Subtext: The urgency of the situation underscores the importance of their mission and the risks involved.
Hope/fear: Mia and Ariael hope to gather vital information and stop Zarael, while fearing the challenges and dangers ahead.
Scene Requirements:
• Advance the plot by setting up the final confrontation with Zarael.
• Develop Mia and Ariael's determination and resolve to confront Zarael.
• Establish the plan for their next move and gather resources for their mission.
• Foreshadow the climax of the story and the resolution of the conflict.
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Scene 29: INT. WAREHOUSE – DAY
Scene Arc: Mia and Ariael eavesdrop on Tyrell and Zarael's new plans, learning of Zarael's intentions to obtain a planet-destroying device. It ends with Zarael's ominous threat.
Essence: Revealing Zarael's escalating ambitions and the imminent danger they face.
Conflict: Mia and Ariael's need to gather intelligence while remaining undetected and confronting the magnitude of Zarael's threat.
Subtext: The gravity of the situation heightens as Mia and Ariael uncover Zarael's intentions, emphasizing the urgency of their mission.
Hope/fear: Mia and Ariael hope to thwart Zarael's plans and prevent catastrophe, while fearing the consequences of failure and the growing danger they face.
Scene Requirements:
• Advance the plot by revealing Zarael's escalating ambitions and the threat they pose.
• Increase tension and suspense as Mia and Ariael approach the climax of the story.
• Develop Mia and Ariael's determination to stop Zarael and protect themselves and their allies.
• Foreshadow the final confrontation with Zarael and the resolution of the conflict.
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Scene 30: INT. ARIAL’S BEDROOM – EVENING
Scene Arc: Mia and Ariael realize the gravity of Zarael's plan and decide to expose it to the media. It ends with Mia reluctantly agreeing to be transformed into a cat for the mission.
Essence: Heightening the stakes as Mia and Ariael plan their next move to thwart Zarael's destructive intentions.
Conflict: Mia and Ariael's need to devise a plan to stop Zarael's dangerous scheme while navigating the risks involved.
Subtext: The desperation of the situation underscores the importance of their mission and the sacrifices they must make.
Hope/fear: Mia and Ariael hope to expose Zarael's plan and prevent catastrophe, while fearing the challenges and dangers ahead.
Scene Requirements:
• Advance the plot by establishing the plan to thwart Zarael's intentions.
• Develop Mia and Ariael's determination to stop Zarael and protect their planet.
• Highlight the risks and sacrifices involved in their mission.
• Foreshadow the final confrontation with Zarael and the resolution of the conflict.
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Scene 31: INT. WAREHOUSE – DAY
Scene Arc: Mia, now transformed into a cat, infiltrates the warehouse to gather evidence. It ends with Mia overhearing Tyrell and Zarael's conversation.
Essence: Building tension as Mia executes her part of the plan to expose Zarael's intentions.
Conflict: Mia's need to gather evidence while navigating the dangers of the warehouse and avoiding detection.
Subtext: The intensity of the situation underscores the risks Mia faces and the importance of her mission.
Hope/fear: Mia hopes to gather crucial evidence and stop Zarael, while fearing discovery and the consequences of failure.
Scene Requirements:
• Advance the plot by showing Mia's infiltration of the warehouse and her efforts to gather evidence.
• Increase tension and suspense as Mia navigates the dangers of the warehouse.
• Develop Mia's determination to complete her mission and stop Zarael.
• Foreshadow the final confrontation with Zarael and the resolution of the conflict.
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Scene 32: INT. BRETT’S WORKSHOP – EVENING
Scene Arc: Mia shares the evidence with Brett, who vows to help them expose Zarael's plans. It ends with Brett preparing to take action.
Essence: Solidifying the alliance between Mia, Ariael, and Brett as they prepare to confront Zarael.
Conflict: The need to act quickly and decisively to thwart Zarael's dangerous scheme.
Subtext: The urgency of the situation highlights the importance of their mission and the risks they face.
Hope/fear: Mia, Ariael, and Brett hope to expose Zarael's plan and prevent catastrophe, while fearing the challenges and dangers ahead.
Scene Requirements:
• Advance the plot by setting up the final confrontation with Zarael.
• Develop Mia, Ariael, and Brett's determination to stop Zarael and protect their planet.
• Establish the plan for their next move and gather resources for their mission.
• Foreshadow the climax of the story and the resolution of the conflict.
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Scene 33: INT. WAREHOUSE – DAY
Scene Arc: Gina, seeking revenge, reveals Ariael's whereabouts to Tyrell and Zarael. It ends with Mia and Ariael's capture by Zarael.
Essence: Raising the stakes as Zarael closes in on Mia and Ariael, leading to their capture.
Conflict: The betrayal by Gina and the imminent danger posed by Zarael's forces.
Subtext: The consequences of past actions come to fruition as Gina's betrayal jeopardizes Mia and Ariael's safety.
Hope/fear: Mia and Ariael hope to evade capture and stop Zarael, while fearing the consequences of Gina's betrayal and the growing danger they face.
Scene Requirements:
• Advance the plot by escalating the conflict with Zarael's discovery of Ariael's location.
• Increase tension and suspense as Mia and Ariael's situation becomes increasingly perilous.
• Develop the consequences of Gina's betrayal and its impact on Mia and Ariael.
• Foreshadow the final confrontation with Zarael and the resolution of the conflict.
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Scene 34: INT. FOSTER HOME – DAY
Scene Arc: Mia and Brett find themselves captured by Zarael, Duke, and Josh at the foster home. It ends with the revelation of Gina’s betrayal.
Essence: Heightening the tension as Mia and Brett face capture and Zarael’s plans unfold.
Conflict: Mia and Brett’s struggle against Zarael’s forces and the betrayal by Gina.
Subtext: Gina’s betrayal underscores the complexities of loyalty and trust, adding an unexpected twist to the situation.
Hope/fear: Mia hopes to resist capture and find a way to stop Zarael, while fearing the consequences of their imprisonment.
Scene Requirements:
• Introduce the climax of the story as Mia and Brett confront Zarael at the foster home.
• Highlight the tension and stakes of the situation as Mia and Brett face capture.
• Reveal Gina’s betrayal as a pivotal moment in the plot.
• Set the stage for the final confrontation between Mia, Ariael, and Zarael.
________________________________________
ACT 4
Scene 35: INT. WAREHOUSE – DAY
Scene Arc: Government agents raid the warehouse and arrest Tyrell for treason. It ends with Zarael deciding to flee with Ariael to their home planet.
Essence: Resolving the immediate threat of Tyrell’s conspiracy as Zarael makes a decisive move.
Conflict: Zarael’s attempt to evade capture and take Ariael to their home planet.
Subtext: Zarael’s desperation and determination to escape capture highlight her ruthlessness and fear of failure.
Hope/fear: Mia hopes to stop Zarael and rescue Ariael, while fearing the consequences of their escape.
Scene Requirements:
• Resolve the subplot of Tyrell’s conspiracy by his arrest.
• Heighten the stakes as Zarael decides to flee with Ariael to their home planet.
• Establish Zarael’s determination to achieve her goals at any cost.
• Set up the final confrontation between Mia and Zarael.
________________________________________
Scene 36: INT. HOVER VAN – DAY
Scene Arc: Zarael, Duke, and Josh flee in a hover van as they hear news of Tyrell’s arrest. It ends with Zarael instructing Duke to take them to her cubicle.
Essence: Building tension as Zarael and her allies attempt to escape capture.
Conflict: Zarael’s pursuit by government agents and her determination to evade capture.
Subtext: Zarael’s urgency to regroup and plan her next move underscores her desperation and thirst for power.
Hope/fear: Mia hopes to intercept Zarael and rescue Ariael, while fearing the challenges of their pursuit.
Scene Requirements:
• Maintain the momentum of the plot as Zarael and her allies flee from the authorities.
• Highlight Zarael’s determination and resourcefulness in evading capture.
• Build anticipation for the final confrontation between Mia and Zarael.
• Set up the resolution of the conflict in the upcoming scenes.
________________________________________
Scene 37: INT. ZARAEL’S CUBICLE – EVENING
Scene Arc: Zarael gathers her belongings and prepares to escape with Ariael to their home planet. It ends with Zarael and Ariael departing through an energy vortex.
Essence: Heightening the tension as Zarael makes her final preparations to flee.
Conflict: Zarael’s race against time to escape capture and secure Ariael’s capture.
Subtext: Zarael’s determination to achieve her goals reflects her ruthless ambition and fear of failure.
Hope/fear: Mia hopes to intercept Zarael and rescue Ariael, while fearing the consequences of their escape.
Scene Requirements:
• Increase the tension as Zarael prepares to flee with Ariael.
• Highlight Zarael’s desperation and determination in her final attempt to secure power.
• Set the stage for the climactic confrontation between Mia and Zarael.
• Foreshadow the resolution of the conflict in the upcoming scenes.
________________________________________
Scene 38: INT. FOSTER HOME – DAY
Scene Arc: Mia and Brett are freed by the housekeeper, who informs them of Gina’s betrayal. It ends with Mia lamenting their failure to stop Zarael.
Essence: Providing a moment of reflection as Mia and Brett grapple with their failure to prevent Zarael’s escape.
Conflict: Mia and Brett’s disappointment and frustration at being unable to stop Zarael’s plans.
Subtext: Mia and Brett’s resilience in the face of adversity highlights their determination to continue fighting for justice.
Hope/fear: Mia hopes to find a way to rescue Ariael and stop Zarael, while fearing the challenges ahead.
Scene Requirements:
• Allow Mia and Brett to process their failure and regroup for the final confrontation.
• Highlight their resilience and determination to continue fighting against Zarael.
• Set up the resolution of the conflict in the upcoming scenes.
• Maintain the tension and anticipation for the climax of the story.
________________________________________
I’ll continue with the remaining scenes in the next response.
3.5
Please rewrite Scenes 39 to 43 using the same format as the previous feedback.
ChatGPT
Certainly, let’s continue with the remaining scenes:
________________________________________
Scene 39: INT. BRETT’S WORKSHOP – EVENING
Scene Arc: Mia confides in Brett about her promise to rescue Ariael. It ends with Mia deciding to use the energy vortex to travel to Ariael’s planet.
Essence: Mia and Brett strategize their next move to rescue Ariael and confront Zarael.
Conflict: Mia’s internal conflict between her desire to fulfill her promise to Ariael and her fear of the dangers ahead.
Subtext: Mia’s determination to rescue Ariael reflects her growth and commitment to protecting others.
Hope/fear: Mia hopes to succeed in rescuing Ariael and stopping Zarael, while fearing the challenges and dangers they will face.
Scene Requirements:
• Allow Mia and Brett to discuss their plan to rescue Ariael.
• Highlight Mia’s resolve and determination to fulfill her promise.
• Set the stage for Mia’s journey to Ariael’s planet and the final confrontation with Zarael.
• Maintain the tension and anticipation for the climax of the story.
________________________________________
Scene 40: EXT. ARIAEL’S PLANET – DAY
Scene Arc: Mia coordinates with Ariael’s allies to plan the rescue operation. It ends with the discovery of Ariael’s location in a deep cavern.
Essence: Building anticipation as Mia prepares to confront Zarael and rescue Ariael.
Conflict: The challenges Mia faces in coordinating the rescue operation and confronting Zarael’s forces.
Subtext: Mia’s determination and resourcefulness reflect her growth and development throughout the story.
Hope/fear: Mia hopes to succeed in rescuing Ariael and stopping Zarael, while fearing the dangers and obstacles ahead.
Scene Requirements:
• Introduce the final phase of Mia’s mission to rescue Ariael.
• Highlight Mia’s leadership and strategic abilities as she coordinates with Ariael’s allies.
• Set up the climactic confrontation with Zarael in the deep cavern.
• Maintain the tension and anticipation for the resolution of the conflict.
________________________________________
Scene 41: INT. DEEP CAVERN – DAY
Scene Arc: Mia confronts Zarael and her allies in the deep cavern. It ends with Zarael threatening to kill Ariael if anyone attacks.
Essence: Raising the stakes as Mia confronts Zarael in a final showdown.
Conflict: The intense confrontation between Mia and Zarael as they fight for control.
Subtext: The emotional tension between Mia and Zarael reflects their personal stakes and conflicting motivations.
Hope/fear: Mia hopes to defeat Zarael and rescue Ariael, while fearing the consequences of failure.
Scene Requirements:
• Heighten the tension and suspense as Mia confronts Zarael in the deep cavern.
• Establish the high stakes of the confrontation as Zarael threatens Ariael’s life.
• Set the stage for the climactic resolution of the conflict.
• Maintain the momentum and anticipation for the climax of the story.
________________________________________
Scene 42: EXT. ARIAEL’S PLANET – DAY
Scene Arc: Mia and Ariael’s allies use Brett’s stink bombs to overcome Zarael and her allies. It ends with Zarael incapacitated and Ariael placing her in psychiatric care.
Essence: Resolving the conflict as Mia and Ariael’s allies defeat Zarael and rescue Ariael.
Conflict: The final confrontation between Mia and Zarael as they fight for control.
Subtext: The emotional resolution of the conflict reflects Mia’s growth and development throughout the story.
Hope/fear: Mia hopes to defeat Zarael and rescue Ariael, while fearing the consequences of failure.
Scene Requirements:
• Resolve the conflict as Mia and Ariael’s allies defeat Zarael and rescue Ariael.
• Provide closure to the storyline as Zarael is incapacitated and Ariael takes charge.
• Highlight Mia’s growth and development as she fulfills her promise to Ariael.
• Set the stage for the resolution and conclusion of the story.
________________________________________
Scene 43: INT. THRONE ROOM – DAY
Scene Arc: Mia and Ariael stand in front of the throne, discussing their future plans. It ends with Mia deciding to return to Earth.
Essence: Providing closure to the story as Mia and Ariael reflect on their journey and make plans for the future.
Conflict: The resolution of the conflict between Mia and Zarael as Mia fulfills her promise to Ariael.
Subtext: The emotional resolution of the story reflects Mia’s growth and development as a character.
Hope/fear: Mia hopes to return to Earth and continue her life, while fearing the challenges ahead.
Scene Requirements:
• Provide closure to the storyline as Mia and Ariael reflect on their journey.
• Highlight Mia’s growth and development as she makes plans for the future.
• Set the stage for the resolution and conclusion of the story.
• Maintain the emotional resonance and thematic depth of the narrative.

• This reply was modified 11 months, 1 week ago by  LJ (Lawrence John) Seliski.

[David Wickenden]

David Wickenden – Scene Requirements
Vision: I become a writer that the industry respects and wants to work with and it offers me challenges that helps me to continue to grow and be successful.
“What I learned from doing this assignment is…?”
This actually helps split the script into chewable sections with a clear goal for each.
State: I have so much fun…
Activity: …creating scene requirements for my outline!

Act 1: Magic is Scary
INT. BASEMENT OF HOME – NIGHT
• Scene Arc – A child, Eliza, experiments with magic alone in the basement. The magic gets away from her and her mother disappears through a magical portal.
• Essence – Eliza accidentally sends her mother to a different dimension.
• Conflict – The magic is too strong for Eliza to control.
• Subtext – She is not suppose to be playing with magic.
• Hope/fear – She’ll create something wonderful/the magic will hurt her.

SETUP 1 & 4: Eliza PJ 1: A child, (Eliza Blackwood), is playing with magic. Her mother enters the room, and the magic gets away from Eliza and her mother is flung into a different realm.
INT/EXT – CAR – DAY
• Scene Arc – The Blackwood children are driving to an estate that they have inherited.
• Essence – Introduction of the characters and their world.
• Conflict – Eliza is at odds with anything that cannot be explained through logic or facts.
• Subtext – Gabriel and Lenore are annoyed with Eliza’s negativity.
• Hope/fear – Hope they can get along/Fear that this might cause them to separate the siblings.

Eliza PJ 2: Years later, Eliza, her sister Elenor, and brother, Gabriel, journey to an ancient family estate that they have inherited.
Character Action: Eliza refuses to believe in magic and become hostile and argumentative with her siblings.
Emotional Dilemma:
• Moment: Eliza’s hostility towards her siblings.
• How it plays out: Eliza’s refusal to believe in magic causes friction with her siblings, especially when they express their fears and concerns. Her aggressive skepticism creates tension, leaving her siblings feeling isolated and misunderstood. This sets up Eliza’s internal conflict and the emotional distance she must overcome.
INT. BLACKWOOD MANSION – DAY
• Scene Arc – They are attacked by ghosts and rescued by Silas, the caretaker.
• Essence – First encounter with the ghosts.
• Conflict – physical attack
• Subtext – Silas is not who he appears to be.
• Hope/fear – that the siblings will be safe/that the siblings might get hurt or die.

SETUP 3: Inciting Incident: The siblings enter the mansion, only to be attacked by a swarm of ghosts.
Character Action: Eliza is dumbfounded when she witnesses the ghosts and Silas attacking each other using magic.
1. Surprise:
• Moment: Eliza witnesses ghosts for the first time.
• How it plays out: After entering the mansion, Eliza and her siblings are attacked by a swarm of ghosts. Eliza, who has been staunchly denying the existence of magic, is paralyzed with shock as she sees the spectral entities. This moment shatters her skepticism and sets the stage for her journey into the supernatural.
Silas AJ 1: Silas and his followers appear and help the siblings fight back against the ghosts.
Bonding:
• Moment: Silas helps the siblings fend off the ghosts.
• How it plays out: In the midst of the ghost attack, Silas and his followers arrive and use their magic to protect the siblings. As Silas reassures them, claiming his family has always protected the Blackwoods, a moment of bonding occurs. The siblings feel a sense of gratitude and trust towards Silas, unaware of his true intentions.
Distress:
• Moment: Memories of her mother’s disappearance resurface.
• How it plays out: After the ghost attack, the siblings discuss their past and the inheritance. Eliza’s siblings mention their mother’s mysterious disappearance, triggering distressing flashbacks for Eliza. She is visibly shaken, though she tries to hide it, hinting at deeper trauma and unresolved issues.
Character Action: Silas uses his charm to disarm the siblings all the while setting them up to be sacrificed.
SETUP 2: Silas AJ2: Silas promises to protect the siblings, as his family has always protected the Blackwood family.
Deeper Layer: Silas is not truthful, but is after the power of the ghosts, which were witches murdered in the 1700s by his ancestors.
Turning Point: The Blackwoods agree to help the cult, unaware of the true depth of Silas’s plans and the prophecy involving their bloodline.
INT. BEDROOM – NIGHT
• Scene Arc – Elenor has a nightmare.
• Essence – Elenor’s nightmare.
• Conflict – Fear
• Subtext – None.
• Hope/fear – Fear of a dream
EXT. DREAM – NIGHT
• Scene Arc – We watch as women are burnt at the stake for witchery.
• Essence – A nightmare reveals how women were burned
• Conflict – Fear and hatred for the witches.
• Subtext – They weren’t killed out of fear of evil, but for their powers.
• Hope/fear – That this is a bad dream and nothing else/That this is real.

Act 2: Searching the past.
Elenor has a vivid nightmare that shows women being burned at the stake. She reveals seeing a large book with an eye on its cover.
INT. LIBRARY – DAY
• Scene Arc – The siblings search the library for the book
• Essence – Search for the book
• Conflict – Eliza fights herself over the fact that the ghosts were real.
• Subtext – there is more to Eliza’s fear than meets the eye.
• Hope/fear – the book will have answers/that there is no book.

The book reveals itself through Eliza.
INT- HALLWAY – DAY
• Scene Arc – Eliza follows a floating candle down a hallway to a set of stairs.
• Essence – Eliza is led through the house.
• Conflict – Fear
• Subtext –
• Hope/fear – it reals something/it doesn’t get Eliza killed.
INT – STAIRWELL – DAY
INT – THIRD FLOOR LOOKOUT ROOM – DAY
• Scene Arc – The candle leads Eliza to a sitting room where she finds the book.
• Essence – Eliza finds the book.
• Conflict – fear.
• Subtext – something is happening that we cannot explain.
• Hope/fear – is the guide being helpful/is the guide bringing Eliza to her doom.
EXT. LIBRARY _ DAY
• Scene Arc – Eliza explains what she has found to her siblings. Then Margeret reveals Eliza’s role in the disappearance of their mother.
• Essence – Eliza reveals the family history.
• Conflict – The Hawthorns are the enemy, not the ghosts.
• Subtext – they realize their true enemy.
• Hope/fear – they can win/they can lose.

Eliza PJ 4: Eliza reads the book and sees that it is the history of their family. She reads to learn more.
Excitement:
• Moment: Discovering the family’s magical history.
• How it plays out: Gabriel finds the book with the eye on its cover, and Eliza reads it, uncovering their family’s history. The excitement of piecing together their ancestry and understanding their connection to magic energizes the siblings, fostering a sense of unity and purpose.
REVEAL 3: Deeper Layer: The women were witches and were killed in 1700s. They were of the Blackwood family, killed by the Hawthorne’s who wanted their powers. A ghost, Margaret Blackwood, appears and confirms what Eliza has learned.
Eliza PJ 5: She learns that magic is part of the family legacy, but she refused to accept this.
Major reveal 1: Margaret reveals Eliza’s tampering with magic as a child caught Eliza’s mother and that she has suppressed the memories. Upon hearing of this, the memories overcome Eliza, but she realizes that she has the power of magic.
Trigger their Wounds:
• Moment: Eliza’s suppressed memories come to light.
• How it plays out: As Margaret Blackwood’s ghost reveals the truth about Eliza’s childhood tampering with magic, suppressed memories of her mother’s disappearance flood back. Eliza is overwhelmed with guilt and grief, realizing her role in her mother’s fate. This emotional wound drives her determination to master magic and set things right.

Character Action: Eliza puts aside her disbelief in magic and begins to learn.
Courage:
• Moment: Eliza decides to learn magic.
• How it plays out: Despite her fear and disbelief, Eliza resolves to embrace her magical heritage to protect her siblings. She begins to study the spells and rituals, showing courage and determination. This marks a significant shift in her character, as she starts to accept her power and responsibility.
INT. CAVERN – DAY
• Scene Arc – Silas learns that the Blackwood children are aware of his plans. He makes plans to capture Gabriel.
• Essence – Silas is revealed and sets up plans to capture Gabriel.
• Conflict – Silas vs the Blackwood family.
• Subtext – revealed
• Hope/fear – the Blackwood family can overcome/that Silas will win

Character Action: Silas reveals he true nature.
REVEAL 2: Silas AJ 3: Silas puts plans into place to grab Gabriel as a sacrifice in the coming ceremony to gain supernatural powers.
Betrayal:
• Moment: Silas reveals his true nature.
• How it plays out: Silas’s façade of protection crumbles as he reveals his plan to sacrifice Gabriel for his own gain. The siblings feel a deep sense of betrayal, realizing they have been manipulated. This betrayal fuels their resolve to fight against Silas and protect each other.
Act 3: Fast learner
INT. LIBRARY – NIGHT
• Scene Arc – Eliza works at learning enough magic to protect herself and her siblings against Silas.
• Essence – Skill learning.
• Conflict – overcoming her previous bias.
• Subtext – fear of failure.
• Hope/fear – She is becoming powerful/will she be powerful enough?

Eliza PJ 6: Using the book, and with the help of the ghost, Eliza familiarizes herself with magic, but does not trust in herself.
EXT. GARDEN MORNING
• Scene Arc – Eliza challenged Silas and he immediately attacks her. She doesn’t do a blood sacrifice and she’s defeated and forced to flee.
• Essence – Eliza takes on Silas and loses.
• Conflict – Magic fight Eliza vs Silas.
• Subtext – Good vs evil.
• Hope/fear – She can win/she loses.

She also does not offer a blood sacrifice. This allows Silas to overcome her.
Distress:
• Moment: Eliza’s initial failure with magic.
• How it plays out: Eliza attempts to confront Silas with newly learned spells but fails because she does not offer a blood sacrifice. Silas’s attack forces her to flee, leaving her feeling inadequate and desperate. This failure amplifies her doubts and fear of losing her siblings.
Character Action: Silas attacks and when he is unable to finish Eliza, he escapes in a rage.
Character Action: Eliza attempts to confront Silas with magic, but fails.
Character Action: Silas doesn’t give up. Moves on to the next sibling.
INT. GABRIEL’S BEDROOM – MORNING
• Scene Arc – Knowing his secret is out, Silas makes the bold move and captures Gabriel.
• Essence – Silas grabs a hostage.
• Conflict – Captive.
• Subtext – Gabriel doesn’t know Silas has attacked his sister.
• Hope/fear – Gabriel can get free/Silas will sacrifice Gabriel.

Silas AJ 4: Silas and his members grab Gabriel.
Sacrifice:
• Moment: Silas captures Gabriel.
• How it plays out: Silas and his followers overpower Gabriel and take him captive for the upcoming sacrifice. Eliza and Elenor’s desperation and fear for their brother’s life heighten the stakes, pushing Eliza to further embrace her magical abilities.
INT/EXT – ESTATE – DAY
• Scene Arc – Eliza and Elenor search for Gabriel throughout the estate. When they separate to cover more ground, Elenor is captured.
• Essence – Search for Gabriel gets Elenor captured.
• Conflict – hunting for Gabriel.
• Subtext – Is he dead?
• Hope/fear – Will they find him/Is he dead already?

Eliza PJ 7: With Elenor, Eliza searches for her brother.
Silas AJ 5: When the sisters get separated, Silas grabs Elenor.
INT. UPPER READING ROOM – DAY
• Scene Arc – In the upper reading room, Eliza spies two cult members dragging Elenor away. She’s alone
• Essence – Eliza is alone.
• Conflict – They have both Gabriel and Elenor
• Subtext – Will Silas sacrifice both of them?
• Hope/fear – She is alive/Is she dead?

Eliza AJ 5: Realizing that she is alone, Eliza becomes determined to fight back.
Courage:
• Moment: Eliza’s resolve to fight back.
• How it plays out: Realizing that she must save her siblings alone, Eliza steels herself for the final confrontation. She pushes past her fear and doubt, determined to harness her magic to defeat Silas. This moment of courage solidifies her transformation from skeptic to protector.
EXT. KILLING GROUND – NIGHT
• Scene Arc – With the Ghosts on her side, Eliza takes the fight to Silas to save her siblings. She preforms the blood sacrifice and it gives her the power to beat the cult. When he tries to kill Gabriel, Eliza draws more power and a portal opens up revealing her mother who shares the combined power of the dead witches that allows Eliza to throw Silas into an alternate dimension.
• Essence – The climax
• Conflict – Final Battle between good and evil.
• Subtext – NONE
• Hope/fear – That Eliza will win/That she might fail.

Act 4: The Battle
Silas AJ 6: As the clock approaches midnight, Silas and the cult gather to sacrifice the two captured siblings.
Character Action: Silas shows his ruthlessness as he plans on sacrificing the siblings to further his quest for power.
Character Action: Eliza does everything she can to gain the power to defeat Silas and rescue her siblings.
Eliza PJ 6: Eliza at Margaret’s urging, cuts herself so that the blood is spilt and offered for the power she needs.
Emotional Dilemma:
• Moment: Choosing to spill her own blood.
• How it plays out: Eliza faces a moral dilemma when she realizes that to gain enough power to fight Silas, she must offer her own blood. The decision to harm herself for the greater good is a poignant moment, highlighting her selflessness and dedication to her family.
Excitement:
• Moment: Eliza gains the power of her ancestors.
• How it plays out: With her blood offered, Eliza feels an immense surge of power as the ghosts of her ancestors lend her their strength. This exhilarating moment boosts her confidence and prepares her for the final battle against Silas.
Eliza PJ 7: Eliza, with the help of the ghosts, attack the cult members. She is not strong enough and watches in horror as Silas raises the knife to kill her brother.
Silas AJ 7: Silas is at the finish line, ready to gain all the supernatural power for himself.
Distress:
• Moment: Silas prepares to sacrifice Gabriel.
• How it plays out: As Silas stands ready to kill Gabriel, Eliza watches in horror, feeling helpless and desperate. This moment of intense distress underscores the high stakes and the urgency of her mission.
Character Action: Eliza refuses to give up and fights Silas with all her might.
Reveal 4: Turning point: As Eliza reaches for more power, a portal opens up. Through the portal, her mother appears and feeds her the combined power of the witches.
Surprise:
• Moment: The portal opens and Eliza’s mother appears.
• How it plays out: Just as all seems lost, a portal opens, and Eliza’s mother reaches through, transferring the combined power of the witches to Eliza. This surprising and emotional reunion empowers Eliza and provides the strength needed to defeat Silas.
Eliza PJ 8: Eliza, with the added power, uses it to fling Silas into another void, before he can sacrifice her brother. She easily finishes off the other cult members. SETUP 5: As she relaxes, the portal with her mother closes her mother off from her.
Success/Winning:
• Moment: Eliza defeats Silas and frees the ghosts.
• How it plays out: With the added power, Eliza flings Silas into a void and defeats the cult members. The ghosts, including Margaret, express gratitude and move on to the afterlife. The victory is bittersweet as Eliza realizes her mother is still trapped in another realm, but she is now empowered and ready to rescue her. The siblings embrace, their bond stronger than ever, and their powers awakened.
By incorporating these emotional moments, the screenplay will create a powerful and engaging narrative that deeply resonates with the audience, enhancing the horror/thriller elements with rich, character-driven drama.
Character Action: Silas refuses to accept defeat and vows to return.
Reveal: Having gained the witch’s power into herself and broken the curse, Margaret and the other ghosts are free to enter the afterlife and disappear after a tearful farewell.
Character Action: Eliza, now empowered, prepares to move forward to rescue her mother. She is unstoppable.
REVEAL 5: Resolution: Eliza rescues her siblings. As they embrace, the powers flow through all three of them, awaking the latent powers. Eliza tells them that knowing that their mother is still alive somewhere in a different realm, they must work towards rescuing her.

• This reply was modified 11 months, 1 week ago by  David Wickenden.

[Monica Arisman]

Subject: Monica’s Scene Requirements

VISION: I am a very successful screenwriter who has had multiple movies made.

What I learned doing this assignment is this is the best time to see if there are any plot holes.

Go through your entire outline and make it look like the examples above.

OUTLINE

TITLE: GOD’s LIBRARY

GENRE: Drama/Fantasy

ACT 1

OPENING

Scene Arc: From Emily coming home from work, sitting down to write at her computer, to being drunk.

1. INT. EMILY’S APARTMENT – NIGHT

Essence: Emily is an alcoholic.

Conflict: Will the alcohol destroy her?

Subtext: She wants to be a successful writer.

Hope/fear: We hope she’ll stop drinking. We fear it will kill her and her dreams.

Scene Arc: It’s Christmas Eve. Emily comes home from work. Opens her mail to another rejection letter.

2. EXT. CITY STREETS – NIGHT

Essence: The rejection letter pushes Emily over the edge.

Conflict: Christmas is supposed to be a joyous time of year. But another rejection letter ruins any Christmas spirit.

Subtext: Rage and frustration.

Hope/fear: Hope Emily calms down. Fear she’ll do herself harm.

INCITING INCIDENT

Scene Arc: From attempting suicide to having a near-death experience.

3. INT. LIBRARY – DAY

Essence: “Death is only the beginning.”

Conflict: Cannot even kill herself properly.

Subtext: It’s not Emily’s time to die.

Hope/fear: Hope she gets medical treatment ASAP. Fear she’ll have to return to her miserable life. (OR, Fear she dies.)

Scene Arc: Meets God who has a mission for her but she must return.

4. INT. LIBRARY – DAY

Essence: There is no death just a transition.

Conflict: Suicide is taboo so how can Emily meet God?

Subtext: God is all-loving and has a mission for each of us.

Hope/fear: Hope Emily can stay with God. Fear she has to return and she won’t be able to fulfill her mission.

TURNING POINT

Scene Arc: From being revived in the hospital to returning to her brother’s home.

5. INT. HOSPITAL – DAY

Essence: Emily has always had love in her life.

Conflict: To tell or not to tell her NDE story.

Subtext: Help was always available, Emily just had to ask for it.

Hope/fear: Hope her brother would understand if she told him her story. Fear he’d laugh at her.

Scene Arc: Emily returns with her brother to his home where a puppy greets her and she starts to have visions of the library.

6. INT. EMILY’S SUITE – DAY

Essence: Donahue greets Emily and tells her he is the guardian of the library and will help her with her mission.

Conflict: Emily doesn’t trust Donahue.

Subtext: Why does God’s library need a guardian?

Hope/fear: Hope Donahue is who he says he is. Fear he’s a demon in disguise.

ACT 2

NEW PLAN

Scene Arc: Emily explores the library and meets the forgotten souls of writers. Donahue guides Emily to a hidden section of the library where ancient scripts glow with an otherworldly light. He presents Emily with a cryptic outline written in an ancient language, which she must decipher to progress.

7. INT. LIBRARY – NIGHT

Essence: There is more to this library than meets the eye.

Conflict: The outline is written in a cryptic language that Emily must decipher to move on to the works of the forgotten writers.

Subtext: Emily’s job is to finish their creations which were all drafted to bring spirituality back to humanity. But first must decipher an outline for her first article.

Hope/fear: Hope that Emily can pass the test. Fear of what will happen to her if she fails.

Scene Arc: Meeting Azazel – who’s there to help!

8. INT. EMILY’S SUITE – DAY

Essence: Azazel appears to provide Emily with assistance.

Conflict: The puppy doesn’t like Azazel so Emily is cautious.

Subtext: Azazel introduces himself with a flourish and is the real demon.

Hope/fear: Hope Emily sees through Azazel’s façade. Fear she’ll be seduced by his beauty and actions.

Scene Arc: Azazel helps Emily with the translation so Emily can write the story.

8. INT. EMILY’S SUITE – DAY

Essence: Emily believes Azazel is there to help.

Conflict: Azazel makes her nervous, and Emily looks for some alcohol. But her brother has removed all the alcohol.

Subtext: Falling back into old destructive patterns.

Hope/fear: Hope Emily snaps out of it. Fear Azazel will manipulate Emily for his own purposes.

Scene Arc: In meditation, Emily explores the library interacting with the forgotten souls of writers and their characters, an imprisoned guardian, and learning about her past.

10. INT. EMILY’S SUITE – DAY

Essence: Emily begins to learn about her past lives and their connection to her current mission.

Conflict: Between what Emily believed and what she is learning now.

Subtext: She must free the souls and the real guardian.

Hope/fear: Hope she is strong enough to accomplish the mission. Fear she is too fragile and will be destroyed.

PLAN IN ACTION

Scene Arc: Armed with new information, Emily creates an outline for another article.

11. INT. EMILY’S SUITE – DAY

Essence: The souls of forgotten writers are helping her write free of Donahue and Azazel.

Conflict: Doubts about her abilities and the true intentions of Donahue and Azazel.

Subtext: By interacting with the writers Emily has freed them.

Hope/fear: Hope Emily can prevail. Fear of what will happen to her and the writers if Donahue and Azazel find out they’re free.

Scene Arc: Emily goes in search of Donahue and finds him and Azazel plotting to take Emily over.

12. INT. LIBRARY – DAY

Essence: Donahue and Azazel believe they can turn Emily to their side.

Conflict: A line in the sand has been drawn. Emily and the Forgotten Writers versus Donahue and Azazel.

Subtext: There is evil lurking within the heavenly realm.

Hope/fear: Hope Emily is strong enough to resist them. Fear she’s too fragile and will succumb to their machinations.

MIDPOINT TURNING POINT

Scene Arc: From Emily hiding the knowledge she knows about Donahue and Azazel to finding a way through to defeat them.

13. INT. EMILY’S SUITE – DAY

Essence: Emily inserts her knowledge into the article with Azazel making suggestions that if she inserts them into her article she will be a rich woman.

Conflict: Emily’s moral dilemma between wanting riches versus doing the right thing.

Subtext: Emily is tired of being poor.

Hope/fear: Hope she can resist Azazel’s offer. Fear she will fail.

Scene Arc: Emily discovers another section of the library which allows her to continue to piece together who she is.

14. INT. LIBRARY – NIGHT

Essence: We are all divine beings having a human experience.

Conflict: Emily doesn’t want to remember who she is.

Subtext: Emily’s more powerful than she thinks.

Hope/fear: Hope she can overcome her fear of progress and change. Fear she will stay the same.

ACT 3

RE-THINK EVERYTHING

Scene Arc: Emily faces increasing pressure from Donahue and realizes the dangerous price of unlocking the library's secrets.

15. INT. LIBRARY – DAY

Essence: Donahue discovers Emily isn’t working on HIS story.

Conflict: Donahue versus Emily.

Subtext: Donahue realizes that God has found the one soul that can get rid of him.

Hope/fear: Hope Emily is strong enough to handle Donahue. Fear Emily fails.

Scene Arc: From Azazel underestimating Emily’s strength to being crushed by Emily.

16. INT. EMILY’S SUITE – DAY

Essence: Emily’s strength is tested by Azazel.

Conflict: Azazel’s quest for power by any means necessary versus Emily’s commitment to God.

Subtext: Emily is stronger than she believes.

Hope/fear: Hope Emily can fight off Azazel. Fear Azazel will conquer Emily and kill the puppy.

Scene Arc: Donahue finds Azazel wounded by Emily and decides Emily must be eliminated since they can’t turn her to their side.

17. INT. EMILY’S SUITE – DAY

Essence: Emily is becoming more comfortable in her role and therefore, stronger.

Conflict: Donahue sides with Azazel confirming Emily’s suspicions about the two and now must watch her back.

Subtext: The Forgotten Writers are helping Emily defeat the guardian.

Hope/fear: Hope Emily can continue to grow. Fear she’ll return to her destructive behavior patterns.

NEW PLAN

Scene Arc: Emily can now enter the library without meditation and without Donahue or Azazel knowing.

18. INT. LIBRARY – DAY

Essence: Emily is growing stronger.

Conflict: Destroying Azazel and Donahue goes against her belief in the sixth commandment.

Subtext: But Azazel and Donahue were not made by God.

Hope/fear: Hope Emily can discover the true creator of Azazel and Donahue. Fear they’ll destroy her before she can.

Scene Arc: Emily publishes a piece but its message was twisted by Azazel.

19. INT. EMILY’S SUITE – DAY

Essence: Emily is devastated by the article.

Conflict: Could this setback unleash Emily’s destructive behavior patterns?

Subtext: Chaos is unleashed in the world and Emily is to blame.

Hope/fear: Hope Emily has become strong enough to weather the storm. Fear she will fall back into destructive behavior patterns.

TURNING POINT: HUGE FAILURE/MAJOR SHIFT

Scene Arc: Emily is devastated but instead of letting it crush her, she resolves to beat them at their own game.

20. EXT. EMILY’S SUITE – NIGHT

Essence: End times are unleashed upon the world.

Conflict: Emily’s anger versus Donahue and Azazel’s arrogance.

Subtext: Emily has finally realized to direct her anger at the source instead of letting it destroy her.

Hope/fear: Hope Emily succeeds. Fear she fails.

Scene Arc: Confronts Azazel. Destroys him by turning him to dust.

21. INT. LIBRARY – DAY

Essence: Get rid of Azazel.

Conflict: Emily versus Azazel.

Subtext: Emily has resolved the sixth commandment and has gotten stronger for it.

Hope/fear: Hope Emily survives. Fear Azazel has recovered enough to destroy Emily.

Scene Arc: Writes another article to calm the masses and stops Donahue.

22. INT. LIBRARY – DAY

Essence: Emily’s storytelling abilities have grown.

Conflict: Emily versus Donahue.

Subtext: Donahue’s power has been diminished since Azazel’s extinction.

Hope/fear: Hope Emily’s realizes her power. Fear Donahue will somehow take it from her.

Scene Arc: Donahue confronts Emily attempting to seize control of the library’s power.

23. INT. LIBRARY – DAY

Essence: Emily’s newfound confidence makes her unyielding.

Conflict: Emily/Library versus Donahue.

Subtext: The library is alive.

Hope/fear: Hope Emily’s new skills are enough to defeat Donahue. Fear she fails.

Scene Arc: Emily tells Donahue how she destroyed Azazel and now she will destroy him.

24. INT. LIBRARY – DAY

Essence: Transform the library into a beacon of hope.

Conflict: Donahue wants the power of the library for himself.

Subtext: Donahue is not a divine being.

Hope/fear: Hope Emily prevails. Fear she fails.

Scene Arc: To save himself, Donahue reveals his backstory.

25. INT. LIBRARY – DAY

Essence: Will Emily believe Donahue is a victim of circumstance?

Conflict: Lies versus truths.

Subtext: Donahue trying to save his skin.

Hope/fear: Hope Emily prevails. Fear Donahue prevails.

Act 4

CLIMAX/ULTIMATE EXPRESSION OF THE CONFLICT

Scene Arc: The climax involves Emily using her newfound powers to write a story that changes reality.

26. INT. LIBRARY – DAY

Essence: Emily confronts Donahue about his lies.

Conflict: Donahue’s nature prevents him from recognizing his lies and Emily’s ability to use her powers.

Subtext: Emily uses her storytelling abilities to protect all the aspects of the library.

Hope/fear: Hope Emily can protect the library. Fear that Donahue has another trick up his sleeve to thwart Emily.

Scene Arc: Emily destroys Donahue to great cheering.

27. INT. LIBRARY – DAY

Essence: Emily uses her storytelling abilities to destroy Donahue.

Conflict: Emily feels bad she had to destroy another being.

Subtext: There is power in a story.

Hope/fear: Hope Emily has changed. Fear that alcohol addiction will rise again.

Scene Arc: Writes the best story of her life based on a dream she found in the archives. Publishes it to great acclaim.

28. INT. EMILY’S SUITE – DAY

Essence: The power of words can change lives.

Conflict: Newfound fame could trigger her addiction.

Subtext: Emily’s success is finally here.

Hope/fear: Hope she continues to have success. Fear the addiction will come back.

Scene Arc: Donahue tries to subvert her story but fails.

29. INT. LIBRARY – DAY

Essence: Emily’s determination and newfound powers are too strong for Donahue.

Conflict: Emily vs Donahue

Subtext: Donahue admits defeat and helps Emily secure the library’s future.

Hope/fear: Hope for the future. Fear Donahue will return.

RESOLUTION

Scene Arc: Emily emerges victorious but changed, having embraced her role as a storyteller and found purpose in her writing. She releases the true guardian.

30. INT. LIBRARY – DAY

Essence: Embraces her storytelling abilities to great acclaim.

Conflict: Everyone wants an interview.

Subtext: Emily needed to fail before she could succeed.

Hope/fear:

Scene Arc: God thanks Emily and thanks her for tipping the scales in favour of the Divine.

31. INT. LIBRARY – DAY

Essence: Good always triumphs over evil.

Conflict: Facing future challenges.

Subtext: Sometimes you have to fail before you achieve great success.

Hope/fear:

CHAT GPT VERSION:
ACT 1
1: INT. EMILY’S APARTMENT – NIGHT

• Scene Arc: Starts with Emily in her routine of drinking and working; ends with her going to work hungover.
• Essence: Establish Emily's current state of despair and unhealthy coping mechanisms.
• Conflict: Internal conflict of dealing with failure through alcohol.
• Subtext: Emily’s drinking masks deeper emotional pain and feelings of failure.
• Hope/Fear: Hope she’ll find a way out of her misery; fear she’ll spiral further down.
2: INT. EMILY’S APARTMENT – NIGHT
• Scene Arc: Starts with Emily hopeful for some good news; ends with her deciding to commit suicide.
• Essence: Show the depth of Emily's despair and desperation.
• Conflict: External rejection leading to internal breakdown.
• Subtext: The rejection letter symbolizes the culmination of repeated failures.
• Hope/Fear: Hope for a breakthrough; fear she’ll give in to her suicidal thoughts.
3: INT. EMILY’S APARTMENT – NIGHT
• Scene Arc: Starts with Emily about to end her life; ends with her in a near-death state.
• Essence: Transition from despair to a pivotal, mystical experience.
• Conflict: Emily’s struggle between life and death.
• Subtext: Her deep desire for escape manifests in a transformative experience.
• Hope/Fear: Hope she’ll find a reason to live; fear she’ll actually die.
4: INT. AFTERLIFE – UNKNOWN TIME
• Scene Arc: Starts with Emily entering the afterlife confused; ends with her being given a divine purpose.
• Essence: Introduce the fantasy element and Emily’s new mission.
• Conflict: Emily’s disbelief and confusion versus the reality of her new mission.
• Subtext: Emily’s potential and destiny revealed in her darkest moment.
• Hope/Fear: Hope she’ll embrace this new purpose; fear she’ll reject or fail it.
5: INT. HOSPITAL ROOM – DAY
• Scene Arc: Starts with Emily regaining consciousness; ends with her realizing the concern of her brother.
• Essence: Show the immediate aftermath of Emily’s near-death experience.
• Conflict: Emily’s physical recovery versus emotional and mental turmoil.
• Subtext: Her brother’s presence highlights the real-world consequences of her actions.
• Hope/Fear: Hope for reconciliation and recovery; fear of enduring emotional scars.
6: INT. EMILY’S APARTMENT – DAY
• Scene Arc: Starts with Emily feeling fragile; ends with a small step towards healing.
• Essence: Introduce a symbol of hope and responsibility.
• Conflict: Emily’s reluctance versus her brother’s encouragement.
• Subtext: The puppy symbolizes new beginnings and a chance for emotional recovery.
• Hope/Fear: Hope she’ll start to heal; fear she’ll reject the help.
7: INT. EMILY’S APARTMENT – NIGHT
• Scene Arc: Starts with Emily attempting normalcy; ends with her experiencing visions.
• Essence: Indicate the lasting impact of her near-death experience.
• Conflict: Emily’s need for normalcy versus the disruptive visions.
• Subtext: The visions hint at her deeper connection to the supernatural.
• Hope/Fear: Hope the visions lead to positive change; fear they indicate worsening mental health.
8: INT. EMILY’S APARTMENT – NIGHT
• Scene Arc: Starts with Emily trying to understand her visions; ends with meeting Donahue.
• Essence: Introduce the antagonist and set up future conflict.
• Conflict: Emily’s fear and confusion versus Donahue’s calm assertion of authority.
• Subtext: Donahue’s introduction foreshadows future challenges.
• Hope/Fear: Hope he’ll guide her positively; fear he has ulterior motives.
ACT 2
9: INT. EMILY’S APARTMENT – NIGHT
• Scene Arc: Starts with Emily meeting Donahue again; ends with her given a task.
• Essence: Set the plot in motion with a specific goal for Emily.
• Conflict: Emily’s skepticism versus Donahue’s insistence.
• Subtext: The outline represents a path to fulfilling her divine mission.
• Hope/Fear: Hope she’ll find inspiration; fear she’ll fail.
10: INT. EMILY’S APARTMENT – NIGHT
• Scene Arc: Starts with Emily focused on the outline; ends with the introduction of a new helper.
• Essence: Introduce a new character with unclear motives.
• Conflict: Emily’s uncertainty about Azazel’s true intentions.
• Subtext: Azazel’s charm masks potential danger.
• Hope/Fear: Hope he’ll genuinely help; fear he has hidden agendas.
11: INT. EMILY’S APARTMENT – NIGHT
• Scene Arc: Starts with Emily beginning her story; ends with her doubts growing.
• Essence: Show the beginning of Emily’s creative process amidst internal conflict.
• Conflict: Emily’s drive to write versus her self-doubt.
• Subtext: Her doubts reflect deeper insecurities and fears of failure.
• Hope/Fear: Hope she’ll overcome doubt; fear it will paralyze her progress.
12: INT. GOD’S LIBRARY – NIGHT
• Scene Arc: Starts with Emily’s exploration; ends with a deeper understanding of her mission.
• Essence: Develop the fantasy world and Emily’s connection to it.
• Conflict: Emily’s initial sense of isolation versus newfound belonging.
• Subtext: The library holds secrets crucial to her mission and past.
• Hope/Fear: Hope she’ll embrace her role; fear the truths she uncovers will be too much.
13: INT. EMILY’S APARTMENT – DAY
• Scene Arc: Starts with renewed effort in writing; ends with increased doubts.
• Essence: Highlight the internal and external struggles Emily faces.
• Conflict: Creative drive versus self-doubt and mistrust.
• Subtext: Her writing process is intertwined with her struggle for truth.
• Hope/Fear: Hope she’ll push through her doubts; fear she’ll succumb to them.
MIDPOINT TURNING POINT
14: INT. EMILY’S APARTMENT – NIGHT
• Scene Arc: Starts with a sense of duty; ends with a deepened internal conflict.
• Essence: Showcase the heightened stakes and internal turmoil.
• Conflict: Duty to Donahue versus temptation from Azazel.
• Subtext: The choice between light and darkness becomes more pronounced.
• Hope/Fear: Hope she’ll make the right choice; fear she’ll be swayed by Azazel.
15: INT. DREAM ARCHIVE – NIGHT
• Scene Arc: Starts with discovery; ends with understanding and shock.
• Essence: Deepen the lore and Emily’s connection to her mission.
• Conflict: Curiosity versus the fear of overwhelming truths.
• Subtext: Her brother’s role adds layers to her understanding of her past and present.
• Hope/Fear: Hope she’ll use this knowledge positively; fear it will be too much to handle.
ACT 3: RE-THINK EVERYTHING
16: INT. EMILY’S APARTMENT – NIGHT
• Scene Arc: Starts with growing pressure; ends with the realization of the stakes.
• Essence: Show the mounting tension and danger.
• Conflict: Pressure from Donahue versus Emily’s own will and safety.
• Subtext: The cost of her mission becomes clearer.
• Hope/Fear: Hope she’ll manage the pressure; fear it will break her.
17: INT. EMILY’S APARTMENT – NIGHT
• Scene Arc: Starts with tension; ends with confrontation.
• Essence: Move the conflict to a direct confrontation.
• Conflict: Emily’s determination versus Azazel’s manipulations.
• Subtext: Power dynamics shift as Emily takes a stand.
• Hope/Fear: Hope she’ll stand her ground; fear Azazel will overpower her.
18: INT. EMILY’S APARTMENT – NIGHT
• Scene Arc: Starts with confrontation; ends with a new, disturbing tactic from Azazel.
• Essence: Highlight Azazel’s manipulation and Emily’s resilience.
• Conflict: Azazel’s seduction versus Emily’s resistance.
• Subtext: Sexual overtures as a form of control and domination.
• Hope/Fear: Hope she’ll reject him; fear she’ll be swayed.
19: INT. EMILY’S APARTMENT – NIGHT
• Scene Arc: Starts with a power play by Azazel; ends with Emily’s firm rejection.
• Essence: Show Emily’s strength and moral clarity.
• Conflict: Azazel’s persistence versus Emily’s resistance.
• Subtext: Rejection symbolizes a reclaiming of personal power.
• Hope/Fear: Hope she’ll maintain her stance; fear Azazel will retaliate.
20: INT. EMILY’S APARTMENT – NIGHT
• Scene Arc: Starts with Emily’s victory; ends with a new threat.
• Essence: Escalate the stakes and introduce a new, urgent conflict.
• Conflict: Azazel’s cruelty versus Emily’s desperation.
• Subtext: Attack on the puppy symbolizes an attack on Emily’s newfound hope.
• Hope/Fear: Hope she’ll save her puppy; fear it will be harmed.
21: INT. EMILY’S APARTMENT – NIGHT
• Scene Arc: Starts with desperation; ends with triumph.
• Essence: Showcase Emily’s empowerment and resourcefulness.
• Conflict: Emily’s determination versus Azazel’s aggression.
• Subtext: Wounding Azazel is a turning point in reclaiming her power.
• Hope/Fear: Hope she’ll fully overcome him; fear of his retaliation.
22: INT. EMILY’S APARTMENT – NIGHT
• Scene Arc: Starts with aftermath of the conflict; ends with a tense departure.
• Essence: Show the shifting dynamics and Donahue’s reaction.
• Conflict: Emily’s explanation versus Donahue’s authority.
• Subtext: Donahue’s departure suggests future repercussions.
• Hope/Fear: Hope this ends the immediate threat; fear of what’s next.
NEW PLAN
23: INT. GOD’S LIBRARY – DAY
• Scene Arc: Starts with seeking knowledge; ends with a new plan.
• Essence: Empower Emily with a new strategy.
• Conflict: Seeking knowledge versus the risk of discovery.
• Subtext: The library’s magic represents hope and potential.
• Hope/Fear: Hope she’ll succeed in her plan; fear it won’t be enough.
24: INT. EMILY’S APARTMENT – NIGHT
• Scene Arc: Starts with a sense of achievement; ends with devastation.
• Essence: Highlight the high stakes and Azazel’s cunning.
• Conflict: Emily’s intentions versus Azazel’s subversion.
• Subtext: Azazel’s power to manipulate and corrupt.
• Hope/Fear: Hope she can fix it; fear it will cause irreversible damage.
TURNING POINT: HUGE FAILURE/MAJOR SHIFT
25: INT. EMILY’S APARTMENT – NIGHT
• Scene Arc: Starts with devastation; ends with determination.
• Essence: Show Emily’s resilience and renewed resolve.
• Conflict: Emotional devastation versus inner strength.
• Subtext: Failure is a catalyst for greater determination.
• Hope/Fear: Hope she’ll find a way; fear she’ll be too late.
26: INT. EMILY’S APARTMENT – NIGHT
• Scene Arc: Starts with confrontation; ends with victory.
• Essence: Reach a climactic moment of triumph over evil.
• Conflict: Emily’s final stand versus Azazel’s last attempt.
• Subtext: Defeating Azazel is symbolic of overcoming her inner demons.
• Hope/Fear: Hope it’s a true victory; fear of lingering threats.
27: INT. EMILY’S APARTMENT – NIGHT
• Scene Arc: Starts with triumph; ends with a new conflict.
• Essence: Introduce the next phase of the conflict.
• Conflict: Donahue’s authority versus Emily’s newfound power.
• Subtext: The struggle for ultimate control and understanding.
• Hope/Fear: Hope she’ll stand her ground; fear Donahue’s power.
28: INT. EMILY’S APARTMENT – NIGHT
• Scene Arc: Starts with tension; ends with a bold declaration.
• Essence: Show Emily’s complete transformation and confidence.
• Conflict: Emily’s assertion versus Donahue’s authority.
• Subtext: Declaration of war and final defiance.
• Hope/Fear: Hope she can follow through; fear of Donahue’s retaliation.
29: INT. EMILY’S APARTMENT – NIGHT
• Scene Arc: Starts with confrontation; ends with revelation.
• Essence: Add complexity to Donahue’s character.
• Conflict: Initial antagonism versus deeper understanding.
• Subtext: Donahue’s motivations are not purely evil.
• Hope/Fear: Hope for reconciliation; fear it’s a manipulation.
ACT 4: THE CLIMAX
30: INT. EMILY’S APARTMENT – NIGHT
• Scene Arc: Starts with confrontation; ends with a decisive action.
• Essence: Ultimate expression of her power and purpose.
• Conflict: Emily’s creative power versus Donahue’s control.
• Subtext: The final battle is fought with ideas and words.
• Hope/Fear: Hope she’ll succeed; fear she’ll be outmatched.
31: INT. EMILY’S APARTMENT – NIGHT
• Scene Arc: Starts with inspiration; ends with creation.
• Essence: Show the pinnacle of Emily’s creative journey.
• Conflict: Creative inspiration versus external pressures.
• Subtext: This story represents her ultimate victory and purpose.
• Hope/Fear: Hope it changes reality; fear it won’t be enough.
32: INT. EMILY’S APARTMENT – NIGHT
• Scene Arc: Starts with an attempt to subvert; ends with victory.
• Essence: Conclude the central conflict with Emily’s triumph.
• Conflict: Donahue’s last stand versus Emily’s strength.
• Subtext: Victory of light and creativity over darkness and control.
• Hope/Fear: Hope it’s a lasting victory; fear of unforeseen consequences.
RESOLUTION
33: INT. EMILY’S APARTMENT – DAY
• Scene Arc: Starts with aftermath; ends with resolution and change.
• Essence: Show the transformation and new beginning.
• Conflict: Resolution of past struggles versus new responsibilities.
• Subtext: Emily’s journey has led to growth and purpose.
• Hope/Fear: Hope she’ll continue to thrive; fear of future challenges.
34: INT. EMILY’S APARTMENT – DAY
• Scene Arc: Starts with reflection; ends with divine blessing.
• Essence: Reinforce the divine mission and Emily’s role.
• Conflict: Closure of divine mission versus earthly life.
• Subtext: God’s blessing signifies divine approval and support.
• Hope/Fear: Hope she’ll continue inspired; fear of new burdens.
35: EXT. EMILY’S APARTMENT – DAY
• Scene Arc: Starts with closure; ends with new beginning.
• Essence: Conclude Emily’s arc with hope and readiness.
• Conflict: Past struggles resolved versus future challenges.
• Subtext: Emily’s journey is ongoing, but she’s equipped to handle it.
• Hope/Fear: Hope she’ll succeed; fear of the unknown.

• This reply was modified 11 months, 1 week ago by  Monica Arisman. Reason: Formatting

[Robin Fellows]

WIM+AI – Module 4 – Lesson 9
Robin’s: Scene Requirements

MY VISION: I aim to make my writing flow naturally, like second nature, crafting stories that resonate globally and leave a mark, backed by a supportive team.

During this lesson, I learned the importance of scene structure, character depth, and narrative arc in crafting a compelling screenplay.

Act 1: Setup and Inciting Incident
INT. THERAPIST'S OFFICE – DAY
Jake reluctantly enters the therapist's office, his haunted eyes betraying inner turmoil.
Scene Arc: Jake reluctantly enters the therapist's office, seeking answers about his fragmented memories. Essence: Jake seeks clarity about his past traumas.
Conflict: Jake's internal struggle with confronting his past.
Subtext: Unspoken tension between Jake and his therapist.
Hope/Fear: Hope for resolution, fear of facing painful truths.
EXT. ABANDONED PARKING LOT – NIGHT
Amongst wrecks, Joe Ramirez, a witness, resides in a camper shell, revealing a cryptic message to Jake about a "memory wipe."
Scene Arc: Joe Ramirez cryptically reveals information about a "memory wipe" to Jake.
Essence: Introduction of the memory wipe conspiracy.
Conflict: Joe's reluctance to fully disclose information.
Subtext: Joe's fear of reprisal from unknown forces.
Hope/Fear: Hope for uncovering the truth, fear of the unknown dangers ahead.
INT. CRIME SCENE – DAY
Jake discovers a futuristic memory chip, a key clue in Dr. Thornton's murder investigation.
Scene Arc: Jake discovers a memory chip at the crime scene, triggering his investigation.
Essence: Introduction of key evidence in Dr. Thornton's murder.
Conflict: Jake's pursuit of justice versus his own inner turmoil.
Subtext: The memory chip holds secrets crucial to the case.
Hope/Fear: Hope for justice, fear of the consequences of uncovering the truth.
INT. JAKE'S APARTMENT – NIGHT
Jake contemplates pursuing the case, torn between his desire for redemption and his inner demons.
Scene Arc: Jake wrestles with the decision to pursue the case or bury his past.
Essence: Jake's internal conflict and moral dilemma.
Conflict: Jake's desire for redemption versus his fear of reliving past traumas.
Subtext: Jake's addiction threatens to derail his investigation.
Hope/Fear: Hope for closure, fear of confronting painful memories.
EXT. CITY STREET – DAY
Jake receives an anonymous message urging him to delve deeper into the murder conspiracy, sparking his decision to take on the case.
Scene Arc: Jake receives an anonymous message urging him to investigate further, setting him on a path of discovery.
Essence: Catalyst for Jake's decision to delve deeper into the conspiracy.
Conflict: Jake's uncertainty about the risks involved in pursuing the case.
Subtext: The anonymous sender's motives remain unknown.
Hope/Fear: Hope for uncovering the truth, fear of the dangers ahead.
Act 2: First Attempts and Establishing Stakes
INT. MAYA'S APARTMENT – DAY
Jake seeks Maya's help to analyze the memory chip, forming an alliance to unravel the Syndicate's operations.
Scene Arc: Jake seeks Maya's help to analyze the memory chip, forming an alliance to unravel the Syndicate's operations.
Essence: Collaboration between Jake and Maya to decode the memory chip.
Conflict: The Syndicate's efforts to thwart their investigation.
Subtext: Maya's personal connection to the case.
Hope/Fear: Hope for breakthrough, fear of Syndicate retaliation.
EXT. SYNDICATE SAFE HOUSE – NIGHT
Jake and his team conduct a stakeout, witnessing a memory wipe in action, confirming their suspicions.
Scene Arc: Jake and his team witness a memory wipe in action, confirming their suspicions about the Syndicate's operations.
Essence: Confirmation of Syndicate's involvement in memory manipulation.
Conflict: Jake's team faces danger while gathering evidence.
Subtext: The Syndicate's power and influence.
Hope/Fear: Hope for uncovering evidence, fear of exposure.
INT. JOE'S CAMPER SHELL – DAY
Joe reluctantly reveals he saw Dr. Thornton with a mysterious device before his murder, adding a new layer to the investigation.
Scene Arc: Joe reveals crucial information about Dr. Thornton's last moments, deepening the mystery. Essence: Revelation of Dr. Thornton's connection to the memory wipe device.
Conflict: Joe's reluctance to fully cooperate with the investigation.
Subtext: Joe's fear of retaliation from the Syndicate.
Hope/Fear: Hope for uncovering the truth, fear of endangering Joe.
INT. UNDERGROUND LAB – NIGHT
Maya uncovers Syndicate operations data, discovering the memory wipes are reversible, sparking hope for uncovering lost memories.
Scene Arc: Maya uncovers data on Syndicate operations, sparking hope for reversing memory wipes. Essence: Discovery of a potential solution to memory manipulation.
Conflict: The Syndicate's efforts to protect their operations.
Subtext: The ethical implications of memory manipulation.
Hope/Fear: Hope for restoring lost memories, fear of Syndicate interference.
Act 3: Rising Action and B Story
INT. ADRIAN'S HIDEOUT – DAY
Adrian reveals his past ties to the Syndicate, offering insider knowledge to the team, strengthening their resolve.
Scene Arc: Adrian reveals his past ties to the Syndicate, offering insider knowledge to the team.
Essence: Development of Adrian's character and his role in the investigation.
Conflict: Adrian's internal conflict over betraying his former allies.
Subtext: Adrian's desire for redemption. Hope/Fear:
Hope for valuable information, fear of betrayal.
EXT. SYNDICATE SAFE HOUSE – NIGHT
A Syndicate enforcer warns Jake of Veronica's awareness of his investigation, escalating the conflict and raising the stakes.
Scene Arc: A Syndicate enforcer warns Jake of Veronica's awareness of his investigation, escalating the conflict.
Essence: Heightened tension between Jake and the Syndicate.
Conflict: Jake's team faces increased danger from Syndicate surveillance.
Subtext: Veronica's knowledge of Jake's activities.
Hope/Fear: Hope for evading detection, fear of Syndicate reprisal.
INT. JAKE'S APARTMENT – NIGHT
Jake's addiction worsens, leading to a critical moment during a mission, jeopardizing their safety.
Scene Arc: Jake's addiction worsens, leading to a critical moment during a mission, jeopardizing their safety.
Essence: Jake's struggle with addiction threatens the success of the investigation.
Conflict: Jake's personal demons endanger the team's mission.
Subtext: The impact of Jake's addiction on his decision-making.
Hope/Fear: Hope for Jake's recovery, fear of the consequences of his addiction.
EXT. CITY ROOFTOP – DAY
Jake confronts his therapist, realizing he must confront his inner demons to move forward with the investigation.
Scene Arc: Jake confronts his therapist, realizing he must confront his inner demons to move forward with the investigation.
Essence: Jake's realization of the need for personal growth to overcome obstacles.
Conflict: Jake's confrontation with his past traumas.
Subtext: The therapist's role in Jake's journey of self-discovery.
Hope/Fear: Hope for Jake's healing, fear of reliving past traumas.
Act 4: Climax and Resolution
INT. SECRET SYNDICATE FACILITY – DAY
Jake and his team infiltrate the facility, discovering evidence linking the Syndicate to M.O.M. production.
Scene Arc: Jake and his team infiltrate the facility, discovering evidence linking the Syndicate to M.O.M. production.
Essence: Discovery of incriminating evidence against the Syndicate.
Conflict: Jake's team faces off against Syndicate operatives.
Subtext: The Syndicate's true motives and goals.
Hope/Fear: Hope for justice, fear of Syndicate retaliation.
EXT. WAREHOUSE – NIGHT
Veronica attempts to use the memory wipe device on Jake, but it malfunctions, leading to a final showdown.
Scene Arc: Veronica attempts to use the memory wipe device on Jake, leading to a final showdown. Essence: Showdown between Jake and Veronica, symbolizing the climax of the investigation.
Conflict: Jake fights to resist the memory wipe and apprehend Veronica.
Subtext: The significance of Jake's struggle against memory manipulation.
Hope/Fear: Hope for Jake's victory, fear of the memory wipe's effects.
INT. JAKE'S MINDSCAPE – DAY
Jake faces his guilt and addiction head-on, seeking redemption and closure as he battles his inner demons.
Scene Arc: Jake faces his guilt and addiction head-on, seeking redemption and closure as he battles his inner demons.
Essence: Resolution of Jake's internal conflict and journey of self-discovery.
Conflict: Jake's struggle to overcome his past traumas.
Subtext: Symbolic representation of Jake's inner turmoil.
Hope/Fear: Hope for Jake's redemption, fear of succumbing to his demons.
EXT. CITY STREETS – NIGHT
Jake emerges victorious, having uncovered the truth and found personal redemption, symbolized by a commendation for his bravery.
Scene Arc: Jake emerges victorious, having uncovered the truth and found personal redemption.
Essence: Resolution of the investigation and Jake's character arc.
Conflict: Final confrontation with the Syndicate and Jake's inner demons.
Subtext: The importance of facing one's past to move forward.
Hope/Fear: Hope for Jake's future, fear of relapse into addiction.
Closing Image:
EXT. CITY STREETS – NIGHT
Jake stands tall, free from his addiction and guilt, ready to face the future with renewed purpose, symbolizing his journey of redemption and personal growth.

AI’s pass
Act 1: Setup and Inciting Incident
INT. THERAPIST'S OFFICE – NIGHT
Jake Reynolds attends a therapy session, haunted by guilt and addiction.
Scene Arc: Begins with Jake's emotional turmoil, ends with the revelation of his recurring nightmare.
Essence: Establish Jake's internal conflict and addiction.
Conflict: Jake's struggle to confront his feelings and open up to the therapist.
Subtext: Jake's guilt over his partner's death and fear of confronting his addiction.
Hope/Fear: Hope that Jake will start addressing his issues; fear that he will continue to spiral.

EXT. ABANDONED PARKING LOT – NIGHT
Jake investigates Dr. Thornton's murder in an abandoned parking lot, meeting Joe Ramirez, the sole witness living in a camper shell among wrecks.
Scene Arc: Begins with Jake's investigation, ends with the cryptic message from Joe.
Essence: Introduce Joe and the mystery surrounding Dr. Thornton's murder.
Conflict: Joe's reluctance to share information.
Subtext: Joe's hidden connection to Jake and the Syndicate.
Hope/Fear: Hope that Joe will provide valuable information; fear that he's too damaged to be useful.

INT. CRIME SCENE – NIGHT
Jake finds a cryptic clue at the crime scene, sparking his curiosity.
Scene Arc: Begins with the investigation, ends with the discovery of the memory chip.
Essence: Establish the clue that drives the investigation forward.
Conflict: The complexity of the clue and Jake's initial struggle to understand it.
Subtext: Jake's need for redemption through solving the case.
Hope/Fear: Hope that the clue will lead to answers; fear that it’s a dead end.

INT. MAYA'S APARTMENT – NIGHT
Jake takes the memory chip to Maya for analysis.
Scene Arc: Begins with Jake's uncertainty, ends with Maya's analysis providing new leads.
Essence: Introduce Maya and her role in the investigation.
Conflict: Jake's impatience vs. Maya's meticulousness.
Subtext: Maya's own desire for validation and contribution.
Hope/Fear: Hope that Maya can decrypt the chip; fear that the data is too fragmented to be useful.

INT. JAKE'S APARTMENT – NIGHT
Jake contemplates pursuing the case, torn between his desire for redemption and his inner demons.
Scene Arc: Begins with contemplation, ends with the decision to pursue the case.
Essence: Highlight Jake's internal struggle and resolve.
Conflict: Jake vs. his addiction and guilt.
Subtext: The emotional burden of his partner's death and its connection to the current case.
Hope/Fear: Hope that Jake will commit to the case; fear that his demons will hold him back.

FLASHBACK – INT. ABANDONED WAREHOUSE – NIGHT
Flashbacks show Jake's partner's death linked to a botched operation involving the Syndicate.
Scene Arc: Begins with the operation, ends with the partner's death.
Essence: Provide backstory and establish Jake's guilt.
Conflict: The chaos of the operation vs. Jake's attempts to control the situation.
Subtext: The Syndicate's reach and influence.
Hope/Fear: Hope to understand Jake's past; fear that his partner's death was in vain.

INT. JAKE'S APARTMENT – NIGHT
Jake decides to take on the case, determined to uncover the truth behind the murder conspiracy.
Scene Arc: Begins with hesitation, ends with determination.
Essence: Jake's commitment to the case.
Conflict: Internal struggle between fear of failure and desire for redemption.
Subtext: The deeper emotional journey Jake is embarking on.
Hope/Fear: Hope that Jake will solve the case; fear that it will consume him.
EXT. DARK ALLEYWAY – NIGHT
Jake receives a message from an anonymous source, urging him to look deeper.
Scene Arc: Begins with a mundane moment, ends with renewed urgency.
Essence: Propel Jake further into the investigation.
Conflict: Jake's skepticism vs. the urgency of the message.
Subtext: The source's hidden agenda and connection to the case.
Hope/Fear: Hope that the message leads to a breakthrough; fear that it's a trap.

INT. JAKE'S APARTMENT – NIGHT
Jake studies the clue and old case files, seeking answers.
Scene Arc: Begins with uncertainty, ends with the discovery of fragmented data.
Essence: Progress the investigation through research.
Conflict: The difficulty of piecing together incomplete information.
Subtext: Jake's struggle to remain sober and focused.
Hope/Fear: Hope that the research will yield results; fear that it will lead nowhere.

INT. MAYA'S APARTMENT – NIGHT
Jake forms an alliance with Maya and Adrian, leveraging their expertise in the investigation.
Scene Arc: Begins with mistrust, ends with a tentative alliance.
Essence: Build the investigative team.
Conflict: Mistrust and past grievances vs. the need to work together.
Subtext: Each member's hidden motivations and fears.
Hope/Fear: Hope that the alliance will be effective; fear that internal conflicts will undermine them.

EXT. ABANDONED FACTORY – NIGHT
Jake and Maya uncover Syndicate operations information, raising the stakes.
Scene Arc: Begins with investigation, ends with a major discovery.
Essence: Reveal the scale of the Syndicate's operations.
Conflict: The danger of being discovered vs. the need for information.
Subtext: The Syndicate's pervasive influence.
Hope/Fear: Hope that the information will lead to the Syndicate's downfall; fear of retribution.

INT. THERAPIST'S OFFICE – NIGHT
Jake's therapy session reveals the personal stakes of the investigation, adding to his internal conflict.
Scene Arc: Begins with reluctance, ends with a deeper understanding of the stakes.
Essence: Highlight Jake's internal conflict and personal stakes.
Conflict: Jake's resistance to therapy vs. the therapist's probing questions.
Subtext: The personal cost of Jake's quest for redemption.
Hope/Fear: Hope that Jake will confront his demons; fear that he will continue to resist.

INT. VERONICA'S OFFICE – NIGHT
Veronica Blackwood manipulates her underlings, hinting at her dual identity.
Scene Arc: Begins with control, ends with ruthlessness.
Essence: Establish Veronica's power and cunning.
Conflict: Veronica's need for control vs. her underlings' incompetence.
Subtext: Veronica's hidden insecurities and motivations.
Hope/Fear: Hope that Veronica's plans will be thwarted; fear of her increasing power.

EXT. ABANDONED PARKING LOT – NIGHT
Jake revisits Joe Ramirez for more details, delving deeper into the case.
Scene Arc: Begins with skepticism, ends with new information.
Essence: Progress the investigation with Joe's help.
Conflict: Joe's reluctance vs. Jake's need for information.
Subtext: Joe's hidden guilt and connection to Jake.
Hope/Fear: Hope that Joe will provide crucial information; fear that his addiction will hinder him.

INT. MAYA'S APARTMENT – NIGHT
Discussion about the clue's implications raises tension among the team.
Scene Arc: Begins with collaboration, ends with increased tension.
Essence: Show the complexity of the investigation.
Conflict: Differing opinions on the clue's significance.
Subtext: Underlying personal tensions and motivations.
Hope/Fear: Hope that the clue will lead to answers; fear that it will divide the team.

EXT. ABANDONED FACTORY – NIGHT
The team conducts a stakeout at a suspected Syndicate hideout, facing danger and uncertainty.
Scene Arc: Begins with anticipation, ends with a shocking revelation.
Essence: Build tension and reveal the Syndicate's operations.
Conflict: The danger of being discovered vs. the need for information.
Subtext: The team's unease and doubts about their plan's success.
Hope/Fear: Hope that the stakeout will provide valuable intel; fear of being caught or compromised.

INT. LABORATORY – NIGHT
Veronica inspects the lab, hinting at her dual identity and ominous plans.
Scene Arc: Begins with inspection, ends with ominous foreshadowing.
Essence: Establish Veronica's role in the Syndicate and her strategic planning.
Conflict: Veronica's need for control vs. her underlings' fear of failure.
Subtext: Veronica's hidden agenda and motivations.
Hope/Fear: Hope that Veronica's plans will be thwarted; fear of her increasing power and influence.

INT. HIDDEN COMPARTMENT – NIGHT
Jake finds evidence in a hidden compartment, uncovering a crucial piece of the puzzle.
Scene Arc: Begins with investigation, ends with a breakthrough discovery.
Essence: Progress the investigation with a significant find.
Conflict: Jake's search for evidence vs. the Syndicate's attempts to conceal it.
Subtext: The Syndicate's desperation to protect its secrets.
Hope/Fear: Hope that the evidence will lead to justice; fear of retaliation from the Syndicate.

INT. MAYA'S APARTMENT – NIGHT
Maya uncovers Syndicate operations information, providing valuable insights into their activities.
Scene Arc: Begins with analysis, ends with a significant revelation.
Essence: Maya's contribution to the investigation.
Conflict: Maya's doubts about her abilities vs. her determination to succeed.
Subtext: Maya's desire for validation and recognition.
Hope/Fear: Hope that Maya's findings will lead to a breakthrough; fear of failure and disappointment.

INT. JAKE'S APARTMENT – NIGHT
Jake prepares for deeper investigation, strengthening bonds with Maya and Adrian.
Scene Arc: Begins with preparation, ends with unity and resolve.
Essence: Prepare for the next phase of the investigation.
Conflict: Jake's internal struggles vs. his determination to succeed.
Subtext: The team's growing camaraderie and trust.
Hope/Fear: Hope that their preparations will pay off; fear of failure and betrayal.

INT. SAFE HOUSE – NIGHT
The team infiltrates a Syndicate safe house, facing danger and betrayal.
Scene Arc: Begins with infiltration, ends with betrayal and danger.
Essence: Heighten tension and suspense.
Conflict: The danger of discovery vs. the need for information.
Subtext: The team's vulnerability and trust issues.
Hope/Fear: Hope that the mission will succeed; fear of being caught or compromised.

INT. JAKE'S APARTMENT – NIGHT
Jake's struggle with addiction threatens the mission, jeopardizing his team's safety.
Scene Arc: Begins with Jake's internal turmoil, ends with a critical moment of danger.
Essence: Highlight Jake's personal struggle and its impact on the investigation.
Conflict: Jake's addiction vs. his commitment to the mission.
Subtext: The team's dependence on Jake and his vulnerability.
Hope/Fear: Hope that Jake will overcome his addiction; fear of the consequences if he doesn't.

INT. JAKE'S APARTMENT – NIGHT
Jake and Maya bond over shared experiences, forging a deeper connection.
Scene Arc: Begins with vulnerability, ends with mutual understanding and support.
Essence: Develop Jake and Maya's relationship.
Conflict: Jake's reluctance to open up vs. Maya's empathy and encouragement.
Subtext: The emotional toll of their shared experiences and the importance of their bond.
Hope/Fear: Hope that their connection will strengthen the team; fear of vulnerability and rejection.

INT. JAKE'S APARTMENT – NIGHT
Adrian reveals his past dealings, earning the team's trust and respect.
Scene Arc: Begins with hesitation, ends with transparency and trust.
Essence: Develop Adrian's character and his role in the team.
Conflict: Adrian's reluctance to share vs. the team's need for transparency.
Subtext: Adrian's guilt and desire for redemption.
Hope/Fear: Hope that Adrian's disclosure will strengthen the team; fear of betrayal and mistrust.

INT. DARK ALLEYWAY – NIGHT
The team encounters a Syndicate enforcer, testing their resolve and unity.
Scene Arc: Begins with confrontation, ends with a test of unity.
Essence: Highlight the team's ability to face challenges together.
Conflict: The danger posed by the enforcer vs. the team's determination to succeed.
Subtext: The importance of trust and solidarity within the team.
Hope/Fear: Hope that they can overcome the threat; fear of failure and betrayal.

INT. JAKE'S APARTMENT – NIGHT
Jake's addiction worsens, putting himself and his team in danger.
Scene Arc: Begins with Jake's struggle, ends with heightened tension and danger.
Essence: Highlight the consequences of Jake's addiction on the mission.
Conflict: Jake's internal battle vs. the external threat.
Subtext: The team's dependence on Jake and his vulnerability.
Hope/Fear: Hope that Jake will overcome his addiction; fear of the consequences if he doesn't.

INT. VERONICA'S OFFICE – NIGHT
Veronica prepares to intervene, escalating the conflict and raising the stakes.
Scene Arc: Begins with Veronica's preparations, ends with a sense of impending danger.
Essence: Raise the stakes and increase tension.
Conflict: Veronica's plans vs. the team's efforts to stop her.
Subtext: Veronica's ruthlessness and determination to maintain control.
Hope/Fear: Hope that they can thwart Veronica's plans; fear of her growing power.

INT. UNDERGROUND BASEMENT – NIGHT
Jake faces a devastating setback, questioning his abilities and resolve.
Scene Arc: Begins with a setback, ends with introspection and doubt.
Essence: Highlight Jake's internal struggle and crisis of confidence.
Conflict: Jake's self-doubt vs. his determination to succeed.
Subtext: The weight of past failures and their impact on Jake's psyche.
Hope/Fear: Hope that Jake will find strength and resilience; fear of his potential downfall.

INT. JAKE'S APARTMENT – NIGHT
The team regroups after a critical failure, determined to push forward despite the odds.
Scene Arc: Begins with despair, ends with determination and resolve.
Essence: Highlight the team's resilience and unity in the face of adversity.
Conflict: The team's sense of defeat vs. their collective will to continue the fight.
Subtext: The importance of perseverance and solidarity in overcoming challenges.
Hope/Fear: Hope that they can turn the tide; fear of further setbacks and losses.

INT. JAKE'S APARTMENT – NIGHT
Adrian suggests using the memory reversal technology to restore the memories of key witnesses.
Scene Arc: Begins with brainstorming, ends with a new plan of action.
Essence: Introduce a potential solution to their dilemma.
Conflict: Doubt about the feasibility of the plan vs. the urgency of their situation.
Subtext: Adrian's desire for redemption and making amends.
Hope/Fear: Hope that the plan will work; fear of its potential consequences.

INT. JAKE'S APARTMENT – NIGHT
Betrayal within the team adds to the sense of despair, straining their relationships and trust.
Scene Arc: Begins with tension, ends with a fracture in the team's unity.
Essence: Highlight the consequences of betrayal and mistrust.
Conflict: The betrayal vs. the team's need for solidarity.
Subtext: The fragility of trust and the potential for betrayal.
Hope/Fear: Hope that they can reconcile; fear of further division and betrayal.

INT. JAKE'S APARTMENT – NIGHT
Jake confronts his guilt and addiction, wrestling with his inner demons and seeking redemption.
Scene Arc: Begins with confrontation, ends with resolution and acceptance.
Essence: Resolve Jake's internal conflict and set the stage for redemption.
Conflict: Jake's inner demons vs. his desire for redemption.
Subtext: The weight of past mistakes and the need for forgiveness.
Hope/Fear: Hope that Jake will find peace and redemption; fear of his inner turmoil consuming him.

INT. JAKE'S APARTMENT – NIGHT
Jake shares a heartfelt conversation with Maya, finding solace and strength in their bond.
Scene Arc: Begins with vulnerability, ends with connection and support.
Essence: Strengthen Jake and Maya's relationship and mutual understanding.
Conflict: Jake's reluctance to open up vs. Maya's empathy and encouragement.
Subtext: The importance of emotional support and understanding.
Hope/Fear: Hope that their bond will help Jake find peace; fear of rejection and isolation.

INT. JAKE'S APARTMENT – NIGHT
Reflecting on the journey, Jake resolves to overcome his personal struggles and achieve justice.
Scene Arc: Begins with introspection, ends with determination and resolution.
Essence: Set the stage for Jake's final push towards redemption and justice.
Conflict: Jake's internal doubts vs. his newfound resolve.
Subtext: The significance of Jake's personal journey and growth.
Hope/Fear: Hope that Jake will succeed in overcoming his demons; fear of failure and regression.

INT. JAKE'S APARTMENT – NIGHT
Jake formulates a new plan, rallying his team for the final push against the Syndicate.
Scene Arc: Begins with planning, ends with unity and determination.
Essence: Prepare for the climactic showdown with the Syndicate.
Conflict: Uncertainty about the plan's success vs. the team's determination to see it through.
Subtext: The team's shared commitment to justice and redemption.
Hope/Fear: Hope that their plan will succeed; fear of the consequences of failure.

INT. JAKE'S APARTMENT – NIGHT
Joe Ramirez provides crucial intel that helps them locate Veronica’s hidden base.
Scene Arc: Begins with revelation, ends with a sense of urgency and anticipation.
Essence: Joe's contribution to the team's final push against the Syndicate.
Conflict: The urgency of their mission vs. the challenges they face.
Subtext: The significance of Joe's redemption and reconciliation with his children.
Hope/Fear: Hope that they can stop Veronica and uncover the truth; fear of Veronica's retaliation and the risks they face in confronting her directly.

INT. SYNDICATE'S HIDDEN BASE – NIGHT
Jake and his team face Veronica in a climactic battle, bringing the murder conspiracy to light.
Scene Arc: Begins with confrontation, ends with resolution and revelation.
Essence: The culmination of the team's efforts and the unveiling of the truth.
Conflict: Jake and his team vs. Veronica and her forces.
Subtext: The final showdown between good and evil, truth and deception.
Hope/Fear: Hope that justice will prevail; fear of the consequences of failure.

INT. SYNDICATE'S HIDDEN BASE – NIGHT
Jake emerges victorious, having uncovered the truth and found personal redemption.
Scene Arc: Begins with resolution, ends with closure and redemption.
Essence: Jake's triumph over his personal demons and the Syndicate's corruption.
Conflict: Jake's internal struggle vs. his newfound clarity and purpose.
Subtext: The significance of Jake's journey and growth throughout the story.
Hope/Fear: Hope for a new beginning; fear of the challenges that lie ahead.

INT. SYNDICATE'S HIDDEN BASE – NIGHT
The victory is bittersweet as the team mourns their losses but celebrates their success.
Scene Arc: Begins with mourning, ends with reflection and gratitude.
Essence: The emotional aftermath of the climactic battle and the sacrifices made.
Conflict: Grief over their losses vs. gratitude for their victory.
Subtext: The resilience of the human spirit in the face of adversity.
Hope/Fear: Hope for a better future; fear of repeating past mistakes.

INT. SYNDICATE'S HIDDEN BASE – NIGHT
Jake receives a commendation for his bravery, symbolizing his redemption and new beginning.
Scene Arc: Begins with recognition, ends with hope for the future.
Essence: The culmination of Jake's journey and his transformation into a hero.
Conflict: Jake's past vs. his future potential.
Subtext: The significance of Jake's redemption and the impact of his actions on the world around him.
Hope/Fear: Hope for a brighter tomorrow; fear of falling back into old habits.
________________________________________
With the completion of these scenes, the screenplay for "Memory Alpha" concludes, showcasing the journey of redemption, resilience, and justice for its characters in the gritty neo-noir world of 2057 Los Angeles.

• This reply was modified 11 months, 1 week ago by  Robin Fellows.
• This reply was modified 11 months, 1 week ago by  Robin Fellows.

[Sunil Pappu]

Sunil Pappu’s Scene Requirements

My Vision: I’m a successful produced writer who specializes in female-led thrillers.

“What I learned from doing this assignment is…to create my outline with basic scene requirements.”

THE SINKING LINE- OUTLINE VER 2 (WITH SCENE REQUIREMENTS)

ACT 1:

1. EXT. RIVER FRONT BUILDING – DAY
Ria and her colleagues make a getaway on the boat but armed men shoot to kill. Ria jumps in front to save a colleague and drops into the water and goes down drowning paralysed by fear while her boat takes off.
• Scene Arc: Begins with a tense escape, ends with Ria submerged and paralyzed by fear.
• Essence: Establish Ria's bravery and immediate threat from armed men.
• Conflict: Ria's internal struggle with fear of water and external danger from armed men.
• Subtext: Ria’s fear is rooted in past trauma, exacerbating the immediate danger.
• Hope/Fear: Hope that Ria will successfully escape; fear that she will drown.

2. INT. FISHING BOAT – DAY
Ria is revived by the fishermen and she wakes up with a bullet wound to search for her pendrive that’s dropped into the water – failing her mission.
• Scene Arc: Begins with Ria unconscious, ends with her realizing she failed the mission.
• Essence: Show Ria's resilience and the gravity of her mission.
• Conflict: Ria’s physical pain and the urgency of finding the pendrive.
• Subtext: The mission's importance and Ria’s dedication are highlighted.
• Hope/Fear: Hope that Ria recovers and finds the pendrive; fear that the mission is compromised.

3. INT. RAW BACK OFFICE– DAY
Ria works in a dingy back office listening to taped conversations. She plays back a recording slowly to reveal an invasion plan by the PM of Pakistan.
• Scene Arc: Begins with routine work, ends with the revelation of a significant threat.
• Essence: Highlight Ria’s skills and the stakes of the mission.
• Conflict: Ria’s mundane job vs. the critical information she uncovers.
• Subtext: Ria's intelligence and dedication are crucial, despite her lowly position.
• Hope/Fear: Hope that Ria’s discovery will lead to actionable intelligence; fear that it might be too late.

4. EXT. AWAMI LEAGUE RALLY (EAST PAKISTAN) – DAY
Awami leader on the podium demands their civil rights and calls for a National assembly session.
• Scene Arc: Begins with political tension, ends with a call for action.
• Essence: Establish the political backdrop and stakes.
• Conflict: The struggle for civil rights and the looming threat of conflict.
• Subtext: The unrest and urgency for political change.
• Hope/Fear: Hope for political resolution; fear of escalating conflict.

5. INTERCUT – RIA’S DESK / RALLY
We go back and forth to see what Ria is listening to on her taped recordings.
• Scene Arc: Begins with Ria’s routine, ends with her understanding the rally’s significance.
• Essence: Show the connection between Ria’s work and the political situation.
• Conflict: Ria’s job to uncover information vs. the unfolding political tension.
• Subtext: The vital role of intelligence in understanding political movements.
• Hope/Fear: Hope that Ria’s insights will help; fear that she might miss critical details.

6. INT. RAW CAFETERIA – DAY
Ria’s colleagues speak in hushed tones as she walks in of a possible war with Pakistan but the role of the bureau is diminished due to her father’s dishonor in the 65 war. Ria joins her colleague whom she saved but is told to leave.
• Scene Arc: Begins with Ria entering the cafeteria, ends with her being rejected by a colleague.
• Essence: Highlight the social ostracism Ria faces and her father's legacy.
• Conflict: Ria’s desire to connect vs. the colleagues' disdain.
• Subtext: The lasting impact of her father’s dishonor and Ria’s isolation.
• Hope/Fear: Hope that Ria will find support; fear that she remains isolated and dishonored.

7. INT. RAW BACK OFFICE – EVENING
Ria calls her mother who tells her to come home when she’s interrupted by her boss’s call on another line.
• Scene Arc: Begins with a personal moment, ends with a professional interruption.
• Essence: Show Ria’s personal struggles and the demands of her job.
• Conflict: Ria’s personal desires vs. professional obligations.
• Subtext: Ria’s need for familial support and her dedication to her work.
• Hope/Fear: Hope that Ria finds solace with her mother; fear that her job will always come first.

8. INT. RAW WAR ROOM – EVENING
Images of Pakistani army launching Operation searchlight.
• Scene Arc: Begins with a tense atmosphere, ends with the realization of a significant military operation.
• Essence: Highlight the severity of the situation and the urgency of the mission.
• Conflict: The impending threat of war and the need for immediate action.
• Subtext: The high stakes and the pressure on the intelligence community.
• Hope/Fear: Hope that the intelligence will be acted upon; fear of an imminent disaster.

9. INT. PAKISTANI NAVAL SHIP (FRENCH COAST) – NIGHT
SUPERIMPOSE: A FEW DAYS AGO, OFF THE FRENCH COAST
Vikram decides to abandon ship with the rest of his crew when his emergency signal gets no response from the Admiralty but runs back in when the radio static comes on.
• Scene Arc: Begins with a decision to abandon ship, ends with a return to the ship.
• Essence: Show Vikram’s conflict and hint at his deeper motivations.
• Conflict: Vikram’s need for survival vs. his sense of duty.
• Subtext: Vikram’s internal struggle and foreshadowing his betrayal.
• Hope/Fear: Hope that Vikram will find a way out; fear of the unknown consequences of his actions.
10. INT. BORDER CROSSING (ITALY) – NIGHT
Vikram makes a call home despite warning that it will be tapped by the Border security and jeopardizes the rebel crossing.
• Scene Arc: Begins with a risky decision, ends with potential jeopardy.
• Essence: Show Vikram’s recklessness and the stakes of his actions.
• Conflict: Vikram’s desire to communicate vs. the risk of being tapped.
• Subtext: The tension and the hidden agendas of Vikram.
• Hope/Fear: Hope that the call will go unnoticed; fear that it will compromise the mission.
11. INT. RAW WAR ROOM – NIGHT
Varma shares his plans to support East Pakistani rebels but the Chief Secretary questions his methods especially Ria’s inclusion in the team.
• Scene Arc: Begins with a strategic discussion, ends with doubt and questioning.
• Essence: Show the internal conflicts within the intelligence community.
• Conflict: Varma’s unconventional methods vs. the Chief Secretary’s skepticism.
• Subtext: The political and bureaucratic tension within the intelligence agency.
• Hope/Fear: Hope that Varma’s plans will succeed; fear that internal conflict will sabotage the mission.

12. INT. VARMA’S OFFICE – NIGHT
Ria questions Varma’s decision but he tells her he thinks she is the right man for the job.
• Scene Arc: Begins with doubt and questioning, ends with reassurance and determination.
• Essence: Show Ria’s need for validation and Varma’s faith in her.
• Conflict: Ria’s self-doubt vs. Varma’s confidence in her abilities.
• Subtext: The mentorship and the personal stakes for Ria.
• Hope/Fear: Hope that Ria will believe in herself; fear that she will continue to doubt her abilities.
13. INT. CAB – NIGHT
Ria’s colleague thinks she is getting a punishment posting to be sidelined as she heads to the airport for her rendezvous.
• Scene Arc: Begins with skepticism and doubt, ends with uncertainty about the future.
• Essence: Highlight the ambiguity and doubt surrounding Ria’s assignment.
• Conflict: Ria’s colleague’s skepticism vs. the mission’s true purpose.
• Subtext: The uncertainty and the potential for growth or failure.
• Hope/Fear: Hope that the mission will be a turning point for Ria; fear that it is a punishment.

14. INT. RAW SAFEHOUSE – NIGHT
Varma meets secretly with the rebel crew and Cdr. Vikram.
• Scene Arc: Begins with secrecy and tension, ends with a plan taking shape.
• Essence: Establish the covert nature of the mission and introduce key players.
• Conflict: The need for secrecy vs. the risk of exposure.
• Subtext: The high stakes and the trust (or lack thereof) among the team.
• Hope/Fear: Hope that the plan will proceed smoothly; fear that secrecy will be compromised.
15. INT. GAMBLING DEN (BOMBAY) – NIGHT
Meanwhile, Capt. Desai is a sore loser at a shady bar in South Bombay when he’s served with a divorce notice and gets out of control drinking into the wee hours.
• Scene Arc: Begins with Desai gambling, ends with him in a state of emotional turmoil.
• Essence: Show Desai's personal struggles and introduce his flawed character.
• Conflict: Desai's internal turmoil vs. his attempts to mask it with drinking.
• Subtext: Desai’s vulnerabilities and how they affect his leadership.
• Hope/Fear: Hope that Desai will find a way to cope; fear that his personal issues will impact his professional life.
16. EXT. TEA STALL OUTSIDE FORT WILLIAM (CALCUTTA) – DAY
Ria meets Cdr. Vikram and gets coordinates for their rebel base. A police van picks up a tPakistani Traitor from the refugee colony and loads him into the van leaving a trail of destruction in the shelter.
• Scene Arc: Begins with a covert meeting between Ria and Vikram, ends with the dramatic arrest of a Pakistani traitor and the destruction left behind.
• Essence: Show the tense atmosphere of the mission and the real-world consequences of the conflict, highlighting the stakes involved.
• Conflict: The need for a discreet exchange of information vs. the chaos and danger of the police action.
• Subtext: The underlying tension of the political situation and the personal risk for those involved in the mission.
• Hope/Fear: Hope that Ria and Vikram will exchange information without incident; fear that the police action will draw unwanted attention and escalate the situation.
17. INT. BARRACKS (BOMBAY) – DAY
Capt. Desai is asked to report to a shipyard for his next assignment and told that his vacation has been cancelled.
• Scene Arc: Begins with Desai in the barracks, ends with him receiving unwelcome news.
• Essence: Show Desai’s reluctance and the disruption of his plans.
• Conflict: Desai's desire for a break vs. the demands of duty.
• Subtext: The ongoing struggle between personal desires and professional obligations.
• Hope/Fear: Hope that Desai will rise to the occasion; fear that he will resist and underperform.
18. INT. REFUGEE SHELTER (CALCUTTA) – DAY
Cdr. Vikram assembles his portable transmitter to send a cryptic message to his Pakistani Admiral.
• Scene Arc: Begins with Vikram in the shelter, ends with the transmission of a cryptic message.
• Essence: Show Vikram’s duplicity and the tension of covert operations.
• Conflict: The need for secrecy vs. the risk of interception.
• Subtext: Vikram’s hidden agenda and the danger of his actions.
• Hope/Fear: Hope that the message reaches its destination; fear that it will be intercepted.
19. INT. SHIPYARD (BOMBAY) – DAY
Capt. Desai meets Varma at a decommissioned shipyard and is asked to make a ship seaworthy for his next mission.
• Scene Arc: Begins with Desai meeting Varma, ends with him accepting the task.
• Essence: Set up the mission’s logistical challenges and Desai’s role.
• Conflict: Desai’s reluctance vs. Varma’s insistence.
• Subtext: The tension between the characters and the mission’s importance.
• Hope/Fear: Hope that Desai will accept and succeed; fear that he will refuse or fail.
20. INT. FORT WILLIAM (CALCUTTA) – EVENING
Ria reports to Varma about her meeting with Vikram and doubts if they are wrong about him.
• Scene Arc: Begins with Ria reporting, ends with her expressing doubts.
• Essence: Show the uncertainty and tension within the team.
• Conflict: Ria’s doubts vs. Varma’s confidence.
• Subtext: The trust issues and the stakes of the mission.
• Hope/Fear: Hope that Ria’s doubts will be addressed; fear that they will lead to failure.
21. EXT. SPEED BOAT – DAY
Cdr. Vikram heads to the rebel base with his disguised portal transmitter.
• Scene Arc: Begins with Vikram on the boat, ends with him nearing the base.
• Essence: Show Vikram’s continued duplicity and the covert nature of his mission.
• Conflict: The need to remain undercover vs. the risk of exposure.
• Subtext: The ongoing tension and the stakes of Vikram’s actions.
• Hope/Fear: Hope that Vikram remains undiscovered; fear that he will be exposed.
22. EXT. MV PADMA – DAY
Ria meets the rebel crew and gets a cold reception from Capt Desai.
• Scene Arc: Begins with Ria boarding the ship, ends with a cold reception.
• Essence: Highlight the tension and mistrust between Ria and the crew.
• Conflict: Ria’s need to integrate vs. the crew’s resistance.
• Subtext: The underlying issues of trust and prejudice.
• Hope/Fear: Hope that Ria will earn their respect; fear that she will be ostracized.
23. INT. MV PADMA – DAY
Cdr. Vikram pulls aside Lt. Rehman to discipline him.
• Scene Arc: Begins with the crew’s tension, ends with a private confrontation.
• Essence: Show the hierarchy and tension within the crew.
• Conflict: Vikram’s authority vs. Rehman’s actions.
• Subtext: The power dynamics and hidden agendas.
• Hope/Fear: Hope that discipline will restore order; fear that it will exacerbate tensions.
24. INT. MV PADMA/DECK – EVENING
They set sail and Capt. Desai assigns menial tasks to Ria and refuses her permission to carry a sidearm.
• Scene Arc: Begins with departure, ends with Ria being marginalized.
• Essence: Show the challenges Ria faces in gaining respect and trust.
• Conflict: Ria’s need to prove herself vs. Desai’s undermining actions.
• Subtext: The sexism and distrust Ria faces from her crew.
• Hope/Fear: Hope that Ria will overcome the obstacles; fear that she will be sidelined and ineffective.
25. INT. MV PADMA/RADIO STATION – NIGHT
Ria tunes into frequencies of merchant vessels and gets reprimanded by Desai.
• Scene Arc: Begins with Ria working, ends with her being reprimanded.
• Essence: Highlight the ongoing conflict between Ria and Desai.
• Conflict: Ria’s dedication to her job vs. Desai’s authoritative control.
• Subtext: The underlying power struggle and Ria’s determination.
• Hope/Fear: Hope that Ria’s efforts will be recognized; fear that her authority will be further undermined.
26. INT. MV PADMA/CREW QUARTERS – NIGHT
Rehman shows kindness to Ria.
• Scene Arc: Begins with isolation, ends with a gesture of kindness.
• Essence: Show Ria finding an ally in Rehman.
• Conflict: The isolation Ria faces vs. the small acts of support from Rehman.
• Subtext: The beginning of a potential alliance and mutual respect.
• Hope/Fear: Hope that Ria will find support in Rehman; fear that this support will not be enough.
27. INT. MV PADMA/RADIO STATION – NIGHT
Cdr. Vikram sabotages the radio.
• Scene Arc: Begins with normal operations, ends with sabotage.
• Essence: Show Vikram’s duplicity and the stakes of his betrayal.
• Conflict: The crew’s need for reliable communication vs. Vikram’s sabotage.
• Subtext: The hidden dangers and the tension within the crew.
• Hope/Fear: Hope that the sabotage will go unnoticed; fear that it will be discovered and compromise the mission.
28. INT. MV PADMA/CAPTAIN’S QUARTERS – NIGHT
Capt. Desai gets secret orders from Varma and he puts Ria back on her station.
• Scene Arc: Begins with Desai receiving orders, ends with Ria’s reinstatement.
• Essence: Highlight the shifting dynamics and the authority of Varma.
• Conflict: Desai’s reluctance vs. Varma’s orders.
• Subtext: The power dynamics and the importance of the mission.
• Hope/Fear: Hope that Ria’s reinstatement will be effective; fear that it will lead to further conflict.
29. INT. MV PADMA/RADIO STATION – NIGHT
Ria notices a technical glitch but her protests fall on deaf ears.
• Scene Arc: Begins with Ria working, ends with her concerns being ignored.
• Essence: Show Ria’s frustration and the potential dangers of ignoring her.
• Conflict: Ria’s technical skills vs. the crew’s dismissive attitude.
• Subtext: The tension and potential consequences of the glitch.
• Hope/Fear: Hope that the glitch will be addressed; fear that it will lead to disaster.

30. INT. MV PADMA/DECK – MORNING
Capt. Desai receives a message relaying casualties on the ground due to a missed communication and blames Ria for negligence.
• Scene Arc: Begins with receiving bad news, ends with blaming Ria.
• Essence: Show the consequences of missed communications and the scapegoating of Ria.
• Conflict: The consequences of missed communication vs. finding the true cause.
• Subtext: The ongoing mistrust and blame shifting within the crew.
• Hope/Fear: Hope that the true cause will be found; fear that Ria will be unjustly blamed.

ACT 2:

31. EXT. MV PADMA/TOP DECK – DAY
Based on Capt. Desai’s orders, Vikram calls for an emergency crew drill but Ria refuses to comply.
• Scene Arc: Begins with a routine drill, ends with Ria’s refusal.
• Essence: Show Ria’s defiance and the tension with Desai’s authority.
• Conflict: Desai’s authority vs. Ria’s defiance.
• Subtext: The power struggle and Ria’s fear of water.
• Hope/Fear: Hope that Ria’s defiance will be justified; fear that it will lead to more conflict.
32. INT. MV PADMA/RADIO STATION – DAY
Ria intercepts her first crucial message.
• Scene Arc: Begins with routine monitoring, ends with a significant interception.
• Essence: Highlight Ria’s skills and the importance of her role.
• Conflict: The need to intercept crucial information vs. the challenges of doing so.
• Subtext: The high stakes of Ria’s work and her growing confidence.
• Hope/Fear: Hope that the message will be useful; fear that it will be too late.
33. EXT. MV PADMA/BELOW DECK – DAY
Lt. Rehman helps Ria overcome her fear and succeed in the diving drill but gets reprimanded for his dangerous stunt of opening the ballast doors.
• Scene Arc: Begins with a challenging drill, ends with Rehman’s reprimand.
• Essence: Show the camaraderie and risks within the crew.
• Conflict: The need for effective training vs. the dangers of the stunt.
• Subtext: The bond between Rehman and Ria and the high stakes of their mission.
• Hope/Fear: Hope that the training will be effective; fear that the risks will lead to failure.
34. EXT. MV PADMA/TOP DECK – DAY
Vikram gives Rehman an impossible task that nearly takes his life until Ria intervenes.
• Scene Arc: Begins with an impossible task, ends with Ria’s intervention.
• Essence: Highlight the dangers and the trust between Ria and Rehman.
• Conflict: The need to complete the task vs. the risk to Rehman’s life.
• Subtext: The stakes and the growing bond between the crew members.
• Hope/Fear: Hope that the task will be completed safely; fear that it will lead to disaster.
35. INT. MV PADMA/VIKRAM’S OFFICE – DAY
Vikram makes a peace offering and invites her to a dinner date which she reluctantly accepts.
• Scene Arc: Begins with tension, ends with Ria reluctantly accepting the invitation.
• Essence: Show the complexity of relationships within the crew and Vikram's manipulative nature.
• Conflict: Ria’s mistrust vs. Vikram’s attempt to appear conciliatory.
• Subtext: Vikram’s ulterior motives and Ria’s cautious approach.
• Hope/Fear: Hope that this will ease tensions; fear that Vikram has hidden agendas.
36. INT. MV PADMA/RIA’S QUARTERS – EVENING
Rehman sneaks in to thank her and shares about his family pressure.
• Scene Arc: Begins with Rehman sneaking in, ends with a heartfelt conversation.
• Essence: Develop the bond between Ria and Rehman and reveal personal stakes.
• Conflict: Rehman’s need to express gratitude vs. the risk of being caught.
• Subtext: The shared vulnerabilities and growing trust between Ria and Rehman.
• Hope/Fear: Hope that their bond strengthens; fear that their closeness might be discovered and used against them.
37. INT. MV PADMA/TOP DECK – EVENING
Cdr. Vikram is on a date with Ria as the sunsets in the background while he gets Rehman waits on them.
• Scene Arc: Begins with a seemingly romantic setting, ends with underlying tension and manipulation.
• Essence: Show the complexity of Vikram’s character and his manipulative nature, while Ria remains cautious.
• Conflict: The need to maintain a facade of normalcy and romance vs. the underlying agendas and distrust.
• Subtext: The tension between genuine interaction and hidden motives, highlighting the espionage and personal stakes.
• Hope/Fear: Hope that Ria will gain useful information or insight; fear that Vikram’s manipulation will put her at a disadvantage.
38. INT. MV PADMA/VIKRAM’S QUARTERS – EVENING
Ria sneaks in to plant a bug when Rehman accidentally spills wine on her dress.
• Scene Arc: Begins with an accidental mishap, ends with a covert mission.
• Essence: Show the risks and challenges of espionage.
• Conflict: Ria’s need to plant the bug vs. the risk of being caught.
• Subtext: The danger and tension of espionage.
• Hope/Fear: Hope that Ria will succeed; fear that the accident will expose her.
39. INT. MV PADMA/RIA’S QUARTERS – EVENING
Cdr. Vikram barges in to see what’s taking so long and looks through her radio logs before Ria comes in and he tries to seduce her.
• Scene Arc: Begins with Ria in her quarters, ends with a tense confrontation.
• Essence: Show Vikram’s manipulative nature and Ria’s quick thinking.
• Conflict: Vikram’s advances vs. Ria’s resistance.
• Subtext: The power struggle and Ria’s need to stay vigilant.
• Hope/Fear: Hope that Ria will maintain her cover; fear that Vikram will discover her true intentions.
40. INT. MV PADMA/RIA’S QUARTERS – EVENING
Ria listens in to a coded message received by Vikram.
• Scene Arc: Begins with Ria tuning in, ends with her deciphering the message.
• Essence: Show Ria’s skills and the importance of the intercepted message.
• Conflict: The need to decode the message vs. the risk of being discovered.
• Subtext: The tension and high stakes of the mission.
• Hope/Fear: Hope that the message will provide valuable intelligence; fear that it will lead to more danger.
41. EXT. MV PADMA/LOWER DECK – DAY
A dive led by Vikram results in Rehman’s death. He sacrifices himself to save Ria’s life. Vikram kills Rehman who witnesses his sabotage, makes it look like an accident and blames it on Ria.
• Scene Arc: Begins with a routine dive, ends with Rehman’s death and Vikram’s manipulation.
• Essence: Highlight the danger of the mission, the stakes involved, and Vikram's ruthless nature.
• Conflict: The need to successfully complete the dive vs. the lethal sabotage and the subsequent blame game.
• Subtext: The underlying tension and danger, the trust issues within the crew, and the personal vendettas at play.
• Hope/Fear: Hope that the dive will go smoothly and Ria will be safe; fear that Vikram’s actions will not only lead to Rehman’s death but also jeopardize Ria’s standing with the crew and the success of the mission.
42. INT. MV PADMA/CREW DECK – EVENING
Vikram mourns the loss and Desai criticizes Ria for incompetence.
• Scene Arc: Begins with mourning, ends with criticism.
• Essence: Show the emotional impact of Rehman’s death and the ongoing conflict within the crew.
• Conflict: The need to grieve vs. the harsh realities of the mission.
• Subtext: The blame game and the strain on team morale.
• Hope/Fear: Hope that the crew will come together; fear that the blame will tear them apart.

ACT 3:

43. INT. MV PADMA/VIKRAM’S QUARTERS – EVENING
Ria sneaks into his quarters to find maps and plans confirming his betrayal.
• Scene Arc: Begins with covert investigation, ends with a shocking discovery.
• Essence: Reveal Vikram’s true intentions and Ria’s growing suspicions.
• Conflict: The need to gather evidence vs. the risk of being caught.
• Subtext: The tension and stakes of espionage.
• Hope/Fear: Hope that Ria will find conclusive evidence; fear that she will be discovered.

44. INT. MV PADMA/RADIO STATION – NIGHT
Ria plants false intelligence without authorization.
• Scene Arc: Begins with a risky decision, ends with the false intelligence being sent.
• Essence: Show Ria’s boldness and the risks she’s willing to take.
• Conflict: The need to deceive the enemy vs. the risk of acting without authorization.
• Subtext: The high stakes and Ria’s determination.
• Hope/Fear: Hope that the false intelligence will work; fear that it will backfire.
45. INT. MV PADMA/CAPTAIN’S QUARTERS – DAY
Desai finds out about civilian causalities on both sides of the border due to an intelligence leak. Ria knows she acted rashly and blames herself for the loss.
• Scene Arc: Begins with Desai receiving the grim news, ends with Ria's self-reproach and guilt.
• Essence: Highlight the heavy consequences of intelligence work and the emotional toll on those involved.
• Conflict: The need to manage the fallout of the intelligence leak vs. Ria’s internal struggle with guilt and responsibility.
• Subtext: The weight of leadership and decisions, the personal cost of wartime actions, and the burden of mistakes.
• Hope/Fear: Hope that the crew can mitigate further damage; fear that Ria’s guilt will affect her performance and the mission’s success.
46. INT. MV PADMA/RADIO STATION – DAY
Ria while decoding a merchant ship communication identifies a unique signature in one of the messages to confirm the identity of the enemy operator who was once her colleague and is very competitive.
• Scene Arc: Begins with routine decoding work, ends with a significant and personal discovery.
• Essence: Highlight the personal stakes and connections in the espionage work, showcasing Ria's skills and her past.
• Conflict: The need to decode and understand the message vs. the emotional impact of recognizing a familiar and competitive rival.
• Subtext: The tension of facing an old colleague turned enemy, the personal stakes involved in the mission, and the competitive history between them.
• Hope/Fear: Hope that Ria can leverage this personal connection to her advantage; fear that the enemy operator’s familiarity with her methods will be a significant disadvantage.
47. INT. MV PADMA/CREW DECK – DAY
Desai reluctantly acts on the information to send the divers on their first sabotage mission.
• Scene Arc: Begins with Desai receiving the information, ends with the divers being deployed.
• Essence: Show the gravity of the mission and Desai’s conflicted decision.
• Conflict: Desai’s reluctance vs. the necessity of the mission.
• Subtext: The tension and stakes of the sabotage mission.
• Hope/Fear: Hope that the mission will succeed; fear of the potential dangers and losses.
48. EXT. PAKISTANI NAVAL SHIPS – NIGHT
Rebel Divers sabotage the supply ships despite Vikram trying to mislead their target locations thanks to quick thinking by Ria.
• Scene Arc: Begins with the divers approaching their targets, ends with the successful sabotage.
• Essence: Show the tension and danger of the mission and Ria’s quick thinking.
• Conflict: The need to successfully sabotage the ships vs. Vikram’s attempts to mislead them.
• Subtext: The stakes of the mission and the growing trust in Ria’s leadership.
• Hope/Fear: Hope that the sabotage will be successful; fear that Vikram’s actions will cause failure.
49. INT. MV PADMA/CREW DECK – NIGHT
Capt. Desai commends the crew and throws a small celebration since this was the stated mission and there is relief that they can now go home.
• Scene Arc: Begins with Desai’s commendation, ends with a celebratory mood among the crew.
• Essence: Show the relief and camaraderie of the crew after a successful mission, highlighting their bond and the temporary respite from tension.
• Conflict: The need to celebrate and relax vs. the underlying tension and unresolved issues that still linger.
• Subtext: The fleeting nature of their relief, the camaraderie built through shared hardship, and the anticipation of returning home.
• Hope/Fear: Hope that the celebration will bolster morale and strengthen team bonds; fear that it might be a brief respite before new challenges arise.
50. INT. MV PADMA/ CAPTAIN’S QUARTERS – NIGHT
Cdr. Vikram shares war stories and gains access to Desai’s military codes.
• Scene Arc: Begins with a casual conversation, ends with Vikram obtaining military codes.
• Essence: Show Vikram’s manipulative skills and the ease with which he gains trust.
• Conflict: The need to maintain security vs. Vikram’s cunning manipulation.
• Subtext: The danger of misplaced trust and Vikram’s hidden agendas.
• Hope/Fear: Hope that the codes will not be misused; fear that Vikram will use them for sabotage.
51. INT. MV PADMA/VIKRAM’S QUARTERS – NIGHT
Vikram secretly communicates using military codes.
• Scene Arc: Begins with Vikram in his quarters, ends with the secret communication being sent.
• Essence: Show the ongoing deception and the stakes of Vikram’s actions.
• Conflict: The need to maintain secrecy vs. the risk of being discovered.
• Subtext: The high stakes and the tension of espionage.
• Hope/Fear: Hope that the communication will go unnoticed; fear that it will be discovered and lead to consequences.
52. INT. MV PADMA/CREW DECK – DAY
Desai is told that the enemy failed to retaliate by getting misinformation but his request to return to base is not heeded by Varma and they continue on course.
• Scene Arc: Begins with Desai receiving positive news about the misinformation, ends with frustration over Varma’s decision to continue the mission.
• Essence: Highlight the ongoing tension between the mission’s demands and the crew’s desire for safety and relief, showing Desai’s leadership challenges.
• Conflict: Desai’s desire to return to base and ensure the crew's safety vs. Varma’s insistence on continuing the mission.
• Subtext: The tension between strategic military objectives and the crew’s well-being, and Desai’s internal struggle with following orders that he disagrees with.
• Hope/Fear: Hope that the mission will eventually end successfully and safely; fear that continuing the course will lead to more danger and potential losses.

53. INT. MV PADMA/RADIO STATION – EVENING
Ria tracks the messages all day and finds military codes that point to irrefutable proof against Vikram/Desai. She investigates a private message from her enemy operator.
• Scene Arc: Begins with routine monitoring, ends with a crucial discovery.
• Essence: Show Ria’s diligence and the importance of her work.
• Conflict: The need to uncover the truth vs. the risk of being caught.
• Subtext: The stakes of her discovery and the growing tension within the crew.
• Hope/Fear: Hope that the proof will lead to justice; fear that it will lead to more conflict.

54. INT. MV PADMA/ RIA’S QUARTERS – NIGHT
Ria decodes a message that reveals Varma’s complicity in defaming her father. She feels lost and betrayed.
• Scene Arc: Begins with decoding the message, ends with a realization of betrayal.
• Essence: Show the personal stakes for Ria and the depth of the conspiracy.
• Conflict: The need to uncover the truth vs. the emotional impact of betrayal.
• Subtext: The deep-seated issues and personal stakes for Ria.
• Hope/Fear: Hope that Ria will find a way to deal with the betrayal; fear that it will overwhelm her.

55. INT. MV PADMA/CREW DECK – NIGHT
Cdr. Vikram takes over the deck and turns on the ship’s beacons to signal Pakistani Frogmen of their location.
• Scene Arc: Begins with Vikram on the deck, ends with the beacons signaling the enemy.
• Essence: Show Vikram’s betrayal and the imminent danger.
• Conflict: The need to maintain the mission vs. the imminent threat from the enemy.
• Subtext: The high stakes and the urgency of the situation.
• Hope/Fear: Hope that the crew will respond in time; fear that the enemy will succeed.

56. INT. MV PADMA/ RIA’S QUARTERS – NIGHT
Ria confronts Varma but he has no answers for her. Instead, he questions the source and the timing of her discovery, suspecting the information might have come from her enemy radio operator.
• Scene Arc: Begins with Ria confronting Varma, ends with Varma deflecting and casting doubt on the source of the information.
• Essence: Highlight the tension and mistrust between Ria and Varma, and the complexity of the intelligence work, especially when the information source is suspect.
• Conflict: Ria’s need for answers and accountability vs. Varma’s evasiveness and suspicion about the enemy operator being the source.
• Subtext: The underlying power dynamics, the uncertainty of intelligence, and the personal stakes for Ria in dealing with her former colleague turned enemy.
• Hope/Fear: Hope that Ria will find the truth and gain clarity; fear that Varma’s doubts about the source will deepen the mystery and mistrust, complicating her mission further.

57. EXT. UNDERWATER – NIGHT
Pakistani frogmen swim towards the ship to plant mines.
• Scene Arc: Begins with the frogmen approaching, ends with the mines being planted.
• Essence: Show the imminent danger and the stealth of the enemy.
• Conflict: The need to protect the ship vs. the stealthy approach of the enemy.
• Subtext: The high stakes and the danger lurking underwater.
• Hope/Fear: Hope that the crew will detect the threat; fear that the mines will succeed.

58. EXT. MV PADMA/LOWER DECK – NIGHT
Disillusioned Ria jumps into the water to end her life but gets cold feet and decides to fight her fear and comes back up and notices mines on the ship’s bottom.
• Scene Arc: Begins with Ria jumping into the water in despair, ends with her returning to the surface and discovering the mines.
• Essence: Highlight Ria's emotional turmoil and her resilience in the face of despair, as well as the immediate danger to the ship.
• Conflict: Ria’s internal struggle with her despair and fear vs. her will to live and fight.
• Subtext: The depth of Ria's disillusionment, her struggle with fear, and her determination to protect the crew and complete the mission.
• Hope/Fear: Hope that Ria will overcome her despair and find the strength to continue; fear that her emotional state will compromise her ability to act effectively in the crisis.

59. INT. MV PADMA/CREW DECK – NIGHT
Vikram advises Desai to abandon ship as the security alarms blare on board. He opens the guns cabinet and locks the captain in his quarters.
• Scene Arc: Begins with the alarms blaring, ends with Desai being locked in.
• Essence: Show the escalating danger and Vikram’s betrayal.
• Conflict: The need to protect the crew vs. Vikram’s sabotage.
• Subtext: The high stakes and the betrayal.
• Hope/Fear: Hope that the crew will respond effectively; fear that Vikram’s actions will lead to disaster.

60. INT. MV PADMA/CREW QUARTERS – NIGHT
Ria gives a rousing speech to the crew to fight and save the sinking ship and disobey the orders.
• Scene Arc: Begins with chaos, ends with the crew rallying.
• Essence: Show Ria’s leadership and the crew’s determination.
• Conflict: The need to save the ship vs. the chaos and danger.
• Subtext: The stakes and Ria’s growing leadership.
• Hope/Fear: Hope that the crew will succeed; fear that the ship will sink.

61. EXT. MV PADMA/LOWER DECK – NIGHT
Cdr. Vikram helps the frogmen onboard while he jumps in to disable the communication lines.
• Scene Arc: Begins with Vikram helping the frogmen, ends with him disabling the communication lines.
• Essence: Show the escalating betrayal and danger.
• Conflict: The need to maintain communication vs. Vikram’s sabotage.
• Subtext: The high stakes and the urgency of the situation.
• Hope/Fear: Hope that the crew will stop Vikram; fear that the communication will be completely disabled.

ACT 4:

62. INT. MV PADMA/LOWER DECK – NIGHT
Pakistani frogmen fight the crew on board as they move stealthily to the top deck without raising alarms.
• Scene Arc: Begins with the frogmen engaging the crew on the lower deck, ends with the frogmen advancing stealthily to the top deck.
• Essence: Show the intense and stealthy nature of the frogmen’s attack, highlighting the crew’s struggle to fend off the intruders without raising alarms.
• Conflict: The need to stop the frogmen and protect the ship vs. the frogmen’s skill and stealth in moving towards the top deck.
• Subtext: The high stakes and urgency of the situation, the crew’s bravery and resourcefulness in the face of a stealthy and skilled enemy.
• Hope/Fear: Hope that the crew will manage to stop the frogmen; fear that the frogmen will reach the top deck and cause further damage or take control.

63. INT. MV PADMA/RADIO STATION – NIGHT
Ria tries to send SOS signals but their communication lines are not working.
• Scene Arc: Begins with Ria attempting communication, ends with her realizing the lines are cut.
• Essence: Highlight the desperate situation and Ria’s quick thinking.
• Conflict: The need to send an SOS vs. the disabled communication lines.
• Subtext: The critical nature of communication and the isolation they face.
• Hope/Fear: Hope that Ria will find a way to restore communication; fear that they are completely cut off.

64. EXT. UNDERWATER – NIGHT
Ria fights the Pakistani frogmen and finds Vikram cutting off the cables and takes him on while using a whistle to send Morse code signals about the imminent danger to the crew.
• Scene Arc: Begins with Ria encountering the frogmen underwater, ends with her sending a Morse code signal while engaging Vikram.
• Essence: Highlight Ria's bravery and quick thinking in a dire situation, emphasizing her dual role in physical combat and communication.
• Conflict: The need to stop Vikram and the frogmen vs. the physical and technical challenges of the underwater environment.
• Subtext: The personal stakes for Ria, the urgency of the situation, and the ingenuity required to send a warning signal.
• Hope/Fear: Hope that Ria will be able to stop Vikram and alert the crew in time; fear that she will be overwhelmed and the crew will remain unaware of the imminent danger.

65. INT. MV PADMA/CAPTAIN’S QUARTERS – NIGHT
Desai receives urgent communications about the true nature of their mission but its incomplete and he starts bangs his doors until he’s finally let out and joins the crew to fight the Pakistani frogmen.
• Scene Arc: Begins with Desai receiving the incomplete communication, ends with him joining the crew in the fight.
• Essence: Show Desai's frustration and urgency, emphasizing his leadership and determination to protect his crew.
• Conflict: The need to understand the incomplete communication and act on it vs. the physical barrier of being locked in.
• Subtext: The critical importance of communication in wartime, Desai’s role as a leader, and the desperate situation of the crew.
• Hope/Fear: Hope that Desai’s involvement will turn the tide of the battle; fear that the incomplete communication will lead to confusion and potential disaster.

66. INTERCUT – SHIP DECK / UNDERWATER
The battle on board intensities as Desai joins his crew to fight the enemy while Ria overpowers Vikram and using her ingenuity reconnects the communication lines.
• Scene Arc: Begins with chaos, ends with Ria’s victory and restored communication.
• Essence: Show the climax of the conflict and the critical actions of Ria and Desai.
• Conflict: The need to defend the ship and restore communication vs. the overwhelming enemy and sabotage.
• Subtext: The unity and determination of the crew.
• Hope/Fear: Hope that the crew will succeed; fear of heavy losses.

67. INT. MV PADMA/RADIO STATION – NIGHT
Ria’s intercepts the top-secret message underwater and relays it up to Captain Desai in the radio station.
• Scene Arc: Begins with Ria intercepting the message underwater, ends with the message being relayed to Captain Desai at the radio station.
• Essence: Highlight Ria's resourcefulness and the critical nature of the intercepted message, emphasizing the importance of communication in their mission.
• Conflict: The need to decode and relay the message accurately and swiftly vs. the physical and technical challenges of doing so from underwater.
• Subtext: The high stakes of the mission, the reliance on Ria’s skills, and the urgency of getting the message to Desai in time.
• Hope/Fear: Hope that the top-secret message will provide vital information and aid their mission; fear that delays or errors in communication will jeopardize their efforts.

68. EXT. MV PADMA/LOWER DECK – NIGHT
Ria drags herself out and pulls Vikram who is bound out of the water. The ship is saved from sinking as she disables the last of the mines using an EMP signal.
• Scene Arc: Begins with Ria emerging from the water, ends with the ship saved.
• Essence: Show Ria’s heroism and quick thinking.
• Conflict: The need to save the ship vs. the physical and technical challenges.
• Subtext: Ria’s determination and ingenuity.
• Hope/Fear: Hope that the ship will be safe; fear that there might be more threats.

69. INT. MV PADMA/RADIO STATION – NIGHT
Ria decodes the message and using Desai’s military codes communicates it to Varma.
• Scene Arc: Begins with decoding, ends with successful communication.
• Essence: Highlight Ria’s skills and the importance of her actions.
• Conflict: The need to decode and communicate the message vs. the ongoing danger.
• Subtext: The critical nature of intelligence work.
• Hope/Fear: Hope that the message will be acted upon; fear that it will be intercepted.

70. INT. MV PADMA/CAPTAIN’S QUARTERS – NIGHT
Ria and Desai interrogate Vikram who shares his motivations and ideology. Ria reveals a radio leak that pinpoints the real culprits behind Vikram’s sister’s assassination.
• Scene Arc: Begins with interrogation, ends with a revelation.
• Essence: Show the complexity of Vikram’s character and the depth of the conspiracy.
• Conflict: The need to get information vs. Vikram’s resistance.
• Subtext: The personal stakes and ideological conflicts.
• Hope/Fear: Hope that the interrogation will yield valuable information; fear that Vikram will not cooperate.

71. INT. MV PADMA/CREW DECK – NIGHT
Desai recognises Ria’s efforts and commends the crew for supporting her. A gunshot goes off in the captain’s quarters as Vikram takes his life.
• Scene Arc: Begins with recognition, ends with Vikram’s suicide.
• Essence: Show the resolution of the immediate conflict and the cost of their actions.
• Conflict: The need to move forward vs. the emotional toll of the events.
• Subtext: The consequences of war and betrayal.
• Hope/Fear: Hope that the crew will find closure; fear that the loss will haunt them.

72. INT. RAW HEADQUARTERS – DAY
Ria and her mother attend a secret service presided by Varma to honor her father.
• Scene Arc: Begins with the service, ends with a sense of resolution.
• Essence: Show the personal stakes for Ria and the resolution of her father’s legacy.
• Conflict: The need for closure vs. the emotional impact of the past.
• Subtext: The importance of family and honor.
• Hope/Fear: Hope that Ria will find peace; fear that the past will continue to haunt her.

73. EXT. PARADE GROUNDS – DAY
Ria joins the rebel crew and Capt. Desai while state honors in progress for Lt. Rehman for his sacrifice and bravery.
• Scene Arc: Begins with the parade, ends with a sense of unity and respect.
• Essence: Show the recognition of bravery and the unity of the crew.
• Conflict: The need to honor the fallen vs. the ongoing challenges.
• Subtext: The importance of sacrifice and bravery.
• Hope/Fear: Hope that the recognition will strengthen their resolve; fear that future challenges will test them.

74. EXT. CEMETARY – EVENING
Ria vows to uphold her father’s honor in front of his grave when Capt. Desai joins her and salutes her grit vowing to follow her on her next mission.

• Scene Arc: Begins with a personal moment, ends with a vow for the future.
• Essence: Show the resolution of Ria’s personal journey and the beginning of a new chapter.
• Conflict: The need to honor the past vs. the challenges of the future.
• Subtext: The importance of legacy and resolve.
• Hope/Fear: Hope that Ria will find peace and purpose; fear that future missions will bring new challenges.

• This reply was modified 11 months, 1 week ago by  Sunil Pappu.

[Margaret]

Margaret’s Scene Requirements
My Vision: To write profound faith-based screenplays that are produced.
What I learned: A.I. is nice tool, but doesn’t replace the human brain. 🙂
ACT 1
1. INT. GRANDMA’S BEDROOM – NIGHT
o Scene: Grandma wakes up in a cold sweat from a traumatic nightmare where a bear’s shadow falls on a sleeping baby. The bear attacks the baby three times but she and the baby’s mother fight to keep the baby safe. On the third attack, she cries out to heaven, and help arrives, driving the bear away.
o Scene Arc: From Grandma’s fear to seeking divine intervention
o Essence: Establish Grandma’s protective nature and foreshadow danger and divine intervention in Jabin’s life.
o Conflict: Internal distress driven by fear for her grandchild
o Subtext: The nightmare represents what is to come and her need to protect her grandchild through faith in God.
o Hope/Fear: Hope that divine intervention will protect her grandchildren; fear of impending doom for one of her grandchildren.
2. EXT. GRANDMA’S DINING ROOM – DAY
o Scene: Jabin, full of optimism, shares his dreams of graduating, starting a career, at Raytheon, and playing with a church band during Christmas dinner with his family, hiding a back pain that plagues him.
o Scene Arc: Starts with family expressing joy at Jabin’s future plans, ends with Jabin covering up his pain.
o Essence: Introduce Jabin’s dreams, establish family’s support, and hint at Jabin’s health issue.
o Conflict: Back pain has Jabin discreetly taking pain killers, ensuring no one notices. The audience sees his subtle movements and concern in his eyes.
o Subtext: Jabin’s optimistic outlook masks his concern over his back pain, suggesting that something more serious is happening beneath his cheerful demeanor.
o Hope/Fear: Hope that Jabin will achieve his dreams: fear that his back pain may be a sign of something serious.
3. EXT./INT. CAR – DAY
o Scene: Jabin experiences acute pain and decides to go to the ER alone. He calls his parents in route and reassures them he is ok.
o Scene Arc: From intense pain to consoling his parents.
o Conflict: Jabin’s physical pain vs. his isolation and fear.
o Subtext: Jabin covers his fear and loneliness with making light of his pain, attributing it to a strained muscle.
o Hope/Fear: Hope Jabin’s pain is due to a minor diagnosis, fear it signifies a major illness.
INCITING INCIDENT:
4. INT. ER – DAY
o Scene: Jabin receives a terminal cancer diagnosis from Dr. Morgan, with tumors found throughout his body. Dr. Morgan tells him to give up dreams of graduating and focus on getting well, but gives him hope that with today’s advances in medicine he can kick this.
o Scene Arc: Starts with waiting for a diagnosis and ends with his world shattering after the terminal diagnosis.
o Essence: Introduce the central conflict by revealing Jabin’s diagnosis and the clash between his dreams and medical reality.
o Conflict: Hope vs. despair and fear.
o Subtext: Dr. Morgan’s tells Jabin to give up on his dreams of graduating, but, in reality, Dr. Morgan believes Jabin should give up all his dreams. Dr. Morgan does not believe that medical intervention will work, even though he says there is some hope.
o Hope/Fear: Hope that Jabin will survive; fear that with tumors in his brain, abdomen, and lungs, his dreams are now impossible.
5. INT. DOCTOR’S OFFICE – DAY
o Scene: Dr. Morgan is on the phone with a colleague talking about Jabin. The conversation only partially heard, leaving the audience aware that Dr. Morgan is not as confident that Jabin’s cancer can be cured as he confidently asserts.
o Scene Arc: Starts with Dr. Morgan’s doubts for a cure, ends with his decision to treat until patient/family come to the revelation that there is no hope.
o Essence: Highlight the complexity of Dr. Morgan’s character, the hidden doubts about Jabin’s prognosis, and his belief that he must remain emotionally detached from his patients.
o Conflict: Dr. Morgan’s professional stance vs. his private doubts.
o Subtext: Dr. Morgan holds no hope that Jabin will survive.
o Hope/Fear: Hope Dr. Morgan has a plan that will cure Jabin; fear Jabin will die.
ACT 2
6. INT. CANCER HOUSE – DAY
o Scene: Jabin moves into a cancer house with his parents, feeling hopeless and stating, “So this is where I die…” Another cancer patient with brain tumors has disturbing behaviors, frightening Jabin with potential glimpses of his future.
o Scene Arc: Starts with resignation and ends with fear.
o Essence: Convey Jabin’s despair and the harsh reality of his illness.
o Conflict: Fear and helplessness with his illness and living environment.
o Subtext: Jabin deep-seated fear of losing control.
o Hope/Fear: Hope for a miracle; fear of loss of Jabin’s ability to control himself with his brain tumors.
7. INT. GRANDMA’S BEDROOM – NIGHT
o Scene: Grandma wakes up disturbed, feeling a need to pray for Jabin.
o Scene Arc: Ends with a sleep disturbance, ends with prayer.
o Essence: Show Grandma’s intuition and faith.
o Conflict: Grandma’s fear for Jabin vs. her faith in God’s protection.
o Subtext: There is a spiritual connection between Grandma and Jabin.
o Hope/Fear: Hope Grandma’s prayers will protect Jabin; fear it’s too late.
8. INT. CANCER HOUSE – DAY
o Scene: Jabin tells his parents he won’t give up on school, and she supports him by helping him commute to classes.
o Scene Arc: Starts with mother’s insistence he quit school, ends with her agreeing to support his dreams to graduate.
o Essence: Highlight Jabin’s resolve and family support.
o Conflict: Jabin’s illness vs. his determination to continue schooling.
o Subtext: The family’s underlying fear masked by their support.
o Hope/Fear: Hope that Jabin can continue his education; fear that his health will deteriorate.
9. INT. SPERM BANK – DAY
o Scene: On his birthday, Jabin goes to a sperm bank before starting chemo but learns he is already sterile.
o Scene Arc: Starts with hope and ends with grief.
o Essence: Show the personal sacrifices of Jabin’s illness.
o Conflict: Jabin’s desire for a future family versus the reality of his condition.
o Subtext: The emotional toll of losing the possibility of biological children.
o Hope/Fear: Hope for preserving his future; fear of irreversible loss.
10. INT. CANCER HOUSE – DAY
o Scene: Jabin loses his ability to walk well, write, play the guitar.
o Scene Arc: Begins with the frustration of not being able to walk well; ends with the grief that he has lost his ability to play the guitar and write.
o Essence: Highlight the physical toll of Jabin’s illness.
o Conflict: Jabin’s identity as a musician and student vs. his physical decline.
o Subtext: Jabin will not get better nor will his dreams be realized.
o Hope/Fear: Hope that with treatment he will recover; fear he will lose his physical abilities permanently.
11. INT. GRANDMA’S BEDROOM – NIGHT
o Scene: Grandma dreams of a boat sailing without her, wakes sad, prays for Jabin’s faith and future success.
o Scene Arc: Starts with sadness, ends with hope.
o Essence: Reflects Grandma’s faith and connection to Jabin’s struggle.
o Conflict: Grandma’s fear that Jabin’s faith will fail and depression set in.
o Subtext: The symbolic connection between Grandma’s dreams and Jabin’s journey.
o Hope/Fear: Hope that Grandma’s prayers will help Jabin; fear that he will lose faith.
12. INT. CLASSROOM – DAY
o Scene: Jabin goes to school wheelchair bound, uses a recorder to tape class notes, throws up into his mask. Instructor indicates he has five classes to pass to graduate and he is hopelessly behind in his homework, advises him to quit with the deadline to drop classes looming. Jabin refuses to quit.
o Scene Arc: Begins with humiliation, ends with determination.
o Essence: Show Jabin’s resilience and determination to succeed.
o Conflict: Jabin’s health vs. his determination to succeed.
o Subtext: Jabin’s inner strength is an answer to prayer.
o Hope/Fear: Hope that he will succeed; fear his health will prevent his graduation.
13. INT. BECCA’S DORM ROOM – DAY
o Scene: Becca finds out from her mother that Jabin is no longer in Seattle, but in Arizona, at a college close to her, and has cancer. She shares her feelings with her mother, telling her that she feels Jabin was the “one who got away” and vows to visit him.
o Scene Arc: Starts with sadness at the news Jabin has cancer, ends with Becca’s determination to reconnect with him.
o Essence: Highlight Becca’s internal struggle and commitment.
o Conflict: Becca’s past regrets versus her current resolve.
o Subtext: Becca’s deep feelings for Jabin and her determination to make things right.
o Hope/Fear: Hope that Becca’s support will help Jabin; fear of opening old wounds will discourage Jabin.
14. INT. HOSPITAL – DAY
o Scene: Becca reconnects with Jabin after learning about his diagnosis, reigniting her feelings and determination to support him. Becca apologizes for dumping Jabin in high school and promises to visit again.
o Scene Arc: Starts with Jabin, depressed, pushing homework aside, ends with a renewed connection with Becca, bringing warmth and hope into Jabin’s life.
o Essence: Re-establish the emotional bond between Jabin and Becca.
o Conflict: Past relationship conflict and Jabin’s current illness damper a potential relationship.
o Subtext: Jabin is still in love with Becca, and she with him.
o Hope/Fear: Hope their relationship will flourish; fear that Jabin’s illness will strain it.
15. INT. CANCER HOUSE – DAY
o Scene: Jabin’s father and mother argue Jabin shouldn’t pursue a relationship with Becca. Jabin’s father tells Jabin they will get through this, but wait until he is better to add another relationship. Jabin reveals he has gained back his strength to walk. He picks up his guitar, is able to play.
o Scene Arc: From conflict with parents to hope of renewed health.
o Essence: Jabin’s mood and health are improving.
o Conflict: Parent’s view of Jabin’s relationship with Becca vs. Jabin’s desire to date.
o Subtext: Becca is having a positive influence on Jabin, a reason to live.
o Hope/Fear: Hope that Jabin will fully recover; fear that the improvement is temporary.
16. INT. DOCTOR’S OFFICE – DAY
o Scene: Dr. Morgan shares with Jabin and his parents that he is in remission, but cautions them the cancer could return.
o Scene Arc: Starts with hope for good news and ends with lingering fear.
o Essence: Showcase Jabin’s progress and renewed hope.
o Conflict: Dr. Morgan’s inner conflict with sharing the news due to his belief the cancer will return.
o Subtext: Dr. Morgan doesn’t want to give false hope.
o Hope/Fear: Hope that Jabin remains in remission; fear the cancer will return.
17. INT. CANCER HOUSE – DAY
o Scene: Jabin is up late, studying, with only a slim chance he will finish his assignments and pass his finals. His parents encourage him by planning a celebration cruise and promise to help him go house hunting after graduation.
o Scene Arc: Starts with doubt for success and ends with plans for celebration.
o Essence: Reveal the battle ahead to graduate and parent’s support.
o Conflict: Time/energy needed to complete assignments/pass finals.
o Subtext: Jabin won’t give up, no matter how hard it is.
o Hope/Fear: Hope Jabin finishes his assignments; fear he won’t finish in time to graduate.
18. INT. BECCA’S DORM – DAY
o Scene: Becca lets her mom know she may not be returning to Seattle after she graduates. She has applied for a teaching position in Tucson, where Jabin will be working at Raytheon. Her mother worries she will be left alone, but supports her decision.
o Scene Arc: Starts with uncertainty and ends with support from mother.
o Essence: Reveal Becca’s intent to take risks for Jabin.
o Conflict: Becca’s career and family ties in Seattle versus her desire to be with Jabin.
o Subtext: Depth of Becca’s feelings and commitment to Jabin.
o Hope/Fear: Hope Becca’s plan will bring her closer to Jabin; fear of the unknown future.
19. INT. CAFÉ – DAY
o Scene: Jabin dates Becca, and overcomes his fear of commitment from his fear of his future and their past relationship (asks her to become his girlfriend).
o Scene Arc: From Jabin’s lack of confidence to asking Becca becoming his girlfriend.
o Essence: Jabin and Becca’s relationship advances.
o Conflict: Jabin’s fear of rejection.
o Subtext: Becca wants Jabin to ask her.
o Hope/Fear: Hope they will get together; fear Jabin won’t have the courage to ask.
20. INT. UNIVERSITY CAMPUS – DAY
o Scene: Jabin graduates.
o Scene Arc: From concern that he didn’t pass to celebrating.
o Essence: Jabin goes through the graduation ceremony without knowing if he really is graduating.
o Conflict: Concern that the graduation is an exercise only.
o Subtext: The bittersweet nature of celebration given unknow graduation status.
o Hope/Fear: Hope the graduation is real; fear Jabin didn’t pass.
21. EXT. UNIVERSITY CAMPUS – DAY
o Scene: Becca graduates.
o Scene Arc: From joy in Becca’s graduation, to joy in Jabin’s graduation.
o Essence: Jabin finds out via phone during Becca’s graduation that he passed his exam. He is able to celebrate Becca’s graduation publicly but can’t run out and share the news with anyone.
o Conflict: News of whether or not Jabin really graduated.
o Subtext: Jabin expresses exuberance at Becca’s graduation which covers the joy he feels at his own news.
o Hope/fear: Hope the news of graduation is positive/fear he didn’t pass.
22. INT. DOCTOR’S OFFICE – DAY
o Scene: Jabin has a follow-up visit and shares the positives: graduation, offer on a house, cruise plans, job lined up. As Jabin leaves, Dr. Morgan stiffly congratulates him and says he had another patient that got better and graduated. As Jabin closes the door, Dr. Morgan whispers, “but then she died.”
o Scene Arc: From positive news to a foreboding of future ill.
o Essence: Dr. Morgan attempts to give Jabin hope and congratulate his successes but his past history with patients he’s lost clouds his emotions.
o Conflict: Dr. Morgan’s past history prevents him from celebrating patient’s successes.
o Subtext: Dr. Morgan doesn’t believe Jabin will live.
o Hope/Fear: Hope for continued health; fear of future scares.
ACT 3
23. INT. PARENT’S KITCHEN – DAY
o Scene: Jabin shares a home lab test, waits for results. They know the cancer is back.
o Scene Arc: From anticipation to terror of results.
o Essence: The cancer has returned.
o Conflict: Cancer is back. What about cruise? Job? Becca?
o Subtext: Jabin may die.
o Hope/fear: Hope the lab test is wrong; fear Jabin will die.
24. INT. PARENT’S LIVING ROOM – DAY
o Scene: Jabin’s mother lets Grandmother know by phone that Jabin’s cancer is back with 5 new brain tumors. He won’t be going on the cruise. Another round of laser surgery and chemo is in the wings with Becca in attendance. Shares news of Raytheon asking start date to be extended to August. When Grandma hangs up, she falls to her knees and prays.
o Scene Arc: From distressful news to peace with God.
o Essence: Grandmother’s faith remains unwavering in face of bad news.
o Conflict: Cancer News.
o Subtext: Grandma’s faith for Jabin’s total healing is not wavered.
o Hope/Fear: Hope Grandma is right and Jabin will be healed; fear Jabin will die.
25. INT. CANCER HOUSE – DAY
o Scene: Becca helps Jabin with bouts of nausea/vomiting. She reads the Bible to him, and they are both struck with the verse, “This sickness is not unto death.”
o Scene Arc: From distress of illness to hope in God.
o Essence: Jabin and Becca are looking to God for hope.
o Conflict: Battle with nausea/vomiting.
o Subtext: God is promising Jabin a future.
o Hope/fear: Hope that Jabin will survive; fear he will die.
26. EXT./INT. WAFFLE HOUSE
o Scene: Becca argues with Jabin outside the restaurant; wants to take it to go. Jabin insists on going in, says Becca deserves a meal out. As they hit the threshold of the restaurant, Jabin passes out, Becca calls 911.
o Scene Arc: From arguing about where to eat, to not eating at all.
o Essence: Becca has become Jabin’s caregiver.
o Conflict: Physical effect of illness.
o Subtext: Jabin is hiding how ill he is from Becca.
o Hope/fear: Hope Jabin will survive; fear he will die.
27. INT. HOSPITAL ROOM – DAY
o Scene: Dr. Morgan shares with Jabin good news: the laser surgery worked and his tumor markers are down. He explains that Jabin will need a risky stem cell therapy if he is to survive. When he leaves, Jabin and Becca discuss the implications.
o Scene Arc: From good news to decision dilemma – no good choice.
o Essence: Jabin must decide between Raytheon and possible return of cancer or risky stem cell therapy.
o Conflict: Decision between two bad choices.
o Subtext: Dr. Morgan believes the cancer will return again.
o Hope/fear: Hope cancer won’t return; fear it will.
28. INT. RAYTHEON H.R. DEPT – DAY
o Scene: The H.R. employees discuss their dilemma – offered employment to too many new graduates. Their brainstorm has them agree to send a few letters out, asking if anyone will wait until October to start and they will give them a $10,000 bonus.
o Scene Arc: From company dilemma to solution.
o Essence: Raytheon is inadvertently providing a solution to Jabin’s dilemma.
o Conflict: Problem of too many new employees.
o Subtext: God is in control.
o Hope/fear: Hope Jabin gets the letter; fear that he won’t be selected.
29. INT. JABIN’S LIVING ROOM – DAY
o Scene: Jabin experiences a vision that has impact on his decision (he is to be a light in a dark place.) He decides to go for the stem cell therapy. He accepts his fate and decides to live for God. He picks up his guitar to play, his mood lightened. A letter from Raytheon comes through his mail slot.
o Scene Arc: From indecision to decision to live as a light for God.
o Essence: Jabin will go through stem cell therapy.
o Conflict: Decision to go through stem cell therapy.
o Subtext: God is making a way.
o Hope/fear: Hope stem cell therapy will work; fear it won’t.
30. INT. MEDICAL CLINIC – DAY
o Scene: Jabin shares his vision with Becca during stem cell harvest procedure. He tells her that he doesn’t know whether he will live or die, but it doesn’t matter. He knows he must live each day for God. He wants to release Becca to be with someone with a future, but she says she will be there for him.
o Scene Arc: From Jabin testing Becca’s resolve to be with him.
o Essence: Becca is committed to Jabin.
o Conflict: Jabin’s desire for Becca to have a good life vs his desire to be with her.
o Subtext: Jabin and Becca are in love.
o Hope/fear: Hope the couple stays together; fear Jabin will die.
31. INT. RESTAURANT – EVENING
o Scene: Jabin proposes to Becca and she accepts.
o Scene Arc: Starts with uncertainty and end with joy.
o Essence: Celebration of the couple’s commitment to each other, despite his prognosis.
o Conflict: Uncertainty if Becca will accept.
o Subtext: Jabin and Becca are in love.
o Hope/fear: Hope for a long, happy marriage; fear of cancer reoccurrence.
32. INT. HOSPITAL ROOM – DAY
o Scene: Stem cell therapy is traumatic, with throwing up, UTI, diarrhea, transfusion. Chaplain arrives, Jabin has him play, “It is well with my soul.”
o Scene Arc: From distress of illness to demonstration of God’s peace.
o Essence: Jabin is giving the light of God’s peace in his dark situation.
o Conflict: Distress of illness.
o Subtext: Jabin has God’s peace.
o Hope/fear: Hope Jabin will continue in God’s peace; fear the illness will overcome him.
ACT 4
33. INT. JABIN’S LIVING ROOM – DAY
o Scene: Becca berates Jabin for not starting his packing yet, with only two days before their flight to Seattle to get married. Jabin’s response is to keel over with chest pain, short of breath.
o Scene Arc: From Becca’s concern about packing to concern for Jabin’s health.
o Essence: Jabin is not well.
o Conflict: Health crisis.
o Subtext: Jabin’s health cannot take the stress of the wedding.
o Hope/fear: Hope Jabin will make the wedding; fear he is dying.
34. INT. HOSPITAL ROOM – DAY
o Scene: Dr. Morgan shares the news: Jabin’s cancer is back. He has a tumor near his heart which probably caused the pneumothorax. He advises against flying – could mean sudden death. After he leaves, Jabin decides to fly anyway.
o Scene Arc: From bad news to decision to embrace life’s uncertainties.
o Essence: Jabin has the faith and courage to risk his life going against medical advice.
o Conflict: Risk of sudden death.
o Subtext: Jabin trusts God.
o Hope/fear: Hope Jabin is making the right decision; fear he may die.
35. INT. GRANDMA’S BEDROOM – DAY
o Scene: Grandma’s prayer for Jabin’s safety on the flight is interrupted by a call. Jabin made it safely to Seattle.
o Scene Arc: From fervent prayer for safety to Jabin being safe.
o Essence: God honors Grandma’s prayers for Jabin.
o Conflict: Threat of sudden death.
o Subtext: Grandma believes in the power of God to save.
o Hope/fear: Hope God will protect Jabin; fear something bad may happen.
36. INT. WEDDING VENUE – DAY.
o Scene: Jabin and Becca are married, and instead of singing to each other, sing a praise song to God with the congregation. They do not share the news of Jabin’s return of cancer.
o Scene Arc: From expressing love to each other to love for God.
o Essence: Jabin and Becca are committed to each other.
o Conflict: Unknown future.
o Subtext: Jabin and Becca are trusting God for their future.
o Hope/fear: Hope they will have a happy marriage; fear Jabin will die.
37. INT. DOCTOR’S OFFICE – DAY
o Scene: Jabin expects another round of chemo. Dr. Morgan tells Jabin there is no hope, and give him prescription for oral chemo to help slow the cancer. He gives Jabin a prognosis of 6 months to live. He reveals that none of his patients with Jabin’s history has survived.
o Scene Arc: From hope of further treatment to no hope.
o Essence: Jabin is given a prognosis of 6 months to live.
o Conflict: Death sentence.
o Subtext: Jabin has no future.
o Hope/fear: Hope Dr. Morgan is wrong; fear Jabin will die.
38. INT. RESTAURANT – DAY
o Scene: Grandma is alone, reading/praying for Jabin’s healing while drinking coffee. A man stops by the table, says “check out I John 5:14. He leaves and she sees that it is a verse saying she has what she has asked for.
o Scene Arc: From desperately praying for Jabin’s health to assurance of his healing.
o Essence: Grandma receives hope from God of Jabin’s healing.
o Conflict: Request for healing.
o Subtext: Jabin will be healed.
o Hope/fear: Hope that God will heal; fear Grandma is reading too much into the encounter.
39. INT. PARENT’S LIVING ROOM – DAY
o Scene: Jabin gives his parents the news: lab results show undetectable cancer. They double check results and patient info to assure themselves it is real. They call Grandma and share the results. Jabin assures her that whether this is a brief remission or full healing doesn’t matter. He knows where he is going when he dies and has committed himself to living a life of giving light for God.
o Scene Arc: From good news to Jabin’s statement of live or die, it is all for God’s glory.
o Essence: Jabin’s cancer is undetectable.
o Conflict: Disbelief in good news.
o Subtext: God healed Jabin.
o Hope/fear: Hope that Jabin is truly healed; fear cancer will be back.
40. INT. CHURCH – DAY
o Scene: Jabin leads singing in church worship team, playing the guitar. Dr. Morgan slips in the back door.
o Scene Arc: From joy in the worship time to wondering if Dr. Morgan’s issues will be resolved.
o Essence: Jabin is giving light, a testimony to God’s goodness.
o Conflict: None
o Subtext: Jabin has seen the goodness of God.
o Hope/fear: Hope in continued health. No fear.

[Linda Kish]

Linda’s Scene Requirements

My Vision is: I will do whatever it takes to be a sought-after profound writer who has many successful movies produced and an Oscar on the mantel.
What I learned doing this assignment is I overwhelmed AI with too much information and it rewrote my story plot. I had an interesting conversation with AI though about why it rewrote it and learned a few things.

Scene 1
• Slugline: EXT. FARMHOUSE – DAY
• Description: Joaquin, a scout for the cartel, is dealing with a typical family issue while he races to a farmhouse.
• Scene Requirements:
o Scene Arc: Starts with family normalcy, ends with Joaquin racing to a cartel-related task.
o Essence: Introduce Joaquin’s dual life, hint at stakes.
o Conflict: Balancing family issues with urgent cartel work.
o Subtext: Joaquin’s desire for a normal life is disrupted by cartel demands.
o Hope/Fear: Hope for a quick resolution, fear of family consequences.
Scene 2
• Slugline: INT. FARMHOUSE – DAY
• Description: It’s a drug lab. He alerts the workers the police are coming. As they flee the lab, he blows up the evidence. Risks his life to help an elderly worker to his car.
• Scene Requirements:
o Scene Arc: Starts with a drug lab operation, ends with its destruction and a moral choice.
o Essence: Show Joaquin’s quick thinking and moral compass.
o Conflict: Save cartel equipment vs. save people.
o Subtext: Joaquin's conflicted loyalty and moral dilemmas.
o Hope/Fear: Hope to avoid capture; fear of being caught by police.
Scene 3
• Slugline: INT. NEW DRUG LAB – DAY
• Description: Joaquin’s friend, Brayden, tells him he’s the one who tipped off the police so they can get out of the cartel. Dante, #2 in the cartel, is at the new drug lab. Brayden is sure he knows. Joaquin gives him well-meaning, but bad advice to keep his head down. Dante kills Brayden, orders Joaquin into his jeep.
• Scene Requirements:
o Scene Arc: Starts with tension, ends with Brayden’s death and Joaquin's capture.
o Essence: Show the stakes of cartel betrayal.
o Conflict: Misplaced trust in Joaquin’s advice leads to fatal consequences.
o Subtext: Joaquin’s fear and guilt over Brayden's fate.
o Hope/Fear: Hope to survive; fear of further punishment.
Scene 4
• Slugline: EXT. OPEN MEXICAN ROAD – DAY
• Description: Inciting Incident: Dante withholds where they’re going and why as another jeep, driven by Arturo, #3 in the cartel, joins them on the road. Joaquin’s family is in the 2nd jeep.
• Scene Requirements:
o Scene Arc: Starts with confusion, ends with mounting dread.
o Essence: Set up the inciting incident and personal stakes.
o Conflict: Uncertainty and fear for his family’s safety.
o Subtext: Power dynamics and control within the cartel.
o Hope/Fear: Hope for family's safety; fear of them being used as leverage.
Scene 5
• Slugline: EXT. RODRIGO’S COMPOUND – DAY
• Description: At the compound dropoff, Arturo helps Camila and Isabel out of the jeep. Arturo tells Dante that Tomas is a sharpshooter, the girl is a livewire – a lot like her mother.
• Scene Requirements:
o Scene Arc: Starts with arrival, ends with tension between Arturo and Joaquin.
o Essence: Introduce the key characters and underline their dynamics.
o Conflict: Subtle rivalry between Arturo and Joaquin.
o Subtext: Arturo's hidden vendetta against Joaquin.
o Hope/Fear: Hope for a peaceful meeting; fear of hidden threats.
Scene 6
• Slugline: INT. COMPOUND – NIGHT
• Description: Rodrigo, the kingpin announces he is dying and kicking off a savage competition for his succession. A courier drops off an anonymous note to Joaquin that says his family will suffer if he doesn’t participate.
• Scene Requirements:
o Scene Arc: Starts with announcement, ends with threat.
o Essence: Establish the stakes of the competition.
o Conflict: Compelled to participate to protect family v. desire to stay out of it.
o Subtext: Manipulation and Joaquin's reluctant involvement.
o Hope/Fear: Hope to avoid competition; fear for family’s safety.
Scene 7
• Slugline: INT. RODRIGO’S SITTING ROOM – NIGHT
• Description: Rodrigo wants Joaquin to stay until he dies. Mention of Rodrigo’s deceased son and Joaquin’s father who was Rodrigo’s #2 and died while protecting the kingpin. Rodrigo didn’t send the threatening note. Who did?
• Scene Requirements:
o Scene Arc: Starts with command, ends with suspicion.
o Essence: Build personal connection and raise suspicions.
o Conflict: Loyalty to Rodrigo vs. suspicion of foul play.
o Subtext: Hidden motives and Joaquin's mistrust.
o Hope/Fear: Hope for insight; fear of deeper involvement.
Scene 8
• Slugline: INT. VEGA TEMPORARY RESIDENCE – NIGHT
• Description: Anonymous figure sneaks into the house, watches Camila in the bathtub, leaves a letter for Isabel “promising” they’ll be together when he wins the competition.
• Scene Requirements:
o Scene Arc: Starts with intrusion, ends with threat.
o Essence: Establish personal threats to Joaquin’s family.
o Conflict: Safety of family vs. unseen danger.
o Subtext: Hidden dangers and personal vendettas.
o Hope/Fear: Hope for safety; fear of the stalker’s intentions.
Scene 9
• Slugline: INT. VEGA RESIDENCE / TUNNELS – NIGHT
• Description: Joaquin races into the tunnels, that can be accessed through a trapdoor in their hallway, that he knew about from his childhood. Dante is down there as well as C4.
• Scene Requirements:
o Scene Arc: Starts with no knowledge, ends with a suspect.
o Essence: Identify a suspect and availability of explosive material.
o Conflict: Navigating the tunnels vs. Dante’s presence.
o Subtext: Hidden routes and clandestine activities.
o Hope/Fear: Hope for safe passage; fear of confrontation with Dante.
Scene 10
• Slugline: EXT. COMPOUND – DAY
• Description: At breakfast, Joaquin learns he’s been under Rodrigo’s protection due to his father’s loyalty. Isabel lashes out at Rodrigo and Joaquin tries to wriggle out of them staying.
• Scene Requirements:
o Scene Arc: Starts with revelation, ends with conflict.
o Essence: Reveal personal history and build tension.
o Conflict: Gratefulness for protection vs. desire to leave.
o Subtext: Power dynamics and family tension.
o Hope/Fear: Hope to leave safely; fear of being trapped.
Scene 11
• Slugline: EXT. / INT. RESTAURANT – DAY
• Description: Arturo takes Joaquin under his wing, teaching him how to be violent. Give Santiago a beat down for being late on his Internet payment.
• Scene Requirements:
o Scene Arc: Starts with mentoring, ends with violence.
o Essence: Show Arturo’s influence and Joaquin’s struggle.
o Conflict: Learning violence vs. maintaining morals.
o Subtext: Arturo’s manipulation and Joaquin’s resistance.
o Hope/Fear: Hope to avoid violence; fear of moral compromise.
Scene 12
• Slugline: EXT. CAMPAIGN RALLY – DAY
• Description: Dante shoots up the rally, assassinates the gubernatorial candidate. While under fire, Joaquin helps the injured. Arturo brings him a baseball bat to use the next day for their shakedowns.
• Scene Requirements:
o Scene Arc: Starts with assassination, ends with moral dilemma.
o Essence: Show lengths Dante will go to win the competition and Joaquin’s inner conflict.
o Conflict: Helping the injured vs. cartel violence.
o Subtext: Joaquin’s reluctance and moral struggle.
o Hope/Fear: Hope to maintain integrity; fear of being corrupted.
Scene 13
• Slugline: EXT. SCHOOL – DAY
• Description: TP 1: Attempted kidnapping of Isabel. Arturo saves her and warns Camila he suspects Dante. Arturo offers a bodyguard to protect Isabel.
• Scene Requirements:
o Scene Arc: Starts with danger, ends with uneasy alliance.
o Essence: Establish Arturo’s deceptive heroism.
o Conflict: Trusting Arturo vs. fearing for Isabel.
o Subtext: Arturo’s ulterior motives and manipulation.
o Hope/Fear: Hope for Isabel’s safety; fear of hidden threats.
Scene 14
• Slugline: INT. RIVAL DRUG LAB – NIGHT
• Description: Using heat sensors to make sure it is empty, a cloaked figure blows up a rival drug lab.
• Scene Requirements:
o Scene Arc: Starts with cautious preparation, ends with the destruction of the drug lab.
o Essence: Joaquin's entry into the competition, asserting his commitment.
o Conflict: Internal conflict between his moral code and the actions required by the contest.
o Subtext: Struggles with the weight of his actions, feeling he is becoming what he despises.
o Hope/Fear: Hope that this action will protect his family, fear that he's losing his humanity.
Scene 15
• Slugline: INT. COMPOUND – DAY
• Description: Points tally. Dante brings the heads of the gubernatorial candidate and competitors, earning a lot of points. Joaquin announces he blew up the lab and is entering the competition.
• Scene Requirements:
o Scene Arc: Joaquin publicly declares his participation in the competition.
o Essence: Joaquin is developing courage against Dante’s ruthlessness.
o Conflict: Between Joaquin’s reluctance and the necessity to act.
o Subtext: Joaquin’s declaration is both a statement of power and a desperate plea for survival.
o Hope/Fear: Hope that Joaquin can navigate the competition without further bloodshed, fear of what Dante might do in retaliation.
Scene 16
• Slugline: INT. VEGA RESIDENCE – DAY
• Description: Camila is furious Joaquin entered the competition, throws his notebook across the room. Says he can never win, that’s not the man she married.
• Scene Requirements:
o Scene Arc: Starts with tension and ends with despair and disconnection between Joaquin and Camila.
o Essence: The personal cost of Joaquin’s decisions on his marriage.
o Conflict: Joaquin’s decision to enter the competition versus Camila’s expectations of him.
o Subtext: Camila’s fear and disillusionment, and Joaquin’s conflict between his role as a husband and protector.
o Hope/Fear: Hope that Joaquin can reassure Camila, fear that this might drive a wedge between them.
Scene 17
• Slugline: EXT. COMPOUND SHOOTING RANGE – DAY
• Description: Joaquin tries to earn points without bloodshed – it’s failing to earn him many points.
• Scene Requirements:
o Scene Arc: His strategy is shown to be ineffective in a ruthless environment.
o Essence: Struggle to maintain his morality in an immoral competition.
o Conflict: Joaquin's ideals against the harsh reality of the cartel's violent culture.
o Subtext: Ineffectiveness in the competition mirrors his internal conflict about participating.
o Hope/Fear: Hope that Joaquin can find another way to earn points, fear that he'll be pushed towards violence.
Scene 18
• Slugline: INT. VEGA RESIDENCE – DAY
• Description: On drone footage, Joaquin sees a payoff from Arturo to a cop. Tomas is watching a cartel recruiting video. In a heated argument, Joaquin reveals that his father was killed because he disobeyed him and joined the cartel, causing his father to be distracted.
• Scene Requirements:
o Scene Arc: Joaquin’s past is fully revealed, escalating the tension within his family.
o Essence: Exploring the generational impact of cartel involvement on Joaquin's family.
o Conflict: Joaquin’s revelation about his father to Tomas.
o Subtext: Joaquin’s fear of repeating his father’s mistakes with his own son.
o Hope/Fear: Hope that understanding the past may deter Tomas from idolizing the cartel, fear it may already be too late.
Scene 19
• Slugline: EXT. / INT. DANTE’S LAIR – DAY
• Description: Joaquin sneaks into Dante’s lair to plant surveillance equipment. Packing fentanyl in crutches. Joaquin finds a file with his name on it. Gets an alert from his residence, which alerts Dante’s team someone is there. Joaquin narrowly escapes.
• Scene Requirements:
o Scene Arc: Joaquin enters cautiously and escapes amid danger.
o Essence: Proactive steps to protect himself and gather intelligence.
o Conflict: The immediate danger of being caught by Dante’s men.
o Subtext: Discovery of the file signifies Dante’s close watch and plans against him.
o Hope/Fear: Hope that he gathers useful intelligence, fear of being caught and killed.
Scene 20
• Slugline: EXT. TOWN – DAY
• Description: Joaquin’s family wasn’t home. Flowers and lingerie in Isabel’s room – a gift for our upcoming wedding night.
• Scene Requirements:
o Scene Arc: Discovery of the unsettling gifts, escalating tension.
o Essence: The personal threat to Joaquin's family becomes chillingly intimate.
o Conflict: The intrusion into personal life and the implied threat to Isabel.
o Subtext: Gifts symbolize a menacing claim and foreshadow potential violence.
o Hope/Fear: Hope that Isabel remains safe, fear of what the sender might do.
Scene 21
• Slugline: INT. RODRIGO’S SON’S ROOM IN COMPOUND – DAY
• Description: The room is a shrine with articles about his son’s killer, the director of US border patrol, Maritza. Joaquin tells Rodrigo they’re related, which is not true. Bonds with Rodrigo over wanting to learn everything about how to run the cartel.
• Scene Requirements:
o Scene Arc: Joaquin uses deception to gain Rodrigo’s trust.
o Essence: Joaquin's strategic maneuvering within the cartel's power structure.
o Conflict: Rodrigo’s questioning of Joaquin’s lie.
o Subtext: Joaquin’s lie reflects his desperation and willingness to manipulate.
o Hope/Fear: Hope that the lie solidifies his standing, fear it could backfire.
Scene 22
• Slugline: EXT. TOWN – DAY
• Description: Arturo sets up Luis to go after Isabel, then alerts Joaquin she is at a dangerous party.
• Scene Requirements:
o Scene Arc: Joaquin learns of Isabel’s danger and rushes to help.
o Essence: Arturo manipulating events to push Joaquin to kill a man.
o Conflict: Joaquin’s race against time to save Isabel.
o Subtext: Arturo’s actions hint at a deeper scheme against Joaquin.
o Hope/Fear: Hope that Joaquin reaches Isabel in time, fear of what Luis might do.
Scene 23
• Slugline: EXT. / INT. EXTRAVAGANT RESIDENTIAL HOME – NIGHT
• Description: Joaquin finds Luis assaulting Isabel and kills him.
• Scene Requirements:
o Scene Arc: Transformation from a reluctant participant to taking decisive action.
o Essence: Joaquin’s crossing a moral line to protect his family.
o Conflict: Direct physical confrontation with Luis.
o Subtext: Joaquin’s action marks a significant moral compromise and a deepening of his entanglement in the cartel’s violent world.
o Hope/Fear: Hope that this act saves Isabel, fear of the consequences of murder.
Scene 24
• Slugline: EXT. STEPS OUTSIDE THE COMPOUND – MORNING
• Description: Arturo reveals to Camila that Joaquin killed a man.
• Scene Requirements:
o Scene Arc: Camila confronts the reality of Joaquin's actions.
o Essence: The erosion of the ideal image Camila held of Joaquin.
o Conflict: Camila's grappling with Joaquin's increasingly dark actions.
o Subtext: Arturo’s revelation is calculated to drive a wedge between Joaquin and Camila.
o Hope/Fear: Hope that Camila understands and forgives Joaquin, fear that it destroys their relationship.
Scene 25:
• Slugline: INT. VEGA HOME – DAY
• Description: Joaquin questions why Arturo would rush to tell her. Camila reveals that she and Arturo were engaged and he’s done nothing but protect them.
• Scene Requirements:
o Scene Arc: Realization of Arturo's past with Camila and his manipulations.
o Essence: Increasing the complexity of relationships and loyalties.
o Conflict: Joaquin's feelings of betrayal and questions of truth.
o Subtext: Camila’s past with Arturo complicates her current feelings and loyalty.
o Hope/Fear: Hope that Joaquin can navigate this revelation wisely, fear that it fuels further conflict.
Scene 26:
• Slugline: INT. COMPOUND – DAY
• Description: Joaquin earns points for killing Luis. Dante tells his guys to stop Joaquin from leaving.
• Scene Requirements:
o Scene Arc: Joaquin's growing influence and Dante’s response.
o Essence: Joaquin’s ascension within the competition’s ranks.
o Conflict: Over Joaquin’s killing of Dante’s brother.
o Subtext: Dante’s fear of Joaquin’s rising power and potential threat.
o Hope/Fear: Hope Joaquin can maintain momentum, fear of Dante’s retaliation.
Scene 27:
• Slugline: INT. VEGA RESIDENCE – DAY
• Description: Isabel snoops on her father’s computer. Sees he’s been tracking Arturo.
• Scene Requirements:
o Scene Arc: Discovers evidence of her father’s distrust of Arturo.
o Essence: Set up of Isabel’s confrontation with Arturo.
o Conflict: Realization of the depth of her father’s entanglement in cartel activities.
o Subtext: Isabel is going to do something about her stalker.
o Hope/Fear: Hope that Isabel uses this information wisely, fear of the implications for her safety.
Scene 28
• Slugline: EXT. COMPOUND – NIGHT
• Description: Dante corners Joaquin. Offers his life if he drops out of the competition and work for him – needs his brain to develop international strategy and agreements.
• Scene Requirements:
o Scene Arc: Joaquin is offered a lifeline that requires a significant compromise.
o Essence: A critical decision point for Joaquin, blending opportunity and threat.
o Conflict: Consideration of Dante’s offer versus his own plans and safety.
o Subtext: Offer is both an acknowledgment of Joaquin’s value and a strategic move to neutralize him as a threat.
o Hope/Fear: Hope that Joaquin finds a safer path, fear that accepting Dante's offer means deeper involvement in cartel activities.
Scene 29
• Slugline: EXT. / INT. WAREHOUSE – NIGHT
• Description: Isabel’s bodyguard stops at a warehouse and tells her to stay in the care. She disobeys and overhears Arturo talking about killing her dad. She’s spotted, runs out – right into the corrupt Federale.
• Scene Requirements:
o Scene Arc: From safety to danger.
o Essence: Isabel is in serious danger.
o Conflict: Isabel versus Arturo and the corrupt Federale.
o Subtext: He can’t let her live.
o Hope/Fear: Hope that she’ll get away or the Federale will have some morals, afraid that he’s deep in with the cartel.
Scene 30
• Slugline: INT. CAR – NIGHT
• Description: The Federale drives her away. The wrong way.
• Scene Requirements:
o Scene Arc: From Isabel thinking she’s safe to realizing she’s not.
o Essence: She’s in trouble.
o Conflict: Isabel trying to get out of the car, but the locks are controlled.
o Subtext: This is the end for her.
o Hope/Fear: Hope that her father sees her on surveillance, fear that the Federale is going to kill her.
Scene 31
• Slugline: INT. VEGA RESIDENCE – NIGHT
• Description: The Federale tells Joaquin and Camila their daughter is dead.
• Scene Requirements:
o Scene Arc: From a bonding dinner to the worst dread.
o Essence: The cartel killed Isabel.
o Conflict: Joaquin doesn’t believe the Federale, but doesn’t want to get them all killed as well.
o Subtext: If they thought Joaquin was rising up before, just wait!
o Hope/Fear: Hope that they find her alive, fear that they really did kill her.
Scene 32
• Slugline: EXT. CEMETERY – DAY
• Description: At the funeral, Arturo convinces Camila that Dante killed her in retaliation for his brother’s death. Sniper fire reigns down, Joaquin narrowly avoids assassination.
• Scene Requirements:
o Scene Arc: From sadness over Isabel to terror.
o Essence: Joaquin is no longer safe anywhere in public.
o Conflict: Joaquin doesn’t want Arturo there to running for their lives.
o Subtext: Arturo is the one who orchestrated the snipers.
o Hope/Fear: Hope no one else will be killed, fear this is not the end of it.
Scene 33
• Slugline: INT. VEGA RESIDENCE – DAY
• Description: Joaquin searches surveillance equipment and finds his daughter running into the Federale. Goes back to the surveillance of the payoff from Arturo.
• Scene Requirements:
o Scene Arc: Suspicions of who killed his daughter to knowing who was behind it.
o Essence: Arturo was behind the killing of his daughter.
o Conflict: Joaquin versus his daughter’s killers.
o Subtext: He’s going after them.
o Hope/Fear: Hope he kills them both, fear his family is in more danger.
Scene 34
• Slugline: INT. TUNNELS / FEDERALE’S HOUSE – DAY
• Description: Joaquin sneaks through tunnels to the Federale’s house and kills him.
• Scene Requirements:
o Scene Arc: From Joaquin only killing in self-defense to proactive murder.
o Essence: Joaquin has crossed another line that he can’t come back from.
o Conflict: Physical to the death against the Federale.
o Subtext: If it’s a fight they want, they’ve got it and he’s doing it the cartel way.
o Hope/Fear: Hope he kills him but don’t want him to cross the line, fear it’s the only way.
Scene 35
• Slugline: INT. COMPOUND – DAY
• Description: Joaquin brings the Federale’s head to the points tally.
• Scene Requirements:
o Scene Arc: From a Dante owning the points tallies to Joaquin.
o Essence:
o Conflict: Joaquin letting Arturo know he knows, and putting Dante on notice that he’s going to battle him for the win.
o Subtext: Joaquin is coming for them too.
o Hope/Fear: Hope he puts the fear in them, fear he’s putting a bigger target on his back.
Scene 36
• Slugline: EXT. CENTER OF TOWN – DAY
• Description: Day of the Dead. Rodrigo and Joaquin bond over the deaths of their children. Then Tomas acknowledges he understands his father’s position, he wants revenge against the cartel that killed his sister. Joaquin warns him that’s how Isabel was killed.
• Scene Requirements:
o Scene Arc: From honoring the dead to fear there will be another one.
o Essence: Joaquin strengthening his bonds with Rodrigo and Tomas.
o Conflict: Joaquin and his family against the cartel.
o Subtext: Blames Rodrigo for putting all of this in motion, killing his daughter.
o Hope/Fear: Hope it’s a peaceful day and Tomas listens, fear he won’t.
Scene 37
• Slugline: EXT. BEACH – DAY
• Description: Arturo’s team kidnaps American celebrities’ kids, kills their bodyguards.
• Scene Requirements:
o Scene Arc: From a fun day on the beach to being kidnapped.
o Essence: Arturo is going for big points.
o Conflict: The reach of the cartel.
o Subtext: It’s a ransom play.
o Hope/Fear: Hope the kids get away, fear they won’t.
Scene 38
• Slugline: EXT. CENTER OF TOWN – DAY
• Description: Rival cartel seeks revenge for their lab and come to Day of the Dead with guns blazing. Turns into a cartel versus cartel battle. Arturo sets up Joaquin to be killed by the rival cartel.
• Scene Requirements:
o Scene Arc: From a peaceful day to all out battle and betrayal.
o Essence: Arturo is trying to kill Joaquin and he knows it.
o Conflict: Battle. Arturo sets Joaquin up.
o Subtext: Arturo versus Joaquin is all about Camila.
o Hope/Fear: Hope that Joaquin won’t be killed, fear he will.
Scene 39
• Slugline: Hospital – Day
• Description: Santiago tells Joaquin he and community members want to work for him, he needs protection to win. Joaquin accepts.
• Scene Requirements:
o Scene Arc: From fear he’s going to be killed in the hospital to protected.
o Essence: He’s winning over the community.
o Conflict: Santiago and team are risking their lives for him.
o Subtext: He now has a realistic chance to win.
o Hope/Fear: Hope he can stay alive, fear they keep coming after him.
Scene 40
• Slugline: INT. WAREHOUSE / INT. HOSPITAL – DAY
• Description: Arturo tortures kids while videotaping them for ransom. Joaquin zooms in on his computer to examine where the kids were tortured.
• Scene Requirements:
o Scene Arc: Arturo is evil to can Joaquin save the kids.
o Essence: Joaquin hasn’t lost his moral compass, he’s just compromised it.
o Conflict: Torture of the children.
o Subtext: Joaquin isn’t just going after points, he’s going after cartel activities.
o Hope/Fear: Hope he can save them, fear he won’t be able to find them.
Scene 41
• Slugline: INT. COMPOUND – NIGHT
• Description: Points tally. Joaquin is way behind. Dante developed a new drug. Arturo is drawing international attention and already has part of the ransom. Maritza is furious and vows to come after the perpetrators.
• Scene Requirements:
o Scene Arc: From Joaquin surviving the attacks on him to falling way behind in the competition.
o Essence: Is Joaquin going to have to lose his morality completely to win?
o Conflict: The points stacking up against him.
o Subtext: He has a plan.
o Hope/Fear: Hope he can still win, fear he can’t.
Scene 42
• Slugline: EXT. CAR – NIGHT
• Description: Joaquin is searching a warehouse district. Is followed, chased. Santiago comes to his rescue.
• Scene Requirements:
o Scene Arc: From curiosity of what he’s doing to car chase and escape.
o Essence: He’s looking for the kidnap victims.
o Conflict: Arturo’s men shooting at him.
o Subtext: He found the kids.
o Hope/Fear: Hope he’ll find and rescue the kids, fear he won’t.
Scene 43
• Slugline: INT. TUNNELS – NIGHT
• Description: Joaquin steals money, night vision goggles, C4, military uniforms.
• Scene Requirements:
o Scene Arc: From arriving home safely to going into the tunnels and stealing.
o Essence: Using cartel stashes against them.
o Conflict: Joaquin putting himself further in their crosshairs.
o Subtext: He’s going to try to save the children.
o Hope/Fear: Hope he succeeds, fear he won’t.
Scene 44
• Slugline: INT. SANTIAGO’S RESTAURANT BACK ROOM – NIGHT
• Description: Joaquin gives Santiago money to mail to Brayden’s wife and children and a stack of letters – overnight one each day from outside of cartel territory – if found, he will be killed.
• Scene Requirements:
o Scene Arc: From thinking it’s about rescuing the kids to intrigue over the letters.
o Essence: The letters are a big part of his plan.
o Conflict: He’s really putting his trust in Santiago.
o Subtext: Will Santiago betray him?
o Hope/Fear: Hope he won’t, fear he will.
Scene 45
• Slugline: INT. COMPOUND – DAY
• Description: On TV and under duress, the Mexican President warns the US there will be consequences if the come to extract the kidnapped victims. Then he is shot in the head – by Dante.
• Scene Requirements:
o Scene Arc: A simple statement from the President to his assassination.
o Essence: Dante fears no one and can get to anyone.
o Conflict: The points keep adding up against Joaquin.
o Subtext: Dante is cleaning up Arturo’s mess, risking the US military coming.
o Hope/Fear: Hope the US military comes, fear for Joaquin if they do.
Scene 46
• Slugline: Points tally. Arturo wants to know if killing celebrity kids or using them as mules will get him more points. While this debate is going on, Santiago and his team free the hostages.
• Description:
• Scene Requirements:
o Scene Arc: From Arturo and Dante raking up more points to Joaquin stealing points from Arturo.
o Essence: Joaquin is still a good man and is smarter than Arturo and Dante.
o Conflict: Joaquin fighting to win while doing good.
o Subtext: They don’t know what is happening while they argue over points.
o Hope/Fear: Hope the kids get out safely, fear they or Santiago will die.
Scene 47
• Slugline: INT. VEGA RESIDENCE – NIGHT
• Description: Joaquin he’s going to be gone for a little while so he can give Rodrigo what he wants. He fills his backpack with his notebook, explosives, etc. Urges Camila and Tomas to stay away from Arturo while he’s gone. He disappears down the tunnel.
• Scene Requirements:
o Scene Arc: From victory over saving the children to a secret mission.
o Essence: He’s putting his plan in motion.
o Conflict: He’s going to be alone. And so are they.
o Subtext: Escalating dangers.
o Hope/Fear: Hope he’ll succeed quickly, fear something will happen to them.
Scene 48
• Slugline: EXT. / INT. VEGA RESIDENCE – NIGHT
• Description: Arturo learns Joaquin was behind the freeing of the hostages, not the US military. He’s going after him directly now. Knocks on the door. Camila opens it to buy Joaquin time. Stalls answering his questions. Arturo searches the room for clues of Joaquin’s whereabouts.
• Scene Requirements:
o Scene Arc: Arturo gets angrier, Camila is still protecting her husband.
o Essence: Camila is still choosing Joaquin over Arturo.
o Conflict: Arturo versus Camila.
o Subtext: Camila is stalling to protect Joaquin.
o Hope/Fear: Hope she stalls long enough, fear Arturo will find him.
Scene 49
• Slugline: EXT. COMPOUND – NIGHT
• Description: Arturo orders his men to find Joaquin in the tunnels and kill him. Pull up surveillance, but Joaquin has dismantled it.
• Scene Requirements:
o Scene Arc: Arturo has a beat on Joaquin to him being steps ahead.
o Essence: Set up for a battle between them.
o Conflict: Who will win?
o Subtext: Arturo fears Joaquin will win on both fronts.
o Hope/Fear: Hope Joaquin is long gone, afraid he’s still within reach.
Scene 50
• Slugline: INT. TUNNELS – DAY
• Description: Joaquin is chased, trapped by Arturo’s men. But he escapes.
• Scene Requirements:
o Scene Arc: Peace in the tunnels to a battle.
o Essence: Arturo is holding nothing back now.
o Conflict: Shootout in the tunnels.
o Subtext: Arturo’s scheme has failed.
o Hope/Fear: Hope Joaquin can survive, fear that he won’t.
Scene 51
• Slugline: INT. COMPOUND – DAY
• Description: Points tally. Dante and Arturo gain more points. None for Joaquin. Rodrigo announces he’s moving up the deadline to 72-hours.
• Scene Requirements:
o Scene Arc: From typical points tally to 72-hour deadline.
o Essence: Joaquin is running out of time.
o Conflict: Time.
o Subtext: Rodrigo is almost dead and there will be another cartel leader soon.
o Hope/Fear: Hope it will be Joaquin, fear he won’t get back in time.
Scene 52
• Slugline: EXT. OUTSKIRTS OF TOWN – DAY
• Description: Arturo tips off the rival cartel. Enlists Dante as well. They’ll all come from different directions.
• Scene Requirements:
o Scene Arc: Arturo’s scheming to Joaquin has no chance.
o Essence: They’re all coming for him.
o Conflict: A lot of firepower.
o Subtext: If he can survive, he still has to win the competition.
o Hope/Fear: Hope he can survive and accomplish the win, fear it’s impossible.
Scene 53
• Slugline: INT. TUNNEL – DAY
• Description: They’re coming at Joaquin three ways. He sets off explosives at a Y. Looks like he doesn’t get past it in time.
• Scene Requirements:
o Scene Arc: Trapped to presumed dead.
o Essence: Kills himself, or does he?
o Conflict: Joaquin is trapped by 3 factions, sets off explosives.
o Subtext: Does he survive? What will happen to his family?
o Hope/Fear: Hope he survives, fear he doesn’t.
Scene 54
• Slugline: INT. VEGA RESIDENCE – DAY
• Description: Arturo notifies Camila her husband his dead. Promises to take care of her, wants her and Tomas to live with him. She tries to contact Joaquin. No response.
• Scene Requirements:
o Scene Arc: Husband dead, but she isn’t convinced.
o Essence: Arturo thinks he’s won and wants to seal it up.
o Conflict: Camila versus Arturo.
o Subtext: Arturo has boxed her into a corner. But is her husband really dead?
o Hope/Fear: Hope she doesn’t agree to his offer, afraid she’ll have no choice.
Scene 55
• Slugline: EXT. SANTIAGO’S RESTAURANT – DAY
• Description: Camila goes to Santiago. Arturo’s men have taken over the restaurant, killing some of his men, Santiago escaped and fled. She’s losing her support system.
• Scene Requirements:
o Scene Arc: An option for her safety to dead end.
o Essence: Arturo is taking out any other option and opposition.
o Conflict: Arturo’s men.
o Subtext: Santiago isn’t dead, he’s going to be back.
o Hope/Fear: Hope Santiago comes and saves her, fearful he’s gone into hiding.
Scene 56
• Slugline: EXT. TUNNEL IN US – DAY
• Description: Joaquin emerges. Phone doesn’t work. He’s captured by US immigration.
• Scene Requirements:
o Scene Arc: He’s alive to he’s captured.
o Essence: He’s alive but surely he can’t win now.
o Conflict: Joaquin versus border control.
o Subtext: Why doesn’t he run?
o Hope/Fear: Hope they will just let him go, fearful they won’t.
Scene 57
• Slugline: INT. US IMMIGRATION DETENTION CENTER – DAY
• Description: Joaquin is on the terror watch list. He asks immigration if they gave his notebook to Maritza. They ignore him. Asks for a phone, they won’t give him one.
• Scene Requirements:
o Scene Arc: In trouble to this is part of his plan.
o Essence: This is his plan, but will immigration cooperate.
o Conflict: Immigration officers don’t seem to be cooperating.
o Subtext: He’s ratting out the cartel.
o Hope/Fear: Hope they believe him and save his family, afraid they won’t.
Scene 58
• Slugline: INT. ARTURO’S RESIDENCE – DAY
• Description: Tomas storms out. Arturo consummates the relationship with Camila. He slips, says something to Camila about how incredible she looked in the bathtub.
• Scene Requirements:
o Scene Arc: Moving into Arturo’s place to knowing he was the stalker.
o Essence: Arturo gets what he wants.
o Conflict: Manipulation by Arturo.
o Subtext: He betrayed her.
o Hope/Fear: Hope she doesn’t go through with it, fear she does.
Scene 59
• Slugline: INT. IMMIGRATION DETENTION CENTER – DAY
• Description: Maritza comes to speak to Joaquin. He asks if she got his letters and the notebook.
• Scene Requirements:
o Scene Arc: Time is ticking to Maritza is listening.
o Essence: Suspense. Will she go along with his plan?
o Conflict: Maritza’s hatred for the cartel, but why would she trust him?
o Subtext: What exactly is his plan?
o Hope/Fear: Hope he can convince her, afraid she won’t do anything.
Scene 60
• Slugline: EXT. IMMIGRATION DETENTION CENTER – DAY
• Description: Joaquin is escorted to another building by Maritza and a guard. An explosion…
• Scene Requirements:
o Scene Arc: Walk to another building to an explosion.
o Essence: He set this up.
o Conflict: Explosion.
o Subtext: He’s going to kill her.
o Hope/Fear: Hope he comes out of this unscathed and doesn’t kill her, fearful that he has lost his humanity.
Scene 61
• Slugline: INT. COMPOUND – DAY
• Description: Joaquin arrives just in time. Joaquin confronts Arturo – this was all about Camila. Asks Rodrigo whose idea the competition was – Arturo’s. And his family to come – Arturo’s. Joaquin shows evidence that he killed Maritza. Rodrigo crowns Joaquin the winner and hands him a gun to put him out of his misery. Joaquin shoots Rodrigo. Sets off another explosion. Guns down Dante. Arturo runs.
• Scene Requirements:
o Scene Arc: Will this be enough for Joaquin to win to cartel leader intent on killing his rivals.
o Essence: Joaquin wins but he has lost his daughter and his humanity.
o Conflict: Shooting, explosions. Joaquin versus his enemies.
o Subtext: Has Joaquin become just like them. Replacing one brutal leader with another?
o Hope/Fear: Hope he still has some morals, fearful he’s become them.
Scene 62
• Slugline: Joaquin chases Arturo through the compound, pre-rigged with explosives and traps. Santiago joins the fight, but gets injured. Tomas shows up, which distracts Joaquin. Now is trapped by Arturo. Tomas shoots Arturo, saves his dad.
• Description:
• Scene Requirements:
o Scene Arc: Chasing to trapped to saved.
o Essence: History repeating itself, or not?
o Conflict: Protagonist versus Antagonist.
o Subtext: Joaquin’s wound.
o Hope/Fear: Hope this ends well, fearful it won’t.
Scene 63
• Slugline: INT. COMPOUND – DAY
• Description: Maritza is alive, but only shows her face when it’s just her and Joaquin. She leans down over the dying Rodrigo. Tells him Joaquin could never be related to him and is glad her face will be the last one he sees. As the new cartel leader, Joaquin, with Maritza, are ready to take on the other cartels.
• Scene Requirements:
o Scene Arc: Maritza is alive to now they’re taking on the cartels together.
o Essence: They faked Maritza’s death to dismantle the cartel.
o Conflict: Rub salt in Rodrigo’s wound. Future conflict with the other cartels.
o Subtext: Joaquin double-crossed the cartel.
o Hope/Fear: Hope there is a sequel , fearful Joaquin will once again be in danger.
Scene 64
• Slugline: INT. COMPOUND – DAY
• Description: Camila runs to Joaquin and he forgives his wife.
• Scene Requirements:
o Scene Arc: Camila relieved and apologetic to Joaquin forgiving her.
o Essence: The Vega’s will never have to deal with Arturo, or Dante, or Rodrigo again.
o Conflict: What Arturo did to Camila.
o Subtext: He forgives, but can he forget?
o Hope/Fear: Hope he does, fearful he won’t.

[Renee Miller]

Renee’s Scene Requirements
My Vision: I will be in the top 1% of screenwriters and be known in the industry as an Alist screenwriter who is easy to work with, gets the job done, and never has to worry about the next job.

What I learned from this assignment is how to look at each scene and determine the structure needed to keep each scene interesting and intriguing.

ACT 1: SETUP AND RISING SUSPICION
INT. BASEMENT – DAY
– Scene Arc: Transition from the planned act of violence to an abrupt interruption.
– Essence: Establish the dark comedic tone and the ongoing struggle between murderous impulses and daily interruptions.
– Conflict: The internal conflict of the character between their killer instinct and the normal world knocking at their door.
– Subtext: The killer's life is still very much active, but they are pretending to be reformed or normal.
– Hope/Fear: Hope that the character can suppress their violent urges; fear that they might revert to old habits.
EXT. HOUSE – DAY
– Scene Arc: Shift from secrecy to a momentary interaction with normalcy.
– Essence: Display the dichotomy between the character's dark inner world and their outward appearance.
– Conflict: The tension between maintaining a facade of normalcy while hiding a dark secret.
– Subtext: Despite surface interactions, there's a profound struggle within.
– Hope/Fear: Hope that Lily can maintain her disguise; fear that her true nature will be discovered.
INT. BEDROOM NIGHT
– Scene Arc: Introduction of Marcus, setting the stage for future suspicions.
– Essence: To introduce another layer of mystery concerning Dr. Thorn’s past.
– Conflict: Marcus's curiosity versus the potential danger of uncovering the truth.
– Subtext: Marcus might be digging too deep into dangerous secrets.
– Hope/Fear: Hope that Marcus finds useful information; fear that this knowledge could endanger him.
INT. OFFICE – DAY
– Scene Arc: Dr. Thorn's internal confrontation with her past.
– Essence: Explore the protagonist’s inner turmoil and dedication to redemption.
– Conflict: Dr. Thorn's past crimes versus her current attempts at atonement
– Subtext: She's terrified that her past will catch up with her.
– Hope/Fear: Hope that she can overcome her past; fear that it will undo her.
INT. SECURITY ROOM – DAY
– Scene Arc: Transition from trust to surveillance.
– Essence: Justifying intrusive measures under the guise of safety.
– Conflict: Ethical dilemma of surveillance versus privacy
– Subtext: Dr. Thorn doesn't fully trust the reformation of her group
– Hope/Fear: Hope that surveillance prevents violence; fear that it might provoke distrust and backlash.
INT. KITCHEN – DAY
– Scene Arc: Preparation meets reality; setting a calm before the potential storm.
– Essence: Showing Hope's attempt to create a welcoming, safe environment.
– Conflict: Hope's internal struggle between her nurturing role and her awareness of the underlying dangers.
– Subtext: The normalcy of the snacks contrasts with the group's dark past.
– Hope/Fear: Hope that her preparations foster peace; fear that they are futile.
EXT. DOCK – DAY
– Scene Arc: Final preparations before the group’s arrival.
– Essence: To establish a sense of false security and welcome.
– Conflict: Dr. Thorn's preparation against the backdrop of impending chaos.
– Subtext: Despite her efforts, danger is imminent.
– Hope/Fear: Hope that everything goes as planned; fear of the unknown variables with the group’s arrival.
EXT. FERRY BOAT – DAY
– Scene Arc: Felix begins to weave his deceptive narrative.
– Essence: Introduce Felix’s manipulative nature and false backstory.
– Conflict: Felix's fabricated vulnerability versus his hidden agenda.
– Subtext: Felix is already manipulating the narrative to his advantage.
– Hope/Fear: Hope that his story garners sympathy; fear that he is setting a trap.
EXT. DOCK – LATE AFTERNOON
– Scene Arc: The first real interaction between Dr. Thorn and her group.
– Essence: Establishing initial impressions and the dynamic between Dr. Thorn and the members.
– Conflict: Members’ skepticism versus Dr. Thorn’s welcoming demeanor.
– Subtext: Everyone is hiding something, and first impressions are crucial.
– Hope/Fear: Hope that the welcome eases tensions; fear that skepticism prevails.
EXT. PATH TO HOUSE – LATE AFTERNOON
– Scene Arc: Movement towards the main setting of the story, building anticipation.
– Essence: Transitioning from the outside world into Dr. Thorn’s controlled environment.
– Conflict: The Group’s curiosity and anxiety about what awaits versus Dr. Thorn’s assurance.
– Subtext: The path is a metaphor for the journey each member is taking, from their past to potential redemption.
– Hope/Fear: Hope for a new beginning; fear of relapsing into old habits.
INT. LOUNGE – DAY
– Scene Arc: Setting the ground rules and establishing authority.
– Essence: Dr. Thorn asserts control and sets expectations.
– Conflict: Dr. Thorn's need for control clashes with the group’s need for autonomy.
– Subtext: Dr. Thorn’s controlling nature might be a mask for her insecurity.
– Hope/Fear: Hope that strict rules keep everyone safe; fear that they stifle and provoke rebellion.
EXT. GARDEN AREA – LATE AFTERNOON
– Scene Arc: Felix integrates more with the group.
– Essence: Show Felix’s strategic social integration.
– Conflict: Felix's hidden motives versus his outward charm.
– Subtext: Felix is playing a long game, laying the groundwork for future manipulations.
– Hope/Fear: Hope that Felix finds community; fear that he's deceiving everyone.
INT. KITCHEN – DUSK
– Scene Arc: Lily confides in Dr. Thorn, revealing her fears and struggles.
– Essence: Strengthen the bond between mentor and mentee, showcasing trust and vulnerability.
– Conflict: Lily’s fear of relapse against her desire to reform.
– Subtext: Lily’s research into toxins could be a hint at her not being fully reformed.
– Hope/Fear: Hope that Lily embraces reform; fear that she reverts to old ways.

INT. BALLROOM – EVENING
– Scene Arc: Casual interaction escalates into deeper connections.
– Essence: To build camaraderie and test the waters of trust.
– Conflict: Group members' reluctance to open up versus the need to connect.
– Subtext: Each confession is trivial but masks deeper secrets.
– Hope/Fear: Hope that sharing builds trust; fear that it exposes vulnerabilities.
INT. LOUNGE – EVENING
– Scene Arc: Dr. Thorn is questioned about her motivations, revealing her discomfort.
– Essence: To probe the sincerity and stability of Dr. Thorn’s leadership.
– Conflict: Dr. Thorn's secretive nature versus the group's demand for transparency.
– Subtext: Dr. Thorn is still guarded about her past and current motivations.
– Hope/Fear: Hope that she maintains authority; fear that her evasiveness undermines trust.
INT. FOYER DAY
– Scene Arc: Discovery of the first murder within the group, mirroring past crimes.
– Essence: Shock the group and shift the dynamic from suspicion to reality of danger.
– Conflict: The group’s analytical approach to the murder versus the emotional shock
– Subtext: The group is using their knowledge of crime to detach from the horror.
– Hope/Fear: Hope for a rational explanation; fear that a killer is among them.
EXT. ISLAND PATHS – DAY
– Scene Arc: Felix uses the murder to sow further distrust while pretending to bond.
– Essence: To deepen Felix’s integration and manipulation within the group.
– Conflict: Felix’s false concern versus his true intentions.
– Subtext: Felix is testing the waters to see how easily he can manipulate the members.
– Hope/Fear: Hope that the walk calms nerves; fear that it deepens suspicions.
INT. FOYER – DAY
– Scene Arc: Dr. Thorn finds a clue that could be a breakthrough or a red herring.
– Essence: Introduce a tangible piece of evidence to complicate the investigation.
– Conflict: The potential lead versus the possibility of it being misleading.
– Subtext: The clue might be planted to mislead Dr. Thorn.
– Hope/Fear: Hope that the clue leads to the killer; fear that it's a diversion.
INT. LIBRARY – DAY
– Scene Arc: Lily’s personal documentation adds a layer of personal insight and unintentionally captures a clue.
– Essence: To provide a personal perspective on the unfolding events and introduce a subtle clue.
– Conflict: Lily’s need to express her fears versus the risk of exposing too much.
– Subtext: Lily’s diary is a safe space, but it’s also a vulnerability.
– Hope/Fear: Hope that documenting helps Lily cope; fear that it exposes her weaknesses.
INT. DINING ROOM – DAY
– Scene Arc: Accusations and defenses escalate the group's tension to a breaking point.
– Essence: To highlight the breakdown of trust and the rise of paranoia within the group
– Conflict: Accusations flying among members versus the need for solidarity.
– Subtext: Everyone is on edge, and trust is crumbling.
– Hope/Fear: Hope that dialogue resolves tensions; fear that it incites conflict.
INT. DR THORN’S OFFICE – DAY
– Scene Arc: Isolation becomes inevitable as the storm prevents any escape.
– Essence: Cement the isolation and heighten the stakes with no easy way out.
– Conflict: The need for safety versus the trap of the island.
– Subtext: The storm is a metaphor for the turmoil within the group.
– Hope/Fear: Hope that they can manage the crisis internally; fear that being trapped escalates the danger.
INT. THERAPY ROOM – DAY
– Scene Arc: A teambuilding exercise meant to build trust ends in horror with a new murder.
– Essence: To juxtapose teamwork with betrayal, enhancing the shock.
– Conflict: The group's effort to build trust versus the stark reality of another murder.
– Subtext: The blindfolds symbolize the group’s blindness to the killer’s identity.
– Hope/Fear: Hope that the exercise strengthens trust; fear that it exposes them to more danger.
ACT 2: DEEPENING MYSTERY AND MISDIRECTION
INT. THERAPY ROOM – DAY
– Scene Arc: Dr. Thorn profiles each member, seeking inconsistencies.
– Essence: To delve into the psychological depths of each member, using Dr. Thorn’s killer instincts.
– Conflict: Dr. Thorn’s suspicions versus the members' defensiveness.
– Subtext: Dr. Thorn is using the profiling to reassure herself as much as to find the killer.
– Hope/Fear: Hope to uncover the killer; fear that this may alienate or provoke the members.
INT. MARCUS’S ROOM – DAY
– Scene Arc: Felix plants evidence to frame Marcus.
– Essence: To escalate the suspicion towards Marcus, shifting the narrative focus.
– Conflict: Felix’s manipulation versus Marcus’s unawareness.
– Subtext: Felix is exploiting the group’s vulnerabilities.
– Hope/Fear: Hope that Felix’s actions go unnoticed; fear that they trigger premature accusations.
INT. MEDICAL ROOM – DAY
– Scene Arc: Lily's injury leads to an unexpected interaction.
– Essence: A moment of vulnerability for Lily that also humanizes the groundskeeper.
– Conflict: Lily's self-care versus the groundskeeper’s suspicion.
– Subtext: Lily is still capable of causing harm, even to herself.
– Hope/Fear: Hope that Lily is genuinely seeking help; fear that she's backsliding.
INT. HALLWAY – DAY
– Scene Arc: Felix subtly incriminates Marcus to Lily.
– Essence: Increase paranoia and suspicion towards Marcus.
– Conflict: Felix’s deceit versus Lily’s growing suspicion.
– Subtext: Felix is manipulating Lily’s trust.
– Hope/Fear: Hope that Lily sees through the deception; fear that she falls for it.
INT. COMMON AREA – NIGHT
– Scene Arc: Circumstantial evidence implicates Marcus.
– Essence: To almost conclusively tilt suspicion towards Marcus.
– Conflict: Dr. Thorn’s investigation versus Marcus’s potential innocence.
– Subtext: Dr. Thorn might be wrong in her conclusions.
– Hope/Fear: Hope that justice is near; fear of a wrongful accusation.
INT. DR. THORN’S OFFICE – NIGHT
– Scene Arc: Felix finds incriminating evidence about Dr. Thorn.
– Essence: To arm Felix with a tool for psychological warfare.
– Conflict: Felix’s preparation for future confrontations versus Dr. Thorn’s ignorance of the breach.
– Subtext: Felix is gathering ammunition for a critical strike.
– Hope/Fear: Hope that the breach remains undiscovered; fear that it escalates the situation.
EXT. ISLAND GROUNDS – DAY
– Scene Arc: Felix sows more doubt about Marcus and hints at Dr. Thorn missing clues.
– Essence: Felix widens the net of suspicion, including towards Dr. Thorn.
– Conflict: Felix’s manipulation versus the group’s confusion.
– Subtext: Felix is positioning himself as the rational observer.
– Hope/Fear: Hope that his manipulations are subtle; fear that they cause chaos.
INT. FOYER – DAY
– Scene Arc: Another clue seemingly implicates Marcus further.
– Essence: To compound the evidence against Marcus, tightening the narrative tension.
– Conflict: The accumulation of evidence versus Marcus’s unawareness.
– Subtext: The evidence may be too perfect, hinting at a setup.
– Hope/Fear: Hope that the true killer is revealed; fear of a miscarriage of justice.
INT. DINING ROOM – NIGHT
– Scene Arc: Group dynamics are fraught with tension and accusation.
– Essence: To display the breaking point of group cohesion.
– Conflict: Open suspicion versus the need for solidarity.
– Subtext: The dinner is a microcosm of the group’s overall state.
– Hope/Fear: Hope for clarity; fear that accusations escalate to violence.
EXT. ISLAND PATHS – NIGHT
– Scene Arc: Felix nearly gets caught manipulating evidence.
– Essence: To heighten suspense and nearly expose Felix.
– Conflict: Felix’s stealth versus Dr. Thorn’s sudden appearance.
– Subtext: Felix is closer to being caught than ever before.
– Hope/Fear: Hope that Felix escapes detection; fear that his plot unravels.
INT. THERAPY ROOM – DAY
– Scene Arc: The therapy session devolves into chaos with accusations.
– Essence: To show the breakdown of any remaining trust.
– Conflict: The group's fear and suspicion versus Dr. Thorn’s attempts at control.
– Subtext: The group is on the edge of fracturing completely.
– Hope/Fear: Hope for reconciliation; fear that conflict leads to more violence.
EXT. ISLAND GROUNDS – DAY
– Scene Arc: Felix follows Marcus, setting the stage for his final act against him.
– Essence: To prepare for a pivotal, tragic moment in the narrative.
– Conflict: Felix’s plotting versus Marcus’s need for solitude.
– Subtext: Marcus is unaware of the danger he’s in.
– Hope/Fear: Hope that Marcus finds peace; fear that Felix’s plan succeeds.
EXT. GAZEBO – DAY
– Scene Arc: Marcus is isolated and vulnerable, playing into Felix’s narrative.
– Essence: To deepen the tragedy of Marcus’s situation.
– Conflict: Marcus’s despair versus Felix’s manipulation.
– Subtext: Marcus is being positioned as a scapegoat.
– Hope/Fear: Hope that Marcus gains clarity; fear that he’s wrongfully targeted.
INT. VARIOUS LOCATIONS – NIGHT
– Scene Arc: Characters express their innermost fears and suspicions.
– Essence: To give depth to each character’s perspective.
– Conflict: Individual reflections versus the group’s turmoil.
– Subtext: These confessions may not be entirely truthful.
– Hope/Fear: Hope that confessions are cathartic; fear that they are manipulative.
EXT. ISLAND PATH – NIGHT
– Scene Arc: Lily spots Marcus alone, heightening her concern.
– Essence: To build suspense and concern for Marcus.
– Conflict: Lily’s worry versus her hesitation to intervene.
– Subtext: Lily is torn between suspicion and empathy.
– Hope/Fear: Hope that Lily helps Marcus; fear that she is too late.
INT. DR. THORN’S OFFICE – NIGHT
– Scene Arc: Lily alerts Dr. Thorn to Marcus’s location, prompting action.
– Essence: To trigger a critical response from Dr. Thorn.
– Conflict: Lily’s initiative versus Dr. Thorn’s calculated approach.
– Subtext: Lily is becoming more proactive, possibly shifting her allegiance.
– Hope/Fear: Hope that Dr. Thorn intervenes in time; fear that it’s a trap.
INT. SECURITY ROOM – NIGHT
– Scene Arc: Dr. Thorn and Lily review footage, discovering Felix’s shadow.
– Essence: To reveal Felix’s involvement subtly and increase doubt.
– Conflict: The evidence of Felix’s involvement versus Dr. Thorn’s skepticism.
– Subtext: Dr. Thorn is close to connecting the dots, but doubts linger.
– Hope/Fear: Hope that they uncover the truth; fear that Felix remains undetected.
EXT. GAZEBO – NIGHT
– Scene Arc: The discovery of Marcus’s staged murder shocks everyone.
– Essence: To culminate the act with a shocking, pivotal murder.
– Conflict: The horror of the discovery versus the need to solve the mystery.
– Subtext: The staging suggests a message or a signature from the killer.
– Hope/Fear: Hope for a breakthrough in the case; fear that the killer is still at large.
ACT 3: RETHINKING EVERYTHING

EXT. GAZEBO – CONTINUOUS
– Scene Arc: Dr. Thorn is overwhelmed by guilt and horror, signaling a shift in her approach.
– Essence: To amplify the emotional impact of Marcus’s death on Dr. Thorn.
– Conflict: Dr. Thorn's guilt versus the group’s need for leadership.
– Subtext: Dr. Thorn questions her own judgment and the potential biases that led her here.
– Hope/Fear: Hope that this catalyzes a more effective strategy; fear that it paralyzes her.

EXT. GAZEBO – LATER

– Scene Arc: Transition from shock to proactive investigation.
– Essence: Dr. Thorn regains control and focuses on solving the mystery.
– Conflict: The group's fear of being next versus their skepticism of Dr. Thorn’s methods.
– Subtext: Dr. Thorn is fighting to regain her authority and the group’s trust.
– Hope/Fear: Hope that new strategies reveal the killer; fear that the killer strikes again.

INT. DR. THORN’S OFFICE – DAY

– Scene Arc: Lily confronts Dr. Thorn about her methods, reflecting growing internal division.
– Essence: To show the rising tensions and doubts within the group.
– Conflict: Lily’s confrontation with Dr. Thorn’s authority.
– Subtext: Lily is perhaps being manipulated or beginning to think for herself.
– Hope/Fear: Hope that Dr. Thorn reassures her; fear that the rift grows.

EXT. ISLAND GROUNDS – DAY

– Scene Arc: A tension-filled trust-building exercise.
– Essence: Attempt to rebuild trust among the group.
– Conflict: Members' reluctance versus Dr. Thorn’s insistence on cooperation.
– Subtext: Everyone is suspicious, making genuine trust difficult.
– Hope/Fear: Hope that trust is restored; fear that it further alienates members.

Scene 45: INT. DINING ROOM – DAY

– Scene Arc: Another murder during a communal meal heightens the fear.
– Essence: To shock and destabilize the group further.
– Conflict: The sudden murder versus the group’s attempt at normalcy.
– Subtext: The poisoner’s own method turns against them, irony at its darkest.
– Hope/Fear: Hope that no more deaths occur; fear that the killer is unstoppable.

INT. SECURITY ROOM – NIGHT

– Scene Arc: Dr. Thorn takes a decisive step to control the environment.
– Essence: Show Dr. Thorn’s shift from reactive to proactive.
– Conflict: Dr. Thorn’s control measures versus the group's feeling of being monitored.
– Subtext: Dr. Thorn is desperate to end the killings, even at the cost of personal freedoms.
– Hope/Fear: Hope that this stops the killer; fear that it turns everyone against her.

INT. GREAT ROOM – DAY

– Scene Arc: Collective effort to piece together the murder puzzle.
– Essence: A collaborative investigation to combine all known information.
– Conflict: The group's cooperation versus their underlying distrust.
– Subtext: Working together might be their only chance, despite the suspicions.
– Hope/Fear: Hope that collaboration reveals the killer; fear that it leads to more confusion.

INT. DINING HALL – LATER

– Scene Arc: Analysis of the murder patterns leads to more questions.
– Essence: Deepening the mystery of the killer’s identity and motive.
– Conflict: Theory crafting versus the reality of their dangerous situation.
– Subtext: The first murder’s difference is a crucial clue being overlooked.
– Hope/Fear: Hope that understanding the pattern helps; fear that it misleads them.

INT. LIBRARY – EVENING

– Scene Arc: A meticulous review of evidence for overlooked details.
– Essence: To capitalize on the group’s combined efforts in finding inconsistencies.
– Conflict: The strain of detailed analysis versus the urgency of catching the killer.
– Subtext: Everyone has something to hide, which might cloud judgment.
– Hope/Fear: Hope that new details emerge; fear that critical clues are missed.

Scene 50: EXT. GROUNDS – DAY

– Scene Arc: Physical search of the island for clues.
– Essence: To physically engage the group in the investigation.
– Conflict: The search’s potential for discovery versus the impending storm.
– Subtext: The storm symbolizes the culmination of the building tension.
– Hope/Fear: Hope that evidence is found; fear that the storm disrupts the search.

INT. GREAT ROOM – EVENING
– Scene Arc: Confrontations over inconsistencies in stories.
– Essence: To heighten the tension and suspicion within the group.
– Conflict: Accusations based on new evidence versus members’ defenses.
– Subtext: Trust is at an all-time low, paranoia at an all-time high.
– Hope/Fear: Hope that confrontations clarify the situation; fear that they escalate to violence.

INT. GREAT ROOM – LATER
– Scene Arc: Felix attempts to destabilize Dr. Thorn's leadership by revealing her past.
– Essence: The climax of Felix’s manipulation.
– Conflict: Felix’s revelations versus Dr. Thorn’s credibility.
– Subtext: Felix is using Dr. Thorn’s past as a weapon.
– Hope/Fear: Hope that Dr. Thorn maintains control; fear that Felix’s plan succeeds.

ACT 4: CLIMAX AND RESOLUTION

INT. GREAT ROOM – NIGHT

– Scene Arc: Lily exposes Felix with conclusive evidence.
– Essence: The resolution of the murder mystery.
– Conflict: Lily’s confrontation with Felix versus his last-ditch efforts to manipulate.
– Subtext: Lily has grown from a potential victim to a key player.
– Hope/Fear: Hope that Felix is finally stopped; fear that he has one last trick.

INT. HALLWAY – CONTINUOUS

– Scene Arc: Physical restraint of Felix, his true nature fully revealed.
– Essence: The physical culmination of the group’s struggle against Felix.
– Conflict: The group’s reaction to Felix’s accusations versus his attempts to divide them.
– Subtext: Felix’s desperation is evident in his actions and words.
– Hope/Fear: Hope that Felix is subdued; fear that his words cause lasting damage.

INT. GREAT ROOM – CONTINUOUS

– Scene Arc: Dr. Thorn is confronted with her past and its impacts on the present.
– Essence: Dr. Thorn faces the full consequences of her actions.
– Conflict: Dr. Thorn’s past crimes versus her attempts at redemption.
– Subtext: The group’s mixed reactions reflect broader societal views on justice and redemption.
– Hope/Fear: Hope for understanding and forgiveness; fear of irreparable condemnation.

INT. GREAT ROOM – LATER
– Scene Arc: Dr. Thorn decides to turn herself in, affirming her commitment to change.
– Essence: Dr. Thorn’s ultimate act of taking responsibility.
– Conflict: Dr. Thorn’s decision versus the group’s varied reactions.
– Subtext: This is her final step in seeking redemption.
– Hope/Fear: Hope that her decision brings closure; fear that it’s too late for redemption.

EXT. BOAT DOCK – NIGHT

– Scene Arc: Dr. Thorn and Felix leave the island, each facing their future.
– Essence: Closure and continuation for both main characters.
– Conflict: Their shared journey to the mainland, filled with unresolved tension.
– Subtext: They are both prisoners in different ways.
– Hope/Fear: Hope for justice and healing; fear of what lies ahead for both.

INT. FOYER – MORNING

– Scene Arc: A final group session emphasizes forgiveness and moving forward.
– Essence: To wrap up the group’s journey and set the tone for their futures.
– Conflict: The struggle to accept the past and embrace the future.
– Subtext: The dawn symbolizes new beginnings.
– Hope/Fear: Hope for healing and new starts; fear that past scars are too deep.

EXT. DOCK – DAY

– Scene Arc: Members leave the island changed by their experiences.
– Essence: A visual representation of their emotional journey.
– Conflict: Each member’s personal resolution versus their ongoing challenges.
– Subtext: The boat journey away from the island is a metaphor for moving on.
– Hope/Fear: Hope that they find peace; fear that they revert to old ways.

EPILOGUE: MONTAGE

– Scene Arc: A series of vignettes showing the long-term outcomes for key characters.
– Essence: To provide closure and reflect on the long-term impacts of Dr. Thorn’s and the group’s experiences.
– Conflict: Individual struggles with their past and their attempts to move forward.
– Subtext: Life goes on, but the past leaves indelible marks.
– Hope/Fear: Hope that they find fulfillment and redemption; fear that old habits resurface.

EXT. MANSION – DAY
– Scene Arc: The mansion as a symbol of peace and a new beginning.
– Essence: To leave a final impression of hope and renewal.
– Conflict: The mansion’s past horrors versus its peaceful present.
– Subtext: The mansion, like its inhabitants, has undergone a transformation.
– Hope/Fear: Hope for a new, positive chapter; fear of the past repeating.

[Edward Lusk]

ED's SCENE REQUIREMENTS
MY VISION is to be a bankable, reputable, and industry go-to writer who’s demonstrated how to entertain and hold an audience’s attention through unforgettable characters and stories that are as enjoyable to write as they are to watch.
What I learned doing this assignment is by outlining this way I could identify if my scenes contained or lacked the requirements and adjust accordingly. This technique helped ensure a more complete outline and better scene design.
ACT 1.

INT. WINTERBERRY MANOR – GREAT ROOM – NIGHT

Scene Arc: Grandpa Nick’s and Grandma Evie’s quite winter’s night is interrupted by an unexpected visitor who arrives via down their chimney.
Essence: This is no ordinary chimney or ordinary couple.
Conflict: The visitor is not expected and has broken their magical chimney
Subtext: The Bellamy’s are keepers of a magical chimney.
Hope/Fear: They hope the visitor has good news/They fear the chimney is broken beyond repair.

INT. DEPARTMENT STORE – FRAGRANCE COUNTER – DAY

Scene Arc: Howie Bellamy treats customers badly and insults them with humor
Essence: Howie’s doesn’t like Christmas
Conflict: Howie against his customers
Subtext: Howie not a happy person and covers it with humor.
Hope/fear: Howie hopes his day will improve. Fear his day will get worse.

INT. – FRAGRANCE COUNTER

Scene Arc: Howie’s insulted by a gay couple and then is attracted to a strange young man, Jasper, whose upstaging him with his customers.
Essence: Jasper shows up and defends Howie despite his rudeness
Conflict: The gay couple insults Howie, he insults them back. Jasper caught in the middle.
Subtext: Howie finds Jasper’s attractive in an odd sort of way
Hope/fear: Howie hopes Jasper stays. Fear Jasper will be gone forever.

INT. FRAGRANCE COUNTER

Scene Arc: Jasper is strangely popping in and out of locations around the counter until Howie, captures hjm by the hand sparking potential love interest until Howie accidentally sprays Jasper’s face in the face with cologne leaving Jasper burning and Howie fawning over him.
Essence: Howie and Jasper’s antics depend their meet up while getting the attention of the Store Santa – Jesùs, Howie’s best friend.
Conflict: Howie’s sorry he hurt Jasper. Jesús jealous of Howie and Jasper.
Subtext: Howie’s not a bad person despite his outward appearance.
Hope/fear: Howie’s hopes Jasper is not injured. Fear: Jasper will reject Howie for injuring him.

INT. DEPARTMENT STORE – DAY

Scene Arc: Howie goes from helping Jasper to being dumped by his boyfriend.
Essence: Howie’s caring for Jasper leads to his relationship breakup.
Conflict: Boyfriend suspects Howie of cheating breaks up with Howie. Jesús steps in to defend Howie.
Subtext: Howie is suspicious he was being spied on by The Boyfriend. Jesús has deeper feelings for Howie than a friend.
Hope/fear: Howie hopes for understanding. Howie fears rejection and loneliness.

INT. DEPARTMENT STORE

Scene Arc: Jasper makes a dignified exit but not before warning the bystanders they are all going on the “naughty list.” The shoppers turn uncharacteristically polite. Unknown to Jasper he leaves behind a special snowflake pendant, which Howie finds.
Essence: There’s still hope Howie and Jasper will be together.
Conflict: Jasper leaves in a huff. Howie’s unsure what to do.
Subtext: People Howie cares about keep leaving him. Jasper has magical abilities.
Hope/Fear: Howie will go after Jasper. Fear: Howie will give up on love.

INT. MALL – DAY

Scene Arc: Jasper weeps nostalgically over a North Pole themed store window and shops for hardware implements he’s unsure what to buy.
Essence: Jasper is up to something yet unknown
Conflict: Jasper doesn’t know what to buy exactly.
Subtext: Jasper is up to something
Hope/fear: Hope, Jasper’s plan involves helping Howie. Fear: Jasper’s plan involves hurting Howie.

INT. DEPARTMENT STORE – SANTA’S PHOTOGRAPH CASTLE – DAY

Scene Arc: Howie sits on Jesús lap expresses his self-pity while Jesús, still dressed as Santa, provides comfort. Howie is invited to Grandparent’s Winterberry Manor Jesús talks Howie into going.
Essence: Howie’s life has gone to hell and Jesús sees an opening to advance their friendship into something more. Jesús (santa) will grant any wish Howie wants, Howie sees as a lie.
Conflict: Doesn’t want to go to Winterberry Manor. Jesús trying to persuade Howie to go.
Subtext: Howie’s wound – betrayal and rejection. Jesús has a hidden agenda.
Hope/fear: Hope that Howie will rebound and go the Winterberry Manor. Fear Howie will lapse into depression and stay alone over Christmas.

INT. WINTERBERRY MANOR – GREAT ROOM – NIGHT
Scene Arc: Howie and Jesús arrives Winterberry Manor ,over hear his grandparents worried about Howie’s favorite fireplace being broken impacting Christmas. Grandparents lie to Howie they were discussing a child’s fable not the actual fireplace.
Essence: The Winterberry fireplace has a key role in the story.
Conflict: Grandparents are covering up something
Subtext: Howie wants a Christmas like old days
Hope/fear: Hope Howie will have a MerryChristmas at Winterberry. Fear: His family is covering something up related to Howie’s happiness.

ACT 2

INT. HOWIE’S BEDROOM – NIGHT

Scene Arc: Howie enters his room, Jasper emerges from the shower, they scare each other. Jesús and Grandpa Nick join the fray. Howie learns Jasper is here as his Grandparents caregiver. Howie and Jesús have their doubts.
Essence: Howie’s surprised to find Jasper at Winterberry Manor under suspicious reasons.
Conflict: Jasper is lying about being here. He’s up to something.
Subtext: Mutual attraction and mutual suspicion
Hope/fear: Hope Howie rekindles his romance with Jasper. Fear: Howie will throw Jasper out.

INT. KITCHEN – NIGHT

Scene Arc: Howie’s concerned about his grandparents wellbeing. Jesús raises the question Jasper might be a scam artist. Howie and Jesús plan to uncover the truth.
Essence: Howie and Jesús want to know the truth about Jasper.
Conflict: Howie and Jesús have to lie to Jasper
Subtext: Distrust and suspicion for unknown motives.
Hope/fear:Hope Howie is right. Fear Howie is in danger.

INT. GREAT ROOM – NIGHT

Scene Arc: Grandma Evie assures Howie everything is fine and hints at the need for a traditional Christmas. Sacrifices must be made leaves Howie wondering. Grandma Evie asks Howie for a fabric to complete her Christmas quilt. Howie refuses hurting her feelings.
Essence: Howie and Grandma Evie are not in agreement when it comes to Christmas celebrations.
Conflict: Grandma Evie wants peace and harmony Howie’s not ready to give it.
Subtext: Howie’s hurt and Grandma Evie wants to help
Hope/fear: Hope: Howie drops his guard. Fear: Howie stays resentful.

INT. HOWIE’S BEDROOM – NIGHT

Scene Arc: Howie video calls his sister GRACE, raising his suspicions and questions about Jasper and Grandma Evie’s hint about family sacrifices. Grace tries to calm Howie’s worries, inquires if he’s spoken to mom and dad, which angers Howie. Grace wants Howie to give Grandma Evie the fabric as it will make her happy.
Essence: Grace offers advice, encouragement, and humor, helping to ground Howie and provide him with a sense of family connection.
Conflict: Howie and Grace do not agree on family obligations.
Subtext: Grace is family mediator, wanting Howie to find happiness.
Hope/fear:Hope Howie will listen to Grace. Fear. Howie will shut Grace out too.

INT. GREAT ROOM – DAY
Scene Arc: Jesús and Jasper decorate the room while Jesús casually asks personal questions while Howie eave drops and googles Jasper’s replies looking for the truth about him.
Essence: Jesús and Howie are in cahoots spying on Jasper
Conflict: Spying, lying and mistrust while decorating
Subtext: Howie’s fascination/attraction about Jasper deepens.
Hope/fear: Hope: Howie doesn’t find anything incriminating about Jasper. Fear: Howie finds dirt on Jasper

INT. GREAT ROOM – DAY

Scene Arc: Grandpa Nick interrupts the spying delivering the news the storm is too bad for anyone to leave or arrive causing Jasper to sound desperate. Grandpa Nick will work on the fireplace while Jasper pledges to make Winterberry Christmas the best it’s ever been , Jesús agrees, souring Howie’s disposition.
Essence: Everyone but Howie is making the best of the situation.
Conflict: Howie despises merriment the others want more of it.
Subtext: Grandpa Nick and Jasper have some sort of understanding unknown to Howie.
Hope/fear: Hope: Howie joins in the fun. Fear: Howie ruins everyone’s Christmas.

INT. KITCHEN – DAY

Scene Arc: Howie pledges he’ll ruin Jasper’s plans and show him the door. Jesús agrees which is suspicious. Jesús lets it slip that Jasper’s being here was not part of the plan. Jesús confesses the gay couple at the store was a set up. Jesús wanted to get Howie to Winterberry Manor alone with him for Howie’s benefit.
Essence: Jesús has an agenda to be more than friends with Howie.
Conflict: Howie was lied to and manipulated
Subtext: Howie has trust issues and feels betrayed.
Hope/fear: Hope: Howie forgives Jesús. Fear: Howie ends Jesús friendship.

INT. GREAT ROOM – DAY

Scene Arc: Jasper and Grandpa Nick work frantically on fixing the chimney while the shouts of Howie and Jesús argument pulsate from the kitchen. Grandpa Nick and Jasper discuss who should go in there and help. Jasper goes despite his need to work on the chimney.
Essence: Jasper caught in a dilemma to either fix the chimney or help Howie.
Conflict: Jesús betrayal. Jasper’s priorities.
Subtext: There’s something important to Jasper about the chimney. Jasper has feelings for Howie.
Hope/fear: Hope: Howie stops being angry. Fear: Howie says something he regrets.

INT. KITCHEN – DAY
Scene Arc: Jasper enters to stop to fight with the idea to bake cookies. Jesús and Howie argue over who’s going to help bake. Howie’s will do it because he hates baking cookies anyway and will ruin them.
Essence: Howie has a plan to ruin anything Jasper tries to do to make Christmas merry.
Conflict: Jesús wants to be with Howie. Jasper wants to be with Howie. Howie doesn’t want to be with either of them.
Subtext: Howie’s emotions are in turmoil.
Hope/fear: Hope: Howie enjoys baking with Jasper. Fear: Howie sabotages the bake.

INT. KITCHEN DAY
Scene Arc: Howie does his best to ruin the baking while Jasper opens up to Howie why he’s not home for Christmas eluding to moment of rejection earning Howie’s empathy and attraction. Despite Howie’s efforts the cookies are mysteriously perfect.
Essence: Jasper and Howie have something in common.
Conflict: Howie trying to ruin the moment. Jasper’s making it special.
Subtext: Jasper has a positive effect on Howie.
Hope/fear: Hope: Howie experience Jasper’s affection. Fear: Howie will succeed in ruining the movement.

INT. GREAT ROOM – DAY

Scene Arc: Jesús joyfully helps Grandpa Nick and Grandma Evie decorate the tree while sharing his missing his family back in Mexico. The Bellamy’s share he’s always welcome here and they love him. Jesús wants their take of Howie and Jasper. They do seem to get along which is rare. Grandpa Nick infers Jasper has to get home soon. Jesus returns to kitchen finding plate of delicious cookies.
Essence: Jasper has to leave soon leaving the door open for Jesús’s attempt to still have a romantic relationship with Howie.
Conflict: Jesús sees Jasper is good for Howie complicating his plans.
Subtext: Jasper has to go somewhere soon reason and where in unknown.
Hope/fear: Hope: Jasper stays for
Howie Fear: Jasper’s leaving doesn’t hurt Howie.

INT. HOWIE’S BEDROOM – DAY
Scene Arc: Howie’s looking through old family Christmas photo’s when he was a boy which bring a tear to his eye. His attention drawn to a disturbance outside his window. He sees Jasper’s , head first, half way down the chimney. His legs kicking widely. Howie goes onto to roof.
Essence: Howie had happy Christmas at one time. Jasper needs his help.
Conflict: Jasper’s foolishness interrupts Howie’s reminiscing.
Subtext: Howie had happy Christmas. Howie cares about Jasper.
Hope/fear: Hope: Howie rescues Jasper. Fear: Howie falls off the roof.

EXT. WINTERBERRY MANOR – ROOF – DAY
Scene Arc: Howie creeps up on Jasper. He hears him talking to someone in the chimney. Howie rescues Jasper out of the chimney didn’t need to be. They’re close enough to kiss but do not.
Essence: Howie rescues Jasper form the chimney with unknown circumstances why he’s there.
Conflict: Jasper didn’t want assistance. Physical attraction not acted upon.
Subtext: Jasper up to something strange. Howie fondness for Jasper grows
Hope/fear: Hope: Howie kisses Jasper. Fear: Howie has enough of Jasper’s foolishness.

INT. HOWIE’S BEDROOM – DAY
Scene Arc: Howie helps Jasper back into his room. They fall upon Howie’s bed across from one another. They’re physically close. Howie presses Jasper on what’s he’s up to. Jasper misdirects Howie to consider fixing his family and leave the chimney to him, it’s his fault it’s broken and runs off.
Essence: Jasper rejects Howie’s help and metaphorically Howie’s love. The broken chimney is Jasper’s fault and only he alone can fix his mistake.
Conflict: Jasper’s not being honest and Howie’s not being honest with himself.
Subtext: There’s close attraction and neither Jasper or Howie act on it.
Hope/fear: Hope: Howie takes Jasper’s advice. Fear: Howie rebukes Jasper.

INT. LIBRARY – DAY
Scene Arc: Jasper enters with Howie following. Howie takes pity on Jasper admitting everyone makes mistakes – he trusted those who he loved only to have his trust broken. Jasper would not understand that because he’s too over confident in people’s goodwill. Jasper counters – that feeling of being “stranded” is powerful and even some “elves” lack good will.
Essence: Howie and Jasper have experienced betrayal and heartbreak in different ways.
Conflict: Howie and Jasper don’t understand each other on this point.
Subtext: They’ve both made mistakes they regret.
Hope/fear: Hope Howie’s persuades Jasper. Fear: Howie pushes Jasper away.
INT. PARLOR – DAY

Scene Arc: Jasper sadly plays the piano. Howie talks heart to heart talk with Grandma Evie confiding he feels lost and deeply desires to rekindle his belief in magical, heartfelt connections, if only he knows how to let go of his hurt. Grandma Evie about to supply sage advice when Jesús interrupts with an idea.
Essence: Howie needs help.
Conflict: Howie doesn’t know how to get it help.
Subtext: Howie’s a disillusioned romantic.
Hope/fear: Hope: Howie get’s help. Fear: Howie doesn’t get help.

INT. PARLOR – DAY
Scene Arc: Jesús has a Christmas piñata in hand the perfect cure for healing the blues and want them to participate. Grandma Evie declines she has sewing to do.
Essence: Jesús hates to see everyone unhappy.
Conflict: Jesús interrupted Grandma Evie’s advice to Howie.
Subtext: Jesús doesn’t want to be alone.
Hope/fear: Hope: Howie participates. Fear. Howie withdraws.

INT. GRAND HALL – DAY
Scene Arc: Jasper, Howie, and Jesús partake in smashing the piñata which is rollicking good fun until hidden jealousy and attraction between Jesús and Howie and Howie and Jasper get a little too competitive. Insinuations fly and somethings should have best be left unsaid.Howie and Jasper leave in a huff. Jesús, upset, binges on the candy.
Essence: A planned good time ends in disaster.
Conflict: Jesús and Jasper compete for Howie affections. Howie unsure what do to.
Subtext: Fear of losing Howie. Friend grappling with jealousy.
Hope/fear: Hope: Howie has a good time. Fear: Howie sabotages the fun.

INT. JESÚS ROOM – NIGHT
Scene Arc: Howie interrogates Jesús’s over his jealousy around Jasper. Jesús reveals he’s always had deeper feelings for Howie but Howie can’t see it because he’s consumed with mistrust and cynicism keeping everyone away. Outside the door Jasper listen’s in then enters charming them with an idea – who likes to ice skate?
Essence: Jasper has an idea how to get Howie and Jesús together.
Conflict: Jasper set aside feelings for Howie, for Howie’s benefit.
Subtext: Jasper helps other covering his failures.
Hope/fear:Hope Howie falls in love with Jesus. Fear:

EXT. WINTERBERRY POND – NIGHT
Scene Arc: Jasper tricks Howie and Jesús into an ice skating date. It’s beautiful and romantic decorated with twinkling lights. Howie’s suspicious of how Jasper did it so fast, Jesús is too thrilled to care. Jasper leaves them alone.
Essence: Jasper’s working his magic concocting a date for Howie and Jesús.
Conflict: Howie does’t want Jasper to leave. Jesús want to be alone with Howie.
Subtext: Jasper’s has strange magic ability.
Hope/fear:Hope:Howie finds happiness in the moment. Fear: Howie doesn’t have a good time.

INT. GREAT HALL – NIGHT
Scene Arc: Jasper is trying to fixing the chimney with Grandpa Nick assisting. Jasper believes Howie and Jesús new romance should work out. There’s not much time left to repair the chimney Christmas Eve is tomorrow. Jasper realizes he doesn’t have his snowflake pendant.

Essence: Grandpa Nick and Jasper have shared interest in a repaired chimney.Jasper realizes he doesn’t have his pendant.
Conflict: Howie and Jesús romantic success is Jasper’s loss.
Subtext: Failure to repair the chimney impacts Christmas Eve.
Hope/fear: Hope: Howie

INT. PARLOR – NIGHT
Scene Arc: Grandma Evie’s video call with Grace reporting good news. It appears Howie and Jesús are hitting it off. Grace is happy. She get to Winterberry Manor as soon as she can. Her parents will not be making the journey as they stay in the city. Based on Howie’s admission Grandma Evie is sure Howie is ready to learn the truth about him. Grace disagrees as its too risky if the plan doesn’t work.
Essence: Grace and Grandma Evie share information about Howie
Conflict: Grace can’t leave. She disagrees about sharing unknown information about Howie with him.
Subtext: Grace knows something about Howie that he does not.
Hope/fear: Hope: Howie learns the truth and it good news. Fear: Howie learns truth and it’s bad news.

INT. GREAT HALL – NIGHT
Scene Arc: Howie and Jesús return in good spirits. Howie startles Jasper on a ladder working on a mantel clock causing him to fall. Howie breaks Jasper’s fall and in the process knocks off Jasper’s silly cap revealing he has elfish like features.
Essence: Jasper has been hiding the fact he’s an elf.
Conflict: Jasper’s been lying by cover up his real identity.
Subtext: Jasper’s is an elf.
Hope/fear: Hope Howie is not put off by Jasper’s reveal. Fear: Howie rejects Jasper for being an elf.

INT. GREAT HALL – NIGHT
Scene Arc: Grandma Evie declares it’s time to clear the air. Jasper explains he defied Santa and left the North Pole to fix the chimney. Jasper wanted to show his elves he’s better than they think. He’s not sure exactly how the magical “Keystone Chimney” works. If he doesn’t fix it Santa can’t come down chimney’s around the world. He needs help afraid to ask.
Essence: Jasper is a stranded elf who’s fate impacts Christmas
Conflict: The chimneys broke and Jasper can’t fix it placing Christmas at risk
Subtext: Jasper has something to prove. Howie feels betrayed
Hope/fear: Hope Howie will help Jasper. Fear: Howie won’t help Jasper.

Scene Arc: Jesús is enthralled that Santa and North Pole exists while Howie thinks this is all another one of Jesús’s set ups. He tries to pull off Jasper’s pointed ears only to give Jasper a little thrill – elves ears are erogenous zones. Howie’s angry Jasper didn’t trust him with the information. Jasper was fearful he’d be rejected for being someone not like them.
Essence: Fear of rejection stops Jasper from being truthful.
Conflict: Howie doesn’t believe the story.
Subtext: Howe feels betrayed and trust issues arise with Jesús
Hope/fear:Hope: Howie believes Jasper. Fear: Howie rejects Jasper.

INT. DINING ROOM – NIGHT
Scene Arc: Jasper explains repairing the chimney requires the help of a person who must perform an “enactment of the true Christmas spirit” and that person is Howie, who resents the idea. Grandma Evie begs him to reconsider. Howie will reconsider but wants to know how his favorite chimney got involved in this in the first place.
Essence: Howie plays a key role in saving Christmas but doesn’t understand why.
Conflict: Howie’s and Christmas don’t get along. Helping means sacrificing.
Subtext: Jasper overconfidence Howie can help. Helping means Jasper will leave.
Hope/fear: Hope Howie puts his grudge aside and helps. Fear: Howie won’t perform the enactment.

INT. BEDROOM – NIGHT
Scene Arc: On a video call with Grace, she talks Howie into it performing the “enactment of true Christmas spirit”. Howie has no idea exactly what it is but thinks it has to do with confronting his parents. Howie discovers Grace has been in on this family conspiracy too. Why is he the last to know and why has she not told him about it? The call goes out before she can answer.
Essence: Howie’s family keeping something from him.
Conflict: Howie helping means emotional healing.
Subtext:Howie’s afraid to confront his past
Hope/fear:Hope Howie is strong enough to help. Fear. Howie lacks the courage to do what’s right.

ACT 3

INT. KITCHEN – DAY

Scene Arc: Everyone brain storming ideas for the “enactment of the Christmas spirit.” The fun stops when Howie watches a TikTok of his Ex-Boyfriend promoting a fragrance Howie created pushing Howie to shut down hating his life – again. Howie storms off committed to not loving or helping anyone for anything ever again.
Essence: Howie’s can’t be relied upon to perform the “enactment”
Conflict: Another betrayal shuts down Howie
Subtext: Using the Tin Tok to avoid pain and maintain control.
Hope/fear: Hope: Howie will be a better person. Fear: Howie reverts back to his old self.

INT. CONSERVATORY – DAY
Scene Arc: Howie confesses he does not want Jasper to leave. He’s falling in love with him. Jasper confesses Jasper knows this because both Jasper and Howie were both North Pole elves.Howie escaped the North Pole using the Chimney and left Jasper behind. His parents adopted him. Jasper came back to Winterberry to take Howie home. It wasn’t to make the repair after all. Jasper can’t find his snowflake pendant to show Howie he has magical abilities.
Essence: Howie and Jasper share a greater bond that Howie was unaware of.
Conflict: Howie is an elf and everyone else knew it. Howie knows about the pendant but won’t admit to it to keep Jasper here.
Subtext: Howie has the magical abilities.
Hope/fear: Hope: Howie accepts himself as an elf Fear: Howie rejects being an elf.

INT. GREAT ROOM – DAY
Scene Arc: Howie confronts Grandpa Nick. Using his old book as illustration, Nick tells the tale: Bellamy’s have protected the chimney for generations because one Christmas Eve a Bellmay, grandpa’s grandpa, accidentally met Santa coming down the chimney. A Christmas act no one has ever witnessed. The young Bellamy gave Santa a present, the snowflake pendant, endearing the Bellamy’s to Santa and his legacy forever.

Essence: Winterberry Manor and the Bellamys place an integral role in the celebration of Christmas and Santa’s travels.
Conflict: Howie secretly has the snowflake pendant.
Subtext: Howie has a way out, if he chooses to use it.
Hope/fear: Hope Howie will keep the legacy going. Fear: Howie will ruin it.

INT. JASPER’S ROOM – DAY
Scene Arc: Howie doesn’t believe Jasper is gay knowing he’s an elf. Jasper insists he is gay as all North Pole elves are by their nature are gay people. Jesús pushes his personal agenda it’s time to get Jasper home.
Essence: Howie accepts his new elf identity and confirms Jasper is gay too.
Conflict: Jasper’s double entendre has Howie guessing
Subtext: revealing true identity, vulnerability. Trust.
Hope/fear:Hope Howie will be okay without Jasper. Fear: Howie falls apart.

INT. GREAT ROOM – NIGHT
Scene Arc: The mantel clock strikes 10. The group brainstorms what the “enactment of Christmas spirit,” actually is. The brainstorm turns to argument as hidden emotions and accusations rise to the service. Grace arrives, she has an idea. Grandma Evie needs the remaining fabrics to complete to traditional Christmas quilt. Howie, Jesús, and Jasper scramble to get there’s. Grandma Evie sews frantically as the clock ticks away.
Essence: No one knows what the “enactment of the Christmas Spirit” is, leaving little time for Jasper to return to NP and save Christmas.
Conflict: Stress of the situation gets to the Bellamys and quests.
Subtext: Accusations, mistrusts and old family squabbles.
Hope/fear: Hope: Howie completes the task. Fear: Failure.

INT. GREAT ROOM – NIGHT
Scene Arc: Howie and Jasper share a moment – should this quilt work, it’s time to say good bye. Jasper wants to stay as the Bellamy’s are like family to him. Howie insist he must go and fulfill his elf duty. Jasper’s idea – Howie can come too. He declines as crazy as his family is he loves them and can’t leave. Grandma Evie finished the quilt.
Essence:If the quilt is the “enactment” the chimney will work and Howie must say goodbye to Jasper.
Conflict: Neither Howie or Jasper want to leave each other.
Subtext: Howie has open his heart again and ready to try love.
Hope/fear: Hope: Howie will be alright. Fear: Broken heart and sadness for Howie.

INT. GREAT ROOM – NIGHT
Scene Arc: Grandma Evie completes the quilt. Jasper readies himself by the chimney. No one knows what is suppose to happen. Howie wraps Jasper in the quilt. Grandma Evie kisses Jasper good bye. Nothing happening. Jasper kicks the fireplace only to replace a cloud of soot into the room. Among the coughing and complaining Howie’s parents walk in.
Essence: The completed Christmas quilt is not the enactment of the Christmas spirit.
Conflict: The quilt doesn’t work. Howie’s parents arrive.
Subtext: Howie’s parents have a change of heart.
Hope/fear: Hope: Howie doesn’t get angry and reconciles. Fear: Howie rejects his parent being here.

INT. GREAT ROOM – NIGHT
Scene Arc: Jasper stops Howie from running off. Howie Howie introduces Jasper as his boyfriend, daring his parents to reject him again. Parents explain they were afraid Howie was going to come out as an elf, not being gay which is fabulous. Coming out as an elf would harm the Keystone Chimney’s magic jeopardizing the family’s duty to protect it. They’re sorry they couldn’t tell him but they do love him. Can Howie forgive them? Howie tells the parents he does love them and forgives them.
Essence: Howie’s parents never meant to hurt him they were trying to protect him from his elf heritage.
Conflict: Howie misunderstands his parents and the family secret.
Subtext: Secrets lead to mistrust
Hope/fear: Hope Howie understands and forgives. Fear: The truth would anger him more

INT. GREAT ROOM – NIGHT
Scene Arc: The gift of family love and unity enacts the Christmas spirit bringing the magical chimney to life. It’s five minutes to midnight. Jasper’s missing. Jasper returns, he can’t find his snowflake pendant it’s key for the chimney to work. Howie gives up the pendant, placing it around Jasper’s neck and hugs goodbye. Jasper dissolves up the chimney just as the clock strikes midnight – Christmas Eve.
Essence: The gift of family love and unity enacts the Christmas spirit bringing the magical chimney to life.
Conflict:Missing pendant. Howie surrenders it.
Subtext: Sacrifice's made.
Hope/fear: Hope: Howie does the right thing. Fear: Howie holds the pendant.

INT. JESUS ROOM – NIGHT
Scene Arc: Howie seeks comfort in Jesús but he can’t be found. Grandpa Evie delivers the news that Jesús has left. Howie’s left emotionally healed with his family but alone again. Grandma Evie comfort him that everything will be okay he’s with family now.
Essence: Howie’s alone with his family on Christmas Eve.
Conflict: Jesús is missing.
Subtext: Emotional healing family togetherness.
Hope/fear: Hope Howie he sees Grandma Evie’s point. Fear: he feels abandoned.

INT. DEPARTMENT STOERE – RETURNS COUNTER – DAY
Scene Arc: Howie’s working the returns counter. Someone hidden behind a gift wrapped box approaches. The person drops the box revealing Jasper! Howie dumfounded as to how? Jasper leads Howie away from inpatient customers. Howie opens the gift – it’s a snow globe of North Pole. Howie shakes it revealing to us…Jesús is working as an elf. He makes a “heart” symbol so Howie can see it. Jasper explains they made a switch approved by Santa.

INT. NORTH POLE – SANTA CASTLE – DAY
Essence: Jesús is working as an elf, having the time of his life making toys.
Conflict: Jesús misses Howie but is enjoying himself
Subtext: finding one’s calling. Seeking happiness.
Hope/fear: Howie os happy for Jesús. Fear: Howie is sad for Jesús.

INT. WINTERBERRY MANOR
Scene Arc: Howie and Jasper receive “the old book” from Grandpa Nick bestowing them as the new custodians of the magic chimney. Howie insist Grandpa Nick keep it. It’s his duty. Nick wants them to further their romance and newfound roles in preserving Bellamy Christmas traditions and secrets. They best succeed or Jesús won’t make it back.Howie kisses Jasper under the mistletoe.

Essence: The Bellamy tradition is passed along to next generation saving the Keystone Chimney and it’s secrets.
Conflict: Argue over his is best to keep traditions going.
Subtext: emotional healing, trust.
Hope/fear:Hope: Howie takes the traditions role. Fear: he doesn’t want to protect the tradition.

[Michael Collado]

Mike’s Intriguing Moments

My Vision is to write an original screenplay, make a couple of calls to pitch it, to start a bidding war.

From this lesson, I learned how to add new intrigue to the emotions already there – again, I also learned that Chat GPT’s response parallels my moments but in broader strokes.

Act 1:

1 Surprise: While on an unauthorized stakeout, Jocinda saves a woman from a domestic beating, but because she left, the burglar gets away. We see Jocinda exiting the detective’s bullpen with snide remarks tossed her way as she carries a box. Her reply to them at the door is, “If it were a man who saved that woman, you would be getting an accommodation for doing it off duty!”
2 Theme stated: Detective Sibowits, her training officer, stops her before she leaves and gives her some advice. “You have to know how to play the game before you can change the rules.”
2 Love/Hidden Weakness: Jocinda has a tender moment with her Goddaughter as she rolls up to the house where Ava is doing her chores. Jocinda’s sister Latisha and her husband Kofi watch from the window, and we find out Kofi is unhappy with this unannounced visit. He hates it when she is there because she always shows Ava shortcuts that bypass hard work. She shows this to be true with a memorization shortcut that gets Ava out of the doghouse with her dad.
4 Moral Issues: Jocinda battles the Little League board and its president, Mr. Jones because they do not want a woman to manage one of their teams. She shoots down every reason they come up with. The one that works in her favor is that she is the only one in the room who played ball in college.
5 Surprise: Jocinda announces that she will be taking over the coaching job for Ava’s team, the Twins, because of the extra time on her hands. Now, the fact that she is on suspension is out in the open, and Kofi, under his breath, mutters, “I knew it!”
6 Surprise: At the first practice, Coach Jo discovered that the team was curiously stacked with eleven-year-old brainiacs.
7 Courage: Ava introduces the team from the dugout to Jocinda, explaining that they all have nicknames. Coach Jo questions the nicknames, and Ava explains that they are nicknames they gave each other so they can ignore the mean ones.
8 Emotional Dilemma: The intro about TyRod reveals that he lost his mother and older brother in an accident. The intro for Stanley “Stats” Dombrowski is that he is an autistic kid that they kind of adopted, and he sits in the bleachers, keeps statistics in a notebook, and waits for his mom to complete her workout.
9 Funny Dilemma: Coach Jo questions some nicknames and gets a humorous answer. On the ones she guesses the reason for, she is totally wrong. For example, Tyler “TyRod” Rodriguez, she thinks it’s like A-Rod, and Ava explains it is because he helped his dad with the family car one day, and when they walked up, he was holding the tie rod for the suspension. When she takes a shot at Jonah “Babel” Martinez, she thinks it is because he talked so much; Ava gives her a strange look and explains it because his family speaks about fifteen languages. When Coach Jo looks at her funny, Ava explains,” You know, like, the Tower of Babel?”
10 Funny Dilemma: While practicing, the brainiacs are very awkward at the fundamentals of baseball. When Coach Jo brings out the CD for them to watch with their parents, the kids question the intent, like, “Wait, what? Watch this with our parents?”
11 Funny Dilemma: Coach Jo meets the neighborhood crackpot, the zany Doc Cosmo Von Spin PHD, and whether she knows it or not, he shows her, in his own comical and physiological way, how to teach kids with this caliber of intelligence.
12 Superior Position: Earlier in the day, Mr. Black watched Nanobots attach themselves to specific neurons, forming a seamless connection with the host’s motor cortex.
13 Covert Agenda: Mr. Jones secretly goes to Mr. Black, the CEO of the Vitamin company, with concerns that Jocinda is a Detective. Here, we see Mr. Black Playing Catch with a chimpanzee.
14 Hidden weakness: After the first plan involving the CD is a bust because she learns the parents are worse than the kids. Coach Jo takes the first step in healing her wound by using Doc Cos’s help. She passes out a rule book and a book on baseball strategy, explaining that learning baseball is like learning chess. You cannot win a game if you do not know how to counter the first move in the Queen’s Gambit. The kids are impressed with the analogy.

Act 2 New Plan

15 Secret: Ava is a little worried about TyRod, but a FaceTime call puts her at ease. During the call, we see a clean bedroom with TyRod folding clothes from the laundry.
16 Hidden Weakness: The next step with Doc Cos’ help, Coach Jo doesn’t teach batting stances; she teaches parabolas. She explains how the arc of a pitch follows a quadratic trajectory. “Visualize the vertex,” she tells them. “That’s where the sweet spot lives.” And they are excited because they understand. They start timing their bat swing to meet the ball. Their objective is to maximize the coefficient of restitution as the bat— or lever—makes contact with the baseball, transforming linear momentum into a parabolic trajectory dictated by the initial velocity vector and the angle of incidence.
17 The pitchers are taught that the spin’s direction determines the lift force’s orientation. For instance, a topspin (forward spin) induces a downward lift force, causing the ball to drop more sharply than gravity alone would dictate. Conversely, a backspin (reverse spin) generates an upward lift force, resulting in a deceptively “floating” pitch.
18 Conspiracy: Mr. Black and Mr. Jones meet again, this time in the Synapse Tech Systems Laboratory, where Mr. Black is also the CEO. We see a pill-making machine being installed in the lab with Vita Solutions boxes next to it.
19 Covert Agenda: Later that week, Mr. Jones picks up a new batch of vitamins from Mr. Black, along with a list of boys he wants to take this new version of vitamins.

Act 2 Plan in Action:

20 Hidden Identity: Ava calls TyRod again because she is worried, but things are fine once again. We see TyRod leave his clean bedroom and enter a living room that looks like a tornado ran through it. He stops as he closes his bedroom door and stares for a moment. His father looks at him with glassy eyes and a raggedy beard and catches his stare. He Snaps and slurs, “WHAT? WHAT DO YOU WANT FROM ME?” A tear runs down Ty’s face, and he responds, “I want you to be with me, Dad, NOT with them.” TyRod tosses the CD from Coach Jo onto the Couch, and it lands on a picture of his Mom and Brother.
21 Success/Winning: All Twins’ baseball fundamentals are improving, kids are playing permanent positions, and their knowledge of the games has grown the fastest as they see the game more clearly now. A couple of the kids who were designated pitchers enjoyed seeing how the ball reacted in different ways when the laces were spinning in a specific manner.
22 Intrigue: Mr. Black is in the stands watching a different game. He employs a slow, sinister clap and grins as he witnesses one of the boys taking the new vitamins make a catch in the outfield, imitating Willie Mays’ patented basket catch.

Act 2 – Midpoint Turning Point:

23 Intrigue: Jocinda sees the same catch. She is in awe, and then she notices Mr. Black in the stands enjoying what he sees. She watches the game for a while and notices some other plays that remind her of some of the late great professional baseball players. She also notices Mr. Black’s reaction to each.
24 Scheme: Mr. Jones gets Mr. Black’s attention, then nods to look up the Sideline. Coach Jo’s notetaking has piqued Mr. Black’s interest.

Act 3 – Rethink everything:

25 Intrigue: With a murder board on the wall of her RV, Coach Jo is trying to figure out what is happening. She turns her interest to two boys in particular, the one boy who reminds her of Willie Mays and the other who reminds her of Ty Cobb, but only because of his hard play on the bases.
26 Intrigue: After another good practice, Coach Jo gathers the kids on the bleachers around Stats to include him in the talk. She asks if anyone has noticed anything odd about the other players. After some funny comments, Smitty, the catcher, says he notices some of the better players twitch their little fingers. Drip chimes in that some of them wink at him. Coach Jo is fascinated by this information.
27 Funny Dilemma: Drip’s statement results in some comical banter, which leads to his subtext proclamation that he likes Izzy.
28 Superior Position: Mr. Jones visits Mr. Black in his Laboratories because he is concerned about the minor side effects he is starting to notice. In the background by the new machine are bottles of the same vitamins Mr. Jones is handing out to the Little League.
29 Intrigue: Mr. Black brings out a new chimp to play catch with Willie; her name is Sandy. Sandy winds up and pitches the ball to Willie. It’s a thing of beauty and an exact imitation of Sandy Koufax. Mr. Jones is in awe and forgets about the side effects.
30 Secret: We see Jocinda open an email. The subject of the email is Mr. Black. (Here is where we learn of Mr. Black’s menacing background.
31 Cover-up: Coach Jo hints at Mr. Jones about her theory, and with Mr. Jones’s reaction, she knows she is on the right path.
32 Intrigue: Because of the teams and Coach Jo’s good-hearted interest in Stats, his mom, Debra, has Coach Jo over for dinner. There, Coach Jo learns from Stats in a unique way, which is his way of showing affection, that the pinky twitch and the wink are characteristics of Willie Mays and Hank Aaron. It finally dawns on her what has been missing, but before she leaves, she asks Stats to do something for her and also realizes that Debra might be a love interest.

Act3 – New Plan:

33 Wound: Coach Jo goes to her sister’s house, and Kofi wants to know why she is meeting with Doc Cos. When she confesses that he has been giving her tips on how to coach the team, Kofi is confused but happy she is asking for help. He then points out that asking for help is a step in the right direction for a new you.
34 Intrigue: Coach Jo learns from her sister that the nanobots are a tectological breakthrough and that Mr. Black must have cracked the code to bridge the gap to transmit information. The nanobots are programmed with great athlete’s movement and instincts that will interface with the neural network, accessing the muscle memory and instinctual responses. Once connected, the nanobots act as conduits, relaying the athlete’s expertise directly to the subject’s motor neurons. This technology will revolutionize human potential. Imagine a world where anyone can perform at the level of a champion, breaking insurmountable barriers. She also learns that Mr. Black’s company makes the kids’ vitamins.
35 Superior Position: Mr. Black reaches back into his past for help to eliminate Coach Jo.
36 Wound: Coach Jo eats some crow and calls and explains her theory to Det. Sibowits. Det. Sibowits backs her play, and she gets him some vitamins for testing.

Act 3 – Turning Point: Huge failure / Major shift:

37 Intrigue: Mr. Jones tells Mr. Black what Coach Jo knows about the secret program. Mr. Black reveals to Mr. Jones that it will not be a problem by tomorrow.
38 Cover Up: The vitamin analysis comes back. The vitamins are clean of any foreign matter, especially Nanobots. Det. Sibowits tries to reach Jocinda but must leave a message. He contacts Latisha and gives her the bad news.
39 Intrigue: Latisha goes to Jocinda’s RV to see if she is there; no Jocinda, but she sees the murder board, and something dawns on her.

Act 4 – Climax/Ultimate expression of the conflict:

40 Secret: In the first game of the championship series, Coach Jo reads tips from one of Stats’ notebooks. The tips are about Willie Mays, Hank Aaron, Ty Cobb, and a few other past greats’ weaknesses at the plate and in the field, which she passes on to her pitchers. This information neutralizes their talent at the plate, and the Twins have a stunning win in the series’ first game.
49 Cover Up: Coach Jo wakes up and is tied up in a chair. She looks around, and she is in a laboratory. She sees Sandy and Willie playing catch and has to do a double take. Mr. Black comes into the Lab.
50 Cover Up: Coach Jo reveals that the police are testing the vitamins as they speak. Mr. Black informs her that they are testing the placebo and will find nothing.
51 Cover Up: They will not even find you! We have taken your RV, and you will have a tragic accident in it, probably because you were so depressed at the fact that you failed yet again because of your arrogance and history of not asking for help.
52 Success/Winning: Det. Sibowits and the whole Detective unit come bursting into the Lab, guns drawn. Latisha tested one of her friend’s vitamins, confirmed nanobots were lased in them and notified Det. Sibowits, who had just gotten off the phone with Mr. Jones, who had a change of heart for the kids and called in the information.

Act 4 – Resolution:

53 Success/Winning: In the championship game, the Twins play Mr. Jones’ team without the nanobots’ assistance, and the brainiacs prove that any physical game can be learned through sound scientific research. And yes, TyRod’s father is in the stands, all cleaned up, wanting to be a dad again.

Closing Image:

54 Excitement: The team celebrates a well-played season for their baseball achievements. Jo watches proudly, her place as coach and mentor firmly established.
55 The final shot mirrors the opening but now shows Jo confident and respected, having found a new purpose and path—through the detective unit, not around it, which helps expand her problem-solving ideas.

• This reply was modified 11 months ago by  Michael Collado.

[Bob Creager]

Bob Creager’s Scene Requirements
VISION: As a screenwriter, I aspire to craft highly unique, high-concept stories that intrigue from the first glance and reach an A-list storytelling level at my own pace.
What I learned: A bit of a long process but it really fills in the blanks identifying holes in the scene progression.
OUTLINE 1
TITLE: VAMPIRE SANTA: THE 12 DAYS OF CHRISTMAS
ACT 1: OLD WAYS
1: EXT. SLEIGH ABOVE – CRIMSON NORTH – NIGHT
(CHRISTMAS EVE – DAY 0) Nicholas Samichlaus, aka Santa Claus and a centuries-old vampire, struggles with bloodlust intensified during Christmas. Dawn approaches. Santa delivers toys. Asks Eirlys for a drink. She's run out. He soldiers on. She says that the night is over. Come back next year. Santa pleads for one more, a sick child. Eirlys begs him to stop. You know what will happen.
[Scene Requirements]
• Scene Arc: From determination to deliver gifts to succumbing to bloodlust
• Essence: Establish Santa's dual nature and his struggle
• Conflict: Santa's mission vs. his vampire needs
• Subtext: The weight of his curse and Eirlys' fear
• Hope/Fear: Hope he resists, fear he succumbs
2: INT. CHILD'S HOUSE – NIGHT
(DAY 0) Collapses at the child's house, uses his waning powers to attract a drug-addled boy, her brother. He feeds. Rejuvenated, he delivers to the young girl sleeping by the tree. Santa grabs Eirlys, taps his nose, flies away through the ceiling, a candy cane lies on the bed next to still alive brother. NOTE: Whenever the vampire takes over, his face distorts.
[Scene Requirements]
• Scene Arc: From weakness to rejuvenation
• Essence: Show the power and cost of his vampiric side
• Conflict: His need for blood vs. his Santa duties
• Subtext: The innocence he protects vs. the innocence he takes
• Hope/Fear: Hope he fulfills his Santa role, fear of his vampire side
3: EXT. ROOF – CHILD'S HOUSE – NIGHT
(DAY 0) Apologizes to Eirlys. Says the boy didn't deserve that. He hates that his cravings control him. Would do anything to stop.
[Scene Requirements]
• Scene Arc: From guilt to determination
• Essence: Santa's remorse and desire to change
• Conflict: His actions vs. his ideals
• Subtext: The depth of his inner conflict
• Hope/Fear: Hope he finds a solution, fear he's trapped
4: EXT. SLEIGH ABOVE – CRIMSON NORTH – NIGHT
(DAY 0) Eirlys points out that the 12 Days have started. She'll be here soon. We don't have to stay in one town. Nick: points out that he lives for the hunt. Eirlys: Or hunter.
[Scene Requirements]
• Scene Arc: From suggestion to realization
• Essence: Foreshadow the coming conflict
• Conflict: Eirlys' caution vs. Nick's desires
• Subtext: Nick's subconscious longing
• Hope/Fear: Hope for escape, fear of confrontation
5: EXT. ABANDONED BUILDING – NIGHT
(DAY 1) – TURNING POINT 1 Inciting Incident: Interpol Agent Isabella Clarke investigates "12 Days of Christmas" vampire attacks. Isabella, a crossbow with a wooden bolt aimed at a Man. Her phone dings. The text reads: “12 Days started. City – Crimson North”. She fires the bolt, penetrates the Man's back, he collapses, dead. Reveals he’s a vampire. She turns, strolls away.
[Scene Requirements]
• Scene Arc: From focused to intrigued
• Essence: Introduce Isabella and her mission
• Conflict: Her current task vs. new lead
• Subtext: Her ruthless efficiency
• Hope/Fear: Hope she finds her target, fear of what she'll uncover
6: INT. POLICE STATION – DAY
(DAY 1) Isabella checks in with the local police, a hardened, no-nonsense demeanor, clearly carrying emotional baggage from her tragic past. Hates Christmas. Desk Sergeant hands her a FedEx envelope. Stands before a cork board with pictures of missing children from the area. Opens the envelope, it's her as a child with two adults.
[Scene Requirements]
• Scene Arc: From professional to personal
• Essence: Reveal Isabella's hidden pain
• Conflict: Her focus on work vs. personal history
• Subtext: Her unresolved past
• Hope/Fear: Hope for answers, fear of what they might be
7: INT. HOSPITAL – DAY
(DAY 1) At the hospital with the victim's family, the little girl tells her that Santa provided the toy. Says her parents couldn't afford it. They concur that it wasn't from them. She says Santa ate the cookies and milk. The dad signals that it was him.
[Scene Requirements]
• Scene Arc: From skeptical to curious
• Essence: First clue to Santa's involvement
• Conflict: Rational thinking vs. unusual evidence
• Subtext: The magic hidden in plain sight
• Hope/Fear: Hope for a lead, fear it's a dead end
8: INT. CHURCH – NIGHT
(DAY 1) Isabella enters a church, unfamiliar with the experience. Lights a candle, places the photo of her and the two adults. She wonders who the adults are. They are her race and her parents growing up were a different race.
[Scene Requirements]
• Scene Arc: From detached to contemplative
• Essence: Isabella's search for identity
• Conflict: Her current self vs. unknown past
• Subtext: The mystery of her origins
• Hope/Fear: Hope for connection, fear of displacement
9: EXT. CHILD'S HOUSE – DAY
(DAY 2) – TURNING POINT 1 Nicholas and Isabella meet at a crime scene, sparking romance. He introduces himself as a Toy Designer, he bets she's Interpol. Surprised.
[Scene Requirements]
• Scene Arc: From professional distance to personal interest
• Essence: The beginning of their connection
• Conflict: Her suspicions vs. his charm
• Subtext: The irony of her target being her attraction
• Hope/Fear: Hope for companionship, fear of distraction
10: EXT. NEIGHBORHOOD – DAY
(DAY 2) Kozlov, watches Nicholas charm the townspeople, attempts to mimic his appeal but fails, revealing his deep-seated envy of Nicholas's Santa-derived power to be loved despite his vampiric nature. Tries to charm a woman, fails. Child runs from him. Tries a Santa laugh, children cringe.
[Scene Requirements]
• Scene Arc: From attempt to failure
• Essence: Kozlov's envy and lack
• Conflict: His vampiric nature vs. desire for love
• Subtext: The power of Nick's chosen identity
• Hope/Fear: Hope he gains admiration, fear of rejection
11: EXT. CHILD'S HOUSE – NIGHT
(DAY 2) Nick glances at the setting sun. More Santa magic, the sun sets. A snap of the fingers, time freezes, Nick checks the neighbors, all in the nice category. He walks the street, enters an apartment building, a man frozen in mid-swing at a woman. Nick unfreezes the man, feeds. Nick heals the woman's bruised face. Nick dances to Isabella. No longer looking tired.
[Scene Requirements]
• Scene Arc: From risk to recovery
• Essence: Nick's magical abilities and moral code
• Conflict: His need to feed vs. desire to help
• Subtext: The complexity of his actions
• Hope/Fear: Hope he maintains control, fear of exposure
12: EXT. CHILD'S HOUSE – NIGHT
(DAY 2) Neighborhood children gather around. Nick hands them candy canes. Isabella asks for one for later. A police call comes in, the wife beater is dead. Nick offers to walk her to the crime scene.
[Scene Requirements]
• Scene Arc: From suspicion to plotting
• Essence: Nick's connection with children
• Conflict: Isabella's wariness vs. children's trust
• Subtext: The power of innocence
• Hope/Fear: Hope she sees his good side, fear it's a ruse
ACT 2: EMBRACING THE OLD WAYS
13: INT. APARTMENT – NIGHT
(DAY 2) A policeman tries to keep Nick out. Magiced. Nick goes to the wife, tells her about her future. Wishes her well. Isabella watches him in action, mesmerized.
[Scene Requirements]
• Scene Arc: From skepticism to admiration
• Essence: Nick's compassion shining through
• Conflict: Police protocol vs. Nick's intervention
• Subtext: Isabella's growing attraction
• Hope/Fear: Hope she sees beyond the case, fear of unprofessionalism
14: EXT. STREET – DAY
(DAY 3) Nick follows the police down the street, Eirlys joins him, yanks him behind a bush. Accuses him of repeating the tragedy of Christmas 1814. Tells her he's just playing. Nothing will happen.
[Scene Requirements]
• Scene Arc: From confidence to doubt
• Essence: The shadow of Nick's past
• Conflict: Nick's assurance vs. Eirlys' warning
• Subtext: The pattern he's repeating
• Hope/Fear: Hope he's right, fear history repeats
15: EXT. STREET – DAY
(DAY 3) As Isabella questions Nick about his whereabouts, he tells her about the joy of making toys. It's Santa magic. She's mesmerized. He offers her an ancient, homemade toy with the initials N.S.. When asked he says the initials must be a coincidence. When he stops talking, a crowd of children sit at his feet. Eirlys introduced to Isabella.
[Scene Requirements]
• Scene Arc: From interrogation to enchantment
• Essence: Nick's Santa magic at work
• Conflict: Her questions vs. his storytelling
• Subtext: The truth hidden in his tales
• Hope/Fear: Hope she trusts him, fear she sees through him
16: INT. DINER – DAY
(DAY 3) At lunch, Eirlys eats a massive meal. Nick has hot chocolate and pie. As Eirlys slows down, she pulls out a folder of pictures and details about the teens, three boys, two girls. Nick marks them with “naughty" as he scrolls through their pictures. Says that the leader will be last. Eirlys says that they are just kids and don't deserve to die. Nick inquires of Eirlys if she concurs that this meets the requirements for the 12 Days of Christmas.
[Scene Requirements]
• Scene Arc: From planning to moral debate
• Essence: Nick's judgment system
• Conflict: Nick's code vs. Eirlys' compassion
• Subtext: The weight of their roles
• Hope/Fear: Hope for justice, fear of harshness
17: INT. EIRLYS' CAR – NIGHT
(DAY 3) Flashback: The first 12 Days attacks. Santa flies into a small town, is robbed by town thugs who steal his bag giving them unlimited access to toys. They plan on reselling them. Santa sends for a replacement bag. After the deliveries, Santa returns, takes out all 12 men in the gang, one after another, creating fear and panic in the criminal community. At the end, the Sheriff drafted a force of farmers/business owners who mopped up the extended crime network. Peace and prosperity follow.
[Scene Requirements]
• Scene Arc: From victimization to retribution
• Essence: The origin of the 12 Days tradition
• Conflict: Santa's robbery vs. his vengeance
• Subtext: The balance of good and evil
• Hope/Fear: Hope for order, fear of his methods
18: EXT. TEEN HANGOUT – NIGHT
(DAY 3) One of the girls meets with basketball player. Gives him cash and sex.
18a: INT. BASKETBALL GAME – NIGHT
He throws a close game.
18b: EXT. DINER – NIGHT
The Team goes out to commensurate their loss. Afterwards, the Player meets with the Teen leader, and gets paid. Nick as Santa waits. As the Teen leader walks away, Santa as Nick attacks the Player.
[Scene Requirements]
• Scene Arc: From observation to action
• Essence: Nick's selective justice
• Conflict: Teen's scheme vs. Nick's hunt
• Subtext: The layers of corruption
• Hope/Fear: Hope he stops the cycle, fear of his bloodlust
19: INT. ABANDONED STORE – NIGHT
(DAY 4) Nick grabs one of the boys taking a leak. He's gone. Nick rushes to lunch. The Gang looks for the missing boy.
[Scene Requirements]
• Scene Arc: From stalking to feeding
• Essence: Nick's efficient predation
• Conflict: His hunger vs. his schedule
• Subtext: The mundane vs. the monstrous
• Hope/Fear: Hope he's not late, fear he's discovered
20: EXT. PARK – DAY
(DAY 4) Nick arranges a picnic in the park. The weather is spring-like. He presents her with a snow globe. The house is the house she grew up in. Nick Santa laughs, makes light of it. A moment of pure excitement for Isabella. His thoughtfulness and magical abilities create a perfect date. Isabella says she loved that house. How did he know? I loved growing up there and I love my parents. But sometimes… sometimes it was like I didn't exist to them. Nick asks her why she is here. She tries not to answer but is compelled.
[Scene Requirements]
• Scene Arc: From surprise to revelation
• Essence: Nick's deep understanding of Isabella
• Conflict: His hidden knowledge vs. her openness
• Subtext: The complexity of her past
• Hope/Fear: Hope for intimacy, fear of exposure
21: EXT. PARK BENCH – DAY (DAY 5) Nick kicks back on a park bench, a child pulls on his sleeve, points at the candy canes in his pocket. He hands her and her friends each a cane and a Christmas-y toy. They hug him, run off. Kozlov sits beside him. Kozlov accuses Nicholas of betraying vampire-kind for his Santa role, only to be driven back by Nicholas's candy cane sword, empowered by children's love.
[Scene Requirements]
• Scene Arc: From peace to confrontation
• Essence: The power of Nick's chosen identity
• Conflict: Vampire tradition vs. Nick's path
• Subtext: The strength derived from love
• Hope/Fear: Hope he maintains his way, fear of vampire world's rejection
22a: EXT. PARK BENCH – DAY
Nick kicks back on a park bench, a child pulls on his sleeve, points at the candy canes in his pocket. He hands her and her friends each a cane and a Christmas-y toy. They hug him, run off. Kozlov sits beside him. Kozlov accuses Nicholas of betraying vampire-kind for his Santa role, only to be driven back by Nicholas's candy cane sword, empowered by children's love.
22: INT. TEEN GANG'S HIDEOUT – NIGHT
(DAY 5) Nick shows up at the Teen Gang's hideout, magically wipes all fingerprints from the building, manipulates the memory of the teens. They suddenly don't remember anything, even what they just told the police.
[Scene Requirements]
• Scene Arc: From evidence to erasure
• Essence: Nick's manipulation skills
• Conflict: Police work vs. his intervention
• Subtext: The extent of his powers
• Hope/Fear: Hope he covers his tracks, fear of consequences
23: EXT. CRIME SCENE – NIGHT
(DAY 5) Eirlys signals to Nick. As Nick leaves, he offers to meet Isabella for lunch tomorrow. At first, she refuses, a little Santa magic, she cheerfully says yes. Isabella questions her sanity.
Nick at Eirlys’ car, watches Isabella work. He confesses to Eirlys that he is in love with Isabella and begs her to help him prevent a Christmas 1814.
[Scene Requirements]
• Scene Arc: From denial to admission
• Essence: Nick's deep feelings
• Conflict: His love vs. his past
• Subtext: The weight of history
• Hope/Fear: Hope for redemption, fear of repetition
24: EXT. BAD STREETS – NIGHT
25: INT. GIRL'S HOUSE – NIGHT
(DAY 5) The two girls wonder if the Superintendent will ever give them their freedom. (they were trafficked) Depressed at the loss of one of their own. Nick enters. One dead. One bit but alive.
[Scene Requirements]
• Scene Arc: From despair to horror
• Essence: The darker side of Nick's mission
• Conflict: Girls' hope vs. Nick's method
• Subtext: The complex web of victimhood
• Hope/Fear: Hope for their freedom, fear of Nick's brutality

26: INT. HOSPITAL – DAY
(DAY 6) Nick goes to the hospital, disguised as a respiratory technician, the girl does not recognize him. He finishes her off, takes her half full bag of blood with him. As he attacks, she remembers what happened. Nick calls her his leftovers.
[Scene Requirements]
• Scene Arc: From deception to consumption
• Essence: Nick's ruthless efficiency
• Conflict: Medical ethics vs. his needs
• Subtext: The irony of his disguise
• Hope/Fear: Hope he's not caught, fear of his coldness
27: EXT. CRIME SCENE- DAY
(DAY 6) Kozlov arrives at the crime scene, says he's a P.I.. (Is this her intro to K? Does she already know?) Takes Isabella off to the side, asks her outright if she is chasing a vampire, and asks if it has been six attacks since this is the sixth day of Christmas. He describes Nick. Doesn't believe Kozlov.
[Scene Requirements]
• Scene Arc: From skepticism to doubt
• Essence: Kozlov's attempt to reveal Nick
• Conflict: Isabella's disbelief vs. Kozlov's claims
• Subtext: The truth hiding in plain sight
• Hope/Fear: Hope she dismisses him, fear he's right
28: EXT. ICE RINK – NIGHT
(DAY 6) – MIDPOINT TURNING POINT Nick and Isabella ice skating. Kozlov appears. Nick stops time. Kozlov orders him to leave Crimson North. Nick must leave but immediately returns. Kozlov says he will permanently ban Nick from town. Reminds him that his "(Santa) duties" override his orders.
PARKING LOT
Kozlov storms off, runs into Eirlys. She reminds him that he is Nick’s sire and has a duty to prevent another Christmas 1814. He queries why would he want to do that?
[Scene Requirements]
• Scene Arc: From romance to confrontation
• Essence: The clash of vampire politics
• Conflict: Nick's love vs. Kozlov's authority
• Subtext: The power dynamics at play
• Hope/Fear: Hope Nick outsmarts him, fear of expulsion
29: EXT. ICE RINK – NIGHT
(DAY 6) Unaware of what happened but influenced by it, Isabella opens up about her parents and being pulled from the burning house by Santa – she laughs, says at least someone dressed as Santa. Nick: Maybe it's for the best. We would have never met without their deaths. But what happened to you (in the subsequent fire) is unforgiveable. [possible flashback location]
[Scene Requirements]
• Scene Arc: From laughter to sorrow
• Essence: Isabella's tragic past
• Conflict: Her memory vs. the truth
• Subtext: Nick's hidden role
• Hope/Fear: Hope for comfort, fear of revelation
30: INT. OLD WORKSHOP – NIGHT
(DAY 6) Nick Santa magics Isabella to an old workshop in the woods. She doesn't realize that she has been transported many miles away. In the workshop are many ancient homemade toys. There is one labeled Christmas 1814. The tiny people inside are Nick, Eirlys, and another woman. Isabella gets a call about Girl 2 dead in the hospital. Nick magics her to the hospital.
[Scene Requirements]
• Scene Arc: From wonder to revelation
• Essence: Nick's hidden history
• Conflict: Isabella's awe vs. unseen truth
• Subtext: The echoes of past tragedy
• Hope/Fear: Hope she's charmed, fear she connects dots
ACT 3: TRANSITION
31: SERIES OF SHOTS – DAY
Flashback: Series of shots showing Nick wooing a woman, he tries to give up being a vampire, fails, she witnesses it. Nick kills her and escapes.
32: INT: HOSPITAL – NIGHT
As Isabella investigates Girl 2’s death, Nick passes out toys on the Children’s ward.
33: EXT. STREET – NIGHT
Isabella follows Nick while Eirlys drives him. She advises him to reveal that he’s Santa as that will prevent her going nuts. As they talk, he magics a truck to block the road, escaping from Isabella. Eirlys drops him off before a house with Teen 4 shooting hoops.
34: EXT. BACKYARD – NIGHT
(DAY 7) Teen 4 attacked, dead.
[Scene Requirements]
• Scene Arc: From life to death
• Essence: The cost of Nick's mission
• Conflict: Teen's youth vs. Nick's judgment
• Subtext: The finality of his choices
• Hope/Fear: Hope it's justified, fear it's excessive
35: INT. RENTAL CAR – NIGHT
(DAY 7) Isabella's rental car mysteriously breaks. Eirlys picks her up, offers her a hot chocolate from a thermos. Isabella unloads on her dilemma. Asks Eirlys if she knows that Nick is a vampire. How can she kill the man she loves. Rage overcomes her. How could he do this to her, to those innocent people?
[Scene Requirements]
• Scene Arc: From frustration to revelation
• Essence: Isabella's inner turmoil
• Conflict: Her love vs. her duty
• Subtext: The depth of her feelings
• Hope/Fear: Hope for clarity, fear of the truth
36: INT. RENTAL CAR – NIGHT
(DAY 8) Sitting behind the wheel, she tells herself that she has to kill him even if she loves him.
[Scene Requirements]
• Scene Arc: From doubt to resolve
• Essence: Isabella's hard choice
• Conflict: Heart vs. profession
• Subtext: The price of integrity
• Hope/Fear: Hope she's strong enough, fear of regret
37: EXT. DINER – DAY
(DAY 8) Isabella watches Nick put down a massive breakfast. She loads a small crossbow with a wooden bolt, hides it in her bag.
38: INT. DINER – DAY
(DAY 8) Between mouthfuls, Nick says he has to tell her something. Waitress brings coffee. Isabella pulls the crossbow out. Nick magics the crossbow, turns it into a toy. Isabella unaware. Isabella interviews Nick about Eirlys’ car at the crime scene. Simultaneously, Nick admits to being a vampire as Isabella asks him if he is one. Isabella fires her toy. Nick hands her the toy bolt, pats her cheek, walks out. Isabella gobsmacked on what happened to the crossbow.
39: INT. SUPERINTENDENT’S OFFICE – DAY
(DAY 8) Nick glamours his way in. Interviews Supe. Learns of fight club, trafficking, other crimes. Nick finds a secret door, enters as only Santa can. Filing cabinets, cork boards, white boards. Labels of: Sold, Hooking, Prospects. Random looks. Mostly girls but also boys. Nick magics the files into a Santa bag. Nick takes a sip, un-glamours Supe. As he leaves, Supe startled at the blood dripping down his neck.
40: EXT. FIGHT CLUB – NIGHT
(DAY 8) Nick, in the Mini Cooper, drives up to the site of Fight Club. Denied entry. As he leaves, the Mini morphs into a sleigh and to the roof he goes.
41: INT. FIGHT CLUB – NIGHT
(DAY 8) Nick materializes, briefly looking like Santa. No one notices. Nick robs all the cash. Vamps on Supe. Santa’s his body to the Mini.
42: SKIES OVER TOWN – NIGHT
(DAY 8) The sleigh (Mini) flies out of town, drops Supe’s body into the lake.
43: INT. FIGHT CLUB – NIGHT
(DAY 8) Riot breaks out over the missing money, missing Supe.

44: INT. FIGHT CLUB – MORNING
(DAY 9) Many EMTs carry out victims of the riot. Isabella interviews them. Kozlov at the crime scene. Says no one will ever find Supe. Not all vampires leave bodies behind. Isabella says it’s not a vampire crime, just your normal crime. Super took off with the money. While examining the scene, an anonymous text arrives: More than just children are on the naughty list.
45: EXT. NATIVITY – NIGHT
(DAY 9) Nick sits on a bench before a Nativity scene, Isabella joins him. She admits that she's never felt being part of a family. But now… She admits she cannot kill him. She professes her love for him, Kozlov appears. (May need to setup the ‘love’ a little better.)
[Scene Requirements]
• Scene Arc: From intimacy to interruption
• Essence: The moment of vulnerability
• Conflict: Isabella's openness vs. Kozlov's intrusion
• Subtext: The fragility of their connection
• Hope/Fear: Hope for acceptance, fear of disruption
45: EXT. NATIVITY – NIGHT
(DAY 9) – TURNING POINT Kozlov exposes Nicholas as the killer of her parents and the one responsible for her inability to have children. Isabella has a flashback of Nicholas’ Santa laugh at her parents’ death and a flashback of the earlier crime scene where Nick Santa laughed. Isabella says she hates Nick and will kill him.
[Scene Requirements]
• Scene Arc: From love to hatred
• Essence: The shattering truth
• Conflict: Isabella's trust vs. Nick's past
• Subtext: The irony of their bond
• Hope/Fear: Hope it's a lie, fear it's true
46: EXT. THE STREETS – NIGHT
(DAY 9) He walks the bad streets. Looks for an opportunity. I man jumps out at him with a gun. Gives him a Santa laugh, sniffs him. Tells him he stinks and not worth the effort. The man shoots him in the back. Nick stumbles, turns into scary vampire, attacks him on the street. Rips his head off, jams the gun into his neck cavity. Nick slumps, full vampire face. Eirlys approaches. He attacks her, bites her neck. Eirlys, calm, calls out to Nick to “come back to me.” As she fades, Nick realizes his mistake, heals her, hugs her. Kozlov argues that the Santa role is a delusion masking his true monstrous self. Nick says he’s learning to control it. Kozlov points out he just yanked a man’s head off. Nick says that he wasn’t using it.
ACT 4: NEW WAYS – CLIMAX
47: EXT. CRIMSON NORTH – DAY
(DAY 10) – Nick says he has something to do. Isabella begs him to stay. He warns her to stay away that Kozlov must be stopped so that he can stop.
48: INT. TEEN HANGOUT – DAY
(DAY 10) – Teen Leader, alone, sips from a bottle of Tequila, rubs his eyes. Santa appears, fades to Nick and to vampire. Teen knows what’s going to happen, begs to be given a chance, promises to do good. Nick, apologizes, bites his neck. He’s dead.
49: EXT. ISABELLA’S CAR – TRAVELLING – DAY
(DAY 10) – Isabella in her rental, drives for hours, stops at a burnt-out house, the house she grew up in.
50: INT. ISABELLA’S CHILDHOOD HOME – DAY
(DAY 10) – Everything has been destroyed, burnt, or stolen except an unwrapped candy cane in perfect shape hanging from one of the surviving structures, a closet door. On the mantel, the framed family picture, perfectly preserved, that she received early in Act 1. Kozlov captures Isabella. Ties her up, throws her in her trunk.
51: EXT. PLAYGROUND – DAY
(DAY 10) – Nicholas battles Kozlov, channeling love, Christmas magic, and vampiric abilities. Nick calls on his North Pole team, a sleigh pulled by reindeer arrives loaded with elves armed with toy-like weapons. As he fights, he morphs into Santa then vampire and back, attracting children from all around. Nick stakes himself, dies.
[Scene Requirements]
• Scene Arc: From conflict to sacrifice
• Essence: Nick's ultimate choice
• Conflict: Vampire vs. Santa
• Subtext: The power of identity
• Hope/Fear: Hope for redemption, fear of loss
52: EXT. PLAYGROUND – DAY
Kozlov grabs a kid. The kid screams. Kozlov flashes back toto a centuries-old memory of Kozlov as a human father, trying to save his child from marauders.
FLASHBACK
53: EXT. POLISH FARM – 1660 – DAY
Russians ravish the Polish countryside. Kozlov’s father is killed protecting his family. Only Kozlov survives.
End flashback
54: 52: EXT. PLAYGROUND – DAY
Kozlov stares Nick down. Bends to bite the kid. Nick stakes himself, dies. Everyone screams. Kozlov surprised he won, stares off at his reflection in a store’s window, his reflection fades from vampire to human and back. Isabella tries to rush to Nick, Kozlov grabs her, says that she is his, now.
55: EXT. CRIMSON NORTH – NIGHT (DAY 10) A glow forms around Nick. Children rush in, hug him. Nick, full on Santa mode, wakes, a weak ho, ho, ho. The kids scream. Isabella cries. Nick points out that Santa magic is stronger than vampire magic. He just didn't know that. Santa magics Kozlov, turns him into a 8 inch tall statue, puts it in his pocket. All the kids pile on. Nick calls on his North Pole team, a sleigh pulled by reindeer arrives loaded with elves. The elves pass out toys. Santa walks Isabella to his sleigh, offers to help her up, she climbs in.
[Scene Requirements]
• Scene Arc: From death to rebirth
• Essence: The triumph of love
• Conflict: Death vs. magic
• Subtext: The power of belief
• Hope/Fear: Hope for miracle, fear it's too late
56: INT. NORTH POLE – DAY (DAY 11 & 12) Nicholas reveals that he had no control over his urges so he only fed on "the naughty". Isabella asks about her parents. Nicholas tells her that her parents embezzled money from the orphanage that they ran, depriving children of what could have been a much better life. She asks if that is why she is a hunter? Because she is flawed like her parents. He says she was trafficked, and her real parents are still alive.
[Scene Requirements]
• Scene Arc: From question to revelation
• Essence: The complexity of morality
• Conflict: Past assumptions vs. truth
• Subtext: The shades of good and evil
• Hope/Fear: Hope for understanding, fear of self-doubt
57: INT. NORTH POLE – DAY (EPILOGUE) Christmas magic cures Isabella's inability to have children. Eirlys holds the baby, while pregnant again. Elves scurry about. They are at the North Pole.
Nick receives a text: Peoria is in trouble. Next Christmas? Isabella questions his interest because he’s no longer a vampire. But he has mad Santa skills. She wonders if it was mad Santa skills that disappeared the Superintendent. He suggests that they drag the lake. Maybe they’ll get lucky. Isabella asks Nick, Why the 12 Days? When a town is on the cusp of going evil, they need a purging. It's not so much those being killed, but the investigation that follows that does it.
[Scene Requirements]
• Scene Arc: From new life to understanding
• Essence: The cycle of renewal
• Conflict: Past methods vs. future hope
• Subtext: The balance of dark and light
• Hope/Fear: Hope for a better world, fear of old habits
58: EXT. CITY STREET – NIGHT (EPILOGUE) Kozlov, shattered, walks the cold, rainy streets. A child without a coat huddles under a bush. He calls out to Kozlov, now looking a little like Santa in the odd light. He says he's lost, cold, and hungry and wants help. Kozlov wraps the kid in his coat, surprised he knows where the kid lives, takes him home. The parents invite him in for an Epiphany Eve dinner.
[Scene Requirements]
• Scene Arc: From despair to hope
• Essence: The possibility of redemption
• Conflict: Old nature vs. new choice
• Subtext: The power of a single act
• Hope/Fear: Hope for change, fear of backsliding
: INT. APARTMENT – NIGHT (EPILOGUE) The Day 1 victim, now a vampire, reads an article about the 12 Days of Christmas "Attacks". As he reads, he morphs into a vampire.
[Scene Requirements]
• Scene Arc: From victim to predator
• Essence: The cyclical nature of evil
• Conflict: Past innocence vs. new darkness
• Subtext: The perpetuation of suffering
• Hope/Fear: Hope he might resist, fear he'll continue the cycle

• This reply was modified 11 months ago by  Bob Creager.

[hari messer]

Hari's Scene Requirements

My Vision: I want to write screenplays that enable me to work with like minded creative people in the industry to produce profound movies that will have a long lasting positive effect on the world.

What I learned… An outline is constantly changing. It’s a good starting point.
—

Scene 1

EXT. FOG-SHROUDED FOREST – NIGHT

Two combatants fight over a fresh water spring. One is human, the other a strange reptilian creature. The reptilian pierces the human through the heart and kills him. We cut to Jamaica jumping up in bed, awakened by the nightmare.

**Scene Requirements:**
– **Scene Arc:** Starts with a mysterious fight and ends with Jamaica waking up, setting a tone of danger and intrigue.
– **Essence:** Introduce the audience to the conflict between humans and aliens, and establish a link to Jamaica.
– **Conflict:** The battle over the water spring, hinting at the larger conflict over water.
– **Subtext:** The water is a precious resource vital for both species.
– **Hope/Fear:** Hope for understanding the conflict; fear of the unknown threat posed by aliens.

—

Scene 2

INT. MC BRIDE'S CAR – DAY

Colt McBride, a suspended cop, is driving into Jefferson with his new K9 partner, Jake. McBride is not a fan of Jake.

**Scene Requirements:**
– **Scene Arc:** Starts with McBride's reluctance and ends with his determination to make a fresh start.
– **Essence:** Establish McBride’s current situation and introduce his strained relationship with Jake.
– **Conflict:** McBride's internal struggle with his suspension and disdain for Jake.
– **Subtext:** McBride’s desire to escape his past failures and start anew.
– **Hope/Fear:** Hope for a new beginning; fear of being unable to change.

—

Scene 3

EXT. HIGHWAY – DAY

Sheriff Del Beck stops McBride for a minor traffic violation. Their interaction reveals McBride’s suspension and Beck’s control over Jefferson.

**Scene Requirements:**
– **Scene Arc:** Starts with McBride being pulled over and ends with tension between him and Beck.
– **Essence:** Establish the antagonist and the power dynamics in Jefferson.
– **Conflict:** The clash between McBride’s defiance and Beck’s authoritarian rule.
– **Subtext:** Beck’s underlying threat and control over Jefferson.
– **Hope/Fear:** Hope that McBride can resist Beck’s control; fear that Beck’s power is too great.

—

Scene 4

EXT. JEFFERSON TOWN – DAY

McBride drives into Jefferson, noticing a strong police presence for such a small town.

**Scene Requirements:**
– **Scene Arc:** Starts with McBride’s observation and ends with his suspicion.
– **Essence:** Highlight the unusual and oppressive atmosphere in Jefferson.
– **Conflict:** McBride’s unease and the town’s strange situation.
– **Subtext:** The hidden secrets and tensions within Jefferson.
– **Hope/Fear:** Hope to uncover the truth; fear of what lies beneath the surface.

—

Scene 5

EXT. JEFFERSON AIRFIELD – DAY

Daniel St. George, an alien investigator/charlatan, pilots his small plane into Jefferson for a speaking engagement.

**Scene Requirements:**
– **Scene Arc:** Starts with Daniel’s arrival and ends with anticipation for his engagement.
– **Essence:** Introduce Daniel and set up his role in the story.
– **Conflict:** Daniel’s struggle to be taken seriously versus his charlatan image.
– **Subtext:** The balance between his genuine knowledge and his deceptive persona.
– **Hope/Fear:** Hope that Daniel can provide valuable information; fear that he’s just a fraud.

—

Scene 6

EXT. TOWN SQUARE – DAY

The battle for control of Jefferson’s water supply is introduced. The town is deeply divided and on edge over it.

**Scene Requirements:**
– **Scene Arc:** Starts with a divided town and ends with rising tension.
– **Essence:** Establish the central conflict over the water supply.
– **Conflict:** The town’s division and rising tensions.
– **Subtext:** The water supply’s critical importance to both humans and aliens.
– **Hope/Fear:** Hope for resolution; fear of escalating conflict.

—

Scene 7

iNT. REAL ESTATE OFFICE – DAY

McBride has a run-in with Jamaica Daly, who is the real estate agent renting him a home for the summer.

**Scene Requirements:**
– **Scene Arc:** Starts with tension and ends with reluctant cooperation.
– **Essence:** Establish the strained relationship between McBride and Jamaica.
– **Conflict:** The clash between their personalities and hidden secrets.
– **Subtext:** The unresolved issues and mutual suspicion.
– **Hope/Fear:** Hope for a working relationship; fear of further conflict.

—

Scene 8

EXT. LAKE – DAY

McBride, hungover and fishing, discovers a dead body in the water. It morphs into a reptilian creature then back to human form.

**Scene Requirements:**
– **Scene Arc:** Starts with McBride’s solitude and ends with a shocking discovery.
– **Essence:** Introduce the alien threat and propel the plot forward.
– **Conflict:** McBride’s shock and the mystery of the body’s transformation.
– **Subtext:** The hidden alien presence and the danger it represents.
– **Hope/Fear:** Hope to solve the mystery; fear of the unknown threat.

—

Scene 9

INT. SHERIFF’S OFFICE – DAY

McBride reports the incident to Beck, who is hesitant to investigate and implies McBride could be a suspect.

**Scene Requirements:**
– **Scene Arc:** Starts with McBride’s report and ends with distrust.
– **Essence:** Establish the antagonistic relationship between McBride and Beck.
– **Conflict:** McBride’s insistence versus Beck’s reluctance and suspicion.
– **Subtext:** Beck’s hidden agenda and control over the investigation.
– **Hope/Fear:** Hope for cooperation; fear of being undermined by Beck.

—

Scene 10

INT. FARMHOUSE – DAY

Against Jamaica’s strong opposition, her mother Evelyn rents McBride the old family farmhouse.

**Scene Requirements:**
– **Scene Arc:** Starts with opposition and ends with reluctant acceptance.
– **Essence:** Establish McBride’s new home and deepen the relationship dynamics.
– **Conflict:** The disagreement between Jamaica and Evelyn.
– **Subtext:** Evelyn’s hidden motives and Jamaica’s protective instincts.
– **Hope/Fear:** Hope for a safe place; fear of underlying tensions.

—

Scene 11

INT. TOWN HALL – NIGHT

Evelyn invites McBride to hear Daniel St. George talk about Reptilian shape-shifters. McBride accepts.

**Scene Requirements:**
– **Scene Arc:** Starts with an invitation and ends with McBride’s decision to attend.
– **Essence:** Introduce the conspiracy theories and potential truths.
– **Conflict:** McBride’s skepticism versus Evelyn’s belief.
– **Subtext:** The search for truth and the potential for uncovering secrets.
– **Hope/Fear:** Hope for understanding; fear of misinformation.

—

Scene 12

INT. MORGUE – NIGHT

McBride leaves midway through the presentation and rushes to the morgue to see the body from the lake. Both the body and the doctor are missing.

**Scene Requirements:**
– **Scene Arc:** Starts with McBride’s urgency and ends with a dead end.
– **Essence:** Heighten the mystery and introduce new obstacles.
– **Conflict:** McBride’s investigation thwarted by missing evidence.
– **Subtext:** The cover-up and deeper conspiracy.
– **Hope/Fear:** Hope to find clues; fear of being stonewalled.

—

Scene 13

EXT. JUDGE’S HOUSE – NIGHT

The judge ruling on the water case is found dead. He is Jamaica’s husband. Jamaica asks Colt to investigate, not trusting Beck. Colt agrees, arousing his suspicions and interest.

**Scene Requirements:**
– **Scene Arc:** Starts with a discovery and ends with a new alliance.
– **Essence:** Strengthen the plot’s stakes and deepen character connections.
– **Conflict:** The investigation into the judge’s death and Jamaica’s mistrust.
– **Subtext:** The web of secrets and alliances.
– **Hope/Fear:** Hope to uncover the truth; fear of further danger.

—

Scene 14

INT. MAYOR’S OFFICE – DAY

McBride teams up with the locals, including Mayor Hal Burton, who sees McBride as a chance to challenge Beck.

**Scene Requirements:**
– **Scene Arc:** Starts with planning and ends with a new alliance.
– **Essence:** Establish allies and set up the plan to challenge Beck.
– **Conflict:** The need for cooperation versus the town’s fear of Beck.
– **Subtext:** The hidden power dynamics and potential betrayal.
– **Hope/Fear:** Hope to take down Beck; fear of failure and retribution.

—

Scene 15

INT. REHAB CENTER – DAY

Colt, Jake, and Evelyn break the doctor out of rehab to get answers.

**Scene Requirements:**
– **Scene Arc:** Starts with a breakout and ends with new information.
– **Essence:** Show the lengths McBride will go to for the truth.
– **Conflict:** The risk of breaking the law versus the need for answers.
– **Subtext:** The doctor’s crucial knowledge and the stakes involved.
– **Hope/Fear:** Hope to get answers; fear of getting caught.

—

Scene 16

INT. TOWN HALL – NIGHT

McBride attends town meetings, interrogates the Water Board, and researches the conflict’s history.

**Scene Requirements:**
– **Scene Arc:** Starts with investigation and ends with growing suspicion.
– **Essence:** Deepen the investigation and reveal the town’s history.
– **Conflict:** The Water Board’s resistance and McBride’s persistence.
– **Subtext:** The underlying corruption and secrets of the water conflict.
– **Hope/Fear:** Hope to uncover the truth; fear of being stonewalled.

—

Scene 17

EXT. WATER FACILITY – DAY

Jefferson hires Saffron Rose, a hydrologist, to respond to the water company’s EIR. She teams up with Daniel.

**Scene Requirements:**
– **Scene Arc:** Starts with Saffron’s introduction and ends with her alliance with Daniel.
– **Essence:** Introduce new allies and deepen the investigation.
– **Conflict:** The challenge of countering the EIR.
– **Subtext:** The expertise needed to challenge the water company.
– **Hope/Fear:** Hope to counter the EIR; fear of failure.

—

Scene 18

EXT. HIGHWAY – DAY

Daniel and Saffron are stopped by Beck while driving. He threatens them.

**Scene Requirements:**
– **Scene Arc:** Starts with a journey and ends with a threat.
– **Essence:** Heighten the tension and show Beck’s menace.
– **Conflict:** Beck’s threat versus Daniel and Saffron’s determination.
– **Subtext:** The danger Beck poses to anyone challenging him.
– **Hope/Fear:** Hope to continue their investigation; fear of Beck’s power.

—

Scene 19

EXT. MOUNTAIN – DAY

Daniel flies Saffron up the mountain to look at the glaciers. His plane is sabotaged, forcing an emergency landing.

**Scene Requirements:**
– **Scene Arc:** Starts with an investigation and ends with a crash.
– **Essence:** Show the dangers of their investigation.
– **Conflict:** The sabotage and their survival.
– **Subtext:** The lengths to which their enemies will go.
– **Hope/Fear:** Hope to gather evidence; fear for their lives.

—

Scene 20

EXT. RIVER – DAY

McBride and Jamaica, on an excursion, embrace and almost kiss when she morphs into reptilian form and back.

**Scene Requirements:**
– **Scene Arc:** Starts with romance and ends with shock.
– **Essence:** Reveal Jamaica’s hidden nature and deepen the emotional stakes.
– **Conflict:** McBride’s feelings versus the shocking revelation.
– **Subtext:** The hidden truth about Jamaica’s identity.
– **Hope/Fear:** Hope for a relationship; fear of her alien nature.

—

Scene 21

INT. FARMHOUSE – NIGHT

McBride gets Evelyn to reveal everything about Jamaica’s heritage and the aliens’ need for the water ritual.

**Scene Requirements:**
– **Scene Arc:** Starts with questions and ends with revelations.
– **Essence:** Uncover the truth about Jamaica and the water ritual.
– **Conflict:** Evelyn’s fear versus McBride’s insistence.
– **Subtext:** The weight of the hidden truth and its implications.
– **Hope/Fear:** Hope to understand the situation; fear of the truth’s consequences.

—

Scene 22

INT. FARMHOUSE – DAY

The doctor calculates that Jamaica will lose her morph on July 4th. Jamaica decides to reveal herself at the celebration.

**Scene Requirements:**
– **Scene Arc:** Starts with a ticking clock and ends with a plan.
– **Essence:** Set up the climax and heighten the stakes.
– **Conflict:** The urgency of the situation versus the danger.
– **Subtext:** The importance of the ritual and the risks involved.
– **Hope/Fear:** Hope to reveal the truth; fear of the consequences.

—

Scene 23

EXT. SHERIFF”S OFFICE– DAY

Beck issues a warrant charging McBride and Jamaica with Solomon’s death. They are hunted by the police.

**Scene Requirements:**
– **Scene Arc:** Starts with pursuit and ends with evasion.
– **Essence:** Heighten the danger and the stakes.
– **Conflict:** The police hunt versus their escape.
– **Subtext:** The increasing desperation and danger.
– **Hope/Fear:** Hope to evade capture; fear of being caught.

—

Scene 24

EXT. ABANDONED BUILDING – DAY

Beck kidnaps Evelyn, threatening to kill her unless Jamaica turns herself in. Jamaica agrees, but McBride plans an ambush with Hal Burton.

**Scene Requirements:**
– **Scene Arc:** Starts with a threat and ends with a plan.
– **Essence:** Heighten the personal stakes and set up the climax.
– **Conflict:** Beck’s threat versus McBride’s plan.
– **Subtext:** The potential for betrayal and danger.
– **Hope/Fear:** Hope to rescue Evelyn; fear of failure.

—

Scene 25

EXT. MEETING LOCATION – NIGHT

Hal Burton is revealed as the alien in charge. He shoots Evelyn and threatens Jamaica. Jake attacks Burton, allowing McBride and Jamaica to escape.

**Scene Requirements:**
– **Scene Arc:** Starts with an ambush and ends with betrayal.
– **Essence:** Reveal the true antagonist and heighten the stakes.
– **Conflict:** The ambush versus the betrayal.
– **Subtext:** The hidden power dynamics and ultimate threat.
– **Hope/Fear:** Hope to survive; fear of Burton’s power.

—

Scene 26

EXT. TOWN SQUARE STAGE – DAY

They reach the stage just in time for Jamaica to morph in front of everyone.

**Scene Requirements:**
– **Scene Arc:** Starts with escape and ends with revelation.
– **Essence:** Show the climax and reveal the alien presence.
– **Conflict:** The escape and morph versus the danger.
– **Subtext:** The truth about the aliens and the town’s reaction.
– **Hope/Fear:** Hope to reveal the truth; fear of the crowd’s reaction.

—

Scene 27

EXT. TOWN SQUARE – DAY

A crazed person in the crowd shoots Jamaica. As she lies dying, McBride figures out a way to make all aliens lose their morph and reveal their presence.

**Scene Requirements:**
– **Scene Arc:** Starts with a shooting and ends with a revelation.
– **Essence:** Show the ultimate sacrifice and reveal the aliens.
– **Conflict:** The shooting versus the revelation.
– **Subtext:** The price of truth and the fight for humanity.
– **Hope/Fear:** Hope to unite humanity; fear of chaos.

—

#### Scene 28

EXT. HIGHWAY – DAY

Humanity unites to defeat the aliens. McBride and Jake ride off, back to the big city to face whatever lies in store for them.

**Scene Requirements:**
– **Scene Arc:** Starts with unity and ends with a new journey.
– **Essence:** Show the resolution and McBride’s new path.
– **Conflict:** Humanity’s fight versus the alien threat.
– **Subtext:** The hope for a new beginning.
– **Hope/Fear:** Hope for a fresh start; fear of the future.

• This reply was modified 11 months ago by  hari messer.

[Pat Fitzgerald]

Pat Fitzgerald’s Scene Requirements
My vision is to have fun completing this class with a contest-winning script that will establish me as a courageous and original writer.

What I learned: This assignment helped me realize the scenes that were dead weight and needed to be eliminated and also caused me to see some remaining plot holes, which still aren’t totally filled in but I need to hurry and finish all assignments, so I can exchange outlines!

1. EXT: TAMMI JENKIN’S HOME – DAY
Scene Arc: Tammi screams when her husband falls from a tall ladder and die when his head hits the driveway.
Essence: Tammi is free from her husband.
Conflict: Will he survive the fall?
Subtext: Tammi hopes he will die
Hope/Fear: Tammi hopes he dies but fears he won’t.

2. INT: FUNERAL HOME – DAY
Scene Arc: Tammi breaks into tears when Violet Pankowski, her high school bestie, arrives and runs into the ladies room.
Essence: Tammi is reunited with her long lost bestie.
Conflict:
Subtext: Tammi can’t stop faking that she mourns her husband’s death.
Hope/Fear: We fear Tammi is overwhelmed. We hope Violet can console her.

3. INT. LADIES ROOM – DAY
Scene Arc: Violet enters the ladies room. She and Tammi share joy that the husband is dead.
Essence: Violet knows Tammi’s true nature.
Conflict: Tammi wants to resume her superior position over Violet.
Subtext: Violet knows that Tammi is capable of murder.
Hope/Fear: Hope the friendship is positive and further hope it continues.

4. INT. FUNERAL HOME – DAY
Scene Arc: Violet uses reverse psychology to coerce Tammi into moving to Valhalla, the retirement village where she lives.
Essence: Violet knows how to control Tammi.
Conflict: Tammi can’t stand Violet thinking what’s best for her.
Subtext: Violet has plans for Tammi.
Hope/Fear: Hope Tammi makes the move, fear it may lead to trouble.

5. INT. VALHALLA COMMUNTY ROOM – DAY
Scene Arc: Violet calls her quilting group to watch Tammi’s arrival.
Essence: Violet is relieved that Tammi took the reverse psychology bait.
Conflict:
Subtext: Violet’s plans for Tammi can now commence.
Hope/Fear: We hope the quilters are happy with Tammi’s arrival. We fear something ominous is about to happen.

6. INT. TAMMI’S HOUSE – DAY
Scene Arc: Violet informs Tammi that Valhalla is rife for opportunity to revisit their high school-style pranks.
Essence: Tammi and Violet are confidants.
Conflict: Violet resents Tammi’s need to always be in charge.
Subtext: Violet wants to control Tammi.
Hope/Fear: Hope these two have fun, fear their fun may harm others.

7. INT: COMMUNITY ROOM – DAY
Scene Arc: Tammi meets the quilting group, particularly a complaining woman with an ugly dog.
Essence: Complaining woman might be better off dead.
Conflict: Tammi resents Violet’s superior position with the group.
Subtext: The quilters understand that Tammi is easy to control.
Hope/Fear: Hope Tammi fits in, fear she may do something lethal.

8. EXT: MAYNARD CHRISTENSEN’S BACK YARD – DAY
Scene Arc: Tammi flirts with Maynard until Violet arrives. Via reverse psychology, Violet convinces Tammi accompany her to a resident’s home.
Essence: Maynard is Violet’s boyfriend.
Conflict: Violet and Tammi start to vi over Maynard.
Subtext: Violet resents Tammi but needs her help.
Hope/Fear: Hope Violet doesn’t lose her boyfriend, fear she will.

9. INT. DEMENTIA MAN’S HOME – INT.
Scene Arc: Tammi and Violet do Dementia Man’s wife a favor by seeing to it that he falls down tge basement stairs and dies.
Essence: Tammi enjoys killing people.
Conflict: Dementia Man almost foils Tammi’s plan.
Subtext: Violet is controlling Tammi.
Hope/Fear: We fear Tammi will succeed and further fear her when she does.

10. INT. FUNERAL HOME – DAY
Scene Arc: At Dementia Man’s funeral Tammi flirts with Maynard in front of Violet.
Essence: Tammi cares nothing for Violet’s feelings.
Conflict: Does Tammi’s behavior put a wedge between Tammi and Violet?
Subtext: Tammi is amoral.
Hope/Fear: Hope Tammi considers Violet’s feelings, fear she won’t.

11. EXT. FUNERAL HOME – DAY
Scene Arc: Matted Dog takes a dump which Violet steps in. Matted Dog’s Doggie Mom blames Violet for not paying attention.
Essence: Violet’s anger at Doggie Mom.
Conflict: Violet versus Doggie Mom
Subtext: Doggie Mom might be Violet and Tammi’s next victim.
Hope/Fear: Hope nothing happens to Matted Dog, fear something will.

ACT TWO
12. INT. VIOLET’S HOME – DAY
Scene Arc: Tammi brings strong tranquilizes that Violet want to mix into dog treats.
Essence: Plan to kill off Matted Dog.
Conflict: Will Tammi cooperate in killing a dog?
Subtext: Tammi is secretly against the plan.
Hope/Fear: Hope nothing happens to Matted Dog, fear something will.

13. INT. MAYNARD’S HOUSE – NIGHT
Scene Arc: Violet tells Maynard that Matted Dog’s days are numbered but Maynard tries to talk her out of the plan.
Essence: Maynard likes that dog.
Conflict: A growing rift between Violet and Maynard.
Subtext: Violet believes Maynard agrees with her feelings about the dog.
Hope/Fear: Hope nothing happens to Matted Dog, fear something will.

14. INT: COMMUNITY ROOM – DAY
Scene Arc: Violet observes Maynard talking with Tammi outside of Tammi’s house.
Essence: Maynard and Tammi have some sort of bond.
Conflict: Violet is secretly pissed off at Tammi.
Subtext: Violet’s need to maintain control over Tammi.
Hope/Fear: We hope no harm comes to Tammi, fear that it will.

15. INT. DOGGIE MOM’S HOUSE – NIGHT
Scene Arc: Tammi visits Doggie Mom, where she switches Doggie Mom’s meds to strong tranquilizers and passes Matted Dog out a window to Violet.
Essence: Tammi is part of a conspiracy against Doggie Mom.
Conflict:
Subtext: Tammi is amoral.
Hope/Fear: We hope no harm comes to Matted Dog, fear it will.

16. EXT. DOGGIE MOM’S HOUSE – NIGHT
Scene Arc: Violet almost feeds poisoned treats to Matted Dog, but a masked person snatches the dog from her.
Essence: Matted Dog is stolen.
Conflict: The dog is stolen.
Hope/Fear: We hope Matted Dog will be okay and further hope that’s the case.

17. EXT. VALHALLA – DAY
SCENE ARC: An unsuccessful search for Matted Dog, during which Tammi suggests Doggie Mom take tranquilzers to calm herself.

18. EXT. DOGGIE MOM’S HOUSE – DAY
Scene Arc: Tammi and Violet will visit Doggie Mom who’s been missing for days, but they smell dead body once in her yard.
Essence: Doggie Mom is dead.
Conflict: Will they enter a house with a smelly dead body in it?
Subtext: Both know why Doggie Mom’s been missing.
Hope/Fear: Fear Doggie Mom overdosed and further fear it by the dead body odor.

19. INT. FUNERAL HOME – DAY
Scene Arc: A woman in a wheelchair laments that dead Doggie Mom is the lucky one and Tammi takes a sympathetic interest in her.
Essence: Tammi makes friends with a woman who wishes she was dead.
Conflict: Is this Tammi’s next victim?
Subtext: Tammi needs a new thrill of the kill.
Hope/Fear: Fear Tammi’s intentions and further fear she will succeed.

20. INT. WHEELCHAIR WOMAN’S HOME – DAY
Scene Arc: Tammi asks Wheelchair Woman if there’s anything she can do for her. Wheelchair Woman wants to go on an outdoor picnic.
Essence: Tammi will take Wheelchair Woman on a picnic.
Conflict: Wheelchair Woman doesn’t know Tammi’s intentions, but Tammi doesn’t know hers either.
Subtext: Another thrill of the kill for Tammi.
Hope/Fear: Hope Wheelchair Woman survives the picnic, fear she won’t.

21. EXT. CLIFFSIDE – DAY
Scene Arc: While Tammi set out picnic food Wheelchair Woman sends herself over the cliff, her wheelchair landing on a ledge, she on the ground below.
Essence: Wheelchair Woman commits suicide.
Conflict: Tammi didn’t get the chance to do the deed herself.
Subtext: Tammi is a killer.
Hope/Fear: Hope Tammi isn’t too disappointed, fear she might be.

22. EXT. MAYNARD’S HOUSE – DAY
Scene Arc: Violet stops by to tell Maynard of Wheelchair Woman’s death and thinks she hears a faint sound of a dog barking in his house.
Essence: Maynard has a dog – Matted Dog?
Conflict: Maynard hides something from Violet.
Hope/Fear: We hope Matted Dog is alive, fear Violet misheard the dog barks.

23. INT. FUNERAL HOME – DAY
Scene Arc: At Wheelchair Woman’s funeral, Tammi asks Maynard if funerals are the main entertainment in Valhalla. He tells her to visit him later at his house.
Essence: Maynard is interested in Tammi.
Conflict: Maynard is Violet’s boyfriend.
Subtext: Tammi enjoys superiority over Violet.
Hope/Fear: We hope Violet doesn’t find out about this, fear she will.

24: INT. MAYNARD’S HOUSE – NIGHT
Scene Arc: Maynard and Tammi have sex in the living room, oblivious to Violet peering through a window.
Essence: Violet caught Tammi and Maynard in the act.
Conflict: Violet’s jealousy over Tammi.
Subtext: Tammi has always gotten the upper hand over Violet.
Hope/Fear: We fear Violet wants revenge and further fear that she’ll get it.

ACT THREE
25. EXT: TAMMI’S HOUSE – NIGHT
Scene Arc: Violet tampers with Tammi’s car’s brake, then leaves a box of candy at the front door with a card allegedly from Maynard.
Essence: Violet put Tammi in danger.
Conflict: Violet is jealous of Tammi.
Subtext: Tammi always manages to get the upper hand over Violet.
Hope/Fear: We hope the candy isn’t poisoned, fear that it is.

26: INT. COMMUNITY ROOM – DAY
Scene Arc: Tammi brings the candy to the quilter’s group and everyone pukes because it’s poisoned.
Essence: Poisoned candy.
Conflict: Violet’s revenge against Tammi failed.
Subtext: Tammi got the upper hand.
Hope/Fear: We hope the feud stops here, fear it won’t.

27: INT. COMMUNITY ROOM – LATER
Scene Arc: A Well-Groomed Dog runs in, Maynard right after it, claims it’s a stray. Can he borrow a car to take it to the pound? Tammi tosses him her keys.
Essence: Maynard is about to take a car with bad breaks.
Conflict: Violet can’t say a word or she’ll expose her revenge plan.
Subtext: The feud between Violet and Tammi enters another level.
Hope/Fear: Hope Mayard will be okay, fear he won’t.

28. INT. TAMMI’S CAR – DAY
Scene Arc: Dog jumps out a window just before a semi turns in front of the car and Maynard dies.
Essence: Maynard’s dead.
Conflict:
Subtext: Violet killed the wrong person.
Hope/Fear: We hope the tiny dog survived, fear it didn’t.
29. INT. TAMMI’S HOUSE – NIGHT
Scene Arc: Violet arrives to tell Tammi the bad news. She knows. Police had told her that her brakes were bad. Yet she organized a meeting about this in the community room.
Essence: Violet gives Tammi old news.
Conflict: Violet resents Tammi’s superior position.
Subtext: Violet knows she’s responsible for Maynard’s death.
Hope/Fear: We hope Tammi doesn’t suspect Violet’s involvement, fear she does.
30. EXT. COMMUNITY ROOM – DAY
Scene Arc: Tammi and Violet argue over why the brakes were bad when she’d checked them only a week before.
Essence: Argument between Tammi and Violet.
Conflict:
Subtext: Tammi is positive that Violet tampered with her brakes.
Hope/Fear: We hope Tammi calls Violet out over the brakes, fear she won’t.
31. INT. COMMUNITY ROOM – DAY
Scene Arc: Tammi and Violet in an argument that turns into a physical fight until the Dog runs in and bites Violet’s ankle.
Essence: Fight between Violet and Tammi.
Conflict: Tammi and Violet, with the dog turning against Tammi.
Subtext: The Dog knows that Violet’s the villain here.
Hope/Fear: We fear this fight will not end well.

32. INT. COMMUNITY ROOM – DAY
Scene Arc: Violet shakes off the dog while a quilter suggests everyone calm down and go have a picnic.
Essence: Let’s change the subject, have a picnic.
Conflict: The dog versus Violet. Tammi versus Violet.
Subtext: The tension between Tammi and Violet does not settle down.
Hope/Fear: Fear this picnic will end badly. Hope that it won’t.

ACT FOUR
33. EXT. CLIFFSIDE – DAY
Scene Arc: Violet reminds the quilters that she brought Tammi in to get rid of the village’s undesirables. They tell her they hated Doggie Mom, not the dog.
Essence: The quilters turn against Violet.
Conflict: Violet versus the quilters.
Subtext: Tammi once again holds a superior position over Violet.
Hope/Fear: We hope this doesn’t end badly for Violet, fear it will.

34. EXT. CLIFF’S EDGE – DAY
Scene Arc: Quilters force Violet to the precipice. The dog clamps on to her ankle, but lets go just as Violet is pushed off the edge.
Essence: Violet falls off the cliff.
Conflict: Quilters forced Violet to jump.
Subtext: They all loved the dog but not Violet.
Hope/Fear: Fear that Violet is dead and see little hope.

35: EXT. LEDGE BELOW THE CLIFF – DAY
Scene Arc: Violet sits in the Wheelchair Woman’s wheelchair and a picnic basket is lowered from above. She reaches for it, loses her balance and falls to her death.
Essence: Violet dies.
Conflict: If only she hadn’t reached for that basket.
Subtext:
Hope/Fear:

• This reply was modified 10 months, 4 weeks ago by  Pat Fitzgerald.

[Kathryn Gould]

Kathryn’s Scene Requirements

I choose to be a highly creative and energized writer who makes big movies and loves her life working with the most creative people in the world.

What I learned: This is a very valuable step in visualizing the actual scenes needed to tell this story. This is helping it go from an idea for a story into an actual screenplay.

Act 1:

• Scene Arc: Japheth and gang break into Medinano, complete their mission and sneak out

1. INT. MEDINANO ENTRANCE – DAY

• Essence: Meet the team as they get past security, Japheth mocked by security guards for his need to wear glasses
• Conflict: Will these people get through security – will the guy in glasses fight back?
• Subtext: They are not supposed to be there, they are infiltrating
• Hope/fear: Hope they will get through, fear something will go wrong

2. INT. MEDINANO HALLWAY/ WASTE ROOM – DAY

• Essence: Map out their mission, change uniforms, start mission
• Conflict: They are obviously doing something illegal
• Subtext: Pretending to be waste disposal workers
• Hope/fear: Fear they will be caught

3. INT. MEDINANO GARBAGE CHUTES/AIR DUCTS – DAY

• Essence: Japheth makes his way through hidden passages, planting a remote data connection device and stealing some new bioengineering technology, showing off superhuman physical abilities.
• Conflict: This is their most dangerous mission yet and tensions run high, but if they pull it off, it will be their last mission.
• Subtext: Everything about this scene is covert, hiding from security guards, avoiding cameras, planting spyware, stealing tech.
• Hope/fear: Hope they will complete their mission, fear they will get caught

4. INT. DR. KUTHRAPALI’S LAB – DAY

• Essence: Thinking he’s picking up stolen tech, Dr. K tells him no, he has to smuggle him out
• Conflict: Japheth is not okay with this change
• Subtext: The doc is low key threatening them if they don’t smuggle him out/ Japheth didn’t see the body, but he did see some blood on Dr. K’s sleeve
• Hope/fear: Hope they’ll escape – fear they won’t and that Dr. K is dangerous

5. INT. MEDINANO WASTE ROOM – DAY

• Essence: They only have three badges. Nell has a plan – she will “die” to get out – i.e. Japheth must inject her with new biotech and program it to shut down her bodily functions for a few minutes so she appears dead to the scanners and they take her out as “trash”.
• Conflict: Nell has to risk her life, Japheth furious about this.
• Subtext: Something has changed. Way more danger than expected.
• Hope/fear: Hope they get out. Fear Nell won’t survive.

6. INT. MEDINANO SECURITY EXIT – DAY

• Essence: Smuggling Nell’s body out.
• Conflict: Security guards scanning the trash – something beeps, rescan…
• Subtext: Everyone’s nervous – will they notice the doc’s badge is for someone else?
• Hope/fear: Hope they will get out – fear they’ll get caught

7. EXT. UPPERS OUTSIDE MEDINANO – DAY

• Scene Arc: Getting out of the Uppers
• Essence: Reviving Nell without being seen – she lives, but she can’t walk. Resetting her has taken away the enhancements that allowed her to walk, because she was born with spina bifida. Dr. K’s turn to go in the trash, even though Nell can’t walk.
• Conflict: Will she survive? Will she be able to walk again?
• Subtext: the doc doesn’t seem concerned
• Hope/fear: Hope she’ll live / fear she won’t

8. EXT. THE GATEWAY – DAY

• Essence: Getting out of the Uppers – convincing the border guards Nell hurt her ankle, hoping they don’t look through the trash.
• Conflict: He has to carry Nell, if they decide to look through the trash they’re screwed
• Subtext: angry at the doctor, worried they’ll be caught
• Hope/fear: Hope they’ll and that Nell will be ok, fear they’ll be caught

• Scene Arc: Getting back to their HQ, fixing Nell, finding anomalies

9. EXT. THE DREGS – DAY

• Essence: They split up, Olly taking Dr. K to meet Dr. Bennett, Japheth and Nell head back to their room in Dregs
• Conflict: Japheth has to carry Nell the whole way, worried they’re being followed
• Subtext: Japheth still upset about the mission, we see a slice of life in the Dregs, people are poor, sick, dirty, there’s a lot of crime, but also people make do, there’s a simple beauty in the community, everyone knows them.
• Hope/fear: Hope they’re not being followed – hope that Nell will be ok

10. INT. THE GANG’S HQ – DAY

• Essence: Fixing Nell’s tech, get her walking again, but she’s acting strangely, discover that the new nano contains mind control programming!
• Conflict: Medinano is planning something big!
• Subtext: The poor are already in the most horrible situation ever, and now it’s going to be worse
• Hope/fear: Hope Japheth will be able to do something about it; Fear that it will be too dangerous

11. INT. DR. BENNETT’S CLINIC – DAY

• Scene Arc: Japheth proudly goes to his parent figure Dr. Bennett to tell her about his discovery, and is stung when he receives only her dismissal and a warning to stay silent, as well as her dismissal of another project he was working on, a viral cure.
• Essence: Dr. Bennett examines Nell while Japheth tells her about the mind-control programming, she warns him that the information could get him killed. He wants to know if his “viral cure” programming could be used to stop it, she tells him her tests show that it doesn’t even work as it was designed, much less for something this complex.
• Conflict: Japheth wants to go public, Dr. Bennett tells him to keep quiet, denigrates his previous work
• Subtext: She already learned from Dr. Kuthrapali about the mind control. She is planning to repurpose his viral cure programming to spread a deadly virus in the Uppers, and she doesn’t want him to know.
• Hope/fear: Hope that Dr. Bennett will listen to Japheth and help him; fear that nothing will be done AND that doing something will be dangerous for Japheth and Nell

12. INT. THE GANG’S HQ – NIGHT

• Scene Arc: Joined by Olly and Lila (Japheth’s love interest, specializes in disguises, covered in constantly changing tattoos) the gang spends a sleepless night arguing about what to do, beefing up their enhancements in preparation.
• Essence: Japheth feels betrayed and disappointed; wonders if Dr. Bennett and/or Dr. Kuthrapali are under Medinano’s mind control.
• Conflict: Japheth wants to do something – Nell wants to listen to Dr. Bennett and remain cautious. When they learn that Dr. Kuthrapali is wanted for murder, Japheth remembers seeing blood on his sleeve, now they’re worried for Dr. Bennett’s life. When she doesn’t answer their calls, they wonder if they should risk breaking curfew to try and warn her.
• Subtext: They are several steps behind Dr. Bennett, who is deliberately misinforming them.
• Hope/fear: Fearing they could be arrested at any moment – fearing that Dr. Bennett is in trouble or has already betrayed them.

13. INT. DR. BENNETT’S LAB – NIGHT

• Scene Arc: Break curfew and sneak to Dr. Bennett’s lab, find that it’s deserted, evidence of a fight and a dead Medinano operative strapped to an examination table. Medinano investigators arrive, they barely escape, now fugitives.
• Essence: Dr. Bennet’s whole team is missing, the lab destroyed, and a dead Medinano investigator is strapped to an exam table, looks like he died from internal bleeding, no wounds.
• Conflict: Where is everyone – there’s a dead guy – did Kuthrapali do this? Does he have Bennett? – Medinano thinks they did it!
• Subtext: Dr. Bennett tested her virus on this guy, then went underground
• Hope/fear: Hope the gang gets away; fear they’ll get caught; fear that something terrible has happened to Dr. Bennett.

ACT 2:

14. INT. HIDEOUT – DAY

• Scene Arc: Fleeing Medinano’s forces, fearing the worst. Testing for mind control. See themselves on news vids – claiming THEY killed Bennett (turning the Dregs against them). Decide they must find out what happened to Dr. Bennett. Lila must leave to check on her ailing parents.
• Essence: They don’t know who they can trust
• Conflict: They are being hunted by Medinano’s forces as well as law enforcement, accused of crimes they didn’t commit
• Subtext: They are being lied about and set up
• Hope/fear: Hope they’ll be able to clear their names; Fear they’ll get caught

15. EXT. TECH BAZAAR – DAY

• Scene Arc: Use a public computer to find info on Dr. Bennett; ambushed by Medinano agents; high-octane chase through tech bazaar, saved by Lila. Test her for mind-control, she passes.
• Essence: They must risk exposure to download security vids that could lead them to Dr. Bennett, nearly caught, saved by Lila.
• Conflict: Chased through tech bazaar by both Dregs police and Medinano – can they trust Lila?
• Subtext: Lila is now being blackmailed into working for Medinano.
• Hope/fear: Hope they will find useful info; fear they will get caught

• Scene Arc: Tracking down Dr. Bennett and getting her side of the story

16. INT. ALTERNATE HIDEOUT – NIGHT

• Essence: Sorting through security vids to find Dr. Bennett with an illegal tech dealer
• Conflict: Don’t know how long they’ll be safe – loads of data to sort through
• Subtext: Lila is gathering info, preparing to turn them in
• Hope/fear: Hope they will find her, fear they will get caught

17. MIDPOINT: INT. TECH DEALER’S LAIR – DAY

• Essence: Captured and taken to Dr. Bennett. Learning her secret past – she was arrested for trying to help his parents (they had a terrible disease – Dr. Bennett delivered Nell by C-section before their mother passed away) – Dr. B sent to the Dregs, left her wife and daughter behind in the Uppers, has granddaughter she’s never even met. Dr. Bennett is giving up and trying to get to Canada. She reveals to everyone that Japheth applied to a Medinano school and would have left the Uppers along time ago if not for Nell.
• Conflict: Japheth feels abandoned and betrayed.
• Subtext: She is lying to get him off her tail – but telling him misleading truths that will help later. Also she cleverly reveals Japheth’s secret, which subtly undermines the team’s cohesion.
• Hope/fear: Hope he can convince Bennett to help; fear she will betray him or say no

ACT 3:

17. INT. OLD ICE SKATING RINK TURNED LIVING QUARTERS – NIGHT

• Scene Arc: Japheth struggles with the thought of doing nothing; they decide to infiltrate Medinano – Dregs police arrive and they escape, but an officer dies
• Essence: Japheth wonders if things could get any worse in the Dregs, Nell’s story of what this building used to be convinces them that things could certainly be better. They decide to do something about it. Their old IDs won’t work, need a new plan – decide to use exec entrance, closer to where they need to go, but harder to get in. Lila (master of disguises) says she can get them in. Someone in the rink recognized them – called Dregs police.
• Conflict: Do nothing or risk their lives trying to make things better? Confrontation with police, officer dies.
• Subtext: Lila’s going to betray them
• Hope/fear: hope they will try and succeed; fear they try and die; fear they will get caught before they can do anything

18. INT. MEDINANO EXEC ENTRANCE – DAY

• Scene Arc: A high-tension infiltration scene where they are forced to leave Lila behind.
• Essence: Japheth faces an agonizing choice when Lila is held back. Despite his instinct to save her, Nell convinces him to press on.
• Conflict: Leave Lila to be taken by security and continue the mission, or try and save Lila and abandon the mission.
• Subtext: Lila has turned herself in – or done something to make sure she gets caught.
• Hope/fear: Hope they will get through; fear they won’t

19. INT. MEDINANO UPPER FLOORS HALLWAY – DAY

• Scene Arc: They approach the CEO’s office, Security arrives, confrontation, Olly dies.
• Essence: Nell’s attempts to get into the CEO’s office fail, suddenly they are surrounded by security, they fight. Olly gets shot. His enhancements start to fix him, but slowed down, he’s captured. The Medinano “medics” deactivate his enhancements and watch him die. They bring out Lila, say they’re going to kill her next. She tells them it won’t matter if they kill her, the only way to get Japheth to stop is to take Nell.
• Conflict: Confrontation with security; Olly dies; they’re betrayed and captured.
• Subtext: Japheth realizes Lila betrayed them, Lila is jealous of Japheth and Nell’s relationship.
• Hope/fear: Hope they’ll somehow get out of it, fear all is lost

ACT 4:

20. INT. MEDINANO MEDICAL LAB – DAY

• Scene Arc: Captured, Medinano’s team begins removing their enhancements, seizures begin. Instead of escaping, they decide to help.
• Essence: Mysterious seizures begin – the dead bodies look like the Medinano operative at Dr. Bennett’s. Nell (now unable to walk) has hacked their system and found a perfect escape route, but Japheth’s exam of the bodies reveals – his viral cure was turned into a deadly virus. Debate whether to escape or stay to help.
• Conflict: Will they escape? What is killing all these people? Are they next?
• Subtext: Dr. Bennett’s real plan is materializing
• Hope/fear: Hope they won’t die like everyone else – fear that they will just abandon everyone to Dr. Bennett’s deadly plan

21. INT. MEDINANO CEO’S OFFICE – DAY

• Scene Arc: They decide to stay, they take control of the Medinano CEO.
• Essence: Using a dead guy’s hand, they break into the CEO’s office and find him desperately trying to figure out what’s going on – but suspiciously not having seizures himself. He accuses them of doing this, takes Nell by gunpoint, Lila saves them by injecting him with the new tech he had given her to give to her parents. He starts having a seizure; they save him, and now they can control him.
• Conflict: Confrontation with the Medinano CEO
• Subtext: Using his own technology against him; he had not given himself the new tech, not wanting to be controlled.
• Hope/fear: Hope they will beat the CEO, fear he will kill Nell

22. INT. MEDINANO BOARDROOM – DAY

• Scene Arc: Figure out how to slow the spread of the virus, how to find Bennett
• Essence: With the CEO under their control, they take their own pirated tech and use Japheth’s viral cure to spread an interference code, slowing the progression of the disease – and they make the CEO go on the news telling everyone what is going on and that Japheth and Nell are sending out the cure. However, that’s a lie, they’re slowing the disease, but only Bennett can stop it. (Now they have hours instead of minutes.) They realize Bennett would not let her family die-
• Conflict: Trying to save millions of lives
• Subtext: Lying to the people to try and stave off panic
• Hope/fear: Hope he will save the day, fear everyone in the Uppers will die

23. INT/EXT. DR. BENNETT’S DAUGHTER’S HOME – DAY

• Scene Arc: Capture Dr. Bennett, get the code for the cure, realize it is spreading too fast
• Essence: They track her down at her daughter’s, arrest her and get the cure – but she tells them that new nanotech must be injected into everyone in the Uppers individually, and so they’ll never replicate enough in time to save the majority. Lose hope.
• Conflict: They have the cure, but they can’t get it out in time.
• Subtext: Just a few people on their own can’t fix a broken system.
• Hope/fear: Fear that millions will die.

23. EXT. UPPERS MAIN SQUARE – DAY

• Scene Arc: People are starting to get sick again, panicking. People from the Dregs come to help.
• Essence: They look outside, people getting sick again, panicked crowds. They go to help as many as they can, but in the middle of it all, Nell suddenly asks why she hasn’t gotten sick – even though she has the new tech. They realize everyone Dr. Bennett treated has the cure – make another broadcast. Call on the people of the Dregs to come to the Uppers. The gates are thrown open. Blood donation stations set up. People are cured.
• Conflict: People are dying – will the people of the Dregs, who have suffered at the hands of the people from the Uppers, be willing to help?
• Subtext: We’re all in this together.
• Hope/fear: Hope millions of lives will be saved. Fear that it won’t work.

24. INT. MEDINANO HOLDING CELL – DAY

• Scene Arc: Dr. Bennett learns the news that the virus is being defeated, kills herself
• Essence: Defeated, Dr. Bennett turns off her own immunity and dies from the virus
• Conflict: Her internal battle to reconcile her actions and her ethics
• Subtext: Bennett can’t live in a world where her enemies are forgiven
• Hope/fear: Hope she’ll come around, fear she won’t

25. INT. SIBLINGS’ NEW HOME/ PENTAGON – DAY

• Scene Arc: Japheth remotely helps US leaders coordinate with governments around the world to disable Medinano’s mind-control programming while living in the reconstruction of the Dregs.
• Essence: We see the world being rebuilt around him as he helps world leaders stop Medinano’s evil plot.
• Conflict: There are still some people who aren’t happy with this plan – esp. the now imprisoned Medinano CEO
• Subtext: It will take many people working together to stop dangerous technology from damaging society.
• Hope/fear: That societal change will/ will not last.

[James Hernandez]

James’ Scene Requirements

My Vision: I am a great writer who is recognized by the industry as an exceptional collaborator able to elevate any project into production and have maximum success.

What I learned from doing this assignment is…I have to develop the connecting scenes to fill in the gaps in my script. These scenes would add continuity and complete the subplots. I also need to diversify my locations because at the moment this draft is budget conscious which lowers the production cost.

Act 1:
Scene 1
Scene Number: 1
Slugline: INT. OFFICE RECREATION ROOM – NIGHT
Description: Ethan uneasily waits for his New Year’s date who never shows up.
Scene Requirements:
• Scene Arc: Ethan’s expectations go from hopeful to disappointed.
• Essence: To show Ethan’s unsuccessful adventures with women.
• Conflict: Ethan ignores the snarky commentary from his coworkers.
• Subtext: Ethan hides his grief though being polite.
• Hope/fear: We hope Ethan’s date arrives and fear that he’ll be stood up.
Scene 2
Scene Number: 2
Slugline: INT. ETHAN’S APARTMENT – DAY
Description: Ethan’s close friend, Albert, visits and suggests an online dating site for renewed hope.
Scene Requirements:
• Scene Arc: Ethan goes from doubtful to considering the online dating suggestion.
• Essence: To show Ethan still has the willingness to try out modern dating methods.
• Conflict: Ethan shuns Albert’s ideas on finding love.
• Subtext: Ethan knows he’s growing older and covers this concern with his wit.
• Hope/fear: We hope Ethan’s open to new dating methods and fear he’ll never find anyone.
Scene 3
Scene Number: 3
Slugline: INT. ETHAN’S APARTMENT – NIGHT
Description: Ethan signs up with a membership to an online dating site.
Scene Requirements:
• Scene Arc: Ethan goes from unenthusiastic to excited about the online possibilities.
• Essence: To show there may be love for Ethan in the future.
• Conflict: Ethan goes through internal mental anguish as he searches online.
• Subtext: Ethan laughs at his present single status covering his loneliness.
• Hope/fear: We hope Ethan finds love and fear he may be wasting his time.
Scene 4
Scene Number: 4
Slugline: INT. COFFEE SHOP – DAY
Description: Ethan gets several requests to meet from an interesting array of women.
Scene Requirements:
• Scene Arc: Ethan goes from a casual evening to being overwhelmed by women propositions.
• Essence: To show Ethan has many decisions to make with regards to his love life.
• Conflict: Feeling overwhelmed, Ethan politely dismisses the women suitors.
• Subtext: Ethan hides his insecurity through witty messages.
• Hope/fear: We hope Ethan will choose one of the women and fear he’ll ruin his chances at love.
Scene 5
Scene Number: 5
Slugline: INT. ETHAN’S APARTMENT – NIGHT
Description: Ethan meets his tech genius, Joey, and they embark on the dating adventures of a lifetime.
Scene Requirements:
• Scene Arc: Ethan goes from having his reservations to accepting Joey’s ideas for his profile.
• Essence: To show Ethan and Joey’s differences leading to a bonding moment.
• Conflict: Ethan and Joey spar about how best to approach women.
• Subtext: Ethan and Joey divulge very little about their pasts through evasion.
• Hope/fear: We hope Ethan is successful and fear his attitude will leave him single.
Scene 6
Scene Number: 6
Slugline: MONTAGE OF SHORT DATING SCENES
Description: Comedy: Ethan goes on multiple dates and meets women who are eccentric and some who are downright bizarre. Character action: Ethan offers awkward complements to hide his disillusionment with the dates. He offers chuckles as the women describe themselves.
Scene Requirements:
• Scene Arc: From hope to humorous disillusionment.
• Essence: To show Ethan’s varied and unsuccessful dating experiences.
• Conflict: Ethan’s internal conflict with each date’s eccentricity.
• Subtext: Ethan’s politeness masks his disappointment.
• Hope/fear: We hope Ethan finds someone normal and fear he will continue to meet odd women.
Scene 7
Scene Number: 7
Slugline: INT. RESTAURANT – NIGHT
Description: Ethan meets Lily and subtle sparks fly as they appear to hide an aspect of their lives.
Scene Requirements:
• Scene Arc: From awkwardness to mutual fun.
• Essence: To show Ethan and Lily can have a future.
• Conflict: Lily doesn’t want to talk about her childhood.
• Subtext: They politely hide aspects of their lives.
• Hope/fear: We fear they may not be compatible and hope there is a chance.
Scene 8
Scene Number: 8
Slugline: INT. LILY’S APARTMENT – LATER
Description: Lily takes out a letter left by Ethan and reads it again.
Scene Requirements:
• Scene Arc: From a mysterious Lily to a thoughtful woman.
• Essence: To show that Lily has known about Ethan.
• Conflict: Does not let Ethan know the truth about her.
• Subtext: What is Lily keeping secret?
• Hope/fear: We fear Lily may never see Ethan again and hope they reunite at some point.
Scene 9
Scene Number: 9
Slugline: INT. ETHAN’S APARTMENT – DAY
Description: Ethan feels most of his dates were unsuccessful but believes he may have a future with Lily.
Scene Requirements:
• Scene Arc: From Ethan feeling like a failure to believing in a relationship with Lily.
• Essence: To show Ethan made a connection with Lily.
• Conflict: Ethan and Joey spar over her work which he deems as unsuccessful.
• Subtext: Ethan doesn’t want Joey to know how much he wants to follow up with Lily.
• Hope/fear: We fear Ethan will remain single and hope Lily can stay in his life.
Scene 10
Scene Number: 10
Slugline: INT. LILY’S APARTMENT – NIGHT
Description: Lily invites Ethan to her home and proposes a creative competition.
Scene Requirements:
• Scene Arc: From Lily’s dubious intent to her wanting to get closer to Ethan.
• Essence: To show Lily wants to get closer to Ethan.
• Conflict: Ethan questions how Lily knows about him but she doesn’t reveal anything.
• Subtext: Lily covertly wants to know Ethan’s authenticity.
• Hope/fear: We hope Ethan and Lily make a connection and fear his suspicion will ruin them.
Scene 11
Scene Number: 11
Slugline: INT. LILY’S APARTMENT – DAY
Description: Lily shows Ethan her art studio with many works in progress.
Scene Requirements:
• Scene Arc: From Ethan’s suspicions to a connection being made with Lily.
• Essence: To show Ethan and Lily can have a relationship.
• Conflict: Ethan expresses his suspicions as Lily remains mum.
• Subtext: Lily is slowly bringing Ethan into her life.
• Hope/fear: We hope a relationship can flourish and fear suspicions will derail Ethan and Lily.

Act 2:
Scene 12
Scene Number: 12
Slugline: EXT. PARK – DAY
Description: Ethan meets with Joey to have his profile suspended as he wants to pursue Lily only.
Scene Requirements:
• Scene Arc: From Ethan weighing his dating options to choosing Lily.
• Essence: To show optimistic Ethan is about Lily.
• Conflict: Ethan and Joey spar about keeping her as a love assistant.
• Subtext: Joey wants to stay close to Ethan thus her insistence.
• Hope/fear: We fear Ethan and Joey will stop working together and hope he’s successful.
Scene 13
Scene Number: 13
Slugline: INT. JOEY’S APARTMENT – NIGHT
Description: Joey finds out that her children’s father who’s on trial may not be acquitted from felony charges.
Scene Requirements:
• Scene Arc: From Joey having a pleasant evening to finding out pessimistic news.
• Essence: To show Joey’s dire life/family situation.
• Conflict: Joey battles with her mother-in-law over the future of the family.
• Subtext: Joey evades questions on how she will provide for the family.
• Hope/fear: We hope Joey can save her family and fear she will fall on desperate times.
Scene 14
Scene Number: 14
Slugline: INT. ETHAN’S APARTMENT – DAY
Description: Joey begins to swoon Ethan to ingratiate herself in his life.
Scene Requirements:
• Scene Arc: From Ethan and Joey being work cohorts to reliable friends.
• Essence: To show Joey immersing herself into Ethan’s life.
• Conflict: Ethan wants her as a work partner but Joey wants friendship.
• Subtext: Joey hides her ulterior motive from Ethan.
• Hope/fear: We hope Ethan and Joey can get along and fear they will end their partnership.
Scene 15
Scene Number: 15
Slugline: INT. COFFEE SHOP – NIGHT
Description: Lily writes letters to Ethan but he never receives them.
Scene Requirements:
• Scene Arc: From Lily having love for Ethan to thinking he’s ignoring her.
• Essence: To show Lily’s true feelings for Ethan.
• Conflict: Lily’s feelings of inadequacy toward Ethan.
• Subtext: Lily thinks Ethan isn’t interested though he never gets her letters.
• Hope/fear: We fear Ethan will never get her letters and hope they stay together.
Scene 16
Scene Number: 16
Slugline: INT. ETHAN’S APARTMENT – NIGHT
Description: Ethan’s grief over Lily’s perceived silence turns him to a downward spiral.
Scene Requirements:
• Scene Arc: From Ethan’s confidence in Lily to grief over her perceived rejection.
• Essence: To show how deeply Ethan cares for Lily.
• Conflict: Ethan’s mental battle with his failed relationship with Lily.
• Subtext: Ethan keeps quiet about his hurt to Joey.
• Hope/fear: We fear Ethan will never know Lily’s feelings and hope he discovers the truth.
Scene 17
Scene Number: 17
Slugline: INT. LILY’S APARTMENT – DAY
Description: Lily gets a call from Ethan, excited about her art and requests to meet her again.
Scene Requirements:
• Scene Arc: From Lily’s deep despair to hopeful in her art and Ethan.
• Essence: To show Ethan has interest in Lily’s art.
• Conflict: Lily battles with herself on whether to trust Ethan again.
• Subtext: Lily keeps her life’s struggles from Ethan.
• Hope/fear: We hope Lily finds peace and fear she will not trust Ethan.
Scene 18
Scene Number: 18
Slugline: INT. ETHAN’S APARTMENT – NIGHT
Description: Ethan’s intrigue of Lily turns to reality as he sneaks a note for her in her apartment.
Scene Requirements:
• Scene Arc: From Ethan feeling unsuccessful to confidence he and Lily will connect.
• Essence: To show Ethan’s dedication to Lily.
• Conflict: Ethan’s battle with self-confidence in leaving a note for Lily.
• Subtext: Ethan keeps his dedication to himself.
• Hope/fear: We hope Ethan and Lily have a connection and fear she will never know his efforts.
Scene 19
Scene Number: 19
Slugline: INT. COFFEE SHOP – DAY
Description: Lily sees Ethan’s letter and becomes intrigued.
Scene Requirements:
• Scene Arc: From Lily’s feeling hopeless to having intrigue for Ethan.
• Essence: To show Lily’s deep feelings for Ethan.
• Conflict: Lily’s internal battle on whether she can trust Ethan.
• Subtext: Lily does not tell anyone about Ethan’s letter.
• Hope/fear: We hope Ethan’s letter can bring them together and fear she’ll never trust him.
Scene 20
Scene Number: 20
Slugline: EXT. PARK – DAY
Description: Ethan and Joey spar over the closure of his account as he feels he only wants Lily.
Scene Requirements:
• Scene Arc: From Ethan’s feeling hopeless to having intrigue for Ethan.
• Essence: To show Ethan’s confidence in Lily.
• Conflict: Joey’s unrelenting attitude to close the account.
• Subtext: Joey’s feelings of inadequacy for Ethan’s attention.
• Hope/fear: We fear Ethan’s growing anger at Joey and hope she can relent.
Scene 21
Scene Number: 21
Slugline: INT. ART GALLERY – NIGHT
Description: Ethan attends an art exhibition featuring Lily’s work.
Scene Requirements:
• Scene Arc: From Ethan feeling excited to being mesmerized by Lily’s art.
• Essence: To show Ethan’s admiration and support for Lily.
• Conflict: Ethan struggles to approach Lily among the crowd.
• Subtext: Ethan hides his nervousness with curiosity about the art.
• Hope/fear: We hope Ethan and Lily reconnect and fear they will remain distant.
Scene 22
Scene Number: 22
Slugline: INT. LILY’S APARTMENT – NIGHT
Description: Lily reads Ethan’s second letter, realizing his genuine interest in her art.
Scene Requirements:
• Scene Arc: From Lily’s skepticism to being touched by Ethan’s sincerity.
• Essence: To show Lily’s growing trust and feelings for Ethan.
• Conflict: Lily battles with her fear of being hurt again.
• Subtext: Lily keeps her emotional turmoil hidden from others.
• Hope/fear: We hope Lily reaches out to Ethan and fear she will let her fears dominate.
Scene 23
Scene Number: 23
Slugline: INT. COFFEE SHOP – DAY
Description: Lily decides to meet Ethan at their usual coffee shop, feeling a mix of hope and anxiety.
Scene Requirements:
• Scene Arc: From Lily’s anxiety to hopeful anticipation.
• Essence: To show Lily’s willingness to give Ethan a chance.
• Conflict: Lily’s internal struggle with vulnerability.
• Subtext: Lily masks her nervousness with small talk.
• Hope/fear: We hope the meeting goes well and fear it may be awkward.
Scene 24
Scene Number: 24
Slugline: INT. COFFEE SHOP – NIGHT
Description: Ethan arrives at the coffee shop, and he and Lily have a heartfelt conversation.
Scene Requirements:
• Scene Arc: From awkwardness to deep connection.
• Essence: To show Ethan and Lily’s growing bond.
• Conflict: They both avoid discussing their pasts.
• Subtext: Their polite conversation hides deeper emotions.
• Hope/fear: We hope they open up to each other and fear they might remain guarded.

Act 3:
Scene 25
Scene Number: 25
Slugline: INT. ETHAN’S APARTMENT – DAY
Description: Ethan talks to Joey about his date with Lily, expressing his optimism.
Scene Requirements:
• Scene Arc: From Ethan’s excitement to Joey’s subtle jealousy.
• Essence: To show Ethan’s hope and Joey’s inner conflict.
• Conflict: Joey tries to hide her feelings and remain supportive.
• Subtext: Joey’s compliments hide her jealousy and fear of losing Ethan’s attention.
• Hope/fear: We hope Joey can accept Ethan’s happiness and fear she might interfere.
Scene 26
Scene Number: 26
Slugline: INT. LILY’S APARTMENT – NIGHT
Description: Lily paints a new piece inspired by her feelings for Ethan.
Scene Requirements:
• Scene Arc: From Lily’s artistic block to creative inspiration.
• Essence: To show Lily’s emotional connection with Ethan influencing her art.
• Conflict: Lily struggles with her feelings while creating.
• Subtext: Her art reveals more about her emotions than her words.
• Hope/fear: We hope Lily finds peace in her art and fear her emotions might overwhelm her.
Scene 27
Scene Number: 27
Slugline: INT. ETHAN’S APARTMENT – NIGHT
Description: Ethan finds out Joey has been manipulating his online profile and feels betrayed.
Scene Requirements:
• Scene Arc: From trust to betrayal.
• Essence: To show the fragility of Ethan and Joey’s relationship.
• Conflict: Ethan confronts Joey about her actions.
• Subtext: Joey’s justifications reveal her desperation.
• Hope/fear: We fear this might end their partnership and hope they can reconcile.
Scene 28
Scene Number: 28
Slugline: INT. ART GALLERY – NIGHT
Description: Ethan attends another of Lily’s art shows, bringing a small, thoughtful gift.
Scene Requirements:
• Scene Arc: From anticipation to shared joy.
• Essence: To show Ethan’s genuine interest and support for Lily.
• Conflict: Ethan’s nervousness about giving the gift.
• Subtext: The gift symbolizes Ethan’s commitment.
• Hope/fear: We hope Lily appreciates the gesture and fear she might misunderstand it.
Scene 29
Scene Number: 29
Slugline: INT. LILY’S APARTMENT – NIGHT
Description: Lily reads a heartfelt letter from Ethan, expressing his feelings and hopes for their future.
Scene Requirements:
• Scene Arc: From uncertainty to emotional clarity.
• Essence: To show Ethan’s vulnerability and honesty.
• Conflict: Lily’s fear of reciprocating Ethan’s feelings.
• Subtext: Lily’s silence is filled with emotional turmoil.
• Hope/fear: We hope Lily responds positively and fear she might withdraw.
Scene 30
Scene Number: 30
Slugline: INT. COFFEE SHOP – DAY
Description: Ethan and Lily meet to discuss the letter and their future.
Scene Requirements:
• Scene Arc: From tension to mutual understanding.
• Essence: To show their willingness to work through their fears.
• Conflict: They both struggle to express their true feelings.
• Subtext: Their conversation reveals their hopes and fears.
• Hope/fear: We hope they find common ground and fear their insecurities will pull them apart.
Scene 31
Scene Number: 31
Slugline: INT. ETHAN’S APARTMENT – NIGHT
Description: Ethan and Joey have a heart-to-heart, mending their friendship and discussing boundaries.
Scene Requirements:
• Scene Arc: From tension to reconciliation.
• Essence: To show the strength of their friendship.
• Conflict: Joey apologizes, and Ethan sets boundaries.
• Subtext: Their words convey their deep bond and mutual respect.
• Hope/fear: We hope their friendship grows stronger and fear lingering issues might resurface.
Scene 32
Scene Number: 32
Slugline: EXT. PARK – DAY
Description: Ethan and Lily take a walk, enjoying each other’s company and discussing their future plans.
Scene Requirements:
• Scene Arc: From uncertainty to shared vision.
• Essence: To show their growing connection and commitment.
• Conflict: Minor disagreements about their future.
• Subtext: Their conversation reflects their deepening relationship.
• Hope/fear: We hope they continue to grow together and fear potential obstacles.
Scene 33
Scene Number: 33
Slugline: INT. ART GALLERY – NIGHT
Description: Lily unveils a new art piece dedicated to Ethan, symbolizing their journey.
Scene Requirements:
• Scene Arc: From anticipation to emotional revelation.
• Essence: To show Lily’s love and dedication to Ethan.
• Conflict: Ethan’s reaction to the surprise.
• Subtext: The art piece conveys their emotional bond.
• Hope/fear: We hope Ethan loves the gesture and fear he might feel overwhelmed.

Act 4:
Scene 34
Scene Number: 34
Slugline: INT. ETHAN’S APARTMENT – DAY
Description: Ethan reflects on his journey and decides to fully commit to his relationship with Lily.
Scene Requirements:
• Scene Arc: From reflection to resolution.
• Essence: To show Ethan’s determination and love.
• Conflict: Ethan’s internal struggle with commitment.
• Subtext: Ethan’s actions reflect his growth.
• Hope/fear: We hope Ethan’s decision brings happiness and fear lingering doubts.
Scene 35
Scene Number: 35
Slugline: INT. LILY’S APARTMENT – NIGHT
Description: Ethan surprises Lily with a romantic dinner, expressing his commitment.
Scene Requirements:
• Scene Arc: From surprise to mutual commitment.
• Essence: To show their deepening love and trust.
• Conflict: Minor nerves about the evening.
• Subtext: Their actions convey their emotions.
• Hope/fear: We hope the evening strengthens their bond and fear unexpected issues.
Scene 36
Scene Number: 36
Slugline: INT. ART GALLERY – NIGHT
Description: Ethan and Lily attend an art event together, confident in their relationship.
Scene Requirements:
• Scene Arc: From tentative beginnings to a strong partnership.
• Essence: To show their growth as a couple.
• Conflict: Minor social challenges.
• Subtext: Their unity is evident in their interactions.
• Hope/fear: We hope they enjoy the event and fear social pressures.
Scene 37
Scene Number: 37
Slugline: EXT. PARK – DAY
Description: Ethan and Lily share a heartfelt moment, looking towards their future together.
Scene Requirements:
• Scene Arc: From reflection to anticipation.
• Essence: To show their hope and commitment.
• Conflict: Reflecting on past challenges.
• Subtext: Their conversation reveals their deep bond.
• Hope/fear: We hope they continue to thrive together and fear potential future obstacles.

• This reply was modified 10 months, 3 weeks ago by  James Hernandez.

[Pam Ewing]

Pam’s Scene Requirements
Vision: Become a Writing Athlete
What I’ve learned: Not as easy as watching the movie in my mind

Scene Arc: Starts with success and ends in humiliation and mental breakdown
1. INT. BACKSTAGE OF CONFERENCE HALL – DAY
Maia confronts nemesis and walks way overly confident
• Essence: Sets up Maia as successful, intelligent, fearful fighter
• Conflict: Maia is idealistic in verbal sparring with ruthless, practical Nemesis
• Subtext: what is success/a win
• Hope/fear: Hope she succeeds as she seems likeable but fear she’ll lose because she’s too idealistic

2. INT. STAGE WING OF CONFERENCE HALL – DAY
Maia is shaken by Nemesis but tries to build herself up while she’s being introduced
• Essence: Maia’s corporate success feels flimsy
• Conflict: Maia is fighting her poor childhood flashbacks
• Subtext: success and failure hold hands
• Hope/fear: we hope she can succeed but fear that her childhood wounds will sink her

3. INT. MORGUE – NIGHT
In a flashback, Maia is a child cleaning the morgue with her parents
• Essence: introducing Maia’s wound
• Conflict: timid Maia has a real fear
• Subtext: character is facing your fears, even if pushed
• Hope/fear: we hope that nothing bad will happen but we fear something will traumatize her

4. INT. WINGS OF CONFERENCE HALL – DAY
Maia’s name is called and she walks onto stage, nods to Ollie in front row, starts to give her speech
• Essence: Sets up Maia’s self congratulating and coping mannerisms, intro her friend, Ollie
• Conflict: Maia is walking as she did as a child in the morgue
• Subtext: personal success is moment by moment
• Hope/fear: Hope she will gather her wits and be a leader; fear she will sink into childhood fears

5. INT. WINGS OF CONFERENCE HALL – DAY
Nemesis watches Maia while being prepped to walk on stage after Maia, with Maia’s “kryptonite” cologne
• Essence: Nemesis plays dirty
• Conflict: Nemesis doesn’t even appreciate his aide
• Subtext: is cruelty the cost of success
• Hope/fear: We hope Nemesis will fail but we fear that he will win

6. INT. CONFERENCE HALL STAGE – DAY
Nemesis joins a surprised Maia on stage and cuts off her speech to announce his takeover of her
• Essence: Nemesis engineers a way to humiliate her and make himself look strong
• Conflict: Nemesis wins; he invades her body space where his “cologne” causes her to freak and pass out
• Subtext: do we win at any cost
• Hope/fear: we hope that she is able to walk away but fear that Nemesis is the last man standing

Scene Arc: Maia is locked in a sanitarium room, breaks out, Ollie breaks in, together they escape
7. INT. SANITARIUM – NIGHT
Maia comes to in restraints being dumped in her locked room
• Essence: we learn that Nemesis has planned this so he must fear her
• Conflict: Maia can’t fight the restraints so she’s resigned
• Subtext: when to accept fate and when to escape
• Hope/fear: We hope she’ll figure a way out but fear she might not

8. INT. SANITARIUM – DAY
Maia awakens to breakfast being slid in the slot
• Essence: Maia realizes she’s been committed and decides to escape
• Conflict: Maia’s wound is makes her feel worthless and having trouble fighting
• Subtext: when to accept fate and when to escape
• Hope/fear: We fear Maia can overcome her wound but fear that she cannot escape

9. EXT. SANITARIUM – DAY
Maia is able to break out the door but every noise and another patient scares her then laughs at her
• Essence: adding horror elements and showing her ingenuity
• Conflict: Maia against the institution
• Subtext: sometimes our wounds land us in a real prison
• Hope/fear: we hope that she can escape but she doesn’t seem up to the task

10. INT. SANITARIUM – DAY
Ollie breaks into the sanitarium to rescue Maia
• Essence: establish Ollie as loyal, wacky, successful bumbler
• Conflict: Ollie cons staff into finding Maia then finds Maia already out of her room and they bicker
• Subtext: when is help not helpful
• Hope/fear: we hope Ollie can rescue Maia but we fear Maia may escape before they connect

11. INT. CAR – DAY
Maia and Ollie make it to the escape car and bicker- Ollie triggers the alarm (You’ll want them to look for you and get the press on your side, especially since I have the perfect hideout)
• Essence: breather to make the spa a reasonable hideout and build their friendship
• Conflict: Ollie insists on driving Maia’s car and using Maia’s credit
• Subtext: why can’t Maia just accept a rescue
• Hope/fear: we hope Ollie’s planned hideout will work but we fear that she messes things up

ACT 2
Scene Arc: Arrive at spa and Maia has agreed to accept hiding out and healing here
12. EXT. SPA LOADING DOCK – DAY
At employee entrance Maia meets promising Dr. Jeremy then upsets him while Dr. Kari observes
• Essence: Maia and Dr. Jeremy seem to spark to each other until she upset the research he is unloading and he gets angry and she is grossed out by the gory mess. Subtlety we see Dr. Kari becomes involved even though she seemed to be involved in shipment out marked ‘medical tissue’ or ‘human organ’
• Conflict: Maia and Dr. Jeremy push/pull and Dr. Kari observing
• Subtext: is there love at first sight
• Hope/fear: We hope Maia encounters a positive relationship but we fear Dr. Jeremy is unstable

13. INT. SPA BEDROOM – DAY
Maia and Ollie settle into their room as Maia views it as a prison
• Essence: grumbling Maia tries to acclimate
• Conflict: Ollie teases about Dr. Jeremy
• Subtext: can I have some privacy please
• Hope/fear: we hope Maia and Ollie are able to put up with each other but we worry Ollie might not be a good friend

14. INT. SPA DINING ROOM – DAY
Dr. Kari walks through the welcome details with staff and flirts while showing Dr Jeremy the operation
• Essence: set up Dr. Kari’s sharp condescension to staff and how she first with Dr. Jeremy; We see that she has something odd with her skin when she is near certain things. Is Dr. Jeremy interested in Dr. Kari.
• Conflict: Dr. Kari and staff is opposite Dr. Kari and Dr. Jeremy
• Subtext: the masks we wear
• Hope/fear: we don’t wish Dr. Kari well but she is in charge

15. INT. SPA DINING ROOM – NIGHT
Dr. Kari meets the guests introduces spa and specialized treatment schedules then guests eat and party
• Essence: Shows Ollie’s buy in to events, introduces guest that Maia will hang out with, shows Dr. Kari’s arrogance and jealousy, treatments are weird
• Conflict: Maia doesn’t realize she’s stepped into a triangle with Dr. Kari, who has designs on Dr. Jeremy
• Subtext: bloom where you are planted
• Hope/fear: We hope Maia will heal and have a good time, we fear something is wrong with Dr. Kari

16. INT. SPA BEDROOM – DAY
Ollie is excited about her weird treatment and pushes a hung over Maia to get going
• Essence: building the spa world, Ollie mentioning her mind impregnation treatment
• Conflict: Ollie and Maia have friendly antagonism and based on Ollie’s ditzy behavior we wonder how they are friends
• Subtext: can we be friends with someone so different
• Hope/fear: given how weird the treatments seem we hope they will be helpful/healthful but we fear mind impregnation is fraught with problems

Scene Arc: Trying to heal at the spa but keep finding things just don’t add up
17. INT. SPA TREATMENTS MONTAGUE – DAY
Maia hates her weird treatments, Ollie is in bliss, Maia connects with her new friend
• Essence: shows the twisted gory treatments, contrasts Ollie’s response to Maia’s fears; Maia connects with new friend, Ollie’s mind treatment induces robotic behavior
• Conflict: The spa treatments are gory and challenging
• Subtext: at what price beauty – is this relaxing
• Hope/fear: We hope that Maia will mend, make friends, move on to deal with the humiliation and loss of her company but we fear how much a spa vacation can accomplish

18. INT. SPA HOT TUB – NIGHT
Maia unwinds with her new guest friend, Dr. Kari checks in and gives advice, after Dr. Kari leave Dr. Jeremy tries to apologize
• Essence: growing friendship and exchange of personal information
• Conflict: Dr. Kari is menacing and there noticeable issue with her skin. Will Maia forgive Dr. Jeremy- should she?
• Subtext: can you really ever relax
• Hope/fear: we hope Maia can recuperate but we fear something is wrong with the treatments

19. INT. MAIA’S ROOM – NIGHT
Ollie is missing but Maia is exhausted so they do not touch base but Maia sees one of Ollie’s treatment material/devise and finds it concerning
• Essence: building concern and mystery in Maia’s mind
• Conflict: Maia vs the treatments
• Subtext: trust
• Hope/fear: we hope Maia can uncover the mystery before someone is harmed but we fear for Ollie

20. INT. DR. KARI’S OFFICE – NIGHT
Dr. Kari looks over the guests’ treatments. She sees and article on Maia on the internet and thinks as she unwraps part of her skin.
• Essence: Dr. Kari is trying to determine how to manage the guests and leaves a note to change Maia’s treatment then steps into a treatment chamber
• Conflict: what is she doing with her skin
• Subtext: masks
• Hope/fear: we hope she is not evil but we fear her controlling behavior and skin issue is sick

Scene arc: Maia decides she needs to investigate but can’t find an ally
21. INT. DINNING HALL – DAY
Maia asks her new guest friend some leading questions and gets cryptic, unhelpful answers
• Essence: new guest friend distances herself from Maia
• Conflict: Maia loses friend
• Subtext: danger of questions
• Hope/fear: we hope Maia can solve this but fear she’s found something real and dangerous

22. INT. DR. JEREMY’S LAB – DAY
Dr. Kari is overseeing Dr. Jeremy’s work and seeks answers about possible applications (implying evil apps)
• Essence: To give Dr. Kari and Dr. Jeremy depth and add a twist for Maia at the end
• Conflict: Dr. Jeremy doesn’t like anyone touching his work, not even Dr. Kari
• Subtext: Dr. Kari’s question raises the stakes for Dr. Jeremy
• Hope/fear: We hope Dr. Jeremy will be a good guy, but we fear he’s made a pact with the devil, Dr. Kari

Scene Arc: Both Maia and Dr. Jeremy break into the office to investigate and must flee before get answers
23. INT. SPA OFFICE – NIGHT
Maia breaks in only to be startled that Dr. Jeremy is there
• Essence: raising the stakes, providing forced togetherness, gives action when they are forced to run
• Conflict: nether starts by trusting the other but they must trust to escape guards
• Subtext: attraction
• Hope/fear: we hope for answers then safety but we fear Dr. Jeremy but we fear more the guards

24. INT. LAB – NIGHT
Dr. Jeremy winds them through the gory oblation (skin removal) lab to escape the guards
• Essence: establish Maia’s fear factor and the nature of some of the experiments
• Conflict: Maia pushes away as Dr. Jeremy tries to protect her but she passes out
• Subtext: what do you fear more – attraction, healing, gory research
• Hope/fear: we hope Maia will survive, we fear she will again go crazy

Scene Arc: Maia and Dr. Jeremy are going to work together and have a new plan
25. INT. DR. JEREMY’s BED – DAY
Maia awakens in Dr. Jeremy’s room and yelps at experiment photos, Dr. Jeremy comes out of bathroom
• Essence: To see Dr. Jeremy’s tattoo and learn his backstory; to show that trust has developed between them; before Maia can share more of her backstory Dr. Kari knocks on his door and he slips out before she can see Maia
• Conflict: Maia is concerned about what happened when she passed out; Dr. Jeremy shares about his sister’s death and feels vulnerable; Dr. Kari suspects something
• Subtext: the juggling game of trust/mistrust
• Hope/fear: we are excited or this new coalition but we fear that they are ach too broken to keep it going

Scene Arc: As the day progresses Dr. Kari, Dr. Jeremy, Maia each figure something out and try to communicate
26. INT./EXT. SPA MONTAGUE – DAY
Different revelations happen as each goes through their day, Maia and Dr. Jeremy try to connect
• Essence: escalating new tensions, jealousy, what the new revelations advance plot
o Maia sees Dr. Jeremy’s tattoo on Dr. Kari’ fresh skin
o Dr. Jeremy observes the organ harvesting and selling
o Dr. Kari discovers that she is wearing Dr. Jeremy’s sister’s skin
• Conflict: details exposed and everyone is on edge
• Subtext: knowledge is dangerous
• Hope/fear: we hope the new information will provide Maia’s safety but we fear the evil uncovered

Scene Arc: Maia and Dr. Jeremy prep to escape but Maia is trying to find Ollie
27. INT. SPA TREATMENT ROOM – NIGHT
Dr. Jeremy and Maia exchange info and plan to escape but Maia must get Ollie and he must save some research
• Essence: they exchange information and plan escape
• Conflict: time and fear of Dr. Kari
• Subtext: what really matters when time counts
• Hope/fear: we hope Maia can find Ollie but we fear she won’t in the costume party

28. INT. DR. JEREMY’S LAB – NIGHT
Dr. Jeremy is trying to pack up his most valuable research
• Essence: they exchange information and plan escape
• Conflict: time and fear of Dr. Kari
• Subtext: what really matters when time counts
• Hope/fear: hope he can escape in time but fear that Dr. Kari will stop him

INT. COSTUME PARTY – NIGHT
29. Maia has some scares trying to find Ollie then convince her to leave
• Essence: Raise stakes with Ollie who says she must delay to get out of bulky costume with no clothes underneath so they separate
• Conflict: Maia against a lot of mind-controlled people
• Subtext: believing truth
• Hope/fear: we want Ollie to be safe but fear she’s sucked into the mind control

Scene Arc: Dr. Kari is in Dr. Jeremy’s lab is a showdown
30. INT. LAB – NIGHT
Dr. Jeremy is confronted while packing part of his research when Dr. Kari confronts him
• Essence: Dr. Kari confronts Dr. Jeremy and attacks when Maia arrives
• Conflict: How much does she know/how dangerous is she
• Subtext: the devil you know
• Hope/fear: we hope we fear he and his research will be lost

INT. LAB – NIGHT
31. Dr. Kari has slashed Dr. Jeremy and he is bleeding profusely; Maia and Ollie have arrived
• Essence: Maia fights with Dr. Kari and questions her morals; engineers demise for Dr. Kari but Ollie steps in to be helpful and accidently gives Dr. Kari more power
• Conflict: a moral and physical battle
• Subtext: the devil inside vs death
• Hope/fear: we hope Maia will defeat Dr. Kari but fear that she will not win in time to help Dr. Jeremy

32. INT. LAB – NIGHT
Now everyone is in peril from Dr. Kari, Maia uses treated skin to wrap Dr. Jeremy and it immediately starts healing him
• Essence: Fight nears end but everyone is injured; Dr. Kari makes Maia a partnership offer she can’t refuse, at the last minute she figures out how and uses Dr. Jeremy’s sister’s skin’s cancerous research to kill Dr. Kari
• Conflict: besides fight with Dr. Kari, Maia is battling with herself over the offer
• Subtext: how weak we all are
• Hope/fear: we hope Maia can succeed but we fear the offer

Scene Arc: Months after killing Dr. Kari, Maia has taken over the spa
33. EXT. SPA – Day
Ollie, Dr. Jeremy, Maia discuss the spa changes as they ready to meet their new guests which include a cocky Nemesis
• Essence: Show the new directions for the spa and Dr. Jeremy’s research
• Conflict: things seem peaceful until Nemesis steps out of a car
• Subtext: are we high minded or low minded humans
• Hope/fear: We hope Maia has moved past her humiliation but we fear that she is only human

As Maia goes to greet Nemesis, Dr. Jeremy expresses pride in his relationship with Maia and how she’s overcome her fear of gore
• Essence: Ollie gets to reveal that she met Maia at a sanitarium when they were young, after Maia’s dead body encounter and, TWIST, Maia was committed because she became dangerously obsessed with reanimating humans, killing animals, doing bloody research on her own – all her aversion to gore was conditioning to protect others from her – looks like that’s gone
• Conflict: Dr. Jeremy goes from pride in Maia to fear
• Subtext: we are all capable
• Hope/fear: we hope Maia is well adjusted but we see that she is fully capable of torture and murder for fun whereas at least Dr. Kari had a selfish goal to heal herself

[David Zelitzky]

DAVID Z’s Scene Requirements

Vision:
I am an interesting, dependable, successful writer that people love to work with.

What I learned from doing this assignment is to be purposeful and exacting when creating a scene.

HELL’S DINER
Deserted, drab street. Boarded up shops.
Scene 1. EXT -DEAD LOOKING WET, GRAY TOWN – DAY
TESSA, 25, runs through the gray mist, sweating, pushing harder. Has her hoodie up. Barely see her. Cell phone Rings. She looks. Mick with cute head shot. She turns it off and pockets it. Continues to run. Unseen eyes peer from above. She feels them and tries to ignore it.
Essence: She’s unhappy and plagued by visions.
Conflict: She doesn’t want to talk to anyone.
Subtext: Is something after her? Does this happen often?
Hope/fear: She’s unsafe… hope she makes it through her run

Stops to stretch. Has terrible headache. Visions.
Scene 2. EXT. CEMETARY – DAY
Rain continues. Just three gray figures standing at a gravesite. Tessa holds her head. Barely see her face.
Scene 3. EXT. SMALL, RUNDOWN HOUSE – DAY
The peering eyes seem closer than before. Tessa stops and listens. Goes inside.
HOPE/FEAR – she’s still in danger
SUBTEXT – she doesn’t seem surprised but deals with these visions like it’s all happened before
Scene 4. INT. TESSA’S HOUSE – DAY
Tessa comes in, picks up after Chris. Yells that she’s not his maid. Seems it’s her BF but find out it’s her flamboyant brother. She tells him to hurry. He’s smoking pot, checking outside. Tessa tells Chris he better not talk to parker anymore… closet case is bad news… Chris says… yeah… Mick isn’t exactly a saint…
Conflict: They have an uneasy relationship. Seems to bicker and have different approaches
Subtext: Chris is paranoid. Tessa doesn’t share that she’s also had visions.
Hope/fear: Is there really something outside? Are they in danger?

Scene 5. EXT – CEMETARY – DAY
Gray, drizzling, empty except for Chris and Tessa and a priest reading from the bible. Tessa sees Mick talking to someone in a black limo. He stops on the way back to her at a strung out dude and they exchange something. When Mick returns to Tessa Chris flicks his cigarette. Not at Mom’s funeral. And we see the pale, sniffing guy walking away, suddenly drop to the ground with a massive seizure. Motionless.
Scene Arc: Mom’s funeral, a disagreement, uneasy relationship. Killer drugs
Essence: Seems that Mick is selling and people are dying while Chris and Tessa mourn.
Conflict: Mick and Chris have a very uneasy relationship. Tessa tries not to fight with Mick but he’s very irresponsible and she holds her temper while he sweet talks her.
Subtext: Drugs are circulating and everyone seems to accept the town is dying.
Hope/fear: the atmosphere seems very dangerous

Scene 6. EXT. DINER – DAY
Mick and their two friends are planning Tessa’s surprise birthday party. Mick sneaks off to deal drugs to a homeless guy in the alley. When he sees Tessa coming he runs back but homeless guy has seizure and disappears into the brick wall. Mick wants his money and thinks the deadbeat skipped out.
Scene Arc: Trying to set up a party and be happy but it’s deadly all around
Essence: Trying to be happy but can’t avoid the addiction and death.
Conflict: Mick tries to hide what he’s doing. Tessa hates her job
Subtext: Tessa wants to leave and is trying hard to make that happen
Hope/fear: It’s a dangerous place and the drug will kill you if you touch it.

Scene 7. EXT. – STREET – DAY
Tessa walks to work, stopping to see if someone is there. Homeless guy jumps out at her. She knows him – still feels eyes – in the trees? Where?
Scene 8. INT – TESSA’S HOUSE – DAY
Chris gets high, smokes, listens to music to drown out scratching and noise from somewhere he’s not sure. But it’s the old house. It’s creepy and he doesn’t want to stay. He gets dressed, smokes more, but seems there’s a figure in the shadows? He’s imagining it? Tessa told him to stay put but he can’t stay there. Texts Tessa he’s coming there.
Scene Arc: Chris wants to be comfortable at home but he can’t ignore the visions he’s having anymore
Essence: It’s a dangerous world and Chris is running from all the signs of it.
Conflict: He’s supposed to stay there but can’t force himself to do it anymore.
Subtext: He’s able to see the evil forces at work and is trying hard to ignore them.
Hope/fear: He’s in a lot of danger and there doesn’t seem to be anywhere he’s safe.

Scene 9. EXT – STREETS – DAY
Chris tries to act brave as he hurries down the street. Past passed out homeless guys. A car slows down, throws something, yells a slur. Chris stops, yells, flips them off. The car stops, backs up.
Scene 10. EXT – BACK OF DINER – DAY
Mick and her two friends try to fool around and have a party but Tessa stops, grabs her head, another headache. It’s Chris. They try to stop her but she runs down the street to find him.
Scene 11. EXT STREET – DAY
Tessa runs down the street and stops the boys from kicking Chris while he’s on the ground. They fight, rescues Chris. Chases them off. Walks him back, nursing wounds.
Scene 12. INT DINER – DAY
Her friends try to come in and continue celebrating. Owner kicks them out. Mick says they’ll wait. Chris is having a cigarette and Mick sits next to him. Flirts shamelessly. Says he has just the thing to make him feel better. Chris is a sucker for his charms. They go around the corner and Chris shoots up. He follows them back and then says he doesn’t feel well. Passes out. Unconscious. Mick runs to get Tessa. She comes out. Calls paramedics. Tries to nurse Chris. Yells at Mick. No one is sure what’s just happened.
Scene Arc: Party might be over, they take it outside and think things are okay and then obviously not.
Essence: Mick has revealed himself to us as a liar and a pusher.
Conflict: Between everyone. Diner owner yelling at Tessa to get back to work. Tessa yelling at Mick. Trying to revive Chris.
Subtext: Chris trying to hide that he’s a pusher. Tessa wants out of the relationship. Wants to tell Mick she’s moving away.
Hope/fear: Will Chris make it? We fear he won’t. Everyone else has died or disappeared. No one knows.

ACT TWO:
Midpoint Turning Point: Mick says he ‘found’ what he used and she lets him shoot her up.
HER COWORKER IS SCARED TO DEATH AND RUNS OUTSIDE. BRUTALLY MURDERED. NO ONE LEAVES HERE!!
The escalating body count creates a sense of dread and urgency as Tessa fights to save her brother and herself.

Scene 13. INT DINER – DAY
Tessa and her friends – couple worried customers – trying to revive Chris. On phone talking to paramedics. Diner owner yelling to work. Chris is seizing.. alive but unconscious. Tessa is trying to hold her temper with Mick – he claims he doesn’t know what happened but it’s not looking goo.

Scene Arc: they are frantic, waiting for paramedics, suspicions arise, fighting to keep Chris alive.
Essence: The drugs are killing everyone. What is the solution.
Conflict: Tessa is beginning to realize Mick is controlling this. Her friends want to leave
Subtext:
Hope/fear:

Scene 14. INT – Tessa’s Hell House – NIGHT
Chris is lost. Those shadows he’s been seeing are here. There’s no way out. They’re trying to catch him. Calling his name, tearing his clothes. Throwing him to the ground. He calls for Tessa.

Scene 15. INT DINER – DAY
Tessa holds Chris’ hand. Mick convinces her – she has to follow him and get him back – the only way.
Scene 16. EXT DINER – DAY
Raining harder. Paramedics arrive. Homeless, drugged people swarm the car, pull them out. They’ll never make it.
Scene 17. INT – DINER – DAY
Tessa and her friends see it and are helpless to stop it. They’re on their own.

[Lee Tidball]

Lee’s Scene Requirements

My Vision: I am a writer who is excellent, recognized as such by people in the industry, and has several projects sold for WGA-type fees and some of those produced and successful in the theater and/or on a major streamer.

What I learned doing this lesson is that composing an outline that includes scene requirements will ensure that I’ll remember all of the elements I want to have in each scene that will make them interesting, etc.

TOUGH ASSIGNMENT – OUTLINE WITH SCENE REQUIREMENTS

ACT 1

1. EXT. KABUL, AFGHANISTAN – DAY

Confusion, gunfire, civilians hurry to buses chased by Taliban fighters. At one bus, GABRIEL KNOX, private security commander argues with a US sergeant.
– Scene arc – Knox arrives with the family, tries to get on a bus, is refused.
– Essence: Knox is a private security officer protecting a European family. The bus is only for US citizens and Afghan NGOs
– Conflict: Knox is about to force his way on, but a Green Beret sergeant/sniper protecting the bus intervenes.
– Subtext: Who is the Green Beret and why does she have such authority?
– Hope/fear – We hope Knox and the family will be let on, but fear that it won’t happen.

FIVE YEARS LATER…

Scene Arc – KELLEN HAMILTON, late 30s, teacher at an Outdoor School in CA Sierra foothills, does her normal morning routine, ends in a disturbing phone call.

2. INT. KELLEN’S CABIN – DAY

Kellen awakes as sounds of screams and gunfire fade. She eyes a long military-style semi-automatic rifle that hangs on her bedroom wall, a plaque underneath it. We see her unique morning routine.
– Essence: Kellen’s routine is a rigorous military-style training course.
– Conflict: Kellen against herself
– Subtext: Where is she and what’s with the military style obstacle course?
– Hope/Fear – We hope Kellen is a “good guy,” but fear that she may not be.

3. INT./EXT. OUTDOOR SCHOOL – DAY

Kellen’s a teacher of 6th grade students who spend a week at the outdoor school. Morning routine is breakfast and meetings.
– Essence: Seeing Kellen in her “Old Ways” world.
– Conflict: Kellen tells a student they’ll be excluded from the day’s activities, punishment for misbehavior. The kid cries, etc. Kellen doesn’t give in.
– Subtext: There’s a side of Kellen that we’ve seen, but those in her world never see.
– Hope/fear: We sense Kellen’s genuine, fair and good, but fear her “other” persona.

4. INT. DINING HALL BUILDING – DAY

Kellen’s eating breakfast when she’s called to the phone. It’s MARA JENSON, a former comrade, now part of a new secret Dept. of Homeland Security branch, the Anti-Domestic Terrorism Force.
NOTE: Many areas of the Sierra foothills and mountains get little or no cell phone reception, including the Outdoor School.
– Essence: Kellen’s been assigned to see if an electrical substation has been sabotaged.
– Conflict: Kellen’s pissed. She’s taking a group on a hike to an old mining camp. Mara says it’s near where she’s going, and it’s an order.
– Subtext: Why might the substation be sabotaged—and why should a teacher obey “orders”?
– Hope/Fear – We hope things will be okay, but fear they won’t.

5. EXT. OLD MINING CAMP – DAY

Gabriel Knox, 40s, leads a bunch of tough, rugged types to the old mining camp.
– Scene Arc: From hiking through the forest to setting up in the old mining camp.
– Essence: A bunch of badasses take over a place usually used for teaching history.
– Conflict: None, aside from some routine griping, etc.
– Subtext: Who’s the nerdy-looking Asian guys with this group.
– We hope this isn’t where Kellen is going, but fear that it is.

6. EXT. DINING HALL BUILDING – DAY
Kellen meets the group going to the mining camp: 7 kids and 2 high school counselors.
– Scene arc: From meet-and-greet to hitting the trail.
– Essence: Kellen explains to counselors what she expects.
– Conflict: the male counselor, JESSE (18), mentions that he has a cell phone with him. Kellen’s not pleased, but says the flashlight, etc. might come in handy.
– Subtext: Jesse’s Kellen’s nephew that she hasn’t seen in 10 years. He’s trying to see if she might recognize him, but she doesn’t. Jesse and ALLISON (18), the female counselor, seem rather chummy.
– Hope/fear – We hope this group will be okay, but fear they won’t be.

7. EXT. MINING CAMP – DAY
The retired teacher that normally runs the camp arrives.
– Scene arc: From dismay to dead and his body being hidden.
– Essence: The indignant teacher refuses to leave, so Knox kills him.
– Conflict: The teacher insists on doing his job, despite Knox telling him to leave.
– Subtext: Knox can’t take a chance on letting the teacher live.
– We hope the teacher will just leave, but fear that he won’t and end up like he does.

INCITING INCIDENT – A Hike Turns into a Disaster

Scene Arc: Kellen’s group goes from being hikers to hostages.

8. EXT. THE WOODS – DAY
Kellen and Allison lead the group, Jesse brings up the rear.
– Essence: All is normal until the group gets to the mining camp
– Conflict: Allison wants to know why Kellen has a cell phone. She explains it’s just an intercom in the School’s local com network in case of emergency.
– Subtext: Both Kellen and Jesse have items that could be used in emergencies.
– Hope/fear: We hope for the best/fear the worst.

9. EXT. MINING CAMP – DAY
Knox and crew stow the body and their other stuff and spread out, hide.
– Essence: Knox will fake being a substitute, hope the class will leave.
– Conflict: A guy suggests just waiting til afternoon. Knox says that’s impossible.
– Subtext: Something bigger’s going on than meets the eye.
– Hope/fear: Knox hopes the kids just move along/ but fears something worse.

10. EXT. MINING CAMP – LATER
Kellen arrives with the kids. Knox says he’s a sub teacher. Kellen suddenly has a PTSD-like flashback of Knox and someone arguing in a battle.

She tries to get the kids together to go back to the school, but a girl sees the dead body, SCREAMS!

Everyone runs, but are captured by Knox’s people. Kellen runs in a different direction. .
– Essence: After all the trauma, Jessie, Allison, and the kids are hostages.
– Conflict: Kellen wants to go back, but knows it’s useless—she has no weapons or anything useful to get them away.
– Subtext: Kellen recognized Knox from somewhere in her past, and he’s up to something very bad that he’s covering up.
– We hope the kids will be alright, but fear for their safety.

11. EXT. AREA AROUND MINING CAMP – MOMENTS LATER
Kellen uses her intercom to signal the school—they call the county sheriff (TURNING POINT 1).
– Scene arc: From chaos to a new plan—and new, dangerous reality
– Essence: A hike has turned into a dangerous hostage situation.
– Conflict: Hostage takers vs. law enforcement.
– Subtext: What could be going on that’s worth all this trouble to Knox?
– We hope that the kids and Allison are okay, and fear things will get much worse.

ACT 2 – THE MASSACRE

Scene Arc: We go from hostage negotiations and things under control to a full-on battle which ends very bad for the law enforcement SWAT team and others.

12. EXT. MINING CAMP – DAY
Law enforcement shows up with hostage negotiator, stalls for time.
– Essence: SWAT and law enforcement surround the camp area.
– Conflict: Negotiations on are not entirely in good faith.
– Subtext: Sheriff wants to find kids, then kill the perps. Knox wastes time so his people can gear up.
– Hope/fear: We hope the kids are okay, but it doesn’t look good.

13. EXT. SUBSTATION – DAY
Kellen finds the nearby substation, sees what’s going on.
– Essence: Kellen sees sophisticated computer and communications stuff being used by experienced Asian techs with guards
– Conflict: Kellen would love to take these people out, but she’s outnumbered.
– Subtext: Taking over the mining camp is just a cover—the real action is here. The Asians speak Korean, bits of which she learned in the Army.
– Hope/fear: We hope to find out more, but fear a battle will intervene.

14. EXT. INSIDE THE MINE – DAY
Jesse, Allison and 7 kids are in the mine, see lots of weapons being passed out to Knox’s men while negotiations go on, assault rifles, ammo, a grenade launcher, an RPG launcher.
– Essence: When the shooting starts, SWAT and the sheriff will be outgunned.
– Conflict: Jesse, Allison, and kids argue about escaping, telling someone about Knox’s guns.
– Subtext: Knox knew this situation would happen, and is prepared for it.
– Hope/fear: We hope that not too many will be killed, but fear there will be a bloodbath.

15. EXT. WITH KELLEN/THE MINING CAMP – DAY

Kellen makes a call on a satellite phone, advises Mara of the situation, sends her pics of what she’s seen
– Essence: Mara says similar things going on elsewhere, Kellen must stop this.
– Conflict: Kellen says she’ll save the kids first. Mara’s adamant.
– Subtext: Kellen’s stumbled into a nationwide coup of some kind.
– Hope/fear: We hope the kids don’t get killed, fear they’ll be in more danger.

16. THE MINING CAMP…
– Essence: Knox is through prepping—it’s time for battle!
– Conflict: Knox won’t negotiate anymore, invites sheriff to come and get the hostages.
– Subtext: The Sheriff is okay with that, his guys have surrounded the camp.
– Hope/fear: As battle rages, we hope for kids, but fear the worst.

17. WITH KELLEN…

Kellen sneaks into the mine, subdues a guard, talks to the kids.
– Essence: Kellen can’t take the kids out now, but will be back.
– Conflict: Jesse argues: they should go, while all are distracted. Kellen disagrees.
– Subtext: Kellen doesn’t want kids to see what she has nightmares about.
– Hope/fear: As Kellen leaves, we hope she has a plan, fear that it will be too late.

18. THE MINING CAMP…

Intense action everywhere, but SWAT is destroyed.
– Essence: An action-packed battle results in SWAT being wiped out.
– Conflicts: Many, individuals and groups. Knox prevails.
– Subtext: Who will save the kids, stop the Asians now?
– Hope/fear: We hope Kellen can save the kids, blow the substation, etc., but have no idea how.

19. AFTERWARD…

Knox informs sheriff that any more interference will result in children getting killed.
– Essence: Knox orders his remaining people to each grab a kid and patrol the area. if any trouble, use the child as a human shield or just kill them.
– Conflict: Someone objects, he doesn’t want to kill kids. Knox threatens to kill him and a kid.
– Subtext: Knox is getting anxious, more ruthless. He wants the substation job done already.
– Hope/ fear – Now we’re really worried about the kids, but hope Kellen can find a way to save them.

ACT 3 – RESCUE

20. EXT/INT. KELLEN’S CABIN – DAY
Kellen arrives back at it, gears up to rescue the kids—and other things.
– Scene arc: From finding weapons and ammo to finding out that Jesse is really her nephew—and going back to the mining camp.
– Essence: Kellen readies herself for battle, and finds out valuable intel from Mara and also her sister, who asks how Jesse is doing.
– Conflict: Mara wants Kellen to take out the Koreans immediately. Kellen says no, not until the kids are freed—and her nephew Jesse.
– Subtext: Kellen’s hidden identity is that of a covert Homeland Security agent on-call to identify and take out domestic terrorist threats. We also see her Green Beret. She’s the sniper that put off Knox five years ago in Kabul in Afghanistan.
– Hope/fear – We hope she can accomplish both objectives, but fear it will be one or the other.

21. EXT. SUBSTATION – DAY
Knox consults with the (North) Koreans. They’re nearly done, but can’t deal with anymore distractions.
– Scene arc: From consulting with Koreans to sniper fire, dead Insurgents, and escaping children.
– Essence: Knox reassures the Koreans and breathes easier, but at the same time hears of sniper fire and his men dying. Kellen is once again stirring things up.
– Conflict: The Koreans are angry—no more distractions.
– Subtext: Both Koreans and Knox’s “patriots” know that they could well fail if things don’t happen soon.
– Hope/fear – Knox hopes he can buy more time for the operation, but fears whoever is killing his men, making that more difficult.

22. EXT. WOODS, MEADOWS NEAR MINING CAMP – DAY
Kellen prowls around, finds Knox’s men, and picks them off with pinpoint accuracy. Their human shields are useless, mostly because they’re too small.
– Scene arc: from live insurgents to dead ones, but kids still hooked to the dead bodies.
– Essence: Kellen can shoot the men, but it doesn’t really free the kids.
– Conflict: Within Kellen: do I go out of hiding to cut the kids loose, or kill more insurgents.
– Subtext: Kellen faces an impossible dilemma
– Hope/fear: She hopes to free the kids, but can’t without doing something lethally risky.

23. INT. MINE – DAY
Jesse and Allison, still held there, see the increased agitation as panicked insurgents return and tell their guards what’s happening.
– Scene arc: from prisoner to human shield, to free at last
– Essence: Just as Jesse’s hauled off to be a human shield for a guard who will force the sniper out, Kellen shows up, shoots the other two guards, and frees Allison.
– Conflict: One trained sniper v. two insurgents. No contest.
– Subtext: Kellen still has to deal with the substation.
– Hope/fear: Kellen hopes her plan to eliminate guards and free kids will be quick enough to stop the sabotage of the substation, but isn’t sure.

ACT 4 – AN ELECTRIFYING CLIMAX

Sequence arc: From two forces desperately working against each other to Kellen and Jesse foiling Knox’s plan, though Knox himself gets away.

25. EXT. MINING CAMP – DAY

Kellen kills the guard with Jesse. She sends Allison with a knife to free the students while she and Jesse head to the substation.
– Essence: Two plans are set in motion, both of which need to succeed in order to save two-thirds of CA from complete blackout and/or one or more of the kids being killed.
– Conflict: Jesse doesn’t want Allison to go alone, but he’s needed at the substation for his tech skills.
– Subtext: Jesse and Allison have deep feelings for each other, etc.
– Hope/fear: Kellen hopes that these plans will both succeed, but fears that something will go wrong.

EXT. SUBSTATION/MINING CAMP PERIMETER – MINUTES LATER.

26. ON THE PERIMETER…
– Essence: Allison runs around, using her knife to cut kids from their dead or dying guard.
– Conflict: In a couple instances, the guards aren’t dead, and she must kill them. One even has a gun, fires it wildly. Allison savagely destroys each of their lives.
– Subtext: A person can do unheard of things when they’re more focused on saving someone else rather than just themselves.
– Hope/fear: Allison hopes she’ll save the kids, but fears for their lives.

27. AT THE SUBSTATION…
– Essence: Magnesium charges on the substation are set off. The heat melts the metal. As this happens, Jesse works with a laptop to stop a virus and Kellen engages with Asians and Knox.
– Conflict: Kellen v. Asians and Knox. The fighting is tough, physical, and with handguns, knives, etc.
– Subtext: Electrical wires falling all around increase the danger for everyone.
– Hope/fear: Everyone wants to win, because if they don’t, they’ll die.

28. ON THE PERIMETER…
– Essence: Success! Allison frees all the kids. They gather to wait for the others.
– Conflict: Allison works hard to calm the kids down, who are afraid and just want to go home.
– Subtext: 12 year-olds are still just little kids who want their parents when they’re scared.
– Hope/fear: Allison hopes that Kellen and Jesse will return soon, fears they won’t.

29. AT THE SUBSTATION…
– Essence: Kellen kills everyone, then has it out with Knox himself. Jesse finds a unique way to take care of the computer virus.
– Conflict: Kellen v. Knox. A really nasty, very even struggle. Jesse v. a computer uploading a virus that will crash electrical systems in two-thirds of California.
– Subtext: Kellen and Jesse better come through…
– Hope/fear: Knox hopes that he can occupy Kellen enough to accomplish his mission, but fears she may have help.

RESOLUTIONS

30. EXT. SUBSTATION – DAY
– Scene Arc: From tense conflicts to final resolution
– Essence: Jesse finally just busts the computer with a big rock, Kellen prevails over Knox, but he’s able to escape
– Conflict: Jesse v. computer virus, Kellen v. Knox.
– Subtext: Mission accomplished…mostly, anyway.
– Hope/fear: Everyone hopes that now things can get back to normal, but fears things may never be the same.

31. EXT: OUTDOOR SCHOOL – DAY
– Scene arc: From joyous reunions to everyone heading home.
– Essence: As students/counselors leave, Kellen connects in a new way with Jesse, and hears from Mara.
– Conflict: Jesse wants Kellen to come home with him, stay awhile, Kellen will try later, but official business calls.
– Subtext: Mara’s got good news and bad news for Kellen, but Kellen was successful—northern CA still has power.
– Hope/fear: Jesse’s relieved and hopeful for time with her family, but fears the country may never be the same.

• This reply was modified 10 months, 3 weeks ago by  Lee Tidball.

[Mary Spiers]

Mary’s Scene Requirements
My vision: I am a leading creator of relatable family-friendly stories with compelling, authentic and unique characters.
What I learned: very helpful exercise. I can tell how it will help going forward.

Act 1: Discovery and Departure
INT. CONCERT HALL – STAGE – NIGHT

Ava performs a complex violin solo, demonstrating her technical skill but lack of emotional expression.
Scene Arc: Begins with Ava focused and emotionally detached during her performance, ends with her feeling physical and emotional pain despite applause.
Essence: Ava’s performance showcases her technical prowess but hints at her hidden pain related to curse.
Conflict: Ava’s internal struggle between her musical skill and her emotional disconnect.
Subtext: Ava’s perfect performance contrasts her pain.
Hope/Fear: Hope that music might fill her emotional void, fear it only highlights her pain.

INT. CONCERT HALL – BACKSTAGE – NIGHT

After the concert, Ava bypasses socializing with fellow musicians, opting to sit alone backstage.
Scene Arc: Starts with Ava bypassing celebration invitations, ends with her sitting alone, contemplating her isolation.
Essence: Ava chooses solitude over celebration, reflecting her deep-seated loneliness.
Conflict: Ava versus her social withdrawal.
Subtext: Her solitude is both a comfort and a prison.
Hope/Fear: Fear that her loneliness is unchangeable, hope that solitude provides needed reflection.

EXT. CITY STREET – NIGHT

Ava walks home alone, lost in her thoughts and music, just before the lightning strike.
Scene Arc: Ava walking home in the storm, initially calm, ends dramatically with her being struck by lightning.
Essence: A transformative moment where Ava’s senses are altered, giving sounds color.
Conflict: Ava against the sudden and violent change in her perception.
Subtext: The lightning strike as a violent but necessary awakening to new possibilities.
Hope/Fear: Fear of the sudden change, hope this might lead to a deeper understanding of herself.

INT. HOSPITAL – NIGHT

Confused and disoriented, Ava awakens in the hospital, her senses overwhelmed by a symphony of colors.
Scene Arc: Begins with Ava waking up confused and scared, ends with her curiosity piqued by her new perceptions.
Essence: Ava confronts her new synesthetic perception for the first time.
Conflict: Ava’s fear of her altered senses versus her growing fascination.
Subtext: The hospital’s chaos mirrors her internal confusion and fear.
Hope/Fear: Hope for mastering this new ability, fear it is a permanent, overwhelming change.

EXT. PARK – DAY

Seeking solace, Ava spends time alone in the park, trying to make sense of her new synesthetic experiences.
Scene Arc: Begins with Ava seeking isolation and ends with her decision to leave the city.
Essence: Ava isolates herself to experiment with her synesthesia.
Conflict: Ava’s internal battle with accepting her new reality.
Subtext: Her isolation reflects her detachment from the world.
Hope/Fear: Hope to find peace, fear that she won’t cope.

INT. AVA’S APARTMENT – NIGHT

Late at night, Ava delves into online research about synesthesia, seeking to understand her condition.
Scene Arc: Ava researches synesthesia secretly and plans her next steps.
Essence: Ava’s secretive deep dive into understanding synesthesia.
Conflict: Ava vs. the lack of information and fear of disclosure.
Subtext: She’s preparing for a journey both literal and metaphorical.
Hope/Fear: Hope to find answers, fear of the unknown.

EXT. WILDERNESS RETREAT ENTRANCE – DAY

By chance, Ava stumbles upon the entrance to a secluded wilderness retreat, deciding on a whim to enter.
Scene Arc: Ava accidentally discovers the retreat and decides to stay.
Essence: Ava’s accidental discovery of a place that seems like it could be her sanctuary.
Conflict: Ava’s reluctance versus the pull of the retreat’s promise.
Subtext: Destiny is guiding her path more than she realizes.
Hope/Fear: Hope that this place offers healing, fear it’s another dead end.

EXT. WILDERNESS RETREAT – DAY

Overwhelmed but curious, Ava navigates her first day in the retreat, trying to adjust to her heightened senses.
Scene Arc: Ava arrives overwhelmed by her senses, ends finding a momentary peace in nature’s simplicity.
Essence: Ava’s first tentative steps into a setting that might help her understand her new abilities.
Conflict: Ava’s urban disorientation versus the wilderness’s daunting expanse.
Subtext: The wilderness as a metaphor for Ava’s uncharted emotional landscape.
Hope/Fear: Hope that nature will soothe her turmoil, fear that she is out of her depth.

Act 2: Mastery and Deception
INT. WILDERNESS RETREAT – DAY

Ava meets Diana, the retreat’s knowledgeable guide who offers to help her understand her synesthetic abilities.
Scene Arc: Ava meets Diana, beginning with caution and ending with trust.
Essence: The first meeting between Ava and Diana, her mentor.
Conflict: Ava’s distrust versus Diana’s welcoming nature.
Subtext: Diana knows more about Ava than she reveals.
Hope/Fear: Hope to learn from Diana, fear of being vulnerable.

EXT. WILDERNESS RETREAT – VARIOUS LOCATIONS – DAY

Under Diana’s guidance, Ava practices tuning her synesthetic senses to natural sounds and sights around the retreat.
Scene Arc: Starts with Ava struggling with her new senses, ends with her starting to harness them with Diana’s help.
Essence: Diana guides Ava in using her synesthesia to connect with nature.
Conflict: Ava’s struggle with control over her perceptions.
Subtext: Each lesson is a step towards independence.
Hope/Fear: Hope that Ava can transform her curse into a gift, fear of failure and madness.

INT. WILDERNESS RETREAT – MAIN HALL – DAY

During a group session, Eli introduces the concept of the “Special Note,” capturing Ava’s interest with its mysterious healing powers.

Scene Arc: Ava is introduced to the “Special Note” concept by Eli, feeling intrigued but skeptical by the end.
Essence: Eli plants the seed of the “Special Note” in Ava’s mind.
Conflict: Eli’s persuasive charm versus Ava’s growing suspicions.
Subtext: Eli’s interest in Ava is more about his gains than her healing.
Hope/Fear: Hope that Eli can help her, fear that his intentions are not altruistic.

EXT. WILDERNESS RETREAT – STREAM – DAY

By a flowing stream, Ava learns to associate the sound of water with visual patterns, gradually finding peace and clarity.

Scene Arc: Ava begins confused and disoriented by the natural sounds and ends finding beauty and patterns in them.
Essence: Ava practices mapping sounds to visuals, gaining confidence.
Conflict: Ava’s initial confusion versus her developing skill.
Subtext: The stream’s constant flow parallels Ava’s continuous learning.
Hope/Fear: Hope to make sense of her synesthesia, fear of being overwhelmed forever.

INT. DINING HALL – NIGHT

At a communal dinner, Eli subtly manipulates the seating arrangement, placing Ava next to him to increase his influence over her.

Scene Arc: Dinner scene where Eli manipulates Ava’s seating, ending with her feeling uncomfortably close to him.
Essence: Eli’s manipulation to position Ava next to him.
Conflict: Ava’s discomfort with the unexpected change.
Subtext: Eli is orchestrating Ava’s every step.
Hope/Fear: Fear of Eli’s intentions, hope to keep her autonomy.

EXT. WILDERNESS RETREAT – DAY

Ava takes a solitary walk, using her synesthesia to explore and connect with the environment in new ways.

Scene Arc: Ava explores the natural environment, ending with her discovering a new way to use her synesthesia.
Essence: Ava’s exploration leads to significant self-discovery.
Conflict: Ava’s struggle with her abilities vs. the environment’s challenges.
Subtext: Nature mirrors her inner journey of growth.
Hope/Fear: Hope to integrate her abilities with nature, fear of being overwhelmed.
INT. WILDERNESS RETREAT LIBRARY – NIGHT

In the retreat’s library, Ava researches the elusive “Special Note,” uncovering conflicting information that deepens her doubt.

Scene Arc: Ava researching the “Special Note,” ending with doubts about its existence.
Essence: Ava uncovers potentially fabricated legends about the “Special Note.”
Conflict: Ava’s desire for truth vs. misleading information.
Subtext: The more she learns, the more she doubts.
Hope/Fear: Hope to uncover truth, fear it’s all a lie.

INT. AVA’S CABIN – NIGHT

In a quiet moment, Diana brews a tea that induces a vivid, symbolic dream in Ava, revealing deep subconscious insights.

Scene Arc: Diana induces a dream in Ava, ending with Ava waking up feeling enlightened but confused.
Essence: Diana uses herbal tea to induce a revealing dream in Ava.
Conflict: Ava’s subconscious revelations clash with her waking understanding.
Subtext: The dream is a metaphor for Ava’s untapped potential and hidden fears.
Hope/Fear: Hope for enlightenment, fear of the dream’s implications.

EXT. WILDERNESS RETREAT – DAY

After overhearing a suspicious conversation, Ava confronts Eli about his true intentions, challenging his teachings.

Scene Arc: Ava confronts Eli after overhearing a suspicious conversation.
Essence: Ava challenges Eli on his teachings and intentions.
Conflict: Ava’s newfound courage vs. Eli’s manipulative charm.
Subtext: Ava is breaking away from Eli’s influence.
Hope/Fear: Hope to assert her independence, fear of confrontation’s repercussions.

INT. WILDERNESS RETREAT – NIGHT

Eavesdropping on a late-night phone call, Ava discovers Diana might be involved in a larger deception, stirring feelings of betrayal.

Scene Arc: Ava overhears Diana’s secretive phone call, ending with her feeling betrayed.
Essence: Ava discovers Diana might be part of a larger deception.
Conflict: Ava’s trust in Diana vs. the harsh reality.
Subtext: Not all mentors have pure intentions.
Hope/Fear: Fear of betrayal, hope that there’s a good explanation.

Act 3: Descent and Redetermination
EXT. WOODS – DAY

Using her refined synesthetic abilities, Ava follows a colorful trail through the woods, discovering important clues about Diana’s whereabouts.

Scene Arc: Ava follows a color trail using her abilities, ending with her finding a clue left by Diana.
Essence: Ava’s synesthetic navigation leads her to a significant discovery.
Conflict: The challenge of the wilderness vs. Ava’s determination.
Subtext: Each step Ava takes is a step towards her true self.
Hope/Fear: Hope to find Diana, fear of the dangers in her path.

EXT. WOODS – DAY

Ava attempts to use her synesthesia to confront Eli in the woods, but her plan fails, forcing her to retreat and rethink her strategy.

Scene Arc: Ava’s failed first attempt to confront Sanden using her abilities.
Essence: Ava testing her mastery of synesthesia under real pressure.
Conflict: Ava’s skills versus Sanden’s manipulative defenses.
Subtext: Ava’s desperation to prove her growth.
Hope/Fear: Hope to assert her new self, fear of inadequacy.

INT. WILDERNESS RETREAT – SECRET ROOM – NIGHT

Ava discovers a hidden room filled with old artifacts and documents that reveal the origins and nature of the family curse.

Scene Arc: Ava enters the room confused and leaves enlightened about the curse’s origins.
Essence: Ava learns the full extent of the curse and its implications.
Conflict: Ava’s confrontation with her lineage’s dark past.
Subtext: Learning about the curse is akin to opening Pandora’s box.
Hope/Fear: Hope to end the curse, fear of its deeper consequences.

EXT. WILDERNESS RETREAT – FOREST – NIGHT

In a tense meeting in the forest, Ava and Diana strategize their next move against Eli, ultimately reconciling and strengthening their bond.

Scene Arc: Planning the confrontation starts tentatively but ends with a solid strategy and reconciliation.
Essence: Ava and Diana plan their final move against Sanden.
Conflict: The urgency of their plan against their emotional turmoil.
Subtext: Their planning underscores a ritual of forgiveness and readiness.
Hope/Fear: Hope to triumph over Sanden, fear of falling into his traps.

EXT. WOODS – NIGHT

During a heartfelt conversation, Diana reveals her true identity to Ava, fostering a deeper familial bond and understanding.

Scene Arc: Diana reveals her true identity to Ava, ending with a strengthened bond.
Essence: Diana admits she is Ava’s grandmother, deepening their connection.
Conflict: Ava’s shock vs. her acceptance of Diana.
Subtext: This revelation reshapes everything Ava knew.
Hope/Fear: Hope for a deeper family connection, fear of the new emotional complexity.

INT. WILDERNESS RETREAT MAIN HALL – NIGHT

Focused and determined, Ava prepares for her final confrontation with Eli, drawing on all her learned skills and insights.

Scene Arc: Ava prepares for the final showdown, ending with her stepping out to face Eli.
Essence: Ava harnesses her synesthetic abilities for the confrontation.
Conflict: Ava’s final preparations vs. her internal doubts.
Subtext: Ava is arming herself not just with powers, but with knowledge.
Hope/Fear: Hope to defeat Eli, fear of his power over her.
Act 4: Climax and Resolution
EXT. WILDERNESS RETREAT GROUNDS – NIGHT

In a dramatic and visually stunning duel, Ava uses her synesthetic abilities to confront and ultimately defeat Eli.

Scene Arc: The ultimate showdown between Ava and Eli, starting with tension and ending with Ava’s victory.
Essence: Ava uses her synesthesia in a climactic duel to defeat Eli.
Conflict: Ava’s mastery of her abilities vs. Eli’s manipulative tactics.
Subtext: This battle is not just physical but symbolic of her overcoming her past.
Hope/Fear: Hope to end Eli’s influence, fear of failing and his continued control.

INT. WILDERNESS RETREAT – HEALING ROOM – NIGHT

Ava and Diana perform a ritual that finally lifts the curse, bringing healing and renewal to their family and the land.

Scene Arc: Starts with the heavy atmosphere of the curse, ends with its uplifting removal.
Essence: The ritual that lifts the family curse and heals past wounds.
Conflict: The emotional burden of the curse against the hope of its removal.
Subtext: The ritual is symbolic of Ava and Diana healing their fractured family.
Hope/Fear: Hope for renewal, fear that the curse’s effects are irreversible.
EXT. WILDERNESS RETREAT – DAY

As the new guardian, Ava takes charge of the retreat, facing her responsibilities with newfound confidence and a sense of purpose.

Scene Arc: Ava takes on her new role as the protector of the wilderness retreat.
Essence: Ava steps forward as a new leader, fully embracing her role.
Conflict: Ava’s new responsibilities versus her past insecurities.
Subtext: Ava is now the mentor, the leader she once needed.
Hope/Fear: Hope to lead well, fear of the challenges ahead.

EXT. WILDERNESS RETREAT – DAY

Fully accepting her role, Ava begins her first day as the leader of the retreat, ready to face any challenges that come her way.

Scene Arc: Ava begins her new role with uncertainty, ends embracing her responsibilities with confidence.
Essence: Ava steps up as the new guardian of the wilderness retreat.
Conflict: Ava’s initial doubt versus her final acceptance of her new role.
Subtext: Ava’s acceptance marks the dawn of a new era for the retreat.
Hope/Fear: Hope for a successful future, fear of repeating past mistakes.

INT. WILDERNESS RETREAT – DAY

In a reflective moment, Ava contemplates her journey from isolation to empowerment, looking forward with hope and determination.

Scene Arc: The final scene where Ava reflects on her journey, ending with a sense of peace and purpose.
Essence: Ava contemplates her journey and the lessons learned, looking forward to the future.
Conflict: Reflection vs. anticipation.
Subtext: Ava’s journey is both an end and a beginning.
Hope/Fear: Hope for the future, acknowledgment of past pains.

• This reply was modified 10 months, 3 weeks ago by  Mary Spiers.
• This reply was modified 10 months, 3 weeks ago by  Mary Spiers.

[Harry Rankin]

Harry’s Scene Requirements

My vision for success from this program is:
To create scripts freely when working with producers, directors and cast, and sell award-winning work to create a lifestyle confident of financial freedom.

What I learned from doing this assignment is: Creating the skeleton…
ACT ONE
Scene 1
Slugline: INT. WATERFALL – AFTERNOON
Description: Introduce Suli and Jon in a hilariously awkward training scenario, where they're both struggling with zero-gravity manoeuvres, but sparks fly between them nonetheless.
Scene Requirements:
Scene Arc: Meet protagonists to meet team. Starts with Suli and Jon struggling; ends with them forming a bond.
Essence: Intro to characters.
Conflict: Physical challenge, woman vs man.
Subtext: Women are as good as men.
Hope/Fear: To win challenge, but they came last.
Scene 2
Slugline: INT. TV CONTROL – DAY
Description: Discover reality TV show to win competition.
Scene Requirements:
Scene Arc: Meet antagonist. Discover funding crisis for space station and state of the world.
Essence: Meet antagonist and outline stakes.
Conflict: Team challenge.
Subtext: World in crisis. Funding problems with Space Station. Resort to TV trivia for funds.
Hope/Fear: Protagonists win competition. World erupts before space launch.
Scene 3
Slugline: INT. BUS – DAY
Description: Winners travel to training facility.
Scene Requirements:
Scene Arc: Anticipation.
Essence: Build excitement and show journey.
Conflict: Internal excitement vs external challenges.
Subtext: Funds not well spent years ago.
Hope/Fear: Locked compound because of why? Fear of people breaking in, or out?
Scene 4
Slugline: EXT. COMPOUND – DAY
Description: Intro to training.
Scene Requirements:
Scene Arc: It’s going to be hard… and televised!
Essence: Set expectations for training and lack of privacy.
Conflict: No privacy from team, or the world.
Subtext: This project is incredibly important.
Hope/Fear: That the mission happens and is a conduit away from conflict for the world.
Scene 5
Slugline: INT. NEWSROOM – DAY
Description: Intern saves her job and gets commission to interview protagonist.
Scene Requirements:
Scene Arc: Secure job to gain access.
Essence: Establish outside perspective and connection to protagonist.
Conflict: Risk of losing job.
Subtext: An outside ear, and voice for protagonist.
Hope/Fear: To get behind-the-scenes direct access to space station or lose job.
Scene 6
Slugline: INT. POOL – DAY
Description: Training – but someone dies.
Scene Requirements:
Scene Arc: Training intensity revealed to a tragic event.
Essence: Show stakes of mission.
Conflict: Politician convinces leaders to televise against their intention.
Subtext: Not all eventualities are anticipated.
Hope/Fear: That the challenge will pass OK. That someone will be injured.
Scene 7
Slugline: INT. BAR – NIGHT
Description: Meet-up. Protagonists kiss. Instant news.
Scene Requirements:
Scene Arc: Move from professional to personal.
Essence: Build romance and tension.
Conflict: NDA/celibate clause signed.
Subtext: They will break the rules.
Hope/Fear: That they can continue the mission.
Scene 8
Slugline: EXT. ROCKY TERRAIN – DAY
Description: Training.
Scene Requirements:
Scene Arc: Engagement grows amid challenges.
Essence: Show their connection and political backdrop.
Conflict: Is a relationship possible.
Subtext: Desire.
Hope/Fear: That they will make it.
Scene 9
Slugline: INT. BRIEFING ROOM – DAY
Description: Intro to technical ‘Bubble’.
Scene Requirements:
Scene Arc: Introduction of key mission component.
Essence: Technical preparation.
Conflict: Understanding complex technology.
Subtext: Opportunity for advancement.
Hope/Fear: Successful integration into mission.
Scene 10
Slugline: INT. DENNIS OFFICE – DAY
Description: Dad tells Jon his engagement is off.
Scene Requirements:
Scene Arc: Personal conflict.
Essence: Highlight personal stakes.
Conflict: Familial pressure.
Subtext: Relief.
Hope/Fear: That it’s not too late with Suli.
Scene 11
Slugline: INT. CANTEEN – DAY
Description: Jon flirts to re-claim Suli.
Scene Requirements:
Scene Arc: Rekindle romance.
Essence: Show determination and charm.
Conflict: Winning back trust.
Subtext: Jon wants Suli back.
Hope/Fear: That Suli will forgive and accept him.
Scene 12
Slugline: INT. DORMITORY – NIGHT
Description: Suli worried. Journalist says get on with relationship.
Scene Requirements:
Scene Arc: Reassurance and support.
Essence: Encourage personal choice.
Conflict: Internal doubt.
Subtext: Suli needs confidence.
Hope/Fear: That Suli will pursue happiness.
Scene 13
Slugline: INT. LOW ORBIT FLIGHT – DAY
Description: Training flight to sex.
Scene Requirements:
Scene Arc: From professional to intimate.
Essence: Show their growing connection.
Conflict: Breaking rules for love.
Subtext: Intimacy vs duty.
Hope/Fear: That they won’t be discovered.
ACT TWO
Scene 14
Slugline: EXT. CANYON – DAY
Description: Warring tribes meet. Two different family backgrounds for barbecue in Bryce Canyon.
Scene Requirements:
Scene Arc: Cultural clash to tentative understanding.
Essence: Highlight diverse backgrounds.
Conflict: Cultural differences.
Subtext: Breaking rules.
Hope/Fear: That families will support.
Scene 15
Slugline: INT. PLANE – DAY
Description: Technical check on weightless plane. Technician finds condom.
Scene Requirements:
Scene Arc: Discovery to moral decision.
Essence: Highlight consequences of actions.
Conflict: Should he report it.
Subtext: Man to man understanding.
Hope/Fear: That not reporting may cost his job.
Scene 16
Slugline: INT. MEDICAL FACILITY – DAY
Description: Final medical exam but leaves before result.
Scene Requirements:
Scene Arc: Suspense to revelation.
Essence: Introduce pregnancy plot.
Conflict: Nurse discovers something but keeps it quiet.
Subtext: Nurse sympathetic.
Hope/Fear: That flight will be quick and mission over soon, no harm to fetus.
Scene 17
Slugline: INT. DENNIS OFFICE – DAY
Description: Nurse tells controller and politician, but they say go ahead, but keep quiet.
Scene Requirements:
Scene Arc: Disclosure to conspiracy.
Essence: Show internal conflict and stakes.
Conflict: Nurse worried about job.
Subtext: She is letting Suli down.
Hope/Fear: That being further than expected could be dangerous.
Scene 18
Slugline: EXT. BUBBLE – DAY
Description: Successful docking and entry.
Scene Requirements:
Scene Arc: Successful mission phase.
Essence: Show progress.
Conflict: Technical challenges.
Subtext: Relief and pride.
Hope/Fear: That mission will proceed smoothly.
Scene 19
Slugline: INT. GALLEY – DAY
Description: Fun with gravity switch – food fight.
Scene Requirements:
Scene Arc: Tension to release.
Essence: Show camaraderie.
Conflict: Managing zero-gravity.
Subtext: Team bonding.
Hope/Fear: That team will work well together.
Scene 20
Slugline: INT. GREENHOUSE POD – DAY
Description: Suli tends plants, gets morning sickness.
Scene Requirements:
Scene Arc: Routine to problem.
Essence: Reveal pregnancy symptoms.
Conflict: Hiding the pregnancy.
Subtext: Personal challenge.
Hope/Fear: That symptoms will go unnoticed.
Scene 21
Slugline: INT. GALLEY – DAY
Description: Discuss food standards. Payload itinerary.
Scene Requirements:
Scene Arc: Planning to concern.
Essence: Highlight logistical challenges.
Conflict: Managing limited resources.
Subtext: Long-term survival.
Hope/Fear: That they will have enough supplies.
Scene 22
Slugline: INT. NEWSROOM – DAY
Description: Global conflict/warming issue.
Scene Requirements:
Scene Arc: Informative to alarming.
Essence: Show Earth’s crisis.
Conflict: Climate change and unrest.
Subtext: High stakes back home.
Hope/Fear: War?
Scene 23
Slugline: INT. FLEUR’S OFFICE – DAY
Description: Machinations regarding profiteering from war.
Scene Requirements:
Scene Arc: Strategy to greed.
Essence: Reveal antagonist's motives.
Conflict: Ethical vs profitable.
Subtext: Moral corruption.
Hope/Fear: That profiteers will succeed.
Scene 24
Slugline: INT. FLIGHTDECK – DAY
Description: Drone crashes killing all team except Jon & Suli.
Scene Requirements:
Scene Arc: Disaster to survival.
Essence: Heighten stakes and isolate protagonists.
Conflict: Life-threatening crisis.
Subtext: Fragility of mission.
Hope/Fear: That Jon and Suli will survive.
ACT THREE
Scene 25
Slugline: INT. CONTROL ROOM – DAY
Description: Crash breaks news across the world.
Scene Requirements:
Scene Arc: Tragedy to global awareness.
Essence: Show global impact.
Conflict: Media frenzy.
Subtext: Public scrutiny.
Hope/Fear: That rescue efforts will be swift.
Scene 26
Slugline: EXT. TRAILER PARK – DAY
Description: Kate interviews Zoe’s Mum. “I used to live just over there.”
Scene Requirements:
Scene Arc: Personal connection to broader narrative.
Essence: Humanize the story.
Conflict: Emotional revelations.
Subtext: Past hardships.
Hope/Fear: That interview will shed light on situation.
Scene 27
Slugline: INT. DENNIS OFFICE – DAY
Description: Organize rescue mission.
Scene Requirements:
Scene Arc: Planning to execution.
Essence: Show effort to save.
Conflict: Logistical and political hurdles.
Subtext: Coordination and urgency.
Hope/Fear: That rescue mission will succeed.
Scene 28
Slugline: INT. CONTROL ROOM – DAY
Description: Nurse tells Suli she is pregnant. Jon doesn’t hear, but the world does.
Scene Requirements:
Scene Arc: Revelation to public knowledge.
Essence: Heighten emotional stakes.
Conflict: Public reaction and personal privacy.
Subtext: Vulnerability.
Hope/Fear: That Suli will handle pressure.
Scene 29
Slugline: INT. SLEEP POD – NIGHT
Description: Suli tells Jon. Last to know – huff.
Scene Requirements:
Scene Arc: Communication breakdown to understanding.
Essence: Show relationship strain.
Conflict: Emotional hurt.
Subtext: Importance of trust.
Hope/Fear: That they will reconcile.
Scene 30
Slugline: INT. DENNIS OFFICE – DAY
Description: Fleet grounded for safety checks.
Scene Requirements:
Scene Arc: Setback to determination.
Essence: Show external challenges.
Conflict: Bureaucratic delays.
Subtext: Safety vs urgency.
Hope/Fear: That fleet will resume quickly.
Scene 31
Slugline: INT. MEDICAL FACILITY – DAY
Description: Cover-up of pregnancy exposed.
Scene Requirements:
Scene Arc: Secret revealed to accountability.
Essence: Uncover deception.
Conflict: Ethical breach.
Subtext: Trust issues.
Hope/Fear: That consequences will be just.
Scene 32
Slugline: EXT. TRAILER PARK – DAY
Description: Mum demonstration with Suli 8mm films.
Scene Requirements:
Scene Arc: Nostalgia to activism.
Essence: Show personal impact.
Conflict: Emotional expression.
Subtext: Personal history.
Hope/Fear: That demonstration will garner support.
Scene 33
Slugline: INT. DENNIS OFFICE – DAY
Description: Backup team prepared for rescue mission.
Scene Requirements:
Scene Arc: Preparation to action.
Essence: Show readiness.
Conflict: Coordination.
Subtext: Teamwork.
Hope/Fear: That backup mission will succeed.
Scene 34
Slugline: EXT. SENATE BUILDING – DAY
Description: Blackmail attempt to sabotage mission.
Scene Requirements:
Scene Arc: Threat to resistance.
Essence: Show political intrigue.
Conflict: Ethical dilemma.
Subtext: Power struggle.
Hope/Fear: That blackmail will fail.
Scene 35
Slugline: INT. BUBBLE – DAY
Description: Journalist anchor as shuttle approaches. Wave at window.
Scene Requirements:
Scene Arc: Hope to disappointment.
Essence: Build anticipation.
Conflict: Access denied.
Subtext: Isolation.
Hope/Fear: That rescue will succeed.
ACT FOUR
Scene 36
Slugline: INT. DENNIS OFFICE – DAY
Description: Controller now blackmails politician with recording.
Scene Requirements:
Scene Arc: Leverage to action.
Essence: Turn tables.
Conflict: Ethical compromise.
Subtext: Desperation.
Hope/Fear: Pay for real rescue.
Scene 37
Slugline: INT. BUBBLE – DAY
Description: Suli and Jon play I-spy.
Scene Requirements:
Scene Arc: Boredom to bonding.
Essence: Show their relationship.
Conflict: Monotony.
Subtext: Coping mechanisms.
Hope/Fear: That they stay connected.
Scene 38
Slugline: INT. SLEEP POD – NIGHT
Description: Gravity hi-jinks in shower. Love. Journalist covers!
Scene Requirements:
Scene Arc: Fun to intimacy.
Essence: Show their love.
Conflict: Privacy vs public.
Subtext: Intimacy.
Hope/Fear: That their love endures.
Scene 39
Slugline: INT. NEWSROOM – DAY
Description: Global support.
Scene Requirements:
Scene Arc: Concern to solidarity.
Essence: Show global unity.
Conflict: Differing opinions.
Subtext: Collective effort.
Hope/Fear: That support remains strong.
Scene 40
Slugline: INT. SLEEP POD – NIGHT
Description: Nesting. Curtains – nobody can see.
Scene Requirements:
Scene Arc: Preparation to privacy.
Essence: Create a safe space.
Conflict: Isolation vs connection.
Subtext: Security.
Hope/Fear: That they feel safe.
Scene 41
Slugline: INT. FLIGHTDECK – DAY
Description: Labor pains.
Scene Requirements:
Scene Arc: Calm to crisis.
Essence: Escalate tension.
Conflict: Physical pain.
Subtext: Urgency.
Hope/Fear: That labor progresses safely.
Scene 42
Slugline: INT. MEDICAL FACILITY – DAY
Description: Nurse and journalist talk.
Scene Requirements:
Scene Arc: Information to strategy.
Essence: Share critical info.
Conflict: Trust issues.
Subtext: Collaboration.
Hope/Fear: That plan works.
Scene 43
Slugline: INT. GALLEY – DAY
Description: Jon boils water.
Scene Requirements:
Scene Arc: Preparation to readiness.
Essence: Show involvement.
Conflict: Resource management.
Subtext: Anticipation.
Hope/Fear: That he is useful.
Scene 44
Slugline: INT. NEWSROOM – DAY
Description: World experts offer conflicting advice.
Scene Requirements:
Scene Arc: Chaos to unity.
Essence: Show global stakes.
Conflict: Conflicting opinions.
Subtext: Cooperation.
Hope/Fear: That right decisions are made.
Scene 45
Slugline: INT. SLEEP POD – NIGHT
Description: Swearing practice in different languages. Journalist covers.
Scene Requirements:
Scene Arc: Tension to humor.
Essence: Lighten mood.
Conflict: Emotional stress.
Subtext: Cultural exchange.
Hope/Fear: That humor eases tension.
Scene 46
Slugline: EXT. LAUNCH PAD – DAY
Description: Final rescue launch.
Scene Requirements:
Scene Arc: Launch to mission.
Essence: Build anticipation.
Conflict: Technical issues.
Subtext: Determination.
Hope/Fear: That rescue is successful.
Scene 47
Slugline: INT. BUBBLE HOSPITAL BAY – DAY
Description: They don’t like the look of the birthing bed/stirrups etc. Loads too much advice from ‘experts’ on Earth. Try turning off gravity to help. It doesn’t.
Scene Requirements:
Scene Arc: Discomfort to adaptation.
Essence: Show desperation.
Conflict: Physical discomfort.
Subtext: Helplessness.
Hope/Fear: That they find a solution.
Scene 48
Slugline: INT. SLEEP POD – DAY
Description: Birth intercut newsroom, TV.
Scene Requirements:
Scene Arc: Labor to birth.
Essence: Show climax.
Conflict: Physical and emotional struggle.
Subtext: Hope.
Hope/Fear: That birth is successful.
Scene 49
Slugline: EXT. BUBBLE – DAY
Description: Shuttle gains access. General chaos.
Scene Requirements:
Scene Arc: Isolation to contact.
Essence: Show transition.
Conflict: Technical challenges.
Subtext: Relief.
Hope/Fear: That contact is maintained.

Scene 50
Slugline: INT. BUBBLE – DAY
Description: Shuttle heads home.
Scene Requirements:
Scene Arc: Crisis to resolution.
Essence: Show end of journey.
Conflict: Emotional and physical recovery.
Subtext: Hope.
Hope/Fear: That they return safely.
This detailed scene breakdown ensures each scene in "Genesis" has clear requirements, driving the narrative forward with emotional depth and intrigue.

• This reply was modified 10 months, 3 weeks ago by  Harry Rankin.
• This reply was modified 10 months, 3 weeks ago by  Harry Rankin.
• This reply was modified 10 months, 3 weeks ago by  Harry Rankin.

[Terrie Shaft]

Lesson 9 Mod 4 – Scene Requirements
What I learned with this assignment is that I’m finding lots of holes in the action, found something to cut, and need to work on some details. This step helped improve things. However, the AI completely changed my story – went very ET in the middle then a completely different ending. I made a second pass after adding in the scene arcs (I missed that in the assignment). Again about halfway through completely changed the outline. Until then it made no changes. If I had more time I might be able to use the AI for each act but it was pretty weird. I honestly don’t see the value of the AI for this.
INT. SPACESHIP – IT’S OUTER SPACE THERE’S NO DAY OR NIGHT
Bill, an alien, flying in his spaceship comes out hibernation. He breaks the spaceship toilet which causes a series of malfunctions.
Scene Arc: Starts with Bill coming out of hibernation and ends with a series of malfunctions on the spaceship.
Essence: An alien is coming to Earth. Introduce Bill and his incompetence with technology.
Conflict: Bill is having trouble flying the spaceship.
Subtext: Bill is not very competent at flying his spaceship
Hope/Fear: Hope that Bill get his ship and intestines back under control. Fear he will crash and/or defecate?

EXT. FARMER’S MARKET – DAY
Misa gets into a heated argument with a customer at the farmer’s market because the customer wanted a BAG! The argument escalates involving most of the Farmer’s Market. Deeper layer: do they think some alien is going to come and save the planet, those are movies! Deputy Rhoades gets everyone at the farmer’s market to calm down, gets everyone to not charge Misa. Deputy Rhoades, after reprimanding Misa, convinces her to go home, maybe drink some herbal tea.
Scene Arc: Starts with Misa arguing and ends with her going home.
Essence: Show Misa's confrontational nature and her extreme environmentalism.
Conflict: Misa v. the entire Farmer’s Market community
Subtext: Misa is angry.
Hope/fear: Hope that Misa calms down. Fear it will escalate to physical violence.

INT. MISA’S OFF THE GRID HOME – DAY
Misa tends her plants, feeds her cat, and smokes weed. Misa’s off the grid home doesn’t look like much on the outside but is well-appointed with the highest quality, environmentally friendly everything.
Scene Arc: Starts with Misa alone and ends with her still alone.
Essence: Highlight Misa's solitary and eco-friendly lifestyle.
Conflict:
Subtext: Misa is affluent.
Hope/fear: Hope she’ll be left alone. Fear someone will interrupt her.

EXT. ROADWAY – DAY
Deputy Rhoades parked beside a road in his cruiser
INT. RHOADES’S POLICE CRUISER – DAY
Deputy Rhoades listens to meditation on his personal phone, deep breathing positive self-talk.

Scene Arc: Starts with Rhoades anxious and ends with him somewhat calm.
Essence: Deputy Rhoades’ coping mechanisms.
Conflict: Internal struggle with anxiety.
Subtext: Deputy Rhoades trying to manage anxiety.
Hope/fear: Hope he can relieve his anxiety. Fear he cannot.

EXT. MISA’S OFF THE GRID HOME
Misa’s fancy energy efficient car parked by the house
Scene Arc: Establishes Misa’s home environment.
Essence: Show Misa's commitment to environmentalism.
Conflict: None.
Subtext: Misa values sustainability.
Hope/Fear: None.

INT. MISA’S OUTHOUSE
Misa smoking a joint and looking out the outhouse window.
Scene Arc: Misa chilling.
Essence: Highlight Misa's desire for solitude.
Conflict: None
Subtext: Misa just wants to be alone.
Hope/fear: Hope she’ll be left alone. Fear someone will interrupt her.

EXT. MISA’S HOME – NIGHT
Bill’s spaceship cruises towards Misa’s property, crashes into Misa’s outhouse. Misa stumbles out. Bill exits his spaceship and really needs a bathroom. Misa stumbles out of the outhouse. She notices Bill. He runs behind a bush. She grabs her blow torch and heads to the spaceship. Bill, terrified, runs away. Misa calls him a hallucination. Bill is terrified because of Misa’s nonchalant attitude.
Scene Arc: Starts with Bill’s spaceship cruising and ends with Bill terrified.
Essence: Bill crashes into Misa’s outhouse. Bill and Misa’s first interaction.
Conflict: Her outhouse is trashed, Bill’s spaceship is broken.
Subtext: Misa doesn’t believe Bill is there.
Hope/fear: Hope Bill crashes somewhere safe. Fear Bill crashes into Misa’s property.

INT. BILL’S SPACESHIP
Misa enters the ship. Bill runs in, tries to stop her. She offers to fix the toilet. With her blow torch tries to fix the spaceship toilet. The heat triggers a device, which emits a beam that bounces off the toilet’s broken mirror. Bill’s body (with Misa) looks down, laughs hysterically, I’m way too high. She exits
Scene Arc: Starts with Misa and Bill in their own bodies, ends with them swapped.
Essence: Bill and Misa swap bodies.
Conflict: They are in the wrong bodies.
Subtext: How can they function?
Hope/fear: Hope Misa will fix the spaceship. Fear Misa will break it further.

INT. MISA’S HOUSE – DAY
Bill’s body (with Misa) enters her home, passes out on the bed. Misa’s cat runs away.
Scene Arc: Starts with Bill’s body (with Misa in it) body awake and ends with them passed out.
Essence: Misa is really high and in Bill’s body.
Conflict: This is not Misa’s body.
Subtext: Misa doesn’t realize she’s body swapped
Hope/fear: Hope Misa realizes she’s swapped bodies. Fear she won’t and won’t unswap?

INT. SPACESHIP
Misa’s body (with Bill) panics, tries to get the onboard computer working. Nope.
Scene Arc: Starts with Misa’s body (with Bill) panicking and ends with them still panicking.
Essence: Bill needs to get away.
Conflict: Can Misa’s body (with Bill) get the ship or at least the computer working?
Subtext: Misa’s body (with Bill) is stranded.
Hope/fear: Hope to get the onboard computer working. Fear can’t repair it.

INT. MISA’S HOUSE – DAY
Bill’s body (with Misa in it) goes to a mirror, as Misa’s body (with Bill) walks in. Still high!
Bill’s body (with Misa) is hungry, they try to cook food but clumsy. Misa’s body (with Bill) watches. Eventually, their inability to function with her kitchen pushes them over the edge. Misa doesn’t believe in aliens, in fact she hates the whole concept of aliens. Note: write this like a comedy sketch.

Scene Arc: Starts trying to cook. Ends with them realizing the seriousness of the problem.
Essence: Misa and Bill have trouble using the bodies they are in.
Conflict: Misa and Bill trying to control their bodies and failing.
Subtext: Misa still hasn’t accepted the body swap. She doesn’t believe in Aliens.
Hope/fear: Hope Misa will realize her body swapped. Fear Misa won’t.

EXT. MISA’S HOUSE – DAY
They go over what happened trying to determine how they swapped. Try to go backwards through what happened the night before, literally backwards, walk backwards, talk backwards.
Scene Arc: Starts with them believing they can unswap their bodies. Ends with them realizing it won’t be easy.
Essence: Can they determine how they swapped?
Conflict: Can they figure out how to unswap their bodies?
Subtext: They are really stuck.
Hope/fear: Hope they can figure out how to unswap. Fear they’re stuck in the wrong body.

INT. BILL’S SPACESHIP – DAY
They try to fix the ship. Misa’s body (with Bill) seems to have no mechanical aptitude or understanding about his ship. Hints that no one is coming to find Bill. Bill’s body (with Misa) is angry with Misa’s body (with Bill) – Bill’s body throws tools at Misa’s body but then realizes she could damage her own body. Bill’s body (with Misa in it) starts to suffer from ‘Earth sickness’. Misa’s body (with Bill in it) claims it’s just an adjustment.
Scene Arc: Starts with them trying to fix the ship. Ends with them realizing they are on their own to figure out repairs.
Essence: The body swaps causes problems.
Conflict: Can they fix the ship? Can they even get along?
Subtext: No one going to help them.
Hope/fear: Hope they can fix the spaceship. Fear they’ll damage it further.

INT. MISA’S HOUSE – DAY
To avoid suspicion, Misa needs to go to the Farmer’s Market to earn money for repairs. To hide Bill’s body (with Misa in it) they wear a Big Foot costume as a disguise.
Scene Arc: Begin in Misa’s house, end with them ready to leave for the Farmer’s Market.
Essence: Trying to keep things normal.
Conflict: If anyone sees Bill’s body something terrible will happen.
Subtext: The authorities will harm Bill’s body if it’s seen.
Hope/fear: Hope the disguise will work. Fear it won’t work.

EXT. MISA’S HOUSE – DAY
Bill’s body (with Misa) has to teach Misa’s body (with Bill) how to drive.
Scene Arc: Starts with Misa’s body (with Bill) barely understanding the car ends with Misa’s body (with Bill) driving.
Essence: Misa’s body (with Bill) needs to do the driving.
Conflict: Misa’s body (with Bill) can’t seem to drive.
Subtext: They can’t get caught.
Hope/fear: Hope Bill can learn to drive. Fear he won’t be able to drive.

EXT. ROAD – DAY
Deputy Rhoades pulls them over. Deputy Rhoades accuses them of being drunk or high but Misa’s body (with Bill) passes the breathalyzer. Can’t hassle Bill’s body because it’s against the law to harass Big Foot.
Scene Arc: Starts with them being pulled over. Ends with them continuing to town.
Essence: Deputy Rhoades suspects something.
Conflict: Being pulled over and subjected to sobriety tests.
Subtext: They are in danger.
Hope/fear: Hope they can fool Deputy Rhoades. Fear he’ll find out their secret.

EXT. FARMER’S MARKET – DAY
The Big Foot costume causes hilarious confusion at the farmer’s market. Misa’s body (with Bill) is a good, if goofy as he tries to imitate feminine qualities, salesman. Farmer’s Market manager confronts them tries to remove Big Foot’s head.
Scene Arc: Starts with them at the Farmer’s Market. Ends with them leaving disguise intact.
Essence: They need to act normal and earn money for repairs.
Conflict: The farmer’s market manager hates Misa and goes after her.
Subtext: Misa has caused problems in the past.
Hope/fear: Hope the trip will be a success. Fear they will be found out.

EXT. FARMER’S MARKET PARKING LOT – DAY
Deputy Rhoades notices Misa’s body (Bill in it) acting odd, uncoordinated. He suspects drug use – confronts them should Misa’s body (with Bill) be driving?
Scene Arc: Starts with them safely leaving. Ends with them needing convincing Deputy Rhoades all is well.
Essence: Deputy Rhoades finds Misa’s behavior suspicious.
Conflict: Deputy Rhoades tries to get Misa’s body to not drive.
Subtext: Deputy Rhoades is onto something.
Hope/fear: Hope Misa’s body (with Bill) passes the sobriety check. Fear will fail it.

EXT. MISA’S PROPERTY – DAY

Deputy Rhoades ‘investigates’ Misa’s property.
Scene Arc: Starts with Deputy Rhoades on the property snooping around. Ends with him leaving, need a funny reason.
Essence: Deputy Rhoades suspects something is going on.
Conflict: Will Deputy Rhoades see Bill’s body or the spaceship?
Subtext: Deputy Rhoades doesn’t want to be seen.
Hope/fear: Hope Deputy Rhoades will go away. Fear Deputy Rhoades will see Bill’s body.

INT. MISA’S HOUSE – DAY

Bill’s body (with Misa in it) is physically struggling. Misa’s body (with Bill) shares that Bill’s body can’t live long on Earth. He’s been sabotaging repairs. On his home planet, he’s just a janitor who wasn’t allowed to join spaceforce. Shift their focus on fixing Bill’s spaceship.
Scene Arc: Begins with them focused on unswapping bodies. Ends with them focused on repairing Bill’s spaceship.
Essence: Bill’s body will get sicker and die.
Conflict: Misa’s body (with Bill) has sabotaged repairs and Misa’s been getting sicker.
Subtext: Bill starting to care about Misa.
Hope/fear: Hope Bill’s body (with Misa) gets better. Hope they fix the ship. Fear Bill’s body with die. Fear they can’t fix the ship.

INT. MISA’S WORKSHOP – DAY
Bill and Misa work together in Misa’s lab to create a product for the Earth Day festival to win the best product contest and buy supplies to fix the ship. Bill shares that most planet’s dominant species trash their planet. Misa shares her fear of people’s belief in aliens – they think aliens will come fix everything.
Scene Arc: Begins with them working in the lab. Ends with them increasing their understanding of each other.
Essence: They must figure out how to fix the spaceship on their own.
Conflict: Are the new products good enough? Can they win? Can they fix the ship?
Subtext: Bill and Misa bond.
Hope/fear: Hope they can fix the ship. Fear that they can’t and Bill’s body is stuck on Earth.

EXT. EARTH DAY FESTIVAL – STAGE – DAY
Misa’s body (with Bill) explains the products at the Earth Day festival and makes hilarious mistakes. Bill’s body (with Misa) in the Big Foot costume is there. During the presentation, they are confronted by attendees at the festival about the environmental damage caused by Misa’s family’s businesses – accused of hypocrisy for creating ‘good products.’ They don’t win best product.
Scene Arc: Misa’s body (with Bill) presenting their products. Ends with them losing and Misa shamed.
Essence: They compete for best product.
Conflict: Misa is a fraud her family is wealthy from poisoning Earth.
Subtext: Nothing Misa can do will compensate for what her family did.
Hope/fear: Hope they win the prize. Fear they don’t win the prize.

EXT. EARTH DAY FESTIVAL PARKING LOT – DAY
The representative for a major retailer (that Misa’s hates) finds them. The retailer wants to stock the products. Bill’s body (with Misa) in the Big Foot costume tries to scare the rep. Misa’s body (with Bill) grabs Bill’s body (with Misa) dressed as Big Foot. They step away from the rep and argue. Without the money, Misa will die in his body!
Scene Arc: Starts with them leaving. Ends with them having money for repairs.
Essence: They get the funds to buy supplies to repair the spaceship.
Conflict: Will Misa accept the order from a company she hates?
Subtext: Bill desperate to fix his ship.
Hope/fear: Hope Misa will accept the money. Fear she will not.

EXT. EARTH DAY FESTIVAL PARKING LOT – DAY
Bill’s body (with Misa) passes out in the parking lot. Deputy Rhoades confronts them. Concludes that Big Foot is a bad influence on Misa, they are both using drugs. He suggests rehab. It worked for him! Misa’s body (with Bill) says they will talk about. Deputy Rhoades helps get Bill’s body (with Misa, in Big Foot costume) into the car.
Scene Arc: From happily leaving the festival. Ends with them needing help to get Bill’s body in the car.
Essence: Bill’s body is getting very sick.
Conflict: Deputy Rhoades thinks Misa’s body should go immediately to rehab.
Subtext: Deputy Rhoades thinks it’s substance abuse because he suffered from it.
Hope/fear: Can they convince Deputy Rhoades to let them leave or not?

INT. SPACESHIP
Bill and Misa fix the spaceship.
Scene Arc: Starts with the ship not working. Ends with the ship working.
Essence: The fix the spaceship.
Conflict: Will their plan for repairs work. Can the work together to get it done?
Subtext: Bill is taking responsibility for getting the ship repaired.
Hope/fear: Hope the repairs work. Fear they will not.

EXT. MISA’S PROPERTY – DAY
Deputy Rhoades snoops around Misa’s property. They test the spaceship and get it to lift off. Deputy Rhoades sees the spaceship and Bill’s actual body. He starts to run away. Deputy Rhoades comes back. Bill and Misa convince him to keep it to themselves and they won’t tell anyone about his rehab episode. Deputy Rhoades helps with the final repairs. He exits when he gets a call.
Scene Arc: Starts with Deputy Rhoades suspicion about Misa’s sobriety. Ends with him helping repair a spaceship and keeping their secret.
Essence: Deputy Rhoades finds out about Bill.
Conflict: Deputy Rhoades has conflict about what he sees and what it means for his sobriety. Bill and Misa are afraid of what he will do now that he’s found out.
Subtext: Bill and Misa afraid of what Deputy Rhoades will with his new knowledge.
Hope/fear: Hope Deputy Rhoades will keep their secret. Fear he will tell the authorities.

EXT. MISA’S PROPERTY – DAY
Scene Arc: Misa’ body (with Bill) offers to stay on Earth and let Bill’s body (with Misa) leave rather than have her die in his body from Earth’s harmful effects. Bill’s body (with Misa) refuses to leave. She loves Earth too much.
Scene Arc: Starts with Bill offering to let Misa leave. Ends with Misa refusing to leave Earth.
Essence: Bill offers to save Misa.
Conflict: Bill’s body (with Misa) is sick
Subtext: Bill blames himself for Misa’s illness.
Hope/fear: Hope Bill’s body (with Misa) will leave. Fear Bill’s body (with Misa) will die.

INT. BILL’S SPACESHIP – DAY
Bill’s body (with Misa) tests the repaired spaceship toilet, causing sparks that reverse the swap.
Scene Arc: Start with swapped bodies. Ends with unswapped bodies.
Essence: They unswap bodies.
Conflict: Bill wants Misa to leave in his body.
Subtext: They can both be in the right place.
Hope/fear: The swap worked/they are stuck in the wrong body.

EXT. MISA’S PROPERTY – DAY
Bill and Misa exchange hugs and tears.
Scene Arc: From being together to being apart.
Essence: Bill and Misa say goodbye.
Conflict: none.
Subtext: They care about each other.
Hope/fear:

INT. BILL’S SPACESHIP
Bill flies home willing to face punishment for his bad deeds and earning his place on his planet’s spaceforce and promises to keep aliens away from Earth (note: this needs to be set up better)
Scene Arc: From Bill entering his spaceship to Bill flying away.
Essence: Bill leaves Earth
Conflict: Can he make the trip home?
Subtext: Bill is willing to face the consequences for his actions
Hope/fear: Bill is safely on his way/ Something happens to Bill

EXT. FARMER’S MARKET – DAY
Misa seeks out the manager of the farmer’s market asking to work together on environmental issues.
Scene Arc: From Misa being alone to reaching out to others to help save Earth.
Essence: Misa reaches out to others to help Earth
Conflict: Misa and the Farmer’s Market manager don’t get along.
Subtext: Misa needs to work with others to achieve her goals
Hope/fear: The farmer’s market manager will be receptive/ The manager will be nasty to Misa.

• This reply was modified 10 months, 3 weeks ago by  Terrie Shaft.

[jim ramsay]

RAMSAY – WIM+AI – Module 4 – Lesson 9: Scene Requirements
Act 1: Introduction to Mic and her Obsession
Scene 1: Mic’s Dream Sequence
Slug Line: INT. MIC’S BEDROOM – NIGHT Description: Mic dreams about being shot and witnessing her sister’s death at Carlito’s hands. Scene Requirements:
• Scene Arc: Starts with a peaceful sleep; ends with Mic waking up in terror.
• Essence: Establish Mic’s traumatic past and motivation for vengeance.
• Conflict: Mic’s internal struggle with her sister’s death.
• Subtext: Mic’s deep-seated guilt and unresolved anger.
• Hope/Fear: Hope that Mic can overcome her trauma; fear that it will continue to haunt her.
Scene 2: Undercover Operation Gone Wrong
Slug Line: INT. ABANDONED WAREHOUSE – NIGHT Description: Mic, undercover, loses control during an attempted rape, blowing her cover and killing cartel members. Scene Requirements:
• Scene Arc: Starts with Mic undercover; ends with the operation blown and cartel members dead.
• Essence: Showcase Mic’s skills and inner turmoil.
• Conflict: External conflict with cartel members; internal conflict with her control.
• Subtext: Mic’s recklessness driven by unresolved trauma.
• Hope/Fear: Hope that Mic maintains her cover; fear of losing control and blowing the operation.
Scene 3: Mic’s Demotion
Slug Line: INT. FEDERAL AGENCY OFFICE – DAY Description: Mic is reprimanded and demoted to the Human Trafficking Division. She quits in protest. Scene Requirements:
• Scene Arc: Starts with reprimand; ends with Mic quitting.
• Essence: Highlight Mic’s conflict with her superiors and her refusal to accept the demotion.
• Conflict: Mic vs. her superiors.
• Subtext: Mic’s disdain for bureaucratic limitations.
• Hope/Fear: Hope Mic accepts her demotion; fear that her rage will lead her to quit.
Scene 4: Mic Meets David
Slug Line: EXT. STREET NEAR MIC’S APARTMENT – NIGHT Description: After quitting, Mic meets David, a vigilante, after her neighbor Hannah is abducted. Scene Requirements:
• Scene Arc: Starts with Mic’s despair; ends with a renewed sense of purpose.
• Essence: Introduce David and establish their alliance.
• Conflict: Mic’s internal conflict about returning to work.
• Subtext: Mic’s inner struggle between vengeance and duty.
• Hope/Fear: Hope that Mic finds a new purpose; fear that she will spiral further.

Act 2: Alliances and Conflict
Scene 5: Mic and David Investigate
Slug Line: INT. DAVID’S SAFEHOUSE – NIGHT Description: Mic and David investigate leads on Hannah’s abduction, revealing the cartel’s involvement. Scene Requirements:
• Scene Arc: Starts with confusion; ends with a clear lead.
• Essence: Develop Mic and David’s partnership.
• Conflict: Overcoming resistance and gathering clues.
• Subtext: Building trust and camaraderie.
• Hope/Fear: Hope they find useful leads; fear they hit dead ends.
Scene 6: Confrontation with Agency Colleagues
Slug Line: INT. FEDERAL AGENCY OFFICE – DAY Description: Mic faces resistance from her colleagues when she returns to the Human Trafficking Division. Scene Requirements:
• Scene Arc: Starts with Mic’s return; ends with increased tension.
• Essence: Highlight internal agency conflicts.
• Conflict: Mic vs. her colleagues.
• Subtext: Mic’s growing isolation.
• Hope/Fear: Hope Mic can rally support; fear of betrayal and isolation.
Scene 7: Discovery of Carlito’s Involvement
Slug Line: INT. CARTEL HIDEOUT – NIGHT Description: Mic and David uncover evidence linking Carlito to the trafficking and drug operations. Scene Requirements:
• Scene Arc: Starts with suspicion; ends with confirmation.
• Essence: Raise stakes by revealing Carlito’s involvement.
• Conflict: Gathering evidence while staying hidden.
• Subtext: Mic’s escalating personal vendetta.
• Hope/Fear:

[Madeleind Gentinetta]

Madeleine’s Scene Requirements

Vision: I am going to do whatever it takes for me to be a writer of original, emotionally rich stories, recognized for depth, humor, and enduring impact, resulting in financial, critical and audience success.

What I learned from doing this assignment is: A huge step forward. Very helpful. Still, a lot of work to get the all the character arcs right and other small developments. But I keep moving forward. By working through this assignment, some more title ideas came to my mind.

ACT 1
1.1. OPENING

Scene Arc: From Mary getting ready to perform to falling off the stage.

1. INT. CONCERT CLUB, BACKSTAGE – NIGHT
MARY gets dressed in fancy stage clothing: high shoes, tight dress. With a shaking hand she puts on heavy “age-covering” make-up.
Essence: Mary gets ready for a performance.
Conflict: Mary fights age.
Subtext: Mary is covering up her age.
Hope/Fear: We hope all goes well. We fear something is going to happen to her.

2. INT. CONCERT CLUB, BACKSTAGE – NIGHT
The old club owner OLIVIA interrupts the preparations. She apologizes for not having the contract ready. Olivia wants to solve the issue after the concert. Mary is upset.
Essence: Mary is preparing for a performance while worrying about her future.
Conflict: Mary is anxious about securing her contract; Olivia is noncommittal.
Subtext: Mary’s fear of aging and becoming irrelevant.
Hope/Fear: We hope Mary will get the contract. We fear she will be dismissed because of her age.
Solving: Vince

1.2. INCITING INCIDENT

3. INT. CONCERT CLUB, STAGE – NIGHT
Mary focuses on performing but is distracted by thoughts of the contract. Mary asks Olivia for a drink. Vince, from behind the piano, advises against it. As Mary reaches for the drink, she loses her balance and falls off the stage.
Essence: Mary is anxious about her future and seeks solace in alcohol, leading to a dramatic fall.
Conflict: Mary’s internal struggle between performing well and worrying about her career versus Vince’s concern for her well-being and attempt to prevent her from drinking.
Subtext: Mary’s dependence on alcohol to cope with stress and her fear of being past her prime.
Hope/Fear: We hope Mary delivers a great performance and manages her stress. We fear the drink will lead to negative consequences.

Scene Arc: From Mary getting rehab diagnoses to escaping hospital.

4. INT. HOSPITAL, DOUBLE ROOM – DAY
Vince is beside Mary after the operation. The doctor explains that Mary needs intensive rehab for her hip fracture.
Essence: Mary faces the reality of her injury.
Conflict: Mary’s denial versus medical reality.
Subtext: Her fear of losing independence and relevance.
Hope/Fear: We hope she accepts the need for rehab. We fear she will refuse it and worsen her condition.

5. INT. HOSPITAL, HALLWAY – DAY
Whenever there is an uncomfortable situation with her double room neighbor or nursing staff, Mary tries to use a wheel chair, crutches, or walking chair.
Essence: Mary is uncomfortable at the hospital and wants to go home.
Conflict: Mary’s desire to escape versus the hospital’s efforts to keep her in place.
Subtext: Mary’s discomfort and resistance to her current situation.
Hope/Fear: We hope Mary finds some comfort. We fear Mary will injure herself or worsen her condition.

6. INT. HOSPITAL, DOUBLE ROOM – DAY
A nurse patronizes Mary. Mary is fed up and escapes the hospital with a walking chair.
Essence: Mary escapes the hospital.
Conflict: Mary’s desire to leave versus the hospital’s rules.
Subtext: Her stubbornness and denial.
Hope/Fear: We hope she will reconsider. We fear she will injure herself further.

Scene Arc: From Mary “going back to normal” to arriving at the elderly home.

7. INT. VINCE’S HOME – DAY
Mary arrives at Vince’s home. She urges the shocked Vince to go to Olivia to get the contract, so they can start to prepare the program for the next season.
Essence: Mary urges Vince to secure the contract with Olivia.
Conflict: Mary’s demand for the contract versus Vince’s shock and concern for her health.
Subtext: Mary’s denial of her current physical state and desperation to cling to her career.
Hope/Fear: We hope Vince will prioritize Mary’s health over her career aspiration. We fear Vince will support Mary’s plan.

8. EXT. STREET – DAY
Angry Vince pushes Mary on her walking chair toward his car. He pressures Mary to start her rehab before doing anything else.
Essence: Vince pressures Mary to start her rehab.
Conflict: Vince refuses to rehearse unless Mary does her rehab.
Subtext: Vince’s genuine concern for Mary’s health masked by his anger.
Hope/Fear: We hope Mary will agree to start rehab. We fear she will resist and cause more conflict.

9. INT. CAR – DAY
In the car, Vince calls around to try to organize a place for Mary to start her rehab, after the hospital refuses to take Mary back (there is an insurance issue).
Essence: Vince arranges rehab for Mary.
Conflict: The difficulty of finding a suitable rehab facility.
Subtext: Vince’s determination to ensure Mary gets the help she needs despite logistical hurdle.
Hope/Fear: We hope Vince will find a place for Mary. We fear the challenges will prevent it.

10. EXT. ELDERLY HOME, PARKING – DAY
Mary has a shock when Vince stops in front of an elderly home.
Essence: Mary realizes she will be staying at an elderly home for rehab.
Conflict: Mary’s shock and resistance versus Vince’s insistence.
Subtext: Mary’s fear of aging and losing her independence.
Hope/Fear: We hope Mary will accept the necessity of staying at the elderly home. We fear she will refuse and create more conflict.

ACT 2
1.3. TURNING POINT

Scene Arc: From Mary expecting to do rehab to “read books” to a child.

11. INT. ELDERLY HOME, PLAZA – DAY
Vince gets hit by a ball from the children playing during their break (there is an integrated primary school). Vince hands Mary over to PLACID (director).
Essence: Mary’s arrival in her “new” world.
Conflict: Mary makes her demands (possibility to rehearse, single room).
Subtext: Mary’s resistance to her new environment and desire to maintain control over her life.
Hope/Fear: We hope Mary will start to adapt. We fear she will resist and make her stay difficult.

12. INT. MONTAGE – ELDERLY HOME – DAY
Placid shows Mary to the locations (rehab, integrated school, multipurpose room, chapel, lounge etc.).
Essence: Placid introduces Mary to the rules.
Conflict: Mary hates to follow rules.
Subtext: Placid’s strictness versus Mary’s rebellious nature.
Hope/Fear: We hope Mary will accept the structure. We fear she will continue to resist.

13. INT. ELDERLY HOME, LIBRARY – DAY
Each child from the Book Buddies Club reads a book with an elderly person. When Placid sees Sophie drawing on her own, he assigns Mary to read a book to Sophie.
Essence: Placid applies his rule: if she wants to receive, she has to give.
Conflict: Mary hates kids.
Subtext: Mary’s reluctance to engage versus Sophie’s quiet need for connection.
Hope/Fear: We hope Mary will make an effort. We fear she will reject Sophie.

14. INT. ELDERLY HOME, LIBRARY – DAY
Mary tells stories from her past to Sophie, using jazz slang and metaphorical language in an attempt to be off-putting. Sophie listens attentively, trying to make sense of the stories, and starts drawing literal interpretations of Mary’s metaphorical language.
Essence: Mary shares her past with Sophie in a confusing, metaphorical style to repel her.
Conflict: Mary bends the rules of the Book Buddies Club.
Subtext: Mary’s attempt to push Sophie away versus Sophie’s unexpected interest and connection.
Hope/Fear: We hope Mary’s stories will create a bond. We fear her behavior will push Sophie away.

Scene Arc: From checking into a double room to attending Olivia’s funeral.

15. INT. ELDERLY HOME, RESIDENTIAL WING – DAY
Nursing staff picks up Mary. They slowly walk through the corridors of the residential wing. On the way to her new room, Mary gets depressing glimpses of everyday life.
Essence: Mary is introduced to her new environment, highlighting her discomfort.
Conflict: Mary’s resistance to accepting her new surroundings.
Subtext: Mary’s fear of aging.
Hope/Fear: We hope Mary will find some comfort or adapt to her new surroundings. We fear she will feel trapped and resist integration.

16. INT. ELDERLY HOME, DOUBLE ROOM – DAY
Mary is crushed when she enters her new room: it’s a double room. Her room neighbor is the friendly Hortense with dementia, a Marlene Dietrich worshipper.
Mary wants to know, when she can leave the institution. The nurse says for weddings and funerals. (Hortense tells Mary that she broke her hip like Marlene).
Essence: Mary is confronted with her new reality and the limitations of her situation.
Conflict: Mary’s desire for privacy and control versus the institution’s rules and setup.
Subtext: Mary’s struggle with accepting her aging and the loss of her autonomy.
Hope/Fear: We hope Mary will find a way to cope with her new situation. We fear she will feel even more isolated and desperate.

17.. EXT. CEMETERY – DAY
Vince and Mary stand at the open grave, when Olivia’s coffin is lowered into the grave. Vince points to a snobbish man in black, Olivia’s son Dieter, the new club owner.
Essence: The transition of power and control at the concert club.
Conflict: Mary’s grief over losing Olivia and uncertainty about the future.
Subtext: The looming challenge of dealing with Dieter and the changing dynamics at the club.
Hope/Fear: We hope there will be a future for Mary and Vince with Dieter as new owner. We fear Dieter will bring additional challenges to her already difficult situation.

2.1. NEW PLAN

Scene Arc: From setting up a test performance to delaying the contract

18. INT. RESTAURANT, FUNERAL MEAL – DAY
Mary reconnects with a familiar face among the mourners: Faye, a journalist and an old acquaintance. Mary and Vince condolence Dieter. He proposes a meeting to see them performing.
Essence: Dieter introduces the possibility of evaluating Mary and Vince's performance for future opportunities.
Conflict: The tension between mourning Olivia and addressing professional concerns.
Subtext: Dieter's pragmatic approach to business despite the emotional context.
Hope/Fear: We hope Dieter will see the value in Mary and Vince's performance. We fear he might be unsympathetic to their situation.

2.2. NEW PLAN IN ACTION

19. INT. ELDERLY HOME, REHAB ROOM – DAY
Enrique works with Mary on her rehab exercises. Mary tries to overdo it, pushing herself too hard. Enrique has to stop her, emphasizing the importance of gradual progress.
Essence: Mary’s overexertion during rehab.
Conflict: Mary’s ambition to leave quickly versus Enrique’s insistence on a proper recovery.
Subtext: Mary’s desperation to escape and return to her career.
Hope/Fear: We hope Mary will follow Enrique’s advice. We fear she will harm herself by pushing too hard.

20 .INT. ELDERLY HOME, PLACID’S OFFICE – DAY
Mary insists on using the multipurpose room for rehearsals, but Placid refuses, stating it’s reserved for internal occasions. He offers the chapel instead, which Mary reluctantly accepts despite her discomfort with it. Placid also tells Mary that he expects her to continue with the Book Buddy Club, mentioning that Sophie has been asking for her.
Essence: Mary negotiates for a rehearsal space and is reminded of her Book Buddy duties.
Conflict: Mary’s persistence versus Placid’s rules and expectations.
Subtext: Mary’s desperation to reclaim her career versus the institutional constraints and her new responsibilities.
Hope/Fear: We hope Mary gets a suitable rehearsal space. We fear the chapel will demoralize her and the additional responsibility will overwhelm her.

21. INT. ELDERLY HOME, CHAPEL – DAY
Vince and Mary rehearse together in the chapel, going over songs and performance routines. Elderly residents and children, including Sophie, gather outside the chapel, intrigued by the music. Placid observes the growing audience. Vince informs Mary that Dieter is coming the next day.
Essence: Mary prepares for her comeback performance.
Conflict: Balancing the need for rest with the desire to perform.
Subtext: Mary’s anxiety about her readiness.
Hope/Fear: We hope the rehearsals go well. We fear Mary’s injury might hinder her performance.

22. INT. ELDERLY HOME, REHAB ROOM – DAY
Mary sneaks into the rehab room and starts doing the exercises on her own, determined to prove she can still perform. She overexerts herself and gets hurt.
Essence: Mary’s overexertion due to her determination.
Conflict: Her ambition versus her physical limitations.
Subtext: Mary’s fear of losing her career drives her to push too hard.
Hope/Fear: We hope Mary will realize her limits. We fear she will injure herself further.

23. INT. ELDERLY HOME, CHAPEL – DAY
Vince and Dieter are present in the chapel. Mary, having pushed herself too hard, arrives in a wheelchair with Enrique. Mary tries to stand and perform but is visibly struggling. Dieter sees this and says she has to be healthy before discussing a contract renewal. He leaves, and Vince insists that Mary focus on getting better before stressing over a new program.
Essence: Mary faces the consequences of overexertion.
Conflict: Mary’s desire to impress Dieter versus her physical condition.
Subtext: The physical manifestation of Mary’s internal struggle and desperation.
Hope/Fear: We hope Dieter will see Mary’s potential despite her condition. We fear her current state will delay the contract.

Scene Arc: From Mary restarting her rehab to being replaced by a young singer.

24. INT. ELDERLY HOME, PLAZA – DAY
Mary watches Dieter and Vince leaving; Vince does not turn around. When Mary turns around, she notices through the glass windows that children are laughing at Sophie when she is presenting something in the classroom. Then Sophie sits on her own.
Essence: Mary observes the impact of her absence on Sophie and Vince's departure.
Conflict: Mary’s sense of abandonment and isolation versus her realization of Sophie’s struggle.
Subtext: Mary’s growing connection to Sophie and awareness of her own vulnerability.
Hope/Fear: We hope Mary will find a way to reconnect with Sophie. We fear she will feel more isolated and abandoned.

25. MONTAGE 1: Mary's Struggles and Observations

INT. ELDERLY HOME, DINING ROOM – DAY
Mary sits unhappy in front of her plate, alone at a table.

INT. ELDERLY HOME, DOUBLE ROOM – DAY
Hortense asks Mary if she has family; Mary denies it and is annoyed.

INT. ELDERLY HOME, KITCHEN – NIGHT
Mary, still hungry, sneaks into the kitchen at night and finds some food in the fridge.

INT. ELDERLY HOME, REHAB ROOM – DAY
Mary unmotivatedly works on her rehab exercises with Enrique. Enrique tries to cheer her up by incorporating stage performance moves.

INT. ELDERLY HOME, LOUNGE – DAY
Mary calls Vince, but he does not pick up the phone. Then, Mary reluctantly joins other residents in playing cards.

INT. ELDERLY HOME, CHAPEL – DAY
Mary sits alone in the chapel, staring into the burning candle.
Essence: Mary’s struggle to adapt to her new environment and her observation of Sophie’s difficulties.
Conflict: Mary’s internal battle between resisting and accepting her new life versus the challenges Sophie faces.
Subtext: Mary’s denial of her situation and her growing empathy for Sophie, who is also alone.
Hope/Fear: We hope Mary finds a way to adapt and connect with others. We fear she will continue to feel isolated and unhappy.

26. INT. ELDERLY HOME, LIBRARY – DAY
Mary does not want to tell stories; she wants Sophie to tell her something. Sophie tells Mary that her classmates made fun of her drawings. Mary encourages Sophie to be more confident and assertive despite the teasing. She admits that she loves Sophie’s drawings of her stories.
Essence: Mary mentors Sophie in confidence.
Conflict: Sophie’s hurt feelings versus Mary’s encouragement.
Subtext: Mary’s own experiences with criticism.
Hope/Fear: We hope Sophie gains confidence. We fear she might remain discouraged.

27. MONTAGE 2: Mary's Growing Bond with Sophie and Recovery

INT. ELDERLY HOME, REHAB ROOM – DAY
Mary makes progress and dares to take cool steps with Enrique.

INT. ELDERLY HOME, KITCHEN – NIGHT
Mary sneaks into the kitchen to get some food. Julia, the kitchen aid, surprises her and makes her some extra food.

INT. ELDERLY HOME, DOUBLE ROOM – DAY
Mary lies on her bed, pretending to sleep. Sophie sneaks in to bring one of her drawings. Sophie discovers Hortense’s denture in the glass and thinks it looks funny. She takes it out. Mary can’t believe her eyes.

INT. ELDERLY HOME, PLAZA – DAY
Later, Mary observes how Sophie uses the denture and gets the other kids to laugh. Mary laughs too.

INT. ELDERLY HOME, CHAPEL – DAY
Mary is in the chapel on her own, singing.
Essence: Mary’s recovery process and her deepening bond with Sophie.
Conflict: Mary’s struggle to recover and engage with her environment versus her growing attachment to Sophie.
Subtext: Mary’s increasing acceptance of her situation and the impact of her influence on Sophie.
Hope/Fear: We hope Mary’s recovery and bond with Sophie continue to strengthen. We fear any setbacks in her recovery or disruptions in her bond with Sophie.

28. INT. ELDERLY HOME, REHAB ROOM – DAY
Mary is doing really well. Enrique thinks it’s finally time for Mary to start to rehearse again.
Essence: Mary’s readiness to rehearse.
Conflict: Mary’s excitement versus the potential risks.
Subtext: Mary’s determination to return to the stage.
Hope/Fear: We hope Mary’s rehearsals go well. We fear she might push herself too hard.

29. INT. ELDERLY HOME, PLACID’S OFFICE – DAY
Mary surprises Placid, who is embarrassed when she catches him watching a ballet performance. Mary says Enrique has given her the green light and she would like to surprise Vince with the good news. She says, “I’m invited to a wedding,” making it clear she needs permission to go. Placid gets the insider joke and lets Mary go.
Essence: Mary requests permission to leave.
Conflict: Mary’s request versus Placid’s rules.
Subtext: Mary’s playful approach and Placid’s hidden passion.
Hope/Fear: We hope Placid allows Mary to go. We fear he might refuse.

30. INT. VINCE’S HOME – DAY
Mary arrives at Vince’s home, nicely dressed and bringing flowers. She is shocked to discover Vince singing with a younger singer. Vince and Mary argue until Vince admits that Dieter told him to look for a younger singer if he wants to continue with a weekly show in his bar.
Essence: Mary confronts Vince about being replaced.
Conflict: Mary’s shock and anger versus Vince’s pragmatism.
Subtext: Mary’s fear of being replaced and losing her relevance.
Hope/Fear: We hope Vince explains the situation clearly. We fear this will create a rift between them.

Scene Arc: From Mary being on her own to reinventing herself.

31. INT. CAB – NIGHT
Mary, emotionally distraught, takes a cab back to the elderly home. The cab driver is oblivious to her pain and makes light-hearted conversation, exacerbating her feelings of isolation and hurt.
Essence: Mary’s emotional pain sets in during the cab ride.
Conflict: Mary’s internal struggle versus the driver’s obliviousness.
Subtext: Mary’s feeling of isolation and the insensitivity of others.
Hope/Fear: We hope Mary can hold herself together. We fear the driver’s comments will worsen her emotional state.

32. INT. ELDERLY HOME, EMPTY CORRIDORS – NIGHT
Mary walks through the empty corridors of the elderly home, the silence amplifying her sense of loneliness and despair. The dark and empty hallways reflect her internal state.
Essence: Mary’s loneliness and internal struggle.
Conflict: Mary’s feelings of abandonment and isolation.
Subtext: The emptiness of the corridors mirrors Mary’s emotional void.
Hope/Fear: We hope Mary finds solace. We fear she will succumb to her despair.

33. INT. ELDERLY HOME, DOUBLE ROOM – NIGHT
Mary destroys a picture of her and Vince, venting her frustration and pain. She then looks around the room and notices the pictures of Marlene Dietrich. Hortense wakes up and tells Mary that her breaking her hip is just like Marlene Dietrich’s experience, planting the idea in Mary’s mind.
Essence: Mary’s emotional breakdown and the birth of a new idea.
Conflict: Mary’s despair versus the spark of inspiration from Hortense’s comment.
Subtext: The parallel between Mary and Marlene Dietrich.
Hope/Fear: We hope Mary finds solace and inspiration. We fear she might remain stuck in her despair.

2.3. MIDPOINT

Scene Arc: From Mary announcing her comeback to discovering her son

34. INT. ELDERLY HOME, GARDEN – DAY
Essence: Mary discusses her comeback idea (Marlene program) with Faye, who encourages her and agrees to write an article under Mary's maiden name.
Conflict: Mary's excitement about the new program versus the uncertainty of its success.
Essence: Mary’s reinvention and sharing of her new vision.
Conflict: Mary’s excitement about the new program versus the uncertainty of its success.
Subtext: Mary’s transformation and Faye’s support.
Hope/Fear: We hope Faye supports Mary’s idea and helps her get it out. We fear the challenges that lie ahead.

35. INT. ELDERLY HOME, PLACID’S OFFICE – DAY
Mary presents Faye's article to Placid and asks to use the multipurpose room for rehearsals.
Essence: Mary asks Placid to use the multipurpose room for rehearsals. Placid misunderstands and thinks it's a concert for the elderly home.
Conflict: Placid denies Mary’s request, saying it's reserved for internal occasions, leading to Mary’s frustration.
Subtext: Mary’s desperation to reclaim her career versus the institutional constraints and her realization of the limitations imposed by the elderly home.
Hope/Fear: We hope Placid allows Mary to use the multipurpose room. We fear he will misunderstand and refuse her request. We hope Mary finds another way to rehearse. We fear she will be demoralized by the refusal.

36. INT. ELDERLY HOME, KITCHEN – NIGHT
Mary looks for a remote place to rehearse and finds Julia in the kitchen.
Essence: Mary seeks out a remote place to rehearse and encounters Julia.
Conflict: Julia wants a drinking partner, but Mary wants to stay away from alcohol.
Subtext: Mary’s struggle with her past dependence on alcohol and her determination to stay sober.
Hope/Fear: We hope Mary can find a place to rehearse without compromising her sobriety. We fear Julia’s influence might lead her back to drinking.

37. INT. ELDERLY HOME, KITCHEN – NIGHT (BACKSTORY)
Mary tells Julia about her difficult times and why she can’t have alcohol.
Essence: Mary confides in Julia about her past struggles with alcohol.
Conflict: Mary’s need for a rehearsal space versus her past struggles with alcohol.
Subtext: Mary’s vulnerability and the strength it takes to stay sober.
Hope/Fear: We hope Julia understands and supports Mary. We fear this might strain their relationship.

38. INT. ELDERLY HOME, DOUBLE ROOM – NIGHT
Hortense tells Mary that her son was here and looking for her.
Essence: Hortense informs Mary that her son was looking for her.
Conflict: Mary’s emotional turmoil about her son’s visit.
Subtext: Mary’s unresolved issues with her family and her feelings of abandonment.
Hope/Fear: We hope Mary can reconcile with her past and her son. We fear this will add to her emotional burden.

Scene Arc: From Mary proudly announcing her upcoming concert to Robert suggesting she retire gracefully

39. INT. ELDERLY HOME, CAFETERIA – DAY
Mary meets Robert and tries to impress him with her upcoming show. Sophie approaches Mary to meet before the Book Buddy Club, but Mary sends her away because she is with her son. Vince arrives with flowers to apologize, but Mary rejects Vince and his flowers.
Essence: Mary is rejecting Robert, Sophie, and Vince in her effort to focus on impressing her son with her upcoming concert.
Conflict: Robert wants to connect emotionally, but Mary focuses on impressing him. Sophie and Vince are also rejected in her pursuit.
Subtext: Mary’s need to justify her past decisions and impress her son, while struggling to balance her personal life and career ambitions.
Hope/Fear: We hope Mary will connect with Robert and gain his support. We fear she will alienate him by focusing solely on her career. We also fear Sophie and Vince will feel neglected.

40. INT. ELDERLY HOME, CAFETERIA – DAY
Mary has to leave to join the Book Buddy Club with Sophie. Robert and Vince feel rejected and disconnected from Mary. Robert and Vince meet for the first time. Placid comes by, and Vince gives him the flowers because Mary does not want them.
Essence: Mary’s obligation to Sophie disrupts her time with Robert, while Vince and Robert bond over their shared rejection by Mary.
Conflict: Mary’s commitment to the Book Buddy Club versus Robert’s desire for her attention. Vince’s attempt to reconcile with Mary is thwarted.
Subtext: The tension between Mary’s professional and personal responsibilities, and the mutual understanding between Vince and Robert.
Hope/Fear: We hope Mary can manage both commitments. We fear Robert will feel neglected. We hope the encounter leads to a better understanding between Vince and Robert, but we fear it will create more tension.

41. INT. ELDERLY HOME, BOOK BUDDY CLUB – DAY
Mary, excited about her show, asks Sophie about social media. Sophie tells Mary to focus on her son and not the concert.
Essence: Mary seeks Sophie’s advice on social media for her show, but Sophie advises Mary to prioritize her son.
Conflict: Sophie is upset about being neglected earlier, and Mary’s excitement about the concert versus Sophie’s advice.
Subtext: Mary’s focus on her career versus Sophie’s need for attention, and the balance between Mary’s career and her personal relationships.
Hope/Fear: We hope Sophie will help Mary. We fear Sophie’s feelings of neglect will affect their interaction. We hope Mary will take Sophie’s advice. We fear she will disregard it.

42. INT. ELDERLY HOME, ROOM – NIGHT
Mary makes videos of herself.
Essence: Mary prepares for her concert by making promotional videos.
Conflict: Mary’s determination to succeed versus her emotional turmoil.
Subtext: Mary’s need to prove herself through her career.
Hope/Fear: We hope the videos will help her concert. We fear her efforts will be in vain.

43. INT. ELDERLY HOME, DOUBLE ROOM – NIGHT
Robert comes back and proposes that Mary retire gracefully, offering financial support. Mary is devastated, saying artists don’t retire, they just die. Robert points out that she doesn’t even have a location for the show yet.
Essence: Robert suggests Mary retire, misunderstanding her need to perform.
Conflict: Mary’s need to perform versus Robert’s offer of financial support.
Subtext: The deep misunderstanding between Mary and Robert about her career and identity.
Hope/Fear: We hope Mary can convey her passion for performing to Robert. We fear this suggestion will hurt their relationship.

ACT 3
3.1. RETHINKING

Scene Arc: From Mary renting the concert space from Dieter to facing the setback of a negative article.

44. INT. CONCERT CLUB, OFFICE – DAY
Mary meets Dieter to rent the concert club. Dieter is skeptical about Mary’s ability to afford the rental fee. Mary calls Robert to confirm financial support, but Robert refuses to pay for the concert bar. Determined, Mary decides to save money by going to the cheaper hairdresser at the elderly home instead of her usual expensive salon.
Essence: Mary negotiates with Dieter to rent the concert club and seeks financial support from Robert, ultimately deciding to make personal sacrifices to secure the venue.
Conflict: Dieter is uncertain if Mary can afford the rental fee, and Robert refuses to support Mary’s rental financially, leaving her to find a solution.
Subtext: Mary’s determination to prove herself and secure a venue for her comeback despite financial constraints and lack of support from her son.
Hope/Fear: We hope Dieter agrees to rent the club to Mary despite financial concerns. We fear Robert’s refusal will jeopardize her plans. We hope Mary’s decision to save money helps her secure the venue. We fear it might not be enough.

45. INT. ELDERLY HOME, MARY’S ROOM – NIGHT
Mary reads an article by Faye in the local newspaper that trashes her social media presence and implies that the upcoming show might not meet expectations.
Essence: Mary faces a setback with the negative article about her social media presence.
Conflict: Mary’s confidence is shaken by the negative article.
Subtext: The challenges and opposition Mary faces in her comeback journey.
Hope/Fear: We hope Mary can overcome this setback. We fear it might derail her plans.

Scene Arc: From Mary Refusing to Perform at Elderly Home to Having All Tickets Sold

46. INT. ELDERLY HOME, PLACID’S OFFICE – DAY
Crisis conference with Placid, Vince, and Robert offer Mary the multipurpose room for her concert to help her after the negative article and save a lot of money. Mary refuses, stating she wants a "real" audience and not to play for the elderly and children. Mary leaves the room determined to go ahead with her original plan.
Essence: Mary rejects the offer of the multipurpose room, insisting on performing for a "real" audience.
Conflict: Mary’s determination to perform for a "real" audience versus Placid, Vince, and Robert’s attempt to help her.
Subtext: Mary’s desperation to reclaim her career and not settle for less.
Hope/Fear: We hope Mary’s determination will lead to success. We fear her refusal might isolate her further.

47. INT. ELDERLY HOME, OFFICE – DAY
After Mary left, Robert and Vince insist that Placid help them prevent Mary from performing, trying to stop her from rehearsing.
Essence: Robert and Vince attempt to prevent Mary from performing by seeking Placid’s help.
Conflict: Robert and Vince’s protective instincts versus Mary’s determination.
Subtext: The struggle between Mary’s autonomy and the protective efforts of those around her.
Hope/Fear: We hope Placid will find a way to support Mary. We fear their interference might derail her plans.

48. INT. ELDERLY HOME, CORRIDOR TO KITCHEN – NIGHT
Placid stays late at the elderly home, searching for where Mary is rehearsing. He finds the kitchen and is surprised by how many residents are outside in the corridor, enjoying Mary’s rehearsal without her knowing. Placid is hesitant—should he stop Mary or continue to support her in his own way? To everybody’s surprise: Placid starts dancing (a bit like Christopher Walken in "Weapon of Choice"), and the elderly are amazed.
Essence: Placid discovers the positive impact of Mary’s rehearsals on the residents and decides to support her in his own way.
Conflict: Placid’s hesitation to support Mary openly versus the evident joy of the residents.
Subtext: Placid’s internal conflict about supporting Mary’s efforts and his shift from skepticism to support.
Hope/Fear: We hope Placid will see the value in Mary’s performance. We fear he will still try to stop her. We hope Placid’s support will encourage Mary. We fear his hesitation might still hold him back.

49. INT. ELDERLY HOME, MARY’S ROOM – DAY
Mary gets the news from Dieter that all the tickets are sold.
Essence: Mary learns that all the tickets for her concert are sold.
Conflict: Mary’s initial doubts versus the overwhelming support she receives.
Subtext: The validation of Mary’s efforts and determination.
Hope/Fear: We hope this news boosts Mary’s confidence. We fear she might still face obstacles ahead.

3.2. NEW PLAN

Scene Arc: From Mary Doing Final Rehearsals to Realizing That Placid Bought All the Tickets

50. INT. ELDERLY HOME, ENRIQUE'S REHAB – DAY
Mary rehearses with Enrique, including a costume selection. Mary is annoyed by her Marlene-wig.
Essence: Mary prepares for her concert with Enrique’s help, expressing her annoyance with the wig.
Conflict: Mary’s determination to perfect her performance versus the need for a flawless appearance.
Subtext: Mary’s dedication to her comeback and her anxiety about every detail being perfect.
Hope/Fear: We hope Mary’s rehearsal goes smoothly. We fear something will go wrong with her preparations.

51. INT. ELDERLY HOME, HAIRDRESSER – DAY
Mary goes to the in-house hairdresser to get the perfect blonde Marlene hair instead of the wig. The hairdresser does something wrong. We see Mary and the hairdresser’s shocking reaction but not what it is. As a solution to hide the catastrophe, Mary puts back on the Marlene-wig.
Essence: Mary seeks to complete her look with the perfect hairstyle, but the hairdresser’s mistake leads to a desperate search for a solution.
Conflict: The hairdresser’s attempt to achieve the perfect look versus the possibility of making a mistake and Mary’s increasing anxiety.
Subtext: Mary’s need for perfection and the pressure she puts on herself, struggling with unexpected setbacks and her fear of not being perfect.
Hope/Fear: We hope the hairdresser succeeds in giving Mary the perfect hairstyle. We fear the hairdresser will make a mistake and Mary’s appearance will be ruined.

3.3. HUGE FAILURE

52. INT. ELDERLY HOME, HORTENSE'S ROOM – DAY
Mary goes to Hortense to cry about the hair disaster. But Hortense, in bad shape, says it’s her last wish to see Mary perform. Mary discovers a ticket to her concert on Hortense’s night table. Hortense tells Mary that Placid bought tickets for everyone in the elderly home.
Essence: Mary seeks comfort from Hortense after the hair disaster and discovers that Placid bought all the tickets. Hortense is in bad shape.
Conflict: Mary’s need for emotional support versus Hortense’s declining health.
Subtext: Mary’s vulnerability and the comfort she finds in Hortense’s presence. The truth behind the sold-out concert.
Hope/Fear: We hope Mary finds solace in Hortense. We fear Hortense’s health will worsen.

Scene Arc: From Mary Attempting to Cancel the Concert to Hortense's Death.

53. INT. ELDERLY HOME, PLAZA – DAY
Mary calls Dieter to cancel the concert. Dieter refuses because he is happy to have a sold-out house and suggests her program might be a success for other elderly homes as well.
Essence: Mary attempts to cancel the concert but faces resistance from Dieter.
Conflict: Mary’s desire to cancel the concert versus Dieter’s insistence on keeping the sold-out show.
Subtext: Mary’s doubts and fears about the concert’s success and her ability to perform.
Hope/Fear: We hope Dieter’s encouragement will reassure Mary. We fear his refusal might increase her anxiety.

54. INT. ELDERLY HOME, KITCHEN – DAY
Mary sneaks into the kitchen, where Julia hides her drinks. Mary contemplates taking a bottle and eventually gets the bottle.
Essence: Mary struggles with the temptation of alcohol as a coping mechanism.
Conflict: Mary’s need to stay sober versus the temptation to drink.
Subtext: Mary’s internal battle with her past dependence on alcohol and her current stress.
Hope/Fear: We hope Mary resists the temptation. We fear she might relapse.

55. INT. ELDERLY HOME, PLAZA – DAY
On her way back to her room, Sophie throws a ball at her. Mary is apathetic and does not really respond. Sophie mentions she is also coming to the concert tomorrow, along with some other kids. Mary freezes.
Essence: Mary’s struggle with her decision to drink and the impact of Sophie’s words.
Conflict: Mary’s internal conflict about drinking versus her concern for Sophie’s expectations.
Subtext: Mary’s awareness of the influence she has on Sophie and the importance of being a role model.
Hope/Fear: We hope Sophie’s words will dissuade Mary from drinking. We fear Mary’s apathy might lead her to make a poor decision.

56. INT. ELDERLY HOME, MARY’S ROOM – NIGHT
Just as Mary is about to take a drink in her room, she realizes that Hortense has died. The shock causes her to drop the bottle, which gets destroyed as it hits the floor.
Essence: Mary is confronted with Hortense’s death at a critical moment, leading to an emotional grounding and recovery.
Conflict: Mary’s intention to drink versus the shock of Hortense’s death.
Subtext: The sudden confrontation with mortality and its impact on Mary’s perspective.
Hope/Fear: We hope Hortense’s death will serve as a wake-up call for Mary. We fear the emotional toll it will take on her.

ACT 4
4.1. CLIMAX

Scene Arc: From Refusing to Perform for the Elderly to Deciding to Perform

57. INT. ELDERLY HOME, PLACID’S OFFICE – DAY
Mary tells Placid she can’t perform. Placid insists she must because death is part of life and emphasizes the positive impact her rehearsals have had on the residents. He reveals that Robert and Vince wanted to stop her from performing and that he bought the tickets himself, believing in the importance of her art. He shares his own backstory about being prevented from pursuing his passions due to being too small and wants to ensure Mary doesn’t suffer similarly. Outraged to learn Robert and Vince were behind Faye’s article, Mary must choose between giving up or proving her worth. She decides to prove them wrong.
Essence: Mary struggles with the idea of performing, while Placid insists on the importance of her art for the elderly.
Conflict: Mary’s reluctance to perform versus Placid’s insistence on the significance of her performance.
Subtext: The deeper connection between life, death, and the importance of art in enriching lives.
Hope/Fear: We hope Placid’s words will resonate with Mary. We fear Mary will continue to refuse.

58. INT. ELDERLY HOME, MARY’S ROOM – NIGHT
Sophie, feeling neglected by Mary, looks for her and sneaks into her room. She finds Hortense’s denture glass empty, indicating she has taken it. Sophie exchanges Mary’s show clothes, following Mary’s earlier advice that surprising people is always effective.
Essence: Sophie’s actions reflect her understanding of Mary’s advice and her own need for connection.
Conflict: Sophie’s feelings of neglect versus her desire to connect with Mary.
Subtext: The impact of Mary’s actions on those around her and the importance of meaningful connections.
Hope/Fear: We hope Sophie’s actions bring her closer to Mary. We fear this might create more tension

Scene Arc: From Mary Preparing Backstage to Performing Without Costumes in the Dark

59. INT. CONCERT CLUB, BACKSTAGE – NIGHT
Mary gets ready backstage, just like at the beginning of the story. She wants to put on her Marlene Dietrich performance clothes but realizes they have been exchanged. Vince comes to wish Mary good luck and notices her distress. Mary asks Vince to cut the electricity to avoid being seen without her proper costume. Vince says that means that there will be no music.
Essence: Mary faces an unexpected wardrobe crisis and seeks a desperate solution.
Conflict: Mary’s need to be perfectly dressed for her performance versus the reality of her clothes being exchanged and the technical challenge of cutting electricity.
Subtext: The pressure of meeting expectations and the fear of failure. Mary’s reliance on external appearances to validate her talent.
Hope/Fear: We hope Vince can help Mary find a solution. We fear cutting the electricity might create more problems and ruin the show.

60. INT. CONCERT CLUB, STAGE – NIGHT
In the dark, Mary stands on the stage and announces she will perform a cappella because there is no current. Vince goes to the piano to accompany her. They perform together.
Essence: Mary’s performance becomes a testament to her raw talent and resilience.
Conflict: Mary’s initial fear and vulnerability versus her eventual strength and adaptability. The challenge of performing without technical support.
Subtext: The power of inner strength and the ability to turn challenges into opportunities. Mary’s realization that her talent is enough.
Hope/Fear: We hope Mary’s a cappella performance will be well-received. We fear the audience might not appreciate the impromptu change.

Scene Arc: From Mary Being Marlene to Becoming Mary

61. INT. CONCERT CLUB, BACKSTAGE – NIGHT
Mary is in her element. Robert, watching from backstage, decides to turn the power back on to fully reveal Mary to the audience, showing his support for her true self.
Essence: Robert acknowledges Mary’s dedication and takes action to support her.
Conflict: Robert’s initial skepticism versus his newfound understanding and support for Mary.
Subtext: The shift from doubt to support, highlighting the power of belief in someone’s potential.
Hope/Fear: We hope Robert’s decision to turn the power back on will enhance Mary’s performance. We fear it might disrupt the flow and surprise Mary.

62. INT. CONCERT CLUB, STAGE – NIGHT
The lights come on, and everyone sees Mary in her usual clothes, with no make-up. Mary is initially shocked. Mary takes off her Marlene wig, revealing her purple hair. The audience, now seeing her true self, cheers even louder, screaming her name, "Mary!"
Essence: Mary’s true self is celebrated and embraced by the audience.
Conflict: Mary’s initial shock and vulnerability versus her inner strength and dedication to her art.
Subtext: The triumph of inner beauty and talent over external appearances.
Hope/Fear: We hope Mary’s decision to continue will resonate with the audience. We fear she might lose confidence and falter.

Scene Arc: From Mary Craving Applause to Stage Diving and Feeling Supported

4.2. RESOLUTION

63. INT. CONCERT CLUB, STAGE – NIGHT
Mary is performing and reveling in the applause. Then Mary tells the audience to stop applauding and put their hands up. Mary stands at the edge of the stage and does a stage dive.
Essence: Mary seeks deeper connection beyond applause, making a bold move to engage with the audience.
Conflict: Mary’s desire for genuine connection versus the audience’s initial expectation of a traditional performance.
Subtext: The emptiness of superficial validation and the courage to seek true support.
Hope/Fear: We hope the audience understands and supports her. We fear they might be confused or disengaged.

64. INT. CONCERT CLUB, STAGE – NIGHT
Mary is caught by the audience and everybody who is dear to her: Robert, Vince, Placid, Sophie, Dieter, Enrique, the elderly, etc. The audience is holding her up and letting her float, providing true support and connection.
Essence: Mary experiences true support and connection from her audience.
Conflict: Mary’s initial fear of rejection versus the overwhelming support from the audience.
Subtext: The fulfillment that comes from genuine human connection and support.
Hope/Fear: We hope Mary feels validated and supported. We fear the moment might not last.

THE END

CHATGTP Analysis and comments

ACT 1
1.1. Opening
Scenes:
Mary prepares for a performance.
Olivia interrupts preparations; Mary is upset.

Analysis: These scenes effectively set up Mary’s fear of aging and career desperation. They establish her relationship with Olivia and introduce Vince as a supportive character.

1.2. Inciting Incident
Scenes:
Mary performs, worries about her career, falls off stage.

Analysis: This incident is crucial as it physically incapacitates Mary, forcing her into the main plot of rehabilitation.

Scene Arc: From Mary getting rehab diagnoses to escaping hospital
Scenes:
Mary’s diagnosis and refusal to accept it.
Mary’s discomfort in the hospital and eventual escape.

Analysis: These scenes highlight Mary’s denial and set up her struggle against the reality of her situation. It also introduces Vince’s concern.

Scene Arc: From Mary “going back to normal” to arriving at the elderly home
Scenes:
Mary insists on focusing on her career despite injury.
Vince pressures her to start rehab.
Mary realizes she will be staying at an elderly home.

Analysis: These scenes effectively transition Mary into the new setting, establishing her resistance to the elderly home.

ACT 2
1.3. Turning Point
Scene Arc: From Mary expecting to do rehab to “reading books” to a child
Scenes:
Mary is shown around the elderly home.
Placid introduces Mary to the rules.
Placid assigns Mary to read to Sophie.
Mary tells stories to Sophie using confusing language.

Analysis: These scenes introduce Mary to her new environment and responsibilities. Sophie’s introduction is key to Mary’s eventual emotional growth.

Scene Arc: From checking into a double room to attending Olivia’s funeral
Scenes:
Mary is shown her new room, meets Hortense.
Vince and Mary attend Olivia’s funeral.

Analysis: These scenes solidify Mary’s new reality and the challenges she faces.

2.1. New Plan
Scene Arc: From setting up a test performance to delaying the contract
Scenes:
Mary reconnects with Faye at Olivia’s funeral.
Mary negotiates with Dieter.
Mary tries to overdo rehab.
Placid refuses Mary’s request to use the multipurpose room, offers chapel instead.
Mary rehearses in the chapel, drawing attention.
Mary overexerts herself in the rehab room.
Mary tries to perform for Dieter, who delays the contract.

Analysis: These scenes show Mary’s struggle to reclaim her career and the physical and emotional setbacks she faces.

Scene Arc: From Mary restarting her rehab to being replaced by a young singer
Scenes:
Mary watches Vince leave and sees Sophie’s struggles.
Montage showing Mary’s isolation and struggles.
Mary mentors Sophie.
Montage showing Mary’s bond with Sophie and progress in rehab.
Mary requests permission to leave.
Mary discovers Vince with a younger singer.

Analysis: These scenes emphasize Mary’s emotional journey, her growing bond with Sophie, and her fear of being replaced.

2.2. New Plan in Action
Scene Arc: From Mary announcing her comeback to discovering her son
Scenes:
Mary announces her comeback idea to Faye.
Mary presents the idea to Placid.
Mary looks for a place to rehearse and meets Julia.
Mary confides in Julia about her past struggles.
Hortense tells Mary her son was looking for her.

Analysis: These scenes show Mary’s determination and the emotional hurdles she faces, including her strained family relationships.

2.3. Midpoint
Scene Arc: From Mary proudly announcing her upcoming concert to Robert suggesting she retire gracefully
Scenes:
Mary meets Robert, Sophie, and Vince in the cafeteria.
Mary joins the Book Buddy Club.
Mary makes videos of herself.
Robert suggests Mary retire.

Analysis: These scenes further develop Mary’s relationships and her struggle to balance personal and professional life.

ACT 3
3.1. Rethinking
Scene Arc: From Mary renting the concert space from Dieter to facing the setback of a negative article
Scenes:
Mary negotiates with Dieter.
Mary reads a negative article about herself.

Analysis: These scenes show Mary’s external struggles and internal doubts.

Scene Arc: From Mary Refusing to Perform at Elderly Home to Having All Tickets Sold
Scenes:
Crisis conference about the concert.
Mary rejects help and insists on performing for a real audience.
Placid discovers the positive impact of Mary’s rehearsals.
Mary learns all tickets are sold.

Analysis: These scenes show Mary’s determination and the growing support she gains.

3.2. New Plan
Scene Arc: From Mary Doing Final Rehearsals to Realizing That Placid Bought All the Tickets
Scenes:
Mary rehearses with Enrique.
Mary’s hairdresser mishap.
Mary seeks comfort from Hortense and discovers Placid bought all the tickets.

Analysis: These scenes show Mary’s final preparations and emotional journey.

3.3. Huge Failure
Scene Arc: From Mary Attempting to Cancel the Concert to Hortense's Death
Scenes:
Mary tries to cancel the concert.
Mary contemplates drinking but is stopped by Sophie’s words.
Mary finds Hortense dead, leading to emotional grounding.

Analysis: These scenes show Mary’s lowest point and her emotional recovery.

ACT 4
4.1. Climax
Scene Arc: From Refusing to Perform for the Elderly to Deciding to Perform
Scenes:
Placid convinces Mary to perform.
Sophie’s actions reflecting Mary’s advice.

Analysis: These scenes show Mary’s final decision and the impact she has on those around her.

Scene Arc: From Mary Preparing Backstage to Performing Without Costumes in the Dark

Scenes:
Mary’s wardrobe crisis and solution.
Mary performs a cappella.

Analysis: These scenes show Mary’s resilience and ability to adapt.

Scene Arc: From Mary Being Marlene to Becoming Mary
Scenes:
Robert supports Mary by turning the power back on.
Mary reveals her true self on stage.

Analysis: These scenes show Mary’s acceptance of her true self and the audience’s support.

4.2. Resolution
Scene Arc: From Mary Craving Applause to Stage Diving and Feeling Supported
Scenes:
Mary seeks a deeper connection with the audience.
Mary experiences true support and connection from the audience.

Analysis: These scenes show the culmination of Mary’s emotional journey and her acceptance by the audience and loved ones.

Overall, the scenes effectively capture Mary’s journey, but adding more depth to her interactions with the elderly and further exploring her emotional healing and family dynamics will create a more comprehensive and satisfying narrative arc.

Gaps/Issues to Address
Interactions with the Elderly: More scenes showing Mary’s interactions with other residents, highlighting her integration process.

Emotional Healing: Additional scenes that focus on Mary’s emotional healing and acceptance of her new life.

Family Dynamics: Further exploration of Mary’s relationship with her son and how it impacts her journey.

Career Resolution: Clearer resolution of Mary’s career and how she plans to move forward after the concert.

Sophie’s Development: More scenes showing Sophie’s growth and how Mary’s influence affects her.

[Jan Westbrook]

Jan’s Character Scene Requirements

My Vision: I am a talented and strong writer with a unique voice, recognized by the movie industry with multiple screenplays produced.

What I learned from this assignment was I still need to get a better grasp on finding and describing subtext

SCENE 1: INT. GEODE CAVE -DAY
Scene Arc: from queen’s council discussing the prophecy of the halo-moon cycle ending to Emberleaf seeing a hazy image of the one who will betray her as the dark forces start toward Eveandor
Essence: getting a sense of the world of Eveandor and the threats it holds for Emberleaf and Eveandor
Conflict: Emberleaf’s knowledge that someone will betray her, threatening the land of Eveandor
Subtext: Emberleaf refuses to believe the prophecy will come true
Hope/fear: the queen’s council can stop the prophecy from coming true/Emberleaf will take the visions seriously

SCENE 2 : INT. QUEEN’S TRAINING ROOM -DAY
Scene Arc: from Emberleaf sparring to having Khyber-Ra using forbidden dark magic on her
Essence: Khyber-Ra uses dark magic taking the sparring match too seriously
Conflict: Emberleaf sparring and Khyber-Ra acting like it is a real fight
Subtext: he knows dark magic
Hope/fear: Emberleaf will not be harmed/Khyber-Ra will be punished for using dark magic

SCENE 3: INT. EMBERLEAF’S CHAMBERS -DAY
Scene Arc: from Emberleaf indecision to her banishing Khyber-Ra from Eveandor
Essence: Khyber-Ra is banished from Eveandor
Conflict: Emberleaf’s struggle to banish her unity partner from Eveandor
Subtext: now I will not be able to bear offspring
Hope/fear: Emberleaf will show leniency/Khyber-Ra will be banished from Eveandor

SCENE 4: EXT. SHADOWLANDS -NIGHT
Scene Arc: from Khyber-Ra being alone to meeting his master
Essence: Khyber-Ra’s master (M’Mranth-Jix) wants him to get the numinous amulet
Conflict: how can Khyber-Ra get the amulet when he is banished from Eveandor
Subtext: I will find a way to get the amulet
Hope/fear: Khyber-Ra does not obey his master/Khyber-Ra will obey his master

SCENE 5: EXT. ROCKY FIELDS OF EVEANDOR -DAY
Scene Arc: from Khyber-Ra appearing through a portal to him changing his appearance
Essence: Khyber-Ra does not want to be recognized
Conflict: will he or will he not be recognized
Subtext: this will get me into Emberleaf’s castle
Hope/fear: Khyber-Ra gets caught/Khyber-Ra will be undetected

SCENE 6: INT. QUEEN’S TRAINING ROOM -DAY
Scene Arc: from Emberleaf being hopeful the wanderer, who is Khyber-Ra, will be a replacement magic trainer to dismissing him
Essence: Khyber-Ra, as the wanderer auditions for the role of magic trainer
Conflict: Khyber-Ra, as the wander wanting Emberleaf to take him on as magic trainer
Subtext: when I get this, will be closer to getting the numinous amulet
Hope/fear: Khyber-Ra, as the wanderer, will not get chosen as the magic trainer/Emberleaf will be duped and take him on as her magic trainer

SCENE 7: INT. QUEEN’S THRONE ROOM -DAY
Scene Arc: from Khyber-Ra revealing himself to getting Emberleaf to lead him to the numinous amulet
Essence: Khyber-Ra gets Emberleaf to take him to the numinous amulet
Conflict: will Emberleaf be able to fend off Khyber-Ra
Subtext: my master will be proud of me when I bring him the numinous amulet
Hope/fear: Emberleaf and Lightthistle can stop Khyber-Ra/Khyber-Ra will get the numinous amulet

SCENE 8: INT. NUMINOUS AMULET CHAMBER -DAY
Scene Arc: from the numinous amulet safe in the chamber to it being shattered and scattered throughout the realm
Essence: Khyber-Ra shatters the numinous amulet
Conflict: Khyber-Ra cannot grab the numinous amulet, but does and it shatters
Subtext: now I’ve got the numinous amulet
Hope/fear: Khyber-Ra will not get the numinous amulet/Emberleaf and Lightthistle will not be able to protect the numinous amulet

SCENE 9: EXT. SHADOWLANDS -NIGHT
Scene Arc: from M’Mranth-Jix anticipating Khyber-Ra giving him the numinous amulet to being furious he touched it and it shattered
Essence: M’Mranth-Jix is frustrated at Khyber-Ra’s ignorance at touching the numinous amulet
Conflict: Khyber-Ra wants to give the numinous amulet to M’Mranth-Jix but cannot
Subtext:
Hope/fear: M’Mranth-Jix will not severely punish Khyber-Ra/Khyber-Ra will be feel M’Mranth-Jix’s wrath

SCENE 10: INT. GEODE CAVE -NIGHT
Scene Arc: from Emberleaf seeking protection from the queen’s council to her having to venture out into the realm, defenseless to restore the numinous amulet
Essence: it is decided that Emberleaf must restore the numinous amulet herself
Conflict: Emberleaf has no magic to defend herself in the realm, but must venture out anyway
Subtext: she will most likely die if she does not have protection
Hope/fear: Emberleaf will be protected by the queen’s council/a vulnerable and defenseless Emberleaf will have to venture out into the realm to get the numinous amulet fragments

SCENE 11: INT. QUEEN AMBERLIGHT’S CHAMBER -DAY
Scene Arc: from Queen Amberlight’s ambivalence to deciding on picking Willowbreeze to be part of the Pixie alliance to protect Emberleaf
Essence: choosing Willowbreeze for the Pixie alliance
Conflict: who of her subjects to choose for the Pixie alliance
Subtext: I hope I am making the correct choice
Hope/fear: Willowbreeze is the right choice/Queen Amberlight is making the wrong choice

SCENE 12: iINT. QUEEN BLADESONG’S ATRIUM -DAY
Scene Arc: from Thornwhisper being resistant, to agreeing to being a part of the Pixie alliance to protect Emberleaf
Essence: Thornwhisper’s reluctance to joining the Pixie alliance
Conflict: how can I convince Thornwhisper to join the alliance
Subtext:
Hope/fear: Thornwhisper agrees to be a part of the alliance/Queen Bladesong is forcing Thornwhisper against his will to be part of the alliance

SCENE 13: EXT. LONGREN’S FIELD -DAY
Scene Arc: from Nightshade resisting to join to him agreeing to volunteer for the Pixie alliance
Essence: Nightshade is told to volunteer for the Pixie alliance
Conflict: Nightshade is resistant to being a part of the alliance
Subtext: what do I get out of this
Hope/fear: Khyber-Ra gets Nightshade to volunteer/Nightshade turns him down and tells his queen about Khyber-Ra

SCENE 14: INT. QUEEN SUNSHOWER’S CHAMBERS -DAY
Scene Arc: from Queen Sunshower not knowing who to choose to Nightshade volunteering
Essence: Nightshade volunteers for the Pixie alliance
Conflict: should Queen Sunshower allow Nightshade to join the Pixie alliance
Subtext: I am being forced to do this
Hope/fear: Queen Sunshower does not let Nightshade join the Pixie alliance/Nightshade will be a part of the Pixie alliance

SCENE 15: EXT. HALF-HALLOWS NOOK -DAY
Scene Arc: from assembling the alliance to sending them into the realm through a portal to the first fragment
Essence: getting the Pixie alliance through to the first fragment
Conflict: Emberleaf must go, but she is defenseless against what is out in the realm
Subtext: WILLOWBREEZE -I will protect Emberleaf with my life; THORNWHISPER -I do not want to do this; NIGHTSHADE -I want to do Khyber-Ra proud
Hope/fear: the Pixie alliance will protect Emberleaf/Emberleaf will be killed in the realm

SCENE 16: EXT. FORBIDDEN FOREST -NIGHT
Scene Arc: from Khyber-Ra at the edge of the forbidden forest to summoning dark creatures he created to go after the Pixie alliance
Essence: Khyber-Ra getting his dark creatures to go after the pixie alliance
Conflict: will his creatures do as he instructs them to
Subtext: I created you, you should obey me
Hope/fear: the dark creatures go after Khyber-Ra/the dark creatures will go after the Pixie alliance

SCENE 17: EXT. DESERT PLAINS -NIGHT
Scene Arc: from Emberleaf getting a numinous amulet fragment to her getting captured by the dark creatures
Essence: Emberleaf gets a numinous amulet fragment and gains a bit of her magic back
Conflict: can the pixie alliance battle the dark creatures and save Emberleaf
Subtext: I cannot do this on my own
Hope/fear: that Emberleaf will not get captured/the dark creatures will abduct Emberleaf

SCENE 18: EXT. FORBIDDEN FOREST -NIGHT
Scene Arc: from Khyber-Ra getting Emberleaf to him losing the numinous amulet fragment
Essence: Khyber-Ra cannot touch the numinous amulet fragments due to his dark magic
Conflict: Khyber-Ra cannot take the numinous amulet fragment from Emberleaf
Subtext: now I’ve got the first fragment
Hope/fear: Emberleaf can keep the numinous amulet fragment/Khyber-Ra will take it from her

SCENE 18A: EXT. HIGHSHIRE MARSH -NIGHT
Scene Arc: from Khyber-Ra wanting the numinous amulet fragment to letting Emberleaf retrieve it
Essence: Khyber-Ra takes Emberleaf to retrieve the numinous amulet fragment
Conflict: will Emberleaf get the numinous amulet fragment
Subtext: you will get these for me, than I will take them from you
Hope/fear: Emberleaf will not get the numinous amulet fragment/Khyber-Ra will try

SCENE 19: EXT. HIGHSHIRE MARSH -DAY
Scene Arc: from Emberleaf being alone to the pixie alliance finding her
Essence: the pixie alliance finds Emberleaf with a fragment
Conflict: will Emberleaf be able to use the magic she gains back
Subtext: we found you
Hope/fear: Emberleaf gains some of her magic back/Khyber-Ra will return

SCENE 20: INT. GEODE CAVE -DAY
Scene Arc: from worrying about the halo-moon cycle to having to prepare to protect from the encroaching darkness
Essence: the Queen’s council must protect their lands from the encroaching darkness
Conflict: will the queens defend their lands before the halo-moon cycle ends
Subtext: we must protect our people and our lands
Hope/fear: the queens can protect their lands/the darkness will take over their lands

SCENE 21: EXT. LIQUID GROUNDS -DAY
Scene Arc: from standing at the edge of the liquid ground to being rescued by Nightshade
Essence: Emberleaf nearly drowns in the liquid ground
Conflict: can Emberleaf over come her fear and cross the liquid ground
Subtext: I don’t think I can do this
Hope/fear: Emberleaf can cross the liquid ground/she will drown

SCENE 22: EXT. DORCHMONT MOUNTAIN -NIGHT
Scene Arc: from resting for the night to battling prickling beetles
Essence: Pixie alliance protects Emberleaf from the pricking beetles
Conflict: the pixie alliance versus the prickling beetles
Subtext: we must protect Emberleaf with our lives
Hope/fear: the pixie alliance can fend off the prickling beetles/Emberleaf will be stung to death

SCENE 23: EXT. MOUNT DORCHMONT PEAK -DAY
Scene Arc: from reaching the precipice to Emberleaf getting a numinous fragment
Essence: Emberleaf gets a second fragment and more of her magic back
Conflict: can Emberleaf get the numinous amulet fragment from the floating rocky outcropping
Subtext: I know I can get there
Hope/fear: Emberleaf can get the numinous amulet fragment/she will not be able to make it to the rocky outcropping

SCENE 24: INT. CYCLONE CAVES OF RIDDLMESH -NIGHT
Scene Arc: from Emberleaf having the numinous amulet fragments to Nightshade stealing them
Essence: Nightshade steals the two fused numinous amulet fragments
Conflict: how can Nightshade hold the fused numinous amulet fragments
Subtext: this will make Khyber-Ra believe in me
Hope/fear: Nightshade’s stasis spell does not work/Emberleaf will lose her magic if the fused numinous amulet fragments are taken from her

SCENE 25: EXT. FORBIDDEN FORESTS -DAY
Scene Arc: from Nightshade having the fused numinous amulet fragments to giving them to Khyber-Ra
Essence: Khyber-Ra gets the two fused numinous amulet fragments
Conflict: can Khyber-Ra safely hold the fused numinous fragments
Subtext: I hopefully will be rewarded
Hope/fear: Khyber-Ra cannot hold the fused numinous amulet fragments/Khyber-Ra can hold the numinous amulet fragments

SCENE 26: EXT. CAVE OF SORROWS -NIGHT
Scene Arc: from Emberleaf being taken away by winged creatures to Nightshade rescuing her
Essence: Nightshade rescues Emberleaf from the winged creatures
Conflict: can Nightshade save Emberleaf
Subtext: this will prove my loyalty to the pixie alliance
Hope/fear: Emberleaf will not be taken away/the pixie alliance will not rescue Emberleaf

SCENE 27: EXT CAVE OF SORROWS -NIGHT
Scene Arc: from Willowbreeze being skeptical to Nightshade reasoning his way out of being responsible for the missing fused numinous amulet fragments
Essence: Willowbreeze believes Nightshade stole the fused numinous amulet fragments somehow
Conflict: Willowbreeze’s belief Nightshade stole the fused numinous amulet fragments and his denial of doing that
Subtext: I know you stole them somehow
Hope/fear: Willowbreeze gets Nightshade to confess/Nightshade will reason his way out of being accused

SCENE 28: INT. CAVE OF SORROWS -DAY
Scene Arc: from innocence to reliving the past opening old wounds
Essence: the pixie alliance experiences past traumas
Conflict: can they overcome their old wounds
Subtext: I don’t want to relive this
Hope/fear: pixie alliance stays together/the pixie alliance will disband

SCECNE 28A: INT. SHRIVVERS NOTCH -NIGHT
Scene Arc: from Willowbreeze entering the cave to reliving her wound
Essence: relives her being betrayed by someone she trusted
Conflict: she does not form close relationships with others
Subtext: her willingness to trust anyone deeply again
Hope/fear: she will trust the members of the alliance/she will forever be distant putting the alliance at risk

SCENE 28B: EXT. MONASTERY MOUNTAIN -DAY
Scene Arc: from Nightshade entering the cave to reliving his wound
Essence: relives falling the sacred monastery opening his land up to a dark creature invasion
Conflict: cannot let dark magic come out when he is angry or nervous
Subtext: knowledge of dark magic will outcast him from his land
Hope/fear: he can use dark magic for the benefit of the alliance/his concealment of dark magic could jeopardize the alliance

SCENE 28C: INT. COOPER’S RAVINE -DAY
Scene Arc: from Thornwhisper entering the cave to reliving his wound
Essence: insecure about his proficiency with magic
Conflict: does not believe he can live up to the expectations of his ancestors
Subtext: he will never be good enough and be a disgrace to his family
Hope/fear: he will see his proficiency with wielding magic/his self-doubt could put the quest at risk of failure

SCENE 29: EXT. GOLDEN FALLS -DAY
Scene Arc: from Emberleaf innocently playing to creating a dark magic creature
Essence: Emberleaf uses dark magic to her mother’s disgust
Conflict: will Emberleaf get in trouble for using dark magic
Subtext: what did I do wrong
Hope/fear: Emberleaf will learn not to use dark magic/Emberleaf will get severely punished for using dark magic

SCENE 30: EXT. VAST REALM -NIGHT
Scene Arc: from light to darkness approaching the lands as the halo-moon cycle closes in on the horizon
Essence: darkness is approaching the lands
Conflict: will the numinous amulet be restored before the darkness reaches the lands
Subtext:
Hope/fear: the numinous amulet will be restored in time to stop the darkness advancing/the darkness will take over the lands

SCENE 31: EXT. GRANKOR FOREST -NIGHT
Scene Arc: from the alliance wondering how they got there to Emberleaf entering the forest
Essence: Emberleaf enters Grankor forest
Conflict: will Emberleaf make it out of the forest alive
Subtext: why am I entering the forest
Hope/fear: Emberleaf is safe in Grankor forest/Nightshade it up to something sinister

SCENE 32: EXT. GRANKOR FOREST -NIGHT
Scene Arc: from Nightshade taking the numinous amulet fragment to him getting caught by Willowbreeze and Thornwhisper
Essence: Nightshade is caught stealing the numinous amulet fragment
Conflict: will Willowbreeze and Thornwhisper catch Nightshade stealing the numinous amulet fragment
Subtext: one more fragment closer to restoring the numinous amulet
Hope/fear: Nightshade is caught/Willowbreeze and Thornwhisper will be beaten by Nightshade

SCENE 33: EXT. GRANKOR FOREST -NIGHT
Scene Arc: from Emberleaf meeting the dark creature she created as a child to being attacked by it
Essence: Emberleaf comes face to face with the creature she created using dark magic
Conflict: can Emberleaf defend herself against the creature she created
Subtext: I do not remember doing this
Hope/fear: the dark creature recognizes Emberleaf and stops attacking her/Emberleaf cannot defend herself

SCENE 34 -OMITTED

SCENE 35: EXT. GRANKOR FOREST -NIGHT
Scene Arc: from Emberleaf being saved to her collecting another numinous amulet fragment
Essence: Emberleaf collects another numinous amulet fragment
Conflict: can Willowbreeze and Thornwhisper save Emberleaf
Subtext: we have to save Embeleaf
Hope/fear: Emberleaf can be saved/Willowbreeze and Thornwhisper will not be able to save Emberleaf

SCENE 36: EXT. GRANKOR FOREST -NIGHT
Scene Arc: from Emberleaf being apprehensive to confidently banishing Nightshade from the alliance
Essence: Emberleaf banishes Nightshade from the alliance
Conflict: will Emberleaf gain the confidence to banish Nightshade
Subtext: I am a queen and can do this
Hope/fear: Emberleaf banished Nightshade/she will not have the confidence to banish Nightshade

SCENE 37: EXT. FORBIDDEN FOREST -NIGHT
Scene Arc: from Emberleaf banishing Nightshade to him bringing her to Khyber-Ra
Essence: Emberleaf is captured by Nightshade
Conflict: will Emberleaf be able to hold onto the fused numinous amulet fragments
Subtext: I will not let you take these from me
Hope/fear: Emberleaf is strong enough to resist Nightshade/Emberleaf will give over the fused numinous amulet fragments

SCENE 38: EXT. FIELD OF STONES -DAY
Scene Arc: from Emberleaf being nearly killed by Nightshade to her being rescued by a whispering phantom
Essence: a third numinous amulet fragment is fused and Ember is rescued by a whispering phantom
Conflict: can Emberleaf hold onto the numinous amulet fragment or lose it to Nightshade
Subtext: I must do everything I can to keep Nightshade from getting this
Hope/fear: Emberleaf can resist Nightshade’s magic and keep the fused numinous amulet fragment/Nightshade will get the fused numinous amulet fragment

SCENE 39: EXT. FIELD OF STONES -DAY
Scene Arc: from following Emberleaf to getting caught by Khyber-Ra
Essence: Willowbreeze and Thornwhisper are caught by Khyber-Ra
Conflict: can they free themselves from Khyber-Ra
Subtext: we must get to Emberleaf
Hope/fear: Willowbreeze and Thornwhisper find Emberleaf/Khyber-Ra will use Willowbreeze and Thornwhisper as bait

SCENE 40: EXT. DESERT PLAINS -DAY
Scene Arc: from learning she has some dark magic of her father to finding out the whispering phantom is her mother
Essence: Emberleaf finds out she has some of her father’s dark magic in her and Gossimerwind is her mother
Conflict: will Emberleaf embrace her connection to the dark magic
Subtext: I cannot believe you did not tell me about my father
Hope/fear: Emberleaf turns away from the dark magic/Emberleaf will embrace the dark magic

SCENE 41: EXT. DESERT PLAINS -DAY
Scene Arc: from willing to not fulfill the prophecy to collecting the penultimate numinous amulet fragment
Essence: Emberleaf reluctantly fuses four numinous amulet fragments together
Conflict: Emberleaf does not want to fulfill the prophecy
Subtext: I’d rather die than fulfill the prophecy
Hope/fear: Emberleaf gets the numinous amulet fragment/Khyber-Ra will sacrifice Willowbreeze and Thornwhisper

SCENE 42: EXT. DESERT PLAINS -DAY
Scene Arc: from Emberleaf resisting to go through the portal to her being forced through by Khyber-Ra
Essence: Emberleaf is forced through to the liquid ground
Conflict: Emberleaf does not want to go through the portal
Subtext: I will not obey you
Hope/fear: Emberleaf does not go through/Khyber-Ra will kill Willowbreeze and Thornwhisper if Emberleaf does not go through

SCENE 43: EXT. LIQUID GROUNDS -DAY
Scene Arc: from Emberleaf refusing to cross the liquid ground to her starting to sink in it
Essence: Emberleaf still cannot cross the liquid ground
Conflict: Emberleaf cannot cross the liquid ground
Subtext: I cannot do this
Hope/fear: Emberleaf can cross the liquid ground/Emberleaf will not be able to cross the liquid ground, sacrificing Willowbreeze and Thornwhisper

SCENE 44: EXT. FOUR LANDS -DAY
Scene Arc: from light to darkness
Essence: the darkness approaches
Conflict: can the darkness be stopped
Subtext: we will take you over
Hope/fear: the darkness can be stopped/the lands will be taken over

SCENE 45: EXT. LIQUID GROUND -DAY
Scene Arc: from keeping the fused fragment to trading it for Willowbreeze and Thornwhisper
Essence: Emberleaf becomes more empathetic
Conflict: to keep or to trade the fused numinous amulet
Subtext:
Hope/fear: Emberleaf trades the fused numinous amulet/Khyber-Ra will kill Willowbreeze and Thornwhisper

SCENE 46: OMITTED

SCENE 47: EXT. LIQUID GROUND -CONTINUOUS
Scene Arc: from fearing the liquid ground to overcoming her fears
Essence: Emberleaf crosses the liquid ground
Conflict: can she or can’t she cross the liquid ground
Subtext: I have to overcome my fear
Hope/fear: Emberleaf can overcome her fear/Emberleaf will not be able to cross the liquid ground

SCENE 47A: EXT. IGNIOUS ROCK -DAY
Scene Arc: from Emberleaf getting the final numinous amulet fragment to Nightshade capturing her and protecting her
Essence: Emberleaf gets the numinous amulet fragment but is captured by Nightshade
Conflict: can Emberleaf escape Nightshade
Subtext: I cannot defend myself against you
Hope/fear: Emberleaf can elude Nightshade/Nightshade will get the last numinous amulet fragment

SCENE 48: EXT. LIQUID GROUND -DAY
Scene Arc: from the queen’s council trying for the near complete numinous amulet to them being crystalized by Khyber-Ra
Essence: the queen’s council fails to get the near complete numinous amulet
Conflict: queen’s council versus Khyber-Ra
Subtext: we must, without fail get the amulet
Hope/fear: the queen’s council can get the near complete numinous amulet/Khyber-Ra will defeat the queen’s council

SCENE 49: EXT. LIQUID GROUND -CONTINUOUS
Scene Arc: from the crystalized queen’s council to Emberleaf using the reverse spell on them
Essence: Emberleaf becomes even more empathetic
Conflict: to use the reverse spell on Khyber-Ra or save it for herself
Subtext: I must save them
Hope/fear: Emberleaf uses the reverse spell on them/Emberleaf will use it on Khyber-Ra

SCENE 50: EXT. LIQUID GROUND -CONTINUOUS
Scene Arc: from Khyber-Ra wanting the numinous amulet fragment from Nightshade to M’Mranth-Jix’s rage whisking them all to Brachnon Peak
Essence: Khyber-Ra needs to get the last numinous amulet fragment
Conflict: can Khyber-Ra break Nightshade’s protection bubble around he and Emberleaf
Subtext: this last piece is mine
Hope/fear: Khyber-Ra does not get the last numinous amulet fragment/M’Mranth-Jix will get the las numinous amulet fragment

SCENE 51: EXT. BRACHNON PEAK -DAY
Scene Arc: from the queen’s council wanting to protect the four fused to being repelled by Nightshade’s protection spell
Essence: queen’s council fails to get the fused numinous amulet pieces from Khyber-Ra
Conflict: can the queen’s council get the fused numinous amulet from Khyber-Ra
Subtext: we must save our lands ladies
Hope/fear: the queen’s council can get the fused fragment/Khyber-Ra will get all the numinous amulet fragments

SCENE 52: EXT. BRACHNON PEAK -CONTINUOUS
Scene Arc: from Nightshade getting the geode from Khyber-Ra to him completing the numinous amulet
Essence: Emberleaf completes the numinous amulet
Conflict: can Nightshade get Emberleaf to drop the last fragment into the geode
Subtext: I am the prophecy, I will rule over Eveandor
Hope/fear: Nightshade does not get the geode from Khyber-Ra/Khyber-Ra does not get the last numinous amulet fragment from Nightshade

SCENE 53: EXT. BRACHNON PEAK -CONTINUOUS
Scene Arc: from not being able to get the geode to breaking the protection spell
Essence: Khyber-Ra breaks the protection spell
Conflict: can Nightshade keep the protection spell intact
Subtext: I will get the numinous amulet from you
Hope/fear: Emberleaf can get the amulet/either Khyber-Ra or Nightshade will grab the amulet

SCENE 54: EXT. BRACHNON PEAK -CONTINUOUS
Scene Arc: from Nightshade having the amulet to it flying out of his hand
Essence: Nightshade cannot hold onto the numinous amulet
Conflict: Nightshade cannot hold onto the numinous amulet
Subtext: why can I not hold it
Hope/fear: Nightshade cannot hold onto the numinous amulet/Nightshade will fulfill the prophecy

SCENE 55: EXT. BRACHNON PEAK -CONTINUOUS
Scene Arc: from Nightshade having the numinous amulet to Khyber-Ra grabbing it
Essence: Khyber-Ra also cannot hold onto the numinous amulet
Conflict: can Khyber-Ra hold onto the numinous amulet
Subtext: I am the prophecy, why can’t I hold it
Hope/fear: Khyber-Ra cannot hold the numinous amulet/Khyber-Ra is the prophecy

SCENE 56: EXT. BRACHNON PEAK -CONTINUOUS
Scene Arc: from Emberleaf not having any strength to not being able to reach the numinous amulet
Essence: Emberleaf is too weak to get to the numinous amulet
Conflict: the numinous amulet is too far away from Emberleaf
Subtext: I am too weak to go on
Hope/fear: Emberleaf can reach the numinous amulet/M’Mranth-Jix will get the numinous amulet

SCENE 57: EXT. BRACHNON PEAK -DAY
Scene Arc: from M’Mranth-Jix appearing from the abyss, to controlling Emberleaf to get him the numinous amulet
Essence: M’Mranth-Jix controls Emberleaf
Conflict: M’Mranth-Jix cannot grab the numinous amulet himself
Subtext: you will bring it to me
Hope/fear: Emberleaf can resist the controlling spell/M’Mranth-Jix will get ahold of the numinous amulet

SCENE 58: EXT. BRACHNON PEAK -CONTINUOUS
Scene Arc: from trying to protect Emberleaf to almost being blown off the peak
Essence: Willowbreeze, Thornwhisper, Lightthistle cannot protect Emberleaf
Conflict: Willowbreeze, Thornwhisper, Lightthistle cannot overpower M’Mranth-Jix
Subtext: what can we do now
Hope/fear: Willowbreeze, Thornwhisper, Lightthistle can save Emberleaf/M’Mranth-Jix will get the numinous amulet

SCENE 59: EXT. BRACHNON PEAK -DAY
Scene Arc: from Emberleaf having the numinous amulet to giving it over to M’Mranth-Jix
Essence: M’Mranth-Jix gets the geode with the numinous amulet in it
Conflict: can Emberleaf regain her self-control from M’Mranth-Jix
Subtext: I must fulfill the prophecy
Hope/fear: Emberleaf will not give the numinous amulet to M’Mranth-Jix/M’Mranth-Jix will gain control of the numinous amulet

SCENE 60: EXT. EVEANDOR -DAY
Scene Arc: from the Eveandorians holding off the dark creatures to them losing ground
Essence: the Eveandorians cannot hold back the marauding dark creatures
Conflict: Eveandorians versus the dark creatures
Subtext: we cannot let Eveandor fall
Hope/fear: Eveandorians can repel the dark creatures/the dark creatures will overtake the Eveandorians

SCENE 61: OMITTED

SCENE 62: EXT. BRACHNON PEAK -DAY
Scene Arc: from seeing Emberleaf hand M’Mranth-Jix the geode with the numinous amulet to Willowbreeze, Thornwhisper. Lightthistle try to get the geode from M’Mranth-Jix
Essence: Willowbreeze, Thornwhisper. Lightthistle try to keep M’Mranth-Jix from getting the numinous amulet
Conflict: can Willowbreeze, Thornwhisper. Lightthistle get the numinous amulet
Subtext: we cannot let M’Mranth-Jix get the numinous amulet
Hope/fear: Willowbreeze, Thornwhisper. Lightthistle can stop Emberleaf from giving M’Mranth-Jix the numinous amulet/M’Mranth-Jix will get the numinous amulet

SCENE 63: EXT. BRACHNON PEAK -THE ABYSS -DAY
Scene Arc: from M’Mranth-Jix getting the amulet to it falling into the abyss
Essence: M’Mranth-Jix is stopped from getting the numinous amulet
Conflict: M’Mranth-Jix versus Willowbreeze, Thornwhisper. Lightthistle, Khyber-Ra
Subtext: together we can stop him
Hope/fear: M’Mranth-Jix does not get the amulet/M’Mranth-Jix will get the amulet

SCENE 64: OMITTED

SCENE 65: EXT. BRACHNON PEAK -DAY
Scene Arc: from Emberleaf being mobile due to the controlling spell to her dying
Essence: Emberleaf is dying
Conflict: Emberleaf’s life force is waning
Subtext: I am dying, not fulfilling the prophecy
Hope/fear: Emberleaf will survive/Emberleaf will die

SCENE 66: EXT. EVEANDOR -DAY
Scene Arc: Eveandorians losing more ground to the advancing dark creatures
Essence: Eveandor is about to fall into the control of the dark creatures
Conflict: Eveandorians versus the dark creatures
Subtext: we are not going to win
Hope/fear: Eveandorians can rally and defeat the dark creatures/Eveandor will fall to the dark creatures

SCENE 67: EXT. BRACHNON PEAK -DAY
Scene Arc: from Emberleaf dying to her falling onto the numinous amulet from a rocky outcropping on the peak of mount Brachnon
Essence: Emberleaf gets Gossimerwind’s spiritual help to get to the numinous amulet
Conflict: can Emberleaf make it to the numinous amulet before she crystalizes
Subtext: I’m trying mother
Hope/fear: Emberleaf can make it to the numinous amulet/Emberleaf will not make it before she crystalizes

SCENE 68: EXT. EVEANDOR -DAY
Scene Arc: Eveandorians losing more ground to the advancing dark creatures
Essence: Eveandor is about to fall into the control of the dark creatures
Conflict: Eveandorians versus the dark creatures
Subtext: we are not going to win
Hope/fear: Eveandorians can rally and defeat the dark creatures/Eveandor will fall to the dark creatures

SCENE 69: EXT. ABYSS -DAY
Scene Arc: from M’Mranth-Jix winning the battle to being defeated when Emberleaf joins in
Essence: Emberleaf, the alliance and Khyber-Ra defeat M’Mranth-Jix
Conflict: everybody versus M’Mranth-Jix
Subtext: we will defeat him
Hope/fear: they all will defeat M’Mranth-Jix/M’Mranth-Jix is too strong to be defeated

SCENE 69A: EXT. EVEANDOR -DAY
Scene Arc: the Eveandorians start to push back against the dark creatures
Essence: the Eveandorians start to win back their land
Conflict: dark creatures versus Eveandorians
Subtext: you will not defeat us
Hope/fear: Eveandorians can defeat the dark creatures/the dark creatures will rise back up against the Eveandorians

SCENE 70: EXT. BASE OF BRACHNON PEAK -DAY
Scene Arc: from Emberleaf having the numinous amulet to Khyber-Ra taking it from her
Essence: Emberleaf loses the numinous amulet to Khyber-Ra
Conflict: can Emberleaf keep Khyber-Ra from getting the numinous amulet
Subtext: I must save Eveandor
Hope/fear: Emberleaf can keep the numinous amulet/Khyber-Ra will get the numinous amulet

SCENE 71: EXT. EVEANDOR -DAY
Scene Arc: from Eveandorians pushing back to the dark creatures advancing on them again
Essence: Eveandor is about to fall
Conflict: Eveandorians versus the dark creatures
Subtext: we cannot hold them off much longer
Hope/fear: Eveandorians can emerge victorious/dark creatures will overrun Eveandor

SCENE 72: EXT. BASE OF BRACHNON PEAK -DAY
Scene Arc: from Khyber-Ra having the numinous amulet to Lightthistle getting it to Emberleaf
Essence: Lightthistle sacrifices herself to get the numinous amulet to Emberleaf
Conflict: can Lightthistle get the numinous amulet away from Khyber-Ra
Subtext: I’ll give my life to save Eveandor
Hope/fear: Lightthistle gets the numinous amulet from Khyber-Ra/Lightthistle will sacrifice herself to get the numinous amulet to Emberleaf

SCENE 73: EXT. BASE OF BRACHNON PEAK -CONTINUOUS
Scene Arc: from Khyber-Ra using dark magic on Emberleaf to her rejuvenating even stronger
Essence: Emberleaf reanimates stronger than she was and neutralizes Khyber-Ra’s magic
Conflict: Khyber-Ra doesn’t give up trying to get the numinous amulet from Emberleaf
Subtext: even without my magic, I will defeat you
Hope/fear: Emberleaf leaves Khyber-Ra magicless/Khyber-Ra will beat Emberleaf even in a physical fight

SCENE 74: EXT. EVEANDOR -DAY
Scene Arc: Eveandorians have defeated the dark creatures
Essence: the dark creatures retreat from Eveandor, back to the forbidden forests
Conflict: Eveandorians are triumphant against the dark creatures
Subtext: we have taken back our land
Hope/fear: Eveandor will not fall to the dark creatures/the dark creatures will resurge and conquer Eveandor

SCENE 75: EXT. EVEANDOR CIRCLE OF JUSTICE -DAY
Scene Arc: from Emberleaf trapping Khyber-Ra and Nightshade to Khyber-Ra banished once again from Eveandor to the cloaked regions of the realm
Essence: Emberleaf is a more confident queen
Conflict: Emberleaf’s determination to banish Khyber-Ra without hesitation
Subtext: you will not bother anyone again
Hope/fear: Emberleaf wields swift and harsh justice on Khyber-Ra/Emberleaf will be hesitant about punishment on Khyber-Ra

SCENE 76: INT. GEODE CAVE -NIGHT
Scene Arc: from Emberleaf remains queen of Eveandor but is removed from the queen’s council for using dark magic
Essence: Emberleaf accepts her fate of being removed from the queen’s council
Conflict: Emberleaf should not be allowed to remain queen, but due to extenuating circumstances, the queen’s council shows leniency
Subtext: you saved Eveandor, but dark magic flows through you
Hope/fear: Emberleaf will remain queen of Eveandor/the queen’s council will banish her from Eveandor

SCENE 77: EXT. HOVENMIRE -DAY
Scene Arc: from Thornwhisper being contrite to accepting he is a hero
Essence: Thornwhisper accepts being hailed as a hero
Conflict: will Thornwhisper change now
Subtext: I deserve this
Hope/fear: Thornwhisper is hailed a hero/Thornwhisper will not want to be revered

SCENE 78: INT. EMBERLEAF’S CHAMBERS -DAY
Scene Arc: from Emberleaf a once hesitant queen to being more determined and confident in her decisions
Essence: Emberleaf adds Willowbreeze as her new advisor and shows leniency on Nightshade as her new magic trainer
Conflict: is Emberleaf making wise decisions or is she acting on new empathetic emotions
Subtext: Eveandor’s rebirth will be great
Hope/fear: Emberleaf shows her new found empathy and confidence/Emberleaf will have not changed her ways

• This reply was modified 10 months, 3 weeks ago by  Jan Westbrook.

[Diane Denham]

Bonnie’s Vision for the Future: I want to improve my writing skills by 200% and sell at least one script between 2024 and 2025.
What I learned from doing this assignment is that this process will also work for my unfinished scripts!
LETTERS TO LEONARDO
Genre: Drama Fantasy
Bonnie’s Scene Requirements
Act 1
Opening – Gia’s Ordinary World – Present Day Italy – Status Quo:
EXT/INT GIA’S HOUSE – PRESENT DAY
• Gia’s farmhouse: Gia talks to an invisible Leonardo, who’s spirit sits on her window ledge, while plotting the scenes of the movie she’s writing and directing. She doesn’t realize he’s there. Her girlfriend arrives to pick up her things. They have a heated argument about Carla cheating with a man.
EXT. LEONARDO’S HOUSE – DAY
Follow Gia on Vespa past Olive grove to Leo’s house: Gia skids in late to her film set. The producer threatens to pull funding if she doesn’t meet the deadline.
• Marco. Leonardo’s birth home, Anchiano, near Vinci, Italy. Gia sets up her shot outside Leo’s house. Marco, the museum docent, ruins her shot, leading to a “Meet Cute” angry confrontation with him, but he’s amused. Then she ignores a call from her girlfriend, “Cheating Carla”, clearly upset.
INT. GIA’S HOUSE – NIGHT
• Gia’s farmhouse: Leo’s spirit sits on her bed, talks with her. She doesn’t hear him and falls asleep.
EXT. LEONARDO’S HOUSE, FILM SET – DAY
• Leo’s House/Film set: Gia confides in Marco that she felt Leo’s presence in her room last night. Wonders if it was real, later regrets confiding in a stranger.
INT. LEONARDO’S STUDIO – DAY
LEONARDO’S TIME
• Leonardo In his studio, Leo envisions the faint beginnings of a mysterious device, that could be both an energy source and a spacetime travel vehicle.
EXT. DYSTOPIAN FUTURE CITY – DAY
• Leonora, Leonardo's future female self, lands in a Dystopian future and is held captive, along with the time machine she rode in on. Can’t recall who she is and how she got there.
Inciting Incident – Call to Adventure
INT. GIA’S HOUSE – NIGHT
• Gia’s farmhouse: DREAM #1 Still upset about her breakup with Carla, and frustrated she can’t figure out the ending to her movie, she’s angry with Leo, urges him to talk to her. In the dream, Leonardo tells her to write him a letter and he’ll answer in her dreams.
INT. LEONARDO'S STUDIO – NIGHT
LEONARDO’S TIME
• Leonardo: While working in his studio, Leonardo starts feeling an ethereal ball of light trying to distract and communicate with him. Annoyed by it, he wants only to focus on his work. When it persists, and he becomes angry, it disappears. (Gia or Leonora?)
EXT. LEONARDO’S HOUSE – DAY
• Gia: Despite warnings from her crew, Gia insists on shooting a scene of her film in a thunderstorm, when she sees a threatening spectral ball of light fly towards her, seconds before lightning strikes an electric light and falls on her.
INT. GIA’S HOUSE – NIGHT
• Gia: DREAM #2 After her accident on the set of her film, Gia dreams she’s riding a kind of floating, flying bicycle time machine.
INT. LEONARDO'S STUDIO – NIGHT
LEONARDO’S TIME
• Leonardo: Frustrated and dissatisfied with his sketches of what looks like two spherical objects, he tosses them aside. Tinkers with wooden model of a sphere with spokes, but this doesn’t go well either, and he tosses them out the window.
INT. GIA’S HOUSE – NIGHT
• Gia wakes from her time machine dream, becomes obsessed, believes could be an undiscovered invention of Leo’s. She grabs a drawing pad and pencil and draws her dream machine. (A sketch for a time machine that was hidden in an old dresser in Leo’s time).
INT. CELL, DYSTOPIAN FUTURE CITY – NIGHT
• Leonora: Between fitful sleep and pacing the floor, she begins to remember flashes of her past incarnation as Leonardo.
Turning Point
EXT. LEONARDO’S HOUSE, FILM SET – DAY
• Gia tells Marco she believes the “accident” on set was an attack by an unknown force (Subtext: Leonora is also intensely interested in the sketch.) Marco, intrigued by Gia’s dreams, (subtext) secretly believes whatever it is she’s tapping into, it’s powerful and priceless, but he tries to act casual about it. He encourages her to continue her quest despite the risks.
EXT. CAVE – DAY
LEONARDO’S TIME
• Leonardo: Goes for a walk in the countryside near Florence, finds a cave, hears high-pitched whale-like cries. He enters, whale bones on the walls trigger a vision of the future. Seeing how his invention could change the world in several probable and possible realities, ignites his fear of its power and awe at its potential.
INT. CELL – NIGHT
• Leonora: From lack of food, water and sleep, she begins to hallucinate about Leo’s sketch.
INT. GIA’S HOUSE – NIGHT
• Gia: DREAM #3 Gia’s dreams become more vivid, and she dreams she’s learning how to navigate and ride the Chronocycle, the spacetime travel device from Leo’s sketch.

Act 2
New Plan – Initial attempts to solve the problem – all avenues shut.
EXT. CAFE’, VINCI – DAY
• Gia’s obsession intensifies. She has lunch with Marco in Vinci, tells him about her dream, unsure she can trust him, she leaves out details of its nature. Their relationship is becoming deeper. Marco reveals he is a descendant of Melzi, Leonardo’s companion, and his family inherited a large part of Leonardo’s paintings and notebooks. Gia is speechless.
INT. GIA’S HOUSE – NIGHT
• Gia DREAM #4 Gia’s dreams escalate incrementally, revealing more details about the hidden sketch. She travels to Florence, looking for antique dressers with mirrors, and checking the backing for Leo’s hidden sketch. She visits the convent where Leo was believed to have had a studio for a time, sees a flash of light darting out the window, feels a chill. She dreams Leonardo stands by the dresser and writes with his finger in the air S-A-L-A-I.
INT. LEONARDO’S STUDIO – NIGHT
• Leonardo: Leonardo visions of a time travel device gradually become clearer; he begins sketching the plan for its construction. He struggles with the possibility of building a working model, hiding or destroying the sketch so it will never come to light. His inner concerns disturb and delay his vital work obligations and livelihood.
INT. CELL – DAY
• Leonora: Leonora faces setbacks from the authoritarian Commander of the State, which delays and restricts her escape plan. He gives her a final choice: complete the machine within a given time, or they will kill her and reverse engineer the device themselves. In another sleep deprived, hallucinatory flash, she sees Gia in present time, discovers that she is searching for the plans. Realizing it’s the plan for the machine she rode in with, she’s worried Gia might find it before she: 1. has a chance to repair the time machine. 2. Go back in time and 3. Destroy it… sets up the urgent ticking clock.

Plan in Action
INT. LEONARDO’S STUDIO – DAWN
• Leonardo: Leonardo works tirelessly on perfecting the Chronocycle, becoming increasingly frustrated and driven by his visions of its potential, as well as its dangers.
EXT. AREZZO ANTIQUE MARKET – DAY
• Gia: DREAM #5 Fueled by her obsession, Gia searches for the sketch in the mirrored antique dressers she finds at the famous Arezzo Antique market, not knowing that Leonora desperately wants to find and destroy it. Dreams of Leo’s assistant and sexual companion, Salai, scrawling pornography on back of Leo’s sketch and hiding it behind the mirror.
INT. CELL – DAY
• Leonora: Leonora takes drastic measures, hides key parts of the machine from the officials, as she stalls for time enough to put her plan into action. The plan: Complete it and return to Leonardo’s time to find and destroy the sketch.
Midpoint Turning Point
• Gia, exhausted, still at the Arezzo market, realizes that finding the sketch could mean exposing Leonardo’s secrets, unsure whether it would either validate her work or destroy her credibility, risking everything she has worked for. Maybe it’s not in Italy! Maybe it’s at the chateau where Leo died!
EXT. OLIVE GROVE – DAY
• Leonardo: Leonardo realizes the world may not be ready for this invention. He must decide whether to hide the sketch or risk its potential misuse.
INT. CELL – DAY
• Leonora: Leonora is torn between complying with the State’s orders to finish building the machine for them, or risk testing it before it’s ready, to hopefully escape in secret, and return to the past to destroy it and the original sketch.
EXT/INT. CHATEAU DE CLOS LUCE, AMBOISE, FRANCE – DAY
• Gia: DREAM #6 She travels to France to Chateau Clos Luz, in Ambois, where Leonardo died. Secretly steals into the basement and searches the antique vanities for the sketch. Nothing.
INT. CELL – NIGHT
• Leonora: When the guards are asleep, Leonora places the missing parts into the time machine and sets it to return to Leonardo’s time.
Act 3
Rethink Everything
EXT. LEONARDO’S HOUSE – PRESENT DAY
• Leonora: Leonora lands in the present and meets Marco working at Leonardo’s house.
• Gia: Gia with her actors and crew, sees Leonora talking to Marco, then later, watches her creeping into Leonardo’s house. She begins to suspect this stranger might have a secret agenda, realizing she’ll need to use her charm and caution to discover what she’s up to.
INT. LEONARDO’S STUDIO – DAY
• Leonardo: After experiencing the machine’s potential dangers, in a fit of rage, Leonardo decides to destroy the sketch and the models he has started to build.
EXT. LEONARDO’S HOUSE – DAY
• Marco When Gia and Marco are finishing work, he invites her to visit him at Villa Melzi for the weekend. She recalls from her research that Leo left his estate to a man named Melzi, his companion who was at his deathbed. Seizing the opportunity, she decides to search there for the sketch.
INT. LEONARDO MUSEUM – DAY
• Leonora: Marco gives her a part time job at the museum, and a small room at the back. Gia enters, introduces herself to Leonora and they become new friends, artfully keeping their secrets from each other.
New Plan
EXT/INT. OLIVE GROVE/LEONARDO’S BEDROOM – NIGHT
• Leonardo sets fire to the model but hesitates to destroy the sketch. Instead, still struggling with guilt and fear about its possible discovery and misuse in the future, he hides it behind a mirror in his bedroom vanity.
EXT/INT. VILLA MELZI – DAY
• Gia: Gia visits Marco at Villa Melzi, excited to see small Leonardo sketches hanging on the walls. He leaves her for a few minutes to look around and she finds some of Leo’s original paintings.
In Marco’s bedroom, she instantly recognizes the mirrored dresser is identical to the one in her dreams. She fumbles nervously to unscrew the backing of the mirror, but Marco enters before she has a chance to inspect it. She devises a plan to search for the sketch another time, without him noticing.
INT. GIA’S HOUSE – NIGHT
• Leonardo: DREAM #7 In Gia’s dreams, Leonardo continues to struggle with guilt about whether his work will cause more harm in the world than good or beauty. Within the dream, she tries to make him realize how much he has accomplished in life, and all the beauty and wisdom he has already contributed to the world, urging him to let go of the false belief that he has disappointed God.
Turning Point: Huge failure / Major shift
INT. RESTAURANT – NIGHT
• Gia: Gia faces a major conflict when her relationship with Marco heats up. Nonetheless, she accepts a second invitation to stay with him in his villa.
INT. VILLA MELZI – DAY
During her visit, she secretly returns to the mirrored dresser in his bedroom, successfully unscrews the backing, but doesn’t have time to search, and quickly reattaches it when Marco calls from the next room. She exits, finds Leonora next to Marco. He has invited both women to the villa. What a player!
INT. LEONARDO’S STUDIO – DAY
• Leonardo: Alone in his studio, Leonardo speaks to God, beginning to understand his connection to Gia, but struggling to let go of his guilt.
EXT. VILLA MELZI – DAY
• Leonora: Gia and Leonora confront each other while Marco is outside, now speaking openly over who will find the sketch first, and what to do with it once it’s found. Gia does not reveal where she believes it is hidden. Leonora watches her like a hawk, so she won’t have a chance to inspect the dresser this time.
• Marco enters in the middle of their argument. Thinks they’re fighting over his affections. Gia and Leonora exchange glances.
ACT 4
CLIMAX/ULTIMATE EXPRESSION OF THE CONFLICT
INT. VILLA MELZI – NIGHT
• Gia goes to Villa Melzi and successfully retrieves the sketch, without noticing Marco watching her.
INT. GIA’S HOUSE – DAY
She brings it home and writes the ending to her movie, helping to free Leonardo's spirit and thus, metaphorically, herself.
EXT. OLIVE GROVE – NIGHT
• Leonardo: Leonardo’s soul and spirit are now at peace, able to let go and move forward, allowing him to return to the spirit world and move on to future incarnations.
• Leonora: Leonora finally realizes she’s a future incarnation of Leonardo, and merges with him at the very moment he releases his guilt, and his spirit and soul move on.
INT. GIA’S HOUSE – DAY
Resolution
• Gia: Gia moves into a new world where she understands her true potential and purpose. Leonardo is a permanent fixture in her home, she continues conversing with him, although she still can’t see him. She’s writing a new screenplay about Picasso. She continues to write him letters, and he answers her in her dreams. “Dear Leonardo, I read in “Seth Speaks” by Jane Roberts that you’ve had conversations with Picasso. Is that true?”
EXT/INT. GIA’S HOUSE/MOVIE SET – DAY
MONTAGE
• Leonardo: Leonardo’s spirit is at peace through his communications with Gia and uniting with Leonora, his future self. Continues to visit her, and talk with her in her home and on her movie sets, although she still can’t see him.
• Leonora: Leonora fully unites with Leonardo, and they are free at last.
EXT/INT. VATICAN LIBRARY – DAY
• Gia: Through her family’s connections with Vatican higher-ups, she hides the sketch where it won’t be found for centuries, in the labyrinthian depths of the Vatican Library!
EXT. OLIVE GROVE – SUNSET
• Gia completes her authentic film, based on her own experiences with and about Leonardo as the sun sets behind the olive grove outside his Anchiano house. That’s a wrap!
FADE OUT.

[Diane Denham]

Bonnie's Smooth Out Draft – Scene Requirements
ALIENS ON A PLANE
Sci-Fi Comedy

Act 1: Opening and Inciting Incident
EXT. SPECIAL OPS UNIT – FUTURE EARTH – DAY
Scene Arc: From Xiola and Xe attacked on life-or-death mission, Xe gone missing and left for dead to Xiola’s escape.
Essence: Xe disappears during a mission. Xiola devastated, feels responsible.
Conflict: Xiola is forced to abandon Xe or face certain death.
Subtext: Xe is a double agent who, without Xiola’s knowledge, set this up so she could disappear and secretly infiltrate the ET confederation.
Hope/Fear: We hope Xiola will stay alive. We fear Xe is dead.
INT. DISTANT PLANET – DAY
Scene Arc: From excitement for the launch to dreading things will blow.
Essence: On a distant planet, three ET travel agents prepare to launch their tourists on vacations.
Conflict: The three agents are extreme rivals.
Subtext: Zartuuf is working with Zhetak to sabotage the others.
Hope/Fear: We hope they won’t succeed. We fear others will get hurt.
EXT. SPECIAL OPS UNIT – DAY
Scene Arc: From Xiola feeling anxious to bravely accepting the call.
Essence: Xiola prepares for a dangerous secret mission.
Conflict: Will she live through it?
Subtext: Team is tense because of her last mission disaster.
Hope/Fear: We hope it goes well. We fear she may fail and not return.
INT. COCKPIT/CABIN OF PLANE – PRESENT DAY EARTH
Scene Arc: From clear skies to sudden turbulence and chaos.
Essence: Captain of the plane struggles to navigate through a few seconds of turbulence through mysteriously clear and windless sky.
Conflict: Passengers shaken, children cry, bags fall out of cabinets.
Subtext: Foreshadowing of chaos yet to come.
Hope/Fear: We hope the Captain will steady the plane. Fear there’s more to come.
EXT/INT. ET CONFED – DAY
Scene Arc: From Xe in disguise to Zhetak’s true face unveiled.
Essence: Xe and Zhetak in disguise share outwardly friendly encounter.
Conflict: Zhetak’s face morphs into his true form as he enters secret room.
Subtext: Zhetak has two faces, an outer one that masks his reptilian form.
Hope/Fear: We fear he’s up to no good. We hope he fails.
INT. PLANE – PRESENT DAY EARTH
Scene Arc: From clear skies to sudden turbulence and chaos.
Essence: The plane rumbles and shakes causing chaos and panic.
Conflict: Chaos, fear and confusion throughout the plane, including Captain, travel agents, tourists and passengers.
Subtext: Zhetak’s first covert attack to destroy his rivals.
Hope/Fear: We hope everyone will be okay. We fear the end.
EXT. QUARKY’S HOME PLANET – DAY
Scene Arc: Quarky goes from overwhelmed to relieved and excited.
Essence: Quarky’s Council of Elders suggest a vacation.
Conflict: Quarky is overwhelmed by his people relying on him for every minor problem, tells them to consult their guides while they’re away.
Subtext: Even a Shaman needs a break some time.
Hope/Fear: We fear they’ll have a meltdown. Hope they’ll catch a break.
INT. PLANE – NIGHT
Scene Arc: From Xiola adjusting to landing on the plane to awkward comical encounters with Quarky and Zartuuf.
Essence: Comedy element introduced in main characters relationships.
Conflict: Xiola mutual attraction with Zartuuf, and alchemy with Quarky.
Subtext: Xiola and Quarky unaware they are siblings.
Hope/Fear: We fear she’ll get distracted. Hope she keeps it together.
INT. PLANE – NIGHT
Scene Arc: From Xiola finding dangerous portals blinking in and out throughout the plane to comically closing them.
Essence: Xiola trying desperately to blend in, while handling the anomalies.
Conflict: Dangerous portals sucking in anything and anyone.
Subtext: Zhetak’s initial attack caused a crack in spacetime continuum.
Hope/Fear: Fear they’re all going to die. Hope she can fix the threats.
EXT. ET CONFED – NIGHT
Scene Arc: From Zhetak’s panic to seizing back control of his tech.
Essence: Zhetak’s attack backfires, and he has to deal with rogue portals appearing in his own surroundings.
Conflict: Zhetak panics when his tech device spins out of control.
Subtext: Xe secretly uses her future tech to counteract his attack.
Hope/Fear: We hope he’s ruined. Fear he’ll regain control.
INT. PLANE – NIGHT
Scene Arc: From gazing into open portal to falling under its spell, to escaping its magnetic power.
Essence: Reveals Xiola's emotional wound. Sets up her personal quest.
Conflict: Xiola gazes into the portal, struggling with her emotions, memories and regrets around her failed mission.
Subtext: Xiola, mesmerized as she’s faced with possible and probable alternate realities around the failed mission.
Hope/Fear: Xiola hopes to find closure regarding her mother's fate. Fears the possibility that Xe is truly gone forever.
INT. PLANE – NIGHT
Scene Arc: From Xiola, mesmerized by the portal to Quarky saving her.
Essence: Quarky secretly closes the portal leading to probable/possible realities.
Conflict: Xiola in danger of being swallowed by the portal.
Subtext: Quarky has powers that they’ve kept hidden, until now.
Hope/Fear: We hope Quarky can save her. Fear she’ll be lost.
INT. COMMERCIAL AIRLINE – CABIN – NIGHT
Description: Zartuuf's manipulative actions start to create tension and distrust among the agents and tourists.
Scene Arc:
Start: The group is relatively cooperative.
End: Seeds of distrust are planted, especially towards Zartuuf.
Essence: Show Zartuuf's manipulative nature and the beginning of internal conflict.
Conflict: Xiola overhears Zartuuf’s suspicious conversation and confronts him.
Subtext: Zartuuf’s charm masks his deceitful actions.
Hope/Fear:
• Hope: Xiola hopes to uncover Zartuuf’s true intentions.
• Fear: Xiola fears being manipulated or betrayed.
INT. COMMERCIAL AIRLINE – CABIN – DAY
Description: Quarky begins to bond with Xiola as they team up to investigate the anomalies.
Scene Requirements:
Scene Arc:
• Start: Xiola and Quarky are cautious allies.
• End: They develop a sense of camaraderie and trust.
Essence: Build the relationship between Xiola and Quarky through cooperation.
Conflict: They face a minor anomaly on the plane that requires teamwork to fix.
Subtext: Quarky’s shamanic abilities subtly aid their efforts, hinting at a deeper connection.
Hope/Fear:
• Hope: They hope to uncover more about the anomalies together.
• Fear: They fear failing to understand or control the anomalies.
Act 2: New Plan & Midpoint Turning Point
INT. COMMERCIAL AIRLINE – GALLEY – DAY
Description: Zartuuf’s fear and insecurity surface during a crisis, revealing his vulnerability.
Scene Arc:
* Start: Zartuuf is confident and composed.
• End: Zartuuf’s vulnerability is exposed, complicating his relationship with Xiola.
Essence: Show Zartuuf’s hidden weaknesses and deepen his character.
Conflict: Zartuuf panics during turbulence, revealing his fear and hidden talent.
Subtext: Zartuuf’s fear of failure contrasts with his outward confidence.
Hope/Fear:
• Hope: Zartuuf hopes to hide his weaknesses and maintain control.
• Fear: Zartuuf fears being seen as weak or unworthy.
INT. COMMERCIAL AIRLINE – CABIN – NIGHT
Description: Xiola uses future tech to disguise herself and investigate.
Scene Arc:
• Start: Xiola is uncertain and cautious.
• End: Xiola gains new information and respect from Zartuuf.
Essence: Highlight Xiola’s resourcefulness and the growing respect between her and Zartuuf.
Conflict: Xiola struggles with her disguise and interactions with passengers.
Subtext: Xiola’s awkwardness shows her vulnerability despite her technological advantage.
Hope/Fear:
• Hope: Xiola hopes to gather useful information without being detected.
• Fear: Xiola fears her cover being blown.
INT. COMMERCIAL AIRLINE – LAVATORY – DAY
Description: Quarky decides to reveal their powers to openly assist Xiola and Zartuuf.
Scene Requirements:
Scene Arc:
• Start: Quarky is hesitant and hiding their true abilities.
• End: Quarky confidently uses their shamanic powers to save a passenger, gaining trust and respect.
Essence: Show Quarky's growth and commitment to the team by revealing their shamanic abilities.
Conflict: A major anomaly threatens the plane’s safety, forcing Quarky to act.
Subtext: Quarky's abilities are linked to their heritage, hinting at a deeper connection with Xiola.
Hope/Fear:
• Hope: Quarky hopes to prove their worth and help save the plane.
• Fear: Quarky fears failure and ridicule for revealing their true abilities.
INT. COMMERCIAL AIRLINE – GALLEY – NIGHT
Description: Zartuuf contemplates betraying Xiola to stay in Zhetak’s favor but ultimately decides to support her.
Scene Arc:
• Start: Zartuuf is torn between loyalty to Zhetak and his growing feelings for Xiola.
• End: Zartuuf secretly decides to aid Xiola, betraying Zhetak.
Essence: Highlight Zartuuf’s internal struggle and ultimate decision to support Xiola.
Conflict: Zartuuf receives direct orders from Zhetak to sabotage Xiola’s efforts.
Subtext: Zartuuf’s actions reveal his growing conscience and the complexity of his character.
Hope/Fear:
• Hope: Zartuuf hopes to earn Xiola’s trust and support.
• Fear: Zartuuf fears the consequences of betraying Zhetak.
Act 3: Rethink Everything & New Plan
INT. COMMERCIAL AIRLINE – PASSENGER SEAT – DAY
Description: Quarky faces the moral dilemma of using their abilities openly versus maintaining their cover, and confessing to Zartuuf about hiding Gizdink. Zartuuf develops a conscience without Gizdink.
Scene Requirements:
Scene Arc:
• Start: Quarky is conflicted about using their powers and hiding Gizdink.
• End: Quarky decides to embrace their true self and confess, leading to Zartuuf’s developing conscience.
Essence: Explore Quarky’s moral struggle and their decision to be honest, influencing Zartuuf.
Conflict: Quarky must decide between staying hidden or using their powers to help Xiola.
Subtext: Quarky’s confession and decision to be open about their abilities inspire Zartuuf to develop a conscience.
Hope/Fear:
• Hope: Quarky hopes to help Xiola and earn her trust by being honest.
• Fear: Quarky fears rejection and failure.
INT. COMMERCIAL AIRLINE – COCKPIT – NIGHT
Description: Xiola receives a clue about her mother's disappearance.
Scene Arc:
• Start: Xiola is still in the dark about her mother’s fate.
• End: Xiola is driven by a newfound determination after receiving a clue.
Essence: Advance the plot by giving Xiola a critical clue about her mother’s disappearance.
Conflict: Xiola struggles with the emotional impact of the clue and its implications.
Subtext: The clue hints at deeper conspiracies and Xiola’s personal stakes in the mission.
Hope/Fear:
• Hope: Xiola hopes to uncover the truth about her mother.
• Fear: Xiola fears the possibility of never finding her mother or the truth.
INT. COMMERCIAL AIRLINE – PASSENGER SEAT – DAY
Description: Zartuuf and Xiola share a vulnerable moment, deepening their emotional connection.
Scene Arc:
• Start: Zartuuf and Xiola are wary but intrigued by each other.
• End: They share a bond of mutual respect and understanding.
Essence: Deepen the emotional connection between Zartuuf and Xiola, making their alliance more personal.
Conflict: They must navigate their past traumas and fears while working together.
Subtext: Their conversation reveals deeper layers of their characters and shared vulnerabilities.
Hope/Fear:
• Hope: They hope to find solace and support in each other.
• Fear: They fear being hurt or betrayed again.
INT. COMMERCIAL AIRLINE – CABIN – NIGHT
Description: The ET travel agents’ and tourists’ bizarre behaviors in response to the escalating dangerous anomalies occurring on the plane create chaos, increasing the tension on the plane.
Scene Arc:
• Start: The situation is tense but manageable.
• End: The escalating chaos makes it clear that drastic action is needed.
Essence: Show the growing danger and chaos caused by the anomalies, heightening the stakes.
Conflict: The characters must deal with the escalating anomalies and their effects on the passengers.
Subtext: The chaotic behavior reveals underlying tensions and fears among the characters.
Hope/Fear:
• Hope: They hope to find a way to stabilize the situation.
• Fear: They fear losing control and failing to protect the passengers.
Act 4: Final Push & Resolution
INT. COMMERCIAL AIRLINE – COCKPIT – DAY
Description: Zartuuf steps up to confront his father, Zhetak, in the final showdown.
Scene Arc:
• Start: Zartuuf is hesitant and fearful of facing Zhetak.
• End: Zartuuf stands up to Zhetak, inspiring the others to fight back.
Essence: Show Zartuuf’s growth and courage as he confronts his father.
Conflict: Zartuuf must overcome his fear and face Zhetak in a final showdown.
Subtext: Zartuuf’s actions reflect his internal transformation and newfound strength.
Hope/Fear:
• Hope: Zartuuf hopes to expose Zhetak’s schemes and protect his friends.
• Fear: Zartuuf fears failing and being overpowered by his father.
INT. ET CONFEDERATION HQ – DAY
Description: Xe, Xiola, and Zartuuf reveal the truth and defeat Zhetak.
Scene Arc:
• Start: The characters are determined but uncertain about their success.
• End: They successfully expose Zhetak, leading to his downfall.
Essence: Conclude the main conflict by revealing the truth and defeating the antagonist.
Conflict: The characters must present their evidence and convince the ET Confederation.
Subtext: Their victory is not just against Zhetak but also against their personal doubts and fears.
Hope/Fear:
• Hope: They hope to bring justice and restore order.
• Fear: They fear being disbelieved or outmaneuvered by Zhetak.
INT. COMMERCIAL AIRLINE – CABIN – DAY
Description: Xiola and Zartuuf acknowledge they should continue as friends and commit to their new mission together.
Scene Requirements:
Scene Arc:
• Start: Xiola and Zartuuf are unsure about the future of their relationship.
• End: They solidify their friendship and commit to their new mission.
Essence: Show the resolution of Xiola and Zartuuf’s relationship and their commitment to their mission.
Conflict: They must navigate their feelings and decide the future of their relationship.
Subtext: Their decision reflects their growth and understanding of each other.
Hope/Fear:
• Hope: They hope to continue working together and make a difference.
• Fear: They fear losing the connection they’ve built.
EXT. QUARKY’S HOME PLANET – DAY
Description: Quarky overcomes self-doubt and accepts their role as Shamanic leader on their home planet, and together with Xiola, establishes studies in interdimensional Shamanic journeying.
Scene Requirements:
Scene Arc:
• Start: Quarky is unsure about their role and future.
• End: Quarky confidently accepts their new role and mission.
Essence: Show Quarky’s growth and acceptance of their shamanic identity and responsibilities.
Conflict: Quarky must overcome self-doubt and embrace their true self.
Subtext: Quarky’s acceptance signifies their personal growth and dedication to their mission.
Hope/Fear:
• Hope: Quarky hopes to make a positive impact and fulfill their potential.
• Fear: Quarky fears failing in their new role and letting down their people.

[jamie handley]

Jamie’s Fascinating Scene Requirements
My scripts will get made into powerful movies that impact audiences and view me as a talented, hardworking professional.

What I’ve learned is that it’s ok that I am behind (just for now) and that this is the first draft of the outline. I started catching up but then I realized that I needed to go forward and accept that this is good enough for the moment. I will catch up if I give myself permission to be behind and fall back/forward as I continue my classes. This is partial and probably too much for this lesson but am turning it in anyway. Since then, I have seen where I am weak with my protagonist and missing the actions the character needs to have.

What I have learned is I did give AI the first 22 scenes and what I have here is what AI sent back. I’m not sure why AI didn’t do the breakdown of each of the scenes submitted but AI has presented me with various decisions and points of views to consider.
What I am turning in is what AI sent me back.
Learning how to layer in steps is very helpful and, I don’t want to “NOT” do the work on the first draft as I feel it very important. I will try the 22 scenes tomorrow and see what happens. Below are the 22 scenes I sent over to AI, and got back the following 6 scenes.

Scene 1
INT. LINDSEY’S HOUSE – LIVING ROOM – DAY

Description: Lindsey sorts through her deceased mother’s belongings while grappling with grief. Her sister Emma packs selfishly, and Gracie discovers a box of journals labeled “For Lindsey Only.”

Beginning (Mystery): Lindsey discovers hidden journals among her mother’s belongings, sparking curiosity about their contents.
Middle (Intrigue): Gracie shows interest in the journals, hinting at secrets about their family’s past, intensifying Lindsey’s curiosity and grief.
Ending (Cliffhanger): Emma leaves hastily with items not meant for her, leaving Lindsey worried about the implications of the journals’ secrets.

Scene 2
INT. LINDSEY’S HOUSE – LINDSEY’S BEDROOM – NIGHT

Description: As the night deepens, Lindsey begins to pack for her trip to Oregon, reflecting on the family dynamics and the looming confrontation with her sister Sadie.

Beginning (Internal Dilemma): Lindsey feels torn between her duty to her family and her own emotional exhaustion.
Middle (Character changes radically): As she packs, Lindsey finds an old photo that reminds her of better times with Sadie, changing her resolve to confront her sister.
Ending (Uncertainty): Lindsey goes to bed with unresolved feelings about her trip, questioning if she can truly help Sadie or only worsen their strained relationship.

Scene 3
EXT. AIRPORT – DAY

Description: Lindsey arrives in Oregon, filled with apprehension about meeting Sadie, who has been increasingly dependent on medications.

Beginning (Suspense): Lindsey’s plane lands in Oregon, her anxiety peaks as she anticipates seeing Sadie after years apart.
Middle (Misinterpretation): Lindsey misreads Sadie’s welcoming gesture as genuine warmth, but underlying tension hints at Sadie’s ulterior motives concerning her health.
Ending (Betrayal): Sadie subtly manipulates the conversation to gauge Lindsey’s stance on assisted suicide, leaving Lindsey feeling used and betrayed.

Scene 4
INT. SADIE’S LIVING ROOM – EVENING

Description: An intense debate unfolds about assisted suicide, revealing deep-seated family secrets that isolate Lindsey further.

Beginning (External Dilemma): The family gathers to discuss Sadie’s wish for assisted suicide, forcing Lindsey to choose between supporting her sister’s decision or opposing it based on her moral beliefs.
Middle (Betrayal): Secrets about past betrayals are revealed during the debate, causing Lindsey to feel isolated and betrayed by those she trusted.
Ending (Major Twist): Gracie unexpectedly supports Sadie’s decision, deepening Lindsey’s sense of betrayal and isolation.

Scene 5
INT. SADIE’S BEDROOM – NIGHT

Description: Sadie’s health rapidly deteriorates, leading to a heartbreaking climax where she nearly loses her life prematurely.

Beginning (Superior Position): The audience knows that Sadie has hidden a stash of potent medication not yet revealed to Lindsey.
Middle (Surprise): Sadie, under the influence of her medications, falls, causing severe injury that accelerates her decline.
Ending (Cliffhanger): As Sadie’s life hangs in the balance, Lindsey must decide whether to respect her sister’s wishes or intervene to save her, with emergency services on the way.

Scene 6
EXT. LAGUNA BEACH – DUSK

Description: A year after Sadie’s death, the family gathers at Laguna Beach to scatter her ashes, where Lindsey announces passing the matriarchal role to Gracie.

Beginning (Closure and Hope): The family reunites in a peaceful setting, reflecting on their journey and the lessons learned from Sadie’s life and death.
Middle (Starting New Traditions): Lindsey initiates a new family tradition of gathering at the beach, symbolizing new beginnings and healed bonds.
Ending (Final Acceptance): Lindsey passes the role of matriarch to Gracie, accepting her new role in the family dynamics and embracing a future of unity and support.

THIS IS WHAT I SENT IN CHATGPT.
ACT 1
1 Time Lapse – 1969 – 1980’s
Scene Arc: It begins whit the two sisters becoming adults until they part ways.
Essence: To establish that older sister, Sadie and middle sister Lindsey, had a very close relationship, once upon a time. And shows Sadie’s multiple tragedies that will impact Lindsey’s life.
Conflict: Sadie is on the road of self-destruction and abandons Lindsey. This is where the war begins.
Subtext: Sadie is running away from everyone in her life, drugs and alcohol take over. This is an old wound for Lindsey.
Hope/Fear: We hope something good happens to reunite the sisters and their daughters. And we fear that this could end their relationship and their daughters.

2. INT. COURT HOUSE – DAY
Scene Arc: Lindsey filed for guardianship of her niece, Brooke and it is granted.
Essence: Sadie makes her appearance, but it is too late.
Conflict: Lindsey takes full responsibility while Sadie acts as though she doesn’t care.
Subtext: Sadie’s appearance was just for show.
Hope/Fear: Hopeful that Lindsey made the right decision for her niece and fears the damage that Brooke will experience
3. INT. ARIZONA BEDROOM – DAY
Scene Arc: Clearly Lindsey is overwhelmed and grieving the loss of her mother, Sarah, as her daughter, Gracie walks on eggshells while she helps her sort things out “per the will”.
Essence: Lindsey is trying to stay in control, she avoids conversations and contact with everyone, Gracie strives to smooth things over.
Conflict: Lindsey isn’t fond of Dylan, Gracie’s significant other, Emma, Lindsey’s younger sister, picks through her mother’s belongings, the tension is very high with everyone.
Subtext: Lindsey is masking her pain with avoidance. There is an internal war going on in the family and she’s about to explode.
Hope/Fear: Hoping that Lindsey will find some peace but fear that if she has a breakdown, it will cause trouble in the family.
4. INT. SARAH’S BEDROOM – NIGHT
Scene Arc: The packing is almost done, days have passed. Emma fills her vehicle as Lindsey quietly falls apart.
Essence: Lindsey begins her meltdown when Gracie discovers the box of her grandmother’s journals. Lindsey shuts down.
Conflict: Lindsey’s buttons are pushed to the limit. Gracie and Lindsey exchange words that put Lindsey in her place.
Subtext: The reality of being the next matriarch hits Lindsey hard. She doesn’t want responsibility.
Hope/Fear: Can Lindsey pull herself out of the rut? How will she deal with Sadie and Brooke? Fear that a family feud will break out.
5. INT. LINDSEY’S BEDROOM – NIGHT
Scene Arc: Lindsey is so exhausted, falls asleep. Gracie’s in the kitchen cooking. Lindsey has a dream.
Essence: Somethings wrong with this picture when Gracie cooks. Brooke shows up unknown to Lindsey.
Conflict: The dream wakes Lindsey up. What was she dreaming? Is it really a dream when Brooke walks in.
Subtext: Lindsey is holding back her fears and tears. She’s not strong enough to deal with everyone’s emotions, like her mother did.
Hope/Fear: Hoping that Lindsey and Gracie can have a good conversation like she had with her mother. Can Lindsey let go of being in total control and become more understanding and kind?
6. INT. KITCHEN – NIGHT
Scene Arc: A big surprise, Brooke arrives in Arizona. Brooke confides in Gracie, the mother-daughter relationship isn’t working, Sadie sees Brooke as a carer and not a daughter.
Essence: Sadie has taken a turn or the worse. Brooke wants help but is afraid to ask Lindsey, aka “mom”.
Conflict: Lindsey becomes “Aunt Lindsey” for the first time in years. Lindsey must let go of being called mom if she goes to Oregon.
Subtext: Lindsey needs her sister as much as she needs Lindsey.
Hope/Fear: Is Lindsey going to go to Oregon? Will she refuse?
7. INT. GRACIE’S BEDROOM – NIGHT
Scene Arc: Brooke spills the beans about her mom with Gracie; her illness, drugs, and becoming her caregiver.
Essence: More reality for Lindsey to face, her grief intensifies.
Conflict: Lindsey’s heart is breaking for Brooke. Lindsey must accept the change for everyone’s sake and answer to being Aunt Lindsey.
Subtext: Lindsey feels abandoned again.
Hope/Fear: Will Lindsey be strong enough to deal with Sadie and be the sister she once was? Or will Lindsey stay at home?
8. EXT. BACKYARD – DAY
Scene Arc: Lindsey has no one she can talk with.
Essence: Lindsey faces the reality of her losses as she goes through her mother’s journal.
Conflict: She hasn’t talked with her lifelong friend, Lauren, in months.
Subtext: She’s afraid to say I’m sorry.
Hope/Fear: Will Lindsey reach out to Lauren? Will she shut down even more?
9. INT. GRACIE’S BEDROOM – DAY
Scene Arc: Gracie brings out the journals that she’s hidden. They plan a trip for Gracie.
Essence: Gracie and Brooke go through the photos and journals. They discover that Gracie’s father left a suicide note to Sadie.
Conflict: Brooke is angry that information was withheld from her.
Subtext: Will Brooke confront her mother or will she ask Lindsey about her father?
Hope/Fear: Hope that Brooke begins to understand her mother’s pain or will she keep it buried?
10. INT. CAR – DAY
Scene Arc: Gracie and Brooke pick up Lindsey’s prescriptions, have a heavy conversation about what’s going on with Sadie and the toll of caring for her mother.
Essence: They both begin to see a bigger picture of Sadie.
Conflict: Brooke wants to be a daughter not her caregiver.
Subtext: Old wound surfaces for Brooke when she came to live with Lindsey.
Hope/Fear: Can she accept her mother as she is or is she afraid to ask her mother questions?
11. INT. GRACIE’S BEDROOM –
Scene Arc: Gracie and Brooke bring Lindsey into a conversation then inform her that it would be good if Gracie came with her to Oregon.
Essence: Brooke wants back up when she goes home. Lindsey needs time for herself.
Conflict: Lindsey is surprised when they have already purchased the flight for Gracie.
Subtext: Brooke needs Gracie’s help. Lindsey must take inventory of her needs and time alone is one.
Hope/Fear: Hope that all goes well and afraid of hearing the truth.
12. EXT. MEDFORD AIRPORT OREGON – DAY
The girls arrive, get into Brooke’s car and drive away.
INT. OREGON HOME – DAY
Scene Arc: Sadie is very surprised to see her niece. Sadie dismisses Brooke who leaves and goes to her home.
Essence: Shows the difference in the relationship between Sadie and Gracie and how Sadie dismisses Brooke.
Conflict: Sadie treats Brooke like her aid. Gracie receives affection from Sadie.
Subtext: Sadie is accepted by Gracie. Gracie relates to Sadie’s drug problem.
Hope/Fear: That Gracie gets to see how Sadie treats Brooke and fear it will cause more damage for Brooke.
13. INT. OREGON HOME – DAY
Scene Arc: Sadie’s vanity and drug usage surfaces in front of Gracie and a trip to the pharmacy, except Sadie backs the car into garage door.
Essence: Sadie’s drug use is exactly what Brooke shared, forcing Gracie to go to pharmacy alone.
Conflict: Gracie doesn’t know how to get to the pharmacy and very concerned with the amount of drugs Sadie already has.
Subtext: Gracie is seeing who her aunt really is and it scares her, as well as having feeling for Brooke.
Hope/Fear: Sadie slows down her drug use but afraid that something could go badly.
INT. PHARMACY – DAY
Scene Arc: Gracie can’t get one of the prescriptions. Calls Brooke for help. Gracie explains to Sadie and calms her down.
Essence: Everyone knows what a drug seeker Sadie is.
Conflict: Gracie is afraid her aunt will be upset.
Subtext: Gracie remembers her drug days.
Hope/Fear: Hope that Sadie’s actions don’t spark Gracie’s interest in drugs. Or, maybe Gracie will try Sadie’s drugs.
14. INT. OREGON HOME – NIGHT
Scene Arc: A power outage scares Sadie and forces Gracie to drive over to Brooke’s home in the pouring rain and hail. Sadie brings her stash of pills.
Essence: Sadie’s drugs are very important.
Conflict: The drugs spill all over the car. Gracie worries about the drugs if pulled over.
Subtext: Gracie is perplexed while Sadie finds it funny.
Hope/Fear: Will Gracie get pulled over or will she make it to Brooke’s.
15. INT. BROOKE’S HOME – DAY
Scene Arc: Sadie’s vanity, routine and selfishness surfaces. Brooke makes breakfast.
Essence: Sadie’s need to be in her home is more important than being with her daughter and acting as a family. and has her usual routine come before everything.
Conflict: Sadie demands to go home. Brooke’s feelings are hurt.
Subtext: Sadie wants everything her way. Gracie is seeing how Brooke is treated.
Hope/Fear: Will Sadie apologize and thank Brooke or will she continue to treat Brooke like her aid.
16. INT. OREGON HOME – DAY
Scene Arc: Brooke’s day begins with checking on Sadie’s drugs, pillbox is screwed up, Gracie sees her routine. Brooke has reports to get out to her employer and doesn’t have time to be with Gracie.
Essence: Gracie gets a full day from Brooke’s point of view.
Conflict: Sadie doesn’t want to be disturbed as she changes her bag but ends up needing Brooke’s help. Pills are in secret hiding places.
Subtext: Brooke is afraid to question her mother.
Hope/Fear: Hope Sadie’s attitude changes and Brooke is able to have a good conversation with Gracie’s help, but Brooke knows it won’t happen.
17. EXT. OREGON HOME – PORCH – DAY
Scene Arc: Day is done, Gracie brings out the two journals,
Essence: Brooke is exhausted and torn. Gracie shares information with Brooke about Colorectal Cancer. She’s even talked with new surgeons, new medical trials and lawyers about her botched surgery and to consider a malpractice lawsuit.
Conflict: Sadie will never file a lawsuit and doesn’t want any more medical help. Brooke is forced to tell Gracie exactly what Sadie’s intentions are.
Subtext: Lindsey is always looking out for Sadie. Brooke is forced to let Gracie know that Sadie is on palliative care and wants to go into hospice as soon as she can qualify.
Hope/Fear: She hopes that Sadie will listen to Gracie while Brooke knows Sadie’s real intentions. She wants to die on her terms.
18. EXT. ARIZONA HOME – DAY
BACKYARD
Scene Arc: Lindsey is still grieving over Gram and Sadie’s health. Gracie arrives back home via Lyft. Lindsey is very surprised. Gracie is happy to be home. Gracie returns the journals she secretly took.
Essence: Things really haven’t changed at home. Lindsey makes a new plan and shares with Gracie, but Gracie withholds what she’s experienced and learned.
Conflict: Items that were Sadie’s are missing. Is Lindsey ready to hear that Sadie wants to go into hospice and is presently in palliative care. She’s been left out of the loop.
Subtext: Gracie questions her thoughts about time shared with Sadie and what she knows.
Hope/Fear: Will Lindsey be able to handle Sadie’s wishes, and will it backfire if Gracie doesn’t let her know.
19. INT. ARIZONA HOME – DAY
BATHROOM
Scene Arc: Lindsey’s is going to with Sadie for a while. Gracie shares everything with Lindsey. Lindsey has moral issues but is still going to Oregon.
Essence: Lindsey needs her sister more than anything.
Conflict: Lindsey has mixed feelings about dying with dignity but thinks she can change her mind.
Subtext: Lindsey doesn’t believe Sadie and it’s all an act for attention.
Hope/Fear: Hoping Sadie will change her mind or tell the truth but she could be serious and it’s all about getting more drugs.
20. INT. MIKE’S TRUCK – DAY
MEDFORD AIRPORT
Scene Arc: Mike, a friend of her mother and sister, picks Lindsey up. Lindsey probes Mike on his position of dying with dignity since Oregon’s laws allow it. Mike is all for it.
Essence: Lindsey wants to know what Mike knows about Sadie’s health and drug use.
Conflict: Mike is all for assisted suicide but it’s a moral issue for Lindsey.
Subtext: She picks his brain to see how close Sadie and Mike are.
Hope/Fear: Lindsey believes she will change Sadie’s mind, but Mike is supportive of Sadie’s decision. After all he has ALS.
21. INT. OREGON HOME – DAY
Scene Arc: Lindsey arrives with Sadie’s warm embrace as tears stream down their faces. Sadie settles her in. Sadie demands Lindsey to take a sleeping pill and have a hit of a joint.
Essence: Sadie wants Lindsey to be drugged up like she is.
Conflict: Lindsey sleeps for two days, not to Lindsey’s liking.
Subtext: Sadie knows what’s best for everyone.
Hope/Fear: Lindsey will be pissed when she finally wakes but hope she doesn’t stir the pot.
22. INT./EXT OREGON HOME -DAY
Scene Arc: We see a week pass as Sadie and Lindsey do various things around the house.
Essence: How close are Lindsey and Sadie?
Conflict: Sadie doesn’t want to let Lindsey in on her medical status.
Subtext: Sadie is hiding the truth.
Hope/Fear: Hope that Sadie will trust Lindsey and fear an argument will happen.

• This reply was modified 9 months, 3 weeks ago by  jamie handley.

[jamie handley]

Jamie's Scene requirements
What I've learned: The most important thing I discovered is how important this lesson is. I was "behind" and just sent what I had in the moment to go forward in Module 5. I am so glad I did this. It all make sense, the importance of layering. I don't have an ending yet but will cross that one when I'm in Module 5

CONCEPT
The root of addiction remains but the act of betrayal surfaces again when the older sister is diagnosed with colon cancer and opts for assisted suicide in lieu of spending her final days with her reconciled daughter and the family. In a quest to salvage the remnants of familial love’s bond, the dying sister’s sister shares the family’s matriarch’s journals offering a chance to rebuild their bond and uphold the legacy of love, and hope she intended for them.

After their matriarch's passing, a family faces their terminally ill sister’s choice of assisted suicide. This family that is shattered by addiction, betrayal, abandonment, and secrets finds hope and unity through the journals left in the hands of the next matriarch.

My scripts will get made into powerful movies that impact audiences and view me as a talented, hardworking professional.
++ACT 1
1 Time Lapse – 1969 – 1980’s
Scene Arc: It begins with the two sisters becoming adults until they part ways.
Essence: To establish that older sister, Sadie and middle sister Lindsey, had a very close relationship, once upon a time. And shows Sadie’s multiple tragedies that will impact Lindsey’s life.
Conflict: Sadie is on the road of self-destruction and abandons Lindsey. This is where the war begins.
Subtext: Sadie is running away from everyone in her life, drugs and alcohol take over. This is an old wound for Lindsey.
Hope/Fear: We hope something good happens to reunite the sisters and their daughters. And we fear that this could end their relationship and their daughters.

2. INT. COURT HOUSE – DAY
Scene Arc: Lindsey filed for guardianship of her niece, Brooke and it is granted.
Essence: Sadie makes her appearance, but it is too late.
Conflict: Lindsey takes full responsibility while Sadie acts as though she doesn’t care.
Subtext: Sadie’s appearance was just for show.
Hope/Fear: Hopeful that Lindsey made the right decision for her niece and fears the damage that Brooke will experience
3. INT. ARIZONA BEDROOM – DAY
Scene Arc: Clearly Lindsey is overwhelmed and grieving the loss of her mother, Sarah, as her daughter, Gracie walks on eggshells while she helps her sort things out “per the will”.
Essence: Lindsey is trying to stay in control, she avoids conversations and contact with everyone, Gracie strives to smooth things over.
Conflict: Lindsey isn’t fond of Dylan, Gracie’s significant other, Emma, Lindsey’s younger sister, picks through her mother’s belongings, the tension is very high with everyone.
Subtext: Lindsey is masking her pain with avoidance. There is an internal war going on in the family and she’s about to explode.
Hope/Fear: Hoping that Lindsey will find some peace but fear that if she has a breakdown, it will cause trouble in the family.
4. INT. SARAH’S BEDROOM – NIGHT
Scene Arc: The packing is almost done, days have passed. Emma fills her vehicle as Lindsey quietly falls apart.
Essence: Lindsey begins her meltdown when Gracie discovers the box of her grandmother’s journals. Lindsey shuts down.
Conflict: Lindsey’s buttons are pushed to the limit. Gracie and Lindsey exchange words that put Lindsey in her place.
Subtext: The reality of being the next matriarch hits Lindsey hard. She doesn’t want responsibility.
Hope/Fear: Can Lindsey pull herself out of the rut? How will she deal with Sadie and Brooke? Fear that a family feud will break out.
5. INT. LINDSEY’S BEDROOM – NIGHT
Scene Arc: Lindsey is so exhausted, falls asleep. Gracie’s in the kitchen cooking. Lindsey has a dream.
Essence: Somethings wrong with this picture when Gracie cooks. Brooke shows up unknown to Lindsey.
Conflict: The dream wakes Lindsey up. What was she dreaming? Is it really a dream when Brooke walks in.
Subtext: Lindsey is holding back her fears and tears. She’s not strong enough to deal with everyone’s emotions, like her mother did.
Hope/Fear: Hoping that Lindsey and Gracie can have a good conversation like she had with her mother. Can Lindsey let go of being in total control and become more understanding and kind?
6. INT. KITCHEN – NIGHT
Scene Arc: A big surprise, Brooke arrives in Arizona. Brooke confides in Gracie, the mother-daughter relationship isn’t working, Sadie sees Brooke as a carer and not a daughter.
Essence: Sadie has taken a turn or the worse. Brooke wants help but is afraid to ask Lindsey, aka “mom”.
Conflict: Lindsey becomes “Aunt Lindsey” for the first time in years. Lindsey must let go of being called mom if she goes to Oregon.
Subtext: Lindsey needs her sister as much as she needs Lindsey.
Hope/Fear: Is Lindsey going to go to Oregon? Will she refuse?
7. INT. GRACIE’S BEDROOM – NIGHT
Scene Arc: Brooke spills the beans about her mom with Gracie; her illness, drugs, and becoming her caregiver.
Essence: More reality for Lindsey to face, her grief intensifies.
Conflict: Lindsey’s heart is breaking for Brooke. Lindsey must accept the change for everyone’s sake and answer to being Aunt Lindsey.
Subtext: Lindsey feels abandoned again.
Hope/Fear: Will Lindsey be strong enough to deal with Sadie and be the sister she once was? Or will Lindsey stay at home?
8. EXT. BACKYARD – DAY
Scene Arc: Lindsey has no one she can talk with.
Essence: Lindsey faces the reality of her losses as she goes through her mother’s journal.
Conflict: She hasn’t talked with her lifelong friend, Lauren, in months.
Subtext: She’s afraid to say I’m sorry.
Hope/Fear: Will Lindsey reach out to Lauren? Will she shut down even more?
9. INT. GRACIE’S BEDROOM – DAY
Scene Arc: Gracie brings out the journals that she’s hidden. They plan a trip for Gracie.
Essence: Gracie and Brooke go through the photos and journals. They discover that Gracie’s father left a suicide note to Sadie.
Conflict: Brooke is angry that information was withheld from her.
Subtext: Will Brooke confront her mother or will she ask Lindsey about her father?
Hope/Fear: Hope that Brooke begins to understand her mother’s pain or will she keep it buried?
10. INT. CAR – DAY
Scene Arc: Gracie and Brooke pick up Lindsey’s prescriptions, have a heavy conversation about what’s going on with Sadie and the toll of caring for her mother.
Essence: They both begin to see a bigger picture of Sadie.
Conflict: Brooke wants to be a daughter not her caregiver.
Subtext: Old wound surfaces for Brooke when she came to live with Lindsey.
Hope/Fear: Can she accept her mother as she is or is she afraid to ask her mother questions?
11. INT. GRACIE’S BEDROOM –
Scene Arc: Gracie and Brooke bring Lindsey into a conversation then inform her that it would be good if Gracie came with her to Oregon.
Essence: Brooke wants back up when she goes home. Lindsey needs time for herself.
Conflict: Lindsey is surprised when they have already purchased the flight for Gracie.
Subtext: Brooke needs Gracie’s help. Lindsey must take inventory of her needs and time alone is one.
Hope/Fear: Hope that all goes well and afraid of hearing the truth.
12. EXT. MEDFORD AIRPORT OREGON – DAY
The girls arrive, get into Brooke’s car and drive away.
INT. OREGON HOME – DAY
Scene Arc: Sadie is very surprised to see her niece. Sadie dismisses Brooke who leaves and goes to her home.
Essence: Shows the difference in the relationship between Sadie and Gracie and how Sadie dismisses Brooke.
Conflict: Sadie treats Brooke like her aid. Gracie receives affection from Sadie.
Subtext: Sadie is accepted by Gracie. Gracie relates to Sadie’s drug problem.
Hope/Fear: That Gracie gets to see how Sadie treats Brooke and fear it will cause more damage for Brooke.
13. INT. OREGON HOME – DAY
Scene Arc: Sadie’s vanity and drug usage surfaces in front of Gracie and a trip to the pharmacy, except Sadie backs the car into garage door.
Essence: Sadie’s drug use is exactly what Brooke shared, forcing Gracie to go to pharmacy alone.
Conflict: Gracie doesn’t know how to get to the pharmacy and very concerned with the amount of drugs Sadie already has.
Subtext: Gracie is seeing who her aunt really is and it scares her, as well as having feeling for Brooke.
Hope/Fear: Sadie slows down her drug use but afraid that something could go badly.
INT. PHARMACY – DAY
Scene Arc: Gracie can’t get one of the prescriptions. Calls Brooke for help. Gracie explains to Sadie and calms her down.
Essence: Everyone knows what a drug seeker Sadie is.
Conflict: Gracie is afraid her aunt will be upset.
Subtext: Gracie remembers her drug days.
Hope/Fear: Hope that Sadie’s actions don’t spark Gracie’s interest in drugs. Or, maybe Gracie will try Sadie’s drugs.
14. INT. OREGON HOME – NIGHT
Scene Arc: A power outage scares Sadie and forces Gracie to drive over to Brooke’s home in the pouring rain and hail. Sadie brings her stash of pills.
Essence: Sadie’s drugs are very important.
Conflict: The drugs spill all over the car. Gracie worries about the drugs if pulled over.
Subtext: Gracie is perplexed while Sadie finds it funny.
Hope/Fear: Will Gracie get pulled over or will she make it to Brooke’s.
15. INT. BROOKE’S HOME – DAY
Scene Arc: Sadie’s vanity, routine and selfishness surfaces. Brooke makes breakfast.
Essence: Sadie’s need to be in her home is more important than being with her daughter and acting as a family. and has her usual routine come before everything.
Conflict: Sadie demands to go home. Brooke’s feelings are hurt.
Subtext: Sadie wants everything her way. Gracie is seeing how Brooke is treated.
Hope/Fear: Will Sadie apologize and thank Brooke or will she continue to treat Brooke like her aid.
16. INT. OREGON HOME – DAY
Scene Arc: Brooke’s day begins with checking on Sadie’s drugs, pillbox is screwed up, Gracie sees her routine. Brooke has reports to get out to her employer and doesn’t have time to be with Gracie.
Essence: Gracie gets a full day from Brooke’s point of view.
Conflict: Sadie doesn’t want to be disturbed as she changes her bag but ends up needing Brooke’s help. Pills are in secret hiding places.
Subtext: Brooke is afraid to question her mother.
Hope/Fear: Hope Sadie’s attitude changes and Brooke can have a good conversation with Gracie’s help, but Brooke knows it won’t happen.
17. EXT. OREGON HOME – PORCH – DAY
Scene Arc: Day is done, Gracie brings out the two journals,
Essence: Brooke is exhausted and torn. Gracie shares information with Brooke about Colorectal Cancer that her mother discovers and has even talked with new surgeons, new medical trials and lawyers about her botched surgery and to consider a malpractice lawsuit.
Conflict: Sadie will never file a lawsuit and doesn’t want any more medical help. Brooke is forced to tell Gracie exactly what Sadie’s intentions are.
Subtext: Lindsey is always looking out for Sadie. Brooke is forced to let Gracie know that Sadie is on palliative care and wants to go into hospice as soon as she can qualify.
Hope/Fear: She hopes that Sadie will listen to Gracie while Brooke knows Sadie’s real intentions. She wants to die on her terms.
18. EXT. ARIZONA HOME – DAY
BACKYARD
Scene Arc: Lindsey is still grieving over Gram and Sadie’s health. Gracie arrives back home via Lyft. Lindsey is very surprised. Gracie is happy to be home. Gracie returns the journals she secretly took.
Essence: Things really haven’t changed at home. Lindsey makes a new plan and shares with Gracie, but Gracie withholds what she’s experienced and learned about Sadie.
Conflict: Items that were to go to Sadie are missing. Is Lindsey ready to hear that Sadie wants to go into hospice and is presently in palliative care. She’s been left out of the loop.
Subtext: Gracie questions her thoughts about time shared with Sadie and what she knows.
Hope/Fear: Will Lindsey be able to handle Sadie’s wishes, and will it backfire if Gracie doesn’t let her know.
19. INT. ARIZONA HOME – DAY
BATHROOM
Scene Arc: Lindsey’s is going to stay with Sadie for a while. Gracie shares everything with Lindsey. Lindsey has moral issues but is still going to Oregon.
Essence: Lindsey needs her sister more than anything.
Conflict: Lindsey has mixed feelings about dying with dignity but thinks she can change her mind.
Subtext: Lindsey doesn’t believe Sadie and it’s all an act for attention.
Hope/Fear: Hoping Sadie will change her mind or tell the truth but she could be serious and it’s all about getting more drugs.
20. INT. MIKE’S TRUCK – DAY
MEDFORD AIRPORT
Scene Arc: Mike, a friend of her mother and sister, picks Lindsey up. Lindsey probes Mike on his position of dying with dignity since Oregon’s laws allow it. Mike is all for it.
Essence: Lindsey wants to know what Mike knows about Sadie’s health and drug use.
Conflict: Mike is all for assisted suicide but it’s a moral issue for Lindsey.
Subtext: She picks his brain to see how close Sadie and Mike are.
Hope/Fear: Lindsey believes she will change Sadie’s mind, but Mike is supportive of Sadie’s decision. After all he has ALS.
21. INT. OREGON HOME – DAY
Scene Arc: Lindsey arrives with Sadie’s warm embrace as tears stream down their faces. Lindsey settles in. Sadie demands Lindsey to take a sleeping pill and have a hit of a joint.
Essence: Sadie wants Lindsey to be drugged up like she is.
Conflict: Lindsey sleeps for two days, wakes upset.
Subtext: Sadie knows what’s best for everyone.
Hope/Fear: Lindsey will be pissed when she finally wakes but hope she doesn’t stir the pot.
22. INT./EXT OREGON HOME -DAY
Scene Arc: We see a week pass as Sadie and Lindsey do various things around the house until Sadie backs her car out and crashes into garage. Lindsey drives off with Sadie taking more pills.
Essence: How close are Lindsey and Sadie?
Conflict: Sadie doesn’t want to let Lindsey in on her medical status.
Subtext: Sadie is hiding the truth.
Hope/Fear: Hope that Sadie will trust Lindsey and fear an argument will happen.
23. INT. LIVING ROOM – NIGHT
Scene Arc: Sadie has her pod, aka friends, over then goes to her bedroom leaving Lindsey to take care of the party.
Essence: Lindsey is being used. Sadie wants to take over while Sadie parties with her friends.
Conflict: Lindsey is pissed at Sadie; knows she’s using her then counts her own pills.
Subtext: Sadie wants Lindsey to charm her friends.
Hope/Fear: Hope Sadie will find time with Lindsey, fear it won’t happen at all.
24. INT. LINDSEY’S BEDROOM – NIGHT
Scene Arc: She discovers new hiding places with Sadie’s drugs but is exhausted and goes to bed. Lindsey’s shoulder breaks.
Essence: Lindsey’s done too much and reaches the wrong way and her shoulder breaks and must wait till Sadie wakes in the morning.
Conflict: Sadie won’t wake up as Lindsey screams out for her help.
Subtext: Lindsey needs help, but no one is there to help. She won’t call Brooke.
Hope/Fear: Hope Lindsey calls for an ambulance. Fear of leaving Sadie.
25. EXT. OREGON HOUSE – DAY
GET INTO AMBULANCE.
Scene Arc: Lindsey needs help, but Sadie wants help too.
Essence: Sadie fools the paramedics.
Conflict: Lindsey doesn’t understand what Sadie is up to.
Subtext: Sadie found a way to meet criteria for hospice.
Hope/Fear: Lindsey gets help and fear this is the last straw for Lindsey and Sadie.
26. INT. OREGON HOME – DAY
Scene Arc: Time for Lindsey to go home after a huge argument. Calls Gracie to pick her up.
Essence: Sadie got what she wanted and doesn’t need or want any help from Lindsey.
Conflict: Lindsey’s had enough of Sadie’s bullshit. Brooke takes her to the airport.
Subtext: Sadie used Lindsey for the last time. Lindsey still doesn’t know about Sadie’s palliative care.
Hope/Fear: Hope that Lindsey will get over it and fear that they never talk again.
27. EXT. AIRPORT – DAY
Scene Arc: Gracie picks up her mother, takes her to the doctor’s and is rushed to have surgery.
Essence: Lindsey glad to be home, safe in Gracie’s care.
Conflict: This is a second surgery for the same shoulder. Pissed at the doctor who replaced her shoulder the first time. Malpractice.
Subtext: Lindsey wants to sue the doctor.
Hope/Fear: Hope the surgery goes well and fear there could be more problems.
28. INT. ARIZONA HOME – DAY
Scene Arc: Surgery is done, Lindsey becomes bedridden, slowly mends, P.T., up and back reading the journal.
Essence: Healing time in more ways than expected.
Conflict: Gracie and her mom get into an argument. She shuts out both Gracie and Brooke.
Subtext: Gracie confesses about Sadie and wanting into palliative care and withhold about hospice.
Hope/Fear: Lindsey will understand and fear it damaged the relationship.
29. INT. BEDROOM – NIGHT
Scene Arc: Lindsey has an ah ha moment after reading the journal.
Essence: Lindsey tries to focus back on her life.
Conflict: She’s still not talking to the girls. Something strikes her in the journal.
Subtext: Lindsey feels lost, confused and hurt.
Hope/Fear: Will something from the journal will help Lindsey. Will she change?
30. INT. GRACIE’S BEDROOM – DAY
Scene Arc: Gracie and Dylan argue. Gracie wants to him move out and Dylan thinks it’s a joke, but his phone shows many calls to another woman. Gracie calls Brooke.
Essence: Gracie feels caught in the middle with her mother and Dylan.
Conflict: Dylan’s cheating on Brooke and won’t tell her the truth.
Subtext: Gracie’s mad at herself for hiding important information from her mother.
Hope/Fear: Glad that Gracie finally fesses up. Will Dylan and Gracie split up?
31. INT. BROOKE’S HOME – DAY
Scene Arc: Brooke and Gracie try to make amends with Lindsey. The hospice nurse arrives unexpectedly and brings good news. Brooke makes a promise to her mother. New doctor, new trial and new surgical procedure. Sadie gets more drugs.
Essence: Things seem to be going from bad to worse.
Conflict: Sadie is flying high as a kite and fakes being sick. Brooke is conflicted but calls Lindsey but withholds the promise she made with her mother.
Subtext: Sadie plays sick to get more drugs.
Hope/Fear: Maybe Brooke will call Lindsey and apologize, but fears hurting Lindsey more with the news of hospice.
32. INT. ARIZONA BEDROOM – NIGHT
Scene Arc: After her call from Brooke Lindsey goes to bed EARLY and has a dream. Awaken, she calls, leaves a message for Sadie. She hears the message but won’t pick up the phone.
(DREAM – Lindsey is with the girls at the pool. Brooke asks a serious question to Lindsey. Would you love me no matter what? Even if I was an axe murderer? Brooke and Gracie were 14 at the time).
Essence: Lindsey’s grief for Sadie surfaces and becomes perplexed.
Conflict: Internal grief fills their hearts. Sadie is planning her death day.
Subtext: Brooke yearns for belonging and motherly love, as does Lindsey but for everyone.
Hope/Fear: Somethings need to change for everyone or maybe it won’t.
33. INT. BEDROOM – DAY
Scene Arc: Lindsey packs her bag, goes to spend time with Lauren. Gives Gracie and Dylan time to figure out what they want to do with their lives.
Essence: Lindsey escapes the turmoil in the house, leaving them alone to see how they handle Lindsey’s idea for them to move out on their own.
Conflict: Gracie and Dylan are at odds about commitment. Lindsey lets Dylan know how she feels about him; his lack of taking care of Gracie and helping her with her business.
Subtext: Lindsey is trying to let go or taking care of everything and needs to clear her head.
34. EXT. / INT. HIGHWAY 93 TO VEGAS – DAY
Scene Arc: Lindsey needs a reprieve from everything and everyone. Spends a week and returns home. They share personal issues and when they need assistance. What then?
Essence: Exhaustion and self-care are long overdue. They question what they will do when they reach the point of being cared for, by who?? Or go into a home.
Conflict: Gracie is pissed, leaves her hanging. Lindsey doesn’t want Gracie to care for her when she’s older. Lauren disagrees.
Subtext: Lindsey wants her daughter to figure out what she wants in life.
Hope/Fear: Hope that Lindsey is doing the right things or Gracie and Dylan move out.
35. EXT. LAS VEGAS HOME – DAY
Scene Arc: Lauren and Lindsey discuss growing old. Lindsey gets answers.
Essence: The medical system sucks at any age.
Conflict: Sadie calls to look for Lindsey. Sadie lets Lindsey know she’s in hospice, causing a riff. Why haven’t the girls let her know about palliative care?
Subtext: Lindsey sees right through Sadie, agreed upon by Lauren.
Hope/Fear: Lindsey makes a turn for the better or she’ll be real upset leaving Sadie on a more strained relationship.
36. INT. ARIZONA HOME – DAY
Scene Arc: Lindsey returns home feeling better but betrayed by the girls. Nothing in the refrigerator.
Essence: Time for Lindsey to confront Gracie and Dylan.
Conflict: Lindsey is disappointed in Gracie. Gracie and Dylan don’t have answers.
Subtext: Gracie is hiding her true feelings about Dylan.
Hope/Fear: Hope for the family mending and afraid it’s at a standoff.
37. INT. KITCHEN – DAY
Scene Arc: Lindsey prepares dinner. Gracie makes floral arrangements for her customers while Dylan lays in bed.
Essence: Lindsey tries to have a nice dinner.
Conflict: Dylan refuses to help deliver arrangements for Gracie, pushing Lindsey’s buttons.
Subtext: Dylan doesn’t know what he wants in his relationship with Gracie. Lindsey refuses to react.
Hope/Fear: Hopefully the dinner is pleasant, and tension eases up but certain it won’t be.
38. INT. LINDSEY’S BEDROOM – DAY
Scene Arc: Lindsey discovers the suicide note Sadie’s husband left for her and several other things about herself. 1. When Sadie and Lindsey were growing up their mother gave more attention to Sadie. Lindsey left feeling neglected and abandoned. 2. When their father and mother divorced, her father wanted nothing to do with Lindsey
Essence: Lindsey begins to understand Sadie’s lifelong pain and hers. Lindsey is holding on to old scars.
Hope/Fear: Will she address this to Sadie or not?
39. INT. ARIZONA HOME –
Scene Arc: The seasons change, Lindsey addresses her Thanksgiving cards and breaks down crying about everything.
Essence: Lindsey seems to understand why the family is so dysfunctional.
Conflict: No one is really talking to each other. Gracie brings that to Lindsey’s attention.
Subtext: Lindsey misses the family.
Hope/Fear: What is Lindsey going to do next? Time is going by too fast, how close is Sadie to dying?
40. EXT. SADIE’S HOME – DAY
Scene Arc: Christmas decorations are put up throughout the house and deck.
Essence: Sadie wants to give Brooke a day/time to remember her by.
Conflict: Sadie is ignoring all of Lindsey’s calls. Gracie pushes buttons about Sadie and Christmas.
Subtext: The reality of Sadie’s death worsens for Lindsey
Hope/Fear: Hope Lindsey will accept Sadie’s decision, fear she won’t.
41. EXT. SADIE’S HOME – DAY
Scene Arc: Sadie plans a Christmas gathering and pays the way for the family. Her plan works. Lindsey hesitates but she and Gracie arrive days before the party
Essence: Lindsey needs her family and be with Sadie. Could this be her last Christmas?
Conflict: Lindsey wasn’t invited but shows up anyway.
Subtext: Lindsey misses all the family.
Hope/Fear: What is Sadie going to do?
42.INT. KITCHEN – DAY
Scene Arc: Lindsey and Gracie make their entrance. Sadie’s plan worked.
Essence: Will this be Sadie’s last Christmas, and can they make amends?
Conflict: Lindsey struggles to accept Sadie’s death.
Subtext: Lindsey tries to make amends.
Hope/Fear: We hope she won’t bring it up.
43. INT. LIVINGROOM – NIGHT
Scene Arc: Emma and others arrive as they gather, and it feels like a normal family.
Essence: Everyone is on eggshells.
Conflict: Emma and Lindsey seem at odds still. Everyone wonders if she will commit suicide.
Subtext: Sadie wants a perfect day.
Hope/Fear: Will Lindsey and Emma make amends?
44. INT. LIVINGROOM – NIGHT
Scene Arc: Lindsey shares the journal and diary with the family, their mother’s last wishes for all. A heart-wrenching moment until later when Lindsey
Essence: Lindsey voices her opinion, guessing that her day to die would be on Sadie’s birthday.
Conflict: Sadie gets pissed knowing that is her plan and leaves the room. Sadie gets twisted on pot and laughter fills the air.
Subtext: Lindsey doesn’t want to let go of Sadie.
Hope/Fear: Will things get settled with the family or worsen?
45. INT. LIVINGROOM – DAY
Scene Arc: Christmas Eve day, all is well, Sadie’s first white Christmas. Or, so it seems. Sadie hands out gifts with a note, “Do not open until January 1st”.
Essence: How will they celebrate the day?
Conflict: Sadie told everyone not to bring any presents.
Subtext: Sadie wants to be remembered for being the matriarch, her one last opportunity.
Hope/Fear: Lindsey hopes Brooke will see Sadie as her mother and Sadie treat Brooke like her daughter. Will this be a Christmas everyone will hold dear.
46. INT. SADIE’S BEDROOM – NIGHT
Scene Arc: Last night together. Before Lindsey and Gracie return home, Sadie and Lindsey have a private conversation. Lindsey makes promises. Gracie takes photos. Brooke remains close to Sadie.
Essence: Lindsey’s heartbroken. Lindsey sees Brooke’s pain.
Conflict: Lindsey feels lost and abandoned.
Subtext: She doesn’t know how to say goodbye.
Hope/Fear: All hope seems gone, knowing that this is her last time with her. Grief sets in.
47. INT. OREGON HOME – DAY
Scene Arc: Christmas is over, days go by. Sadie starts experimenting her drugs, Brooke calls Lindsey when Sadie has a serious fall. Asks her not to come, she can handle it.
Essence: Sadie is testing out the drugs in various combinations to find what works the best.
Conflict: Lindsey wants to go be with Sadie but Brooke doesn’t need her. Gracie argues with Lindsey, she wants Lindsey to pack up and go be with Brooke and Sadie.
Subtext: Sadie wants to die.
Hope/Fear: We hope Brooke reaches out but she won’t.
48. INT. OFFICE – DAY
Scene Arc: Brooke is conflicted between her mother’s requests and her dependence and loyalty to Lindsey. She is afraid to help her mother die.
Essence: Brooke doesn’t know what to do.
Conflict: Brooke struggles with Lindsey’s moral beliefs.
Subtext: Brooke doesn’t know if she can go through with helping her mother die.
Hope/Fear: Hope she calls out for help.
49. INT. SADIE’S BEDROOM – DAY
Scene Arc: Sadie has fallen and becomes combative and falls. Brooke calls on the friends for help. Sadie cries out for Lindsey. Lindsey gets the call from Brooke, and leaves for Oregon. Lindsey talks to Sadie for the last time, she heard her.
Essence: Lindsey is needed when Brooke calls her “mom” again and is wanted by Sadie who thinks Brooke is Lindsey.
Conflict: Will she make it in time?
Subtext: Lindsey becomes speechless.
Hope/Fear: Hope she makes it in time.
50. EXT. PORTLAND AIRPORT – DAY
Scene Arc: Lindsey is transferred to a different airport due to snow and fog. Calls Brooke. Brooke with her friends by her side starts drinking shots of tequila.
Essence: Lindsey is stuck in the airport and emotionally.
Conflict: Feelings of guilt surface, she should have listened to Gracie
Subtext: Lindsey needed to know that she was wanted by Brooke.
Hope/Fear: Hope she’ll make it in time.
51. INT. SADIE’S BEDROOM – DAY
Scene Arc: Sadie’s been taking drugs all day, some unknown to Gracie and falls and hits her head in the bathroom and gets stuck. Brooke calls for help, she needs Lindsey.
Essence: Sadie will die today.
Conflict: Brooke’s promise to assist in her passing with the pills frightens Brooke. She feels she’s killing her mom.
Subtext: Brooke wants her mother, afraid to let go.
Hope/Fear: Hope that Brooke finds strength.
52. MOMENTS LATER
Scene Arc: After getting Sadie into bed, Sadie cries out to Lindsey but it’s Brooke at her side. Brooke gets on her knees and prays as she gives her more pills.
Essence: Sadie wants her sister by her side. Sadie dies before Lindsey arrives.
Conflict: Brooke struggles to give her the last pill.
Subtext: This is Sadie’s last day.
Hope/Fear: Will she pass peacefully but doesn’t.
53. INT. OREGON HOME – NIGHT
Scene Arc: Lindsey has arrived but an hour too late. Brooke, exhausted, drunk, sobbing, clings onto Lindsey when she walks in.
Essence: Sadie has passed, Brooke and Lindsey grieve together. Lindsey sends everyone home. Lindsey says her goodbyes to Sadie and begins to change her clothes and fix her bruises.
Conflict: Emotional breakdown for Brooke and Lindsey. Lindsey keeps her promise to make Sadie look good.
Subtext: Brooke hides her anger. Lindsey has to be strong for Brooke.
Hope/Fear:
54. INT. KITCHEN – DAY
Scene Arc: Brooke is processing and can’t bring herself to come over. Funeral home comes for Sadie. Brooke gives Lindsey an envelope (from Sadie) but she doesn’t look at it.
Essence:
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Hope/Fear:
55. INT. LIVINGROOM – DAY
Scene Arc: MONTAGE – Two weeks pass. Lindsey cleans up house for auction. Brooke decides that she doesn’t want anything, takes only a few things, leaves it to Lindsey to pack up. She boxes it up and ships it to Gracie. It’s a “someday” box meant for Brooke. Sadie’s car is filled, a friend drives it to Arizona. There is a burning of papers with Brooke and Lindsey on the deck.
Essence: Time to move on.
Conflict: Lindsey thinks she’s making a mistake but respects Brooke’s decision.
Subtext: Brooke is deeply hurt, abandoned again. Lindsey learns to let go.
Hope/Fear: Will Brooke come back and forgive her mother?
56. EXT. OREGON HOME – DAY
Scene Arc: Lindsey packed up, then stops and walks out of the house to get on a plane.
Essence: Time for Lindsey to grieve and return home.
Conflict: Lindsey faces more things to go through when she comes home.
Subtext: She’s still grieving the loss of her mother, now Sadie.
Hope/Fear: Hope Lindsey gives herself time to grieve.
57. INT. ARIZONA HOME – DAY TWO MONTHS PASS
Scene Arc: Gracie and Lindsey are dividing up items for the family to ship.
Essence: Lindsey is still multi-tasking.
Conflict: She wants answers from Gracie but doesn’t get any.
Subtext: Lindsey is still trying to control everything and everybody.
Hope/Fear: When will she stop and care for herself?
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• This reply was modified 9 months, 2 weeks ago by  jamie handley.

[Denise Bryant]

Denise Bryant. Is there someone willing to exchange draft 1 of my script?

[Sylvia Krawczyk]

WIM+AI – Module 4 – Lesson 9: Scene Requirements
Sylvia’s Scene Requirements
My vision from this program is to challenge myself in my writing genre and write my most amazing script to date.
What I learned from doing this assignment is…interesting how I was able to clear up quite a bit with the first two parts of this assignment and remove the essence. Then, with the required sections, I was able to add back the essences. I haven’t decided on the end so, I have left them here to be decided later.

Genre = Romantic Thriller
Concept = An artist's unexpected reunion with her first love reveals mutual passion that turns to sinister betrayal leading to a crises that unravels her life.
Characters = Character: Protagonist: Hope
Logline: A well-known artist, Hope, is unhappily married to Will.
Unique: Hope is guilt filled that she respects yet does not love her husband. She’s still in love with Joy.

Character: Antagonist: Joy is Hope’s old classmate.
Logline: Full of life, Joy is an art curator. She’s jealously power hungry and wants Hope’s identity.
Unique: Joy was Hope’s first love in High School and Will’s fiancé from College.

Character: Antagonist-Third Wheel: Will is Hope’s husband.
Logline: Will is a family lawyer that avoids responsibilities with his wife, Hope.
Unique: Will is secretly having an affair with Hope’s brother as he helps Joy.
Outline =
Scene 1
INT. BEDROOM – NIGHT
Description: Bad sex between Hope and Will. Will is mechanical as Hope lays bored.
• Scene Arc: Starts with a disconnection between Hope and Will in bed and ends with Hope's growing dissatisfaction and emotional distance.
• Essence: Show the emotional detachment in Hope’s marriage, setting the stage for her longing for something more.
• Conflict: Internal conflict within Hope—she’s stuck in a loveless marriage, unsure how to break free.
• Subtext: Hope feels trapped in a situation where she can’t express her true emotions or desires. This scene hints that she’s missing passion in her life.
• Hope/Fear: We hope Hope will find the emotional and physical connection she’s missing. We fear she’ll stay stuck in this cold marriage.
Scene 2
INT. ART EXHIBIT – EVENING
Description: Hope showcases her older works. She looks at her wedding ring with a frown and carries a tattered letter.
• Scene Arc: Starts with Hope trying to present herself as a successful artist, ends with her feeling unsatisfied with her life, symbolized by the wedding ring.
• Essence: Highlight Hope’s discontent with both her art and her marriage.
• Conflict: Hope’s inner struggle—she’s acclaimed for her past, but feels stifled in the present.
• Subtext: The wedding ring represents the weight of her marriage, while the tattered letter may suggest unresolved issues or past regrets.
• Hope/Fear: We hope Hope will rekindle her artistic passion and find a way to feel alive again. We fear she will remain trapped by her current life.
Scene 3
INT. ART EXHIBIT – CONT.
Description: Hope and Joy lock eyes and smile. The sight of Joy takes Hope's breath away. Joy is the new art curator that wants to exhibit Hope’s work. Hope rejects.
• Scene Arc: Starts with Hope feeling intrigued by Joy’s presence, ends with Hope rejecting Joy’s offer but feeling a spark of something lost.
• Essence: Reintroduce Joy into Hope’s life as a force of potential rekindling but also danger.
• Conflict: External conflict—Joy wants to collaborate, but Hope is hesitant to let her back into her world.
• Subtext: Underneath Hope’s rejection lies the attraction and unresolved feelings for Joy. Joy represents temptation and potential artistic revival.
• Hope/Fear: We hope Hope might open herself up to this new opportunity with Joy. We fear Joy’s motives are not what they seem.
Scene 4
EXT. ART EXHIBIT – CONT.
Description: Joy lights up a cigarette. Will runs late to Joy’s art exhibit. Will is charming to all others and cold to Hope. Hope sees a cryptic text on Will’s phone. Will acts nervous and strange around Michael (Hope’s brother).
• Scene Arc: Starts with the casual atmosphere of the exhibit, ends with suspicion as Hope notices something off about Will’s behavior.
• Essence: Introduce the growing tension in Hope’s marriage, especially regarding Will’s secret life.
• Conflict: External conflict—Hope sees Will’s strange behavior and becomes suspicious, creating friction.
• Subtext: Will’s nervousness around Michael hints at his affair with Hope’s brother. Hope senses something is off but can’t yet identify it.
• Hope/Fear: We hope Hope will confront Will or uncover the truth. We fear Will’s deception will continue and grow worse.
Scene 5
EXT. MEN'S RESTROOM – CONT.
Description: Will primps himself in the men’s room and takes off his wedding band.
• Scene Arc: Starts with Will preparing himself, ends with him symbolically removing his commitment to Hope by taking off his ring.
• Essence: Show Will’s detachment from his marriage and the secrecy he’s maintaining.
• Conflict: Internal conflict—Will is juggling his affair and his marriage, trying to appear composed while hiding his betrayal.
• Subtext: The act of taking off his wedding band suggests that Will isn’t committed to his marriage anymore.
• Hope/Fear: We hope Will’s behavior is exposed soon. We fear he will continue to hide his actions and further betray Hope.
Scene 6
EXT. ART EXHIBIT – CONT.
Description: Will sneaks out of the art exhibit. Will texts Hope that he had to go and couldn’t get her groceries.
• Scene Arc: Starts with Will leaving the exhibit secretly, ends with Hope feeling let down again by Will’s lack of care.
• Essence: Show the lack of communication and care in their marriage.
• Conflict: External conflict—Will’s neglect of simple responsibilities highlights his growing emotional distance from Hope.
• Subtext: The text is an excuse, masking the real reason Will left—his affair and avoidance of Hope.
• Hope/Fear: We hope Hope will start to realize Will’s neglect. We fear she will continue to endure the emotional isolation.
Scene 7
INT. ART EXHIBIT – CONT.
Description: Joy comforts Hope after Will’s betrayal.
• Scene Arc: Starts with Hope feeling abandoned and ends with Joy stepping in as a source of emotional support.
• Essence: Show Joy’s manipulation—she’s positioning herself as a friend but has ulterior motives.
• Conflict: Internal conflict for Hope—she feels comforted by Joy but is also wary of their complicated past.
• Subtext: Joy is using this moment to wedge herself into Hope’s life, setting the stage for her later manipulation.
• Hope/Fear: We hope Hope finds some genuine support. We fear Joy’s intentions aren’t pure, and she’s beginning her manipulation.
Scene 8
INT. ART EXHIBIT – CONT.
Description: Joy tells Hope she’s different and wants to help her rediscover her voice. Joy insists she curate Hope’s next exhibit. Hope reluctantly agrees.
• Scene Arc: Starts with Joy's comforting words, ends with Hope agreeing to let Joy back into her life.
• Essence: Show how Joy subtly manipulates Hope into agreeing, playing on her artistic insecurities.
• Conflict: External conflict—Hope’s hesitation about letting Joy curate her work versus Joy’s persistent persuasion.
• Subtext: Joy’s insistence is not only about helping Hope—it’s about controlling her. Joy sees this as an opportunity to take over Hope’s identity.
• Hope/Fear: We hope Hope’s artistic voice is revived with Joy’s help. We fear Joy will stifle it for her own gain.
Scene 9
INT. HOPE’S STUDIO – DAY
Description: Hope struggles to create new art. She stares at a blank canvas, overwhelmed by her stagnant creativity.
• Scene Arc: Starts with Hope trying to create, ends with her frustrated and creatively blocked.
• Essence: Show Hope’s inner turmoil—her artistic identity is stifled, and she’s unable to move forward.
• Conflict: Internal conflict—Hope’s creative block symbolizes her emotional stagnation and dissatisfaction with her life.
• Subtext: The blank canvas mirrors Hope’s internal void, her need for change and revival.
• Hope/Fear: We hope Hope finds a way to break through her creative block. We fear her struggles will only worsen, leaving her in deeper despair.
Scene 10
INT. HOPE’S STUDIO – CONT.
Description: Joy visits Hope’s studio. She critiques Hope’s current work, subtly undermining her confidence.
• Scene Arc: Starts with Hope showing Joy her current work, ends with Hope feeling more insecure after Joy’s critiques.
• Essence: Highlight Joy’s manipulation—she pretends to support Hope but plants seeds of doubt.
• Conflict: External conflict—Joy’s critiques versus Hope’s desire to believe in her work.
• Subtext: Joy is intentionally undermining Hope to increase her dependence on her guidance. Hope’s growing insecurity will make her more vulnerable to Joy’s control.
• Hope/Fear: We hope Hope sees through Joy’s manipulation. We fear Hope will fall deeper into self-doubt and lean on Joy for validation.
Scene 11
INT. RESTAURANT – NIGHT
Description: Hope meets Joy for dinner. The atmosphere is charged with sexual tension as they reminisce about their past relationship.
• Scene Arc: Starts with a tense but friendly dinner, ends with heightened sexual tension and emotional vulnerability.
• Essence: Reignite the romantic and sexual connection between Hope and Joy, while planting the seeds of manipulation.
• Conflict: Internal conflict—Hope’s unresolved feelings for Joy versus her loyalty to Will.
• Subtext: Joy is aware of the effect she has on Hope and uses their past intimacy to draw her back in. Hope is torn between nostalgia and suspicion.
• Hope/Fear: We hope Hope is able to set boundaries. We fear Joy will draw Hope into a toxic, manipulative relationship.
Scene 12
INT. HOPE’S BEDROOM – NIGHT
Description: Hope stares at her wedding ring in bed while thinking about Joy. She takes the ring off and hides it in a drawer.
• Scene Arc: Starts with Hope feeling conflicted in bed, ends with her symbolically removing her commitment to Will by taking off her ring.
• Essence: Show the emotional shift in Hope’s feelings—her connection to Will is deteriorating, while her thoughts about Joy intensify.
• Conflict: Internal conflict—Hope is torn between the life she has built with Will and the emotional pull she feels toward Joy.
• Subtext: The act of removing the wedding ring symbolizes Hope’s growing distance from her marriage.
• Hope/Fear: We hope Hope finds clarity about her feelings. We fear she is being drawn into a web of betrayal and manipulation.
Scene 13
EXT. ART EXHIBIT – NIGHT
Description: Will arrives at another one of Hope’s events late and drunk. He avoids Hope and engages in conversation with Michael, becoming overly familiar and flirtatious.
• Scene Arc: Starts with Will’s arrival, ends with Hope feeling even more isolated as Will flirts with her brother.
• Essence: Show the cracks in Will’s façade—his drinking, lateness, and behavior with Michael reflect his disregard for Hope.
• Conflict: External conflict—Will’s inappropriate behavior with Michael versus Hope’s growing awareness of his betrayal.
• Subtext: Will’s actions suggest that he’s more invested in his affair with Michael than his marriage.
• Hope/Fear: We hope Hope will confront Will or the truth will come out. We fear Will’s behavior will continue unchecked, deepening the betrayal.
Scene 14
INT. ART EXHIBIT – LATER
Description: Hope confronts Will about his behavior. Will deflects and dismisses her concerns.
• Scene Arc: Starts with Hope’s confrontation, ends with Will refusing to acknowledge the problem, leaving Hope feeling dismissed.
• Essence: Highlight the emotional distance and lack of communication in their marriage.
• Conflict: External conflict—Hope’s desire for answers versus Will’s avoidance and defensiveness.
• Subtext: Will’s dismissal suggests he doesn’t care enough to even try to address the issues in their marriage.
• Hope/Fear: We hope Hope stands up for herself and demands accountability. We fear she will be further gaslighted and dismissed.
Scene 15
INT. HOPE’S STUDIO – NIGHT
Description: Hope, emotionally drained, tries to paint but ends up staring blankly at the canvas. Joy sends her a cryptic text: “I can make it all better.”
• Scene Arc: Starts with Hope struggling to create, ends with her receiving Joy’s text, which tempts her toward a dangerous alliance.
• Essence: Show Hope at her lowest point, emotionally and creatively drained, and how Joy is positioning herself as the solution to all of Hope’s problems.
• Conflict: Internal conflict—Hope’s desire to fix her creative block versus her wariness of what Joy represents.
• Subtext: Joy’s text is a power play—she knows Hope is vulnerable and is offering herself as the answer, with strings attached.
• Hope/Fear: We hope Hope will see the danger in relying on Joy. We fear she will fall deeper into Joy’s control.
Scene 16
INT. HOPE’S STUDIO – NIGHT (LATER)
Description: Hope responds to Joy’s text, agreeing to meet. She closes her laptop and gazes at her unfinished work, feeling a mix of dread and excitement.
• Scene Arc: Starts with Hope feeling conflicted, ends with her making the decision to meet Joy.
• Essence: Show how Hope is both drawn to and afraid of the power Joy holds over her, reflecting her inner turmoil.
• Conflict: Internal conflict—Hope’s desire for creative and emotional revival versus her suspicion that trusting Joy is a dangerous choice.
• Subtext: Hope knows that going back to Joy could lead to something unhealthy, but she craves the validation and emotional spark that Joy offers.
• Hope/Fear: We hope Hope finds the strength to navigate this situation without getting hurt. We fear her decision to meet Joy will push her deeper into manipulation.
Scene 17
INT. RESTAURANT – NIGHT
Description: Hope and Joy meet for dinner. Joy is charismatic, seductive, and presses Hope about taking bold risks in her art. The conversation is flirtatious, but there’s an underlying tension.
• Scene Arc: Starts with a light, seductive conversation, ends with Joy subtly pushing Hope toward more drastic artistic decisions.
• Essence: Highlight the growing sexual tension and Joy’s manipulation, framing it as “help” when it’s really control.
• Conflict: External conflict—Hope’s curiosity about Joy’s ideas versus her hesitation to let Joy dictate her work.
• Subtext: Joy is using seduction to weaken Hope’s defenses, convincing her that bold risks in art (and life) mean trusting Joy completely.
• Hope/Fear: We hope Hope recognizes Joy’s manipulation. We fear she will give in to Joy’s persuasion and lose control of her artistic vision.
Scene 18
INT. WILL’S OFFICE – DAY
Description: Will is at work, visibly stressed. He exchanges flirtatious texts with Michael, his tension easing into relief as they plan to meet later.
• Scene Arc: Starts with Will feeling stressed, ends with him relaxed after making plans with Michael.
• Essence: Show how Will finds emotional and sexual escape in Michael, reinforcing the growing distance from his marriage.
• Conflict: Internal conflict—Will’s guilt about his affair versus his desire for freedom and comfort with Michael.
• Subtext: Will’s need for control over his personal life is slipping, and his escape with Michael is more about running from his responsibilities than genuine love.
• Hope/Fear: We hope Will might reconsider his actions. We fear he will continue deceiving Hope, deepening the betrayal.
Scene 19
INT. HOPE’S STUDIO – DAY
Description: Hope works on a new piece, inspired by Joy’s push for boldness. The painting is raw, chaotic, and aggressive, reflecting her inner turmoil. Joy arrives and praises Hope’s work, calling it a breakthrough.
• Scene Arc: Starts with Hope deep in creative flow, ends with Joy affirming Hope’s new direction.
• Essence: Show Hope’s artistic breakthrough as both liberating and troubling—her art reflects her internal chaos, spurred on by Joy’s manipulation.
• Conflict: Internal conflict—Hope feels a sense of creative release but wonders if she’s losing herself in the process.
• Subtext: Joy’s praise isn’t entirely genuine—she sees Hope’s unraveling as part of her plan to control her and her work.
• Hope/Fear: We hope Hope finds genuine inspiration in her work. We fear that Joy is leading her down a path of creative destruction.
Scene 20
INT. GALLERY – DAY
Description: Hope’s new paintings are displayed at a private showing organized by Joy. The crowd admires her boldness, but Hope feels disconnected from her own work. Joy basks in the praise.
• Scene Arc: Starts with Hope’s new work being celebrated, ends with her feeling hollow and questioning her direction.
• Essence: Show the external success juxtaposed with Hope’s internal dissatisfaction, emphasizing how her artistic voice is being overtaken by Joy’s influence.
• Conflict: Internal conflict—Hope’s desire to be celebrated as an artist versus her growing discomfort with the direction her work has taken.
• Subtext: Joy is positioning herself as the mastermind behind Hope’s “breakthrough,” feeding her ego at the expense of Hope’s autonomy.
• Hope/Fear: We hope Hope reclaims her creative voice. We fear she will continue to let Joy dictate her work, losing herself in the process.
Scene 21
EXT. HOPE’S GALLERY – NIGHT
Description: Hope steps outside for air, overwhelmed by the success of the exhibit and her growing doubts about Joy’s role in her life. She notices Will arriving late again, this time with Michael.
• Scene Arc: Starts with Hope feeling emotionally conflicted, ends with her seeing Will and Michael together, deepening her sense of betrayal.
• Essence: Highlight the emotional weight building on Hope as she questions her art, her marriage, and her choices.
• Conflict: External conflict—Hope’s desire for clarity versus the layers of deceit and manipulation surrounding her.
• Subtext: The sight of Will with Michael reinforces Hope’s feeling that everyone close to her is betraying her trust in some way.
• Hope/Fear: We hope Hope confronts the truth about her marriage and her relationship with Joy. We fear she will feel more isolated and trapped.
Scene 22
INT. GALLERY – NIGHT
Description: Hope confronts Will about his relationship with Michael. Will tries to deflect, but Hope demands answers. The confrontation escalates, leaving both feeling raw and exposed.
• Scene Arc: Starts with Hope calmly confronting Will, ends with a heated argument where both their deceptions are laid bare.
• Essence: Highlight the cracks in their marriage, showing how their mutual betrayals have reached a breaking point.
• Conflict: External conflict—Hope’s demand for the truth versus Will’s reluctance to admit his affair.
• Subtext: The confrontation is not just about the affair—it’s about the deeper emotional void between them, their shared failures in the marriage.
• Hope/Fear: We hope Hope finds closure or clarity. We fear this confrontation will only lead to more pain and confusion.
Scene 23
INT. JOY’S APARTMENT – NIGHT
Description: Hope arrives at Joy’s apartment, emotionally distraught. She seeks comfort from Joy, but Joy sees this as an opportunity to further manipulate her.
• Scene Arc: Starts with Hope seeking emotional support, ends with Joy positioning herself as Hope’s savior, deepening her hold on her.
• Essence: Show Joy’s power over Hope growing—she comforts her, but there’s an underlying sense that she’s pulling Hope deeper into her web.
• Conflict: Internal conflict—Hope’s need for emotional support versus her unease about relying on Joy.
• Subtext: Joy is exploiting Hope’s vulnerability, using it as a tool to further bind Hope to her emotionally and creatively.
• Hope/Fear: We hope Hope realizes she’s falling into Joy’s trap. We fear Joy’s manipulation will become even more dangerous.
Scene 24
INT. JOY’S APARTMENT – LATER THAT NIGHT
Description: Hope stays over at Joy’s apartment. The atmosphere is intimate but unsettling. They drink wine, and the tension between them grows. Joy continues to subtly criticize Hope’s past choices while praising her current direction. Hope feels conflicted, unable to fully trust Joy but craving her approval.
• Scene Arc: Starts with Hope seeking solace, ends with Joy deepening her manipulation, leaving Hope emotionally dependent.
• Essence: Focus on the toxic push-pull dynamic between Hope and Joy—seduction mixed with emotional manipulation.
• Conflict: Internal conflict—Hope’s yearning for validation from Joy versus her growing sense that Joy is using her.
• Subtext: Joy frames her manipulation as “truth-telling” under the guise of helping Hope grow, when in reality, she’s breaking her down.
• Hope/Fear: We hope Hope realizes Joy’s manipulations. We fear she will fall further into emotional dependency on Joy.
Scene 25
INT. WILL’S OFFICE – DAY
Description: Will meets Michael for lunch in his office. Their conversation is casual but increasingly tense as they discuss the future of their relationship. Will wants to keep things secret, but Michael pushes for more commitment, leading to a moment of confrontation.
• Scene Arc: Starts with casual conversation, ends with rising tension as Michael pushes Will for a more serious relationship.
• Essence: Highlight Will’s internal struggle between maintaining control over his life and relationships versus his fear of losing his facade.
• Conflict: External conflict—Will’s reluctance to commit to Michael versus Michael’s desire for more.
• Subtext: Will’s relationship with Michael represents his escape from his responsibilities, but it’s becoming another source of pressure.
• Hope/Fear: We hope Will starts to confront his truth and make honest choices. We fear he will continue hiding, leading to greater personal collapse.
Scene 26
INT. HOPE’S STUDIO – DAY
Description: Hope tries to work on a new painting but feels blocked. The pressure from Joy’s expectations and her unraveling personal life weighs heavily on her. She receives a call from her brother, who reveals his suspicions about Will’s affair.
• Scene Arc: Starts with Hope’s creative block, ends with the bombshell revelation that her brother suspects Will’s affair.
• Essence: Hope’s life is spiraling out of control, with both her creative and personal life unraveling.
• Conflict: Internal conflict—Hope’s inability to focus on her work versus the emotional chaos surrounding her.
• Subtext: The creative block is symbolic of Hope’s loss of identity—she’s no longer in control of her art or her life.
• Hope/Fear: We hope Hope uses this moment to regain control of her life. We fear this revelation will push her further into crisis.
Scene 27
INT. HOPE’S APARTMENT – NIGHT
Description: Hope confronts Will about the affair with her brother. Will initially denies it, but when pressed, he admits to it. Hope is devastated, feeling completely betrayed and isolated. Will tries to justify his actions, but it only deepens the emotional distance between them.
• Scene Arc: Starts with Hope demanding the truth, ends with Will’s confession and Hope’s devastation.
• Essence: This is the emotional climax of Hope and Will’s relationship—everything is laid bare, and the marriage is shattered.
• Conflict: External conflict—Hope’s need for the truth versus Will’s reluctance to fully admit his betrayal.
• Subtext: Will’s justification is hollow—he’s not apologizing but rather rationalizing his actions, which only furthers Hope’s sense of betrayal.
• Hope/Fear: We hope Hope finds the strength to move on from Will. We fear this betrayal will push her deeper into emotional collapse.
Scene 28
EXT. STREET – NIGHT
Description: Hope walks aimlessly through the city after her confrontation with Will. The streets are empty, mirroring her isolation. She ends up at Joy’s apartment, feeling like she has nowhere else to go.
• Scene Arc: Starts with Hope in emotional turmoil, ends with her arriving at Joy’s apartment, seeking refuge.
• Essence: Highlight Hope’s emotional isolation and desperation, her life in ruins and nowhere left to turn but Joy.
• Conflict: Internal conflict—Hope’s feelings of betrayal and loss versus her dependence on Joy for emotional support.
• Subtext: Hope’s decision to go to Joy represents her being pulled further into Joy’s control, even though deep down she knows it’s not a healthy choice.
• Hope/Fear: We hope Hope finds a way to regain her independence. We fear that seeking comfort from Joy will only make things worse.
Scene 29
INT. JOY’S APARTMENT – NIGHT
Description: Hope and Joy drink wine. Hope opens up about her confrontation with Will, and Joy listens, appearing to sympathize but subtly reinforcing Hope’s dependency on her. They share a tense, intimate moment that hints at something more than friendship.
• Scene Arc: Starts with Hope seeking comfort, ends with a heightened intimacy between her and Joy, pulling her further under Joy’s influence.
• Essence: Emphasize the toxic seduction Joy exerts over Hope, presenting herself as a source of comfort but actually deepening Hope’s emotional dependency.
• Conflict: Internal conflict—Hope’s need for emotional support versus her awareness that Joy is manipulating her.
• Subtext: Joy is using Hope’s vulnerability to bind her closer, cloaking her manipulation in care and affection.
• Hope/Fear: We hope Hope realizes the unhealthy dynamic. We fear Joy’s influence will become even more dangerous as the power dynamic shifts further.
Scene 30
INT. COURTROOM – DAY
Description: Hope and Joy face off in court over the ownership of Hope’s work. Joy has manipulated the situation to claim credit for Hope’s recent success, but Hope has gathered evidence of Joy’s deception. This is a climactic moment, as both women fight for control—over the art, their reputations, and their futures.
• Scene Arc: Starts with the legal battle over Hope’s work, ends with Hope exposing Joy’s deception, reclaiming her power.
• Essence: This is the final showdown—an intellectual and emotional battle that reflects the power dynamics of their relationship.
• Conflict: External conflict—Hope’s fight to reclaim her work and her identity versus Joy’s attempt to take credit and destroy her.
• Subtext: This is not just about the art—this is about control, identity, and breaking free from manipulation.
• Hope/Fear: We hope Hope triumphs and reclaims her autonomy. We fear that Joy’s manipulation has gone too far, and she will come out on top.
Scene 31
EXT. COURTHOUSE – DAY
Description: Hope walks out of the courthouse victorious. She feels a sense of relief but also a weight—her life has been irreparably changed. She is free from Joy’s influence but now faces the task of rebuilding her sense of self, both as an artist and a person.
• Scene Arc: Starts with Hope leaving the courthouse, ends with her walking into an uncertain future, but with a renewed sense of personal strength.
• Essence: Focus on the bittersweet nature of victory—Hope has reclaimed her power but at great personal cost.
• Conflict: Internal conflict—Hope’s sense of triumph versus the emotional scars left by Joy’s betrayal and Will’s affair.
• Subtext: Hope’s journey has been about reclaiming her identity, and while she’s won the external battle, the internal healing is just beginning.
• Hope/Fear: We hope Hope will heal and find a new, healthier path forward. We fear the emotional damage has left her too wounded to fully recover.
Continue through the last scene/or change:
Scene 32
INT. HOPE’S STUDIO – DAY
Description: Hope returns to her studio for the first time since the trial. The space is filled with her unfinished work, representing the emotional chaos of her recent life. She takes a deep breath, picks up a brush, and begins painting. The brush strokes start hesitantly but then become more confident as she loses herself in the creative process.
• Scene Arc: Starts with Hope uncertain and tentative, ends with her rediscovering her artistic voice and sense of control.
• Essence: This is Hope’s final moment of empowerment—reclaiming her identity not just through external victories, but through reconnecting with her art, which had been stifled by the emotional turmoil.
• Conflict: Internal conflict—Hope’s lingering doubts and emotional scars versus her desire to move forward and reclaim her artistic passion.
• Subtext: The act of painting represents Hope’s rebirth—she’s no longer defined by others, by Joy, or by Will. She is reclaiming her creativity and her future on her terms.
• Hope/Fear: We hope that Hope has truly found the inner strength to heal. We fear that the emotional damage will still haunt her.

Scene 33
EXT. ART GALLERY – NIGHT
Description: Hope’s new exhibit opens to great success. The gallery is filled with attendees admiring her latest work. Unlike previous openings, Hope is not the center of attention, but she doesn’t mind. She’s content, observing from a quiet corner. This time, her art speaks for itself, and she no longer needs external validation. Will shows up briefly, but they share only a nod—no words are needed.
• Scene Arc: Starts with the opening of the new exhibit, ends with Hope content and at peace with herself and her work.
• Essence: This scene represents closure—not just for Hope’s relationship with Will but also for her journey to reclaim her identity as an artist.
• Conflict: External conflict is minimal here, as the focus is on Hope’s internal resolution.
• Subtext: Will’s silent nod acknowledges that the past is behind them, and Hope’s calm demeanor shows that she no longer needs validation from him or anyone else. She’s found peace within herself.
• Hope/Fear: We hope that this marks a new, healthier chapter in Hope’s life. We fear that lingering doubts or scars could resurface, but we sense her resilience has strengthened.

Scene 34
EXT. CITY STREET – NIGHT
Description: Hope walks through the city streets alone, but this time, she walks with purpose. The city is alive around her, but she is calm and focused. She gazes up at the night sky, taking a deep breath as if breathing in her freedom. The world is open to her again.
• Scene Arc: Starts with Hope walking through the city, ends with her quietly empowered and looking forward to the future.
• Essence: The journey ends with Hope finding peace not through others, but through herself. She has broken free from Joy’s manipulation, Will’s betrayal, and her own self-doubt.
• Conflict: Internal conflict is resolved here—Hope is no longer torn between her past and her present. She’s stepping into her future, free and confident.
• Subtext: The open city represents endless possibilities—Hope is no longer confined or defined by her relationships, and she is ready to embrace her life on her terms.
• Hope/Fear: We hope that this final moment of peace is lasting and that Hope’s journey to emotional freedom is complete.

Scene 35 (Final Scene)
INT. HOPE’S STUDIO – DAY
Description: Hope stands in her studio, gazing at her latest masterpiece—a strikingly bold and beautiful painting, unlike anything she’s ever created. It represents her journey, her pain, and her triumph. She smiles, brushes her hand over the painting, and the scene fades to black.
• Scene Arc: Starts with Hope reflecting on her latest work, ends with her final moment of personal triumph.
• Essence: This is Hope’s ultimate victory—her art is not just a product of her pain but of her growth. She has transformed her trauma into something powerful and beautiful.
• Conflict: All conflicts are resolved here—Hope has won the external battles and the internal one.
• Subtext: The final painting represents Hope’s rebirth as an artist and a person. She has finally found the balance between her art, her identity, and her emotional freedom.
• Hope/Fear: We end on a note of hope, with the belief that Hope’s journey has led her to a place of fulfillment and peace.
Scene 35 (Final Scene)
INT. HOPE’S STUDIO – DAY
Description: Hope stands in front of a large canvas, staring at the blank space, but with a newfound sense of confidence and purpose. The room is bathed in natural light. A naked woman, serene and comfortable in her vulnerability, poses on a platform at the center of the room. The woman’s body is raw, real, and imperfect, yet Hope sees beauty in the truth of her form.
Hope dips her brush into vibrant paint and begins to sketch the woman’s outline on the canvas. Each stroke is bold, deliberate—there is no hesitation in her movements. She loses herself in the flow of creation, the sounds of the brush against the canvas filling the space.
As Hope continues to paint, the woman’s body transforms into an expression of everything Hope has been through—betrayal, manipulation, desire, and ultimately, liberation. The painting becomes a reflection of her journey: both the woman on the canvas and Hope herself are raw, real, and unguarded, free from judgment.
Hope steps back from the canvas, gazing at the completed work. It is unlike anything she’s ever painted—an unfiltered, fearless expression of truth. A smile crosses her lips, not just for the art she’s created, but for the woman she has become.
• Scene Arc: Begins with Hope confronting the blank canvas and ends with her finishing her masterpiece, which symbolizes her emotional journey and transformation.
• Essence: The painting of the naked woman is not just a piece of art—it represents Hope’s final acceptance of vulnerability and her reclaiming of power through that honesty. She is no longer hiding or censoring her work, her emotions, or her identity.
• Conflict: Internal conflict between Hope’s vulnerability and her strength is resolved here. She now sees her vulnerability as a source of power, rather than a weakness.
• Subtext: The naked woman is both Hope and not Hope. She represents all the pain, truth, and beauty that Hope has finally embraced. This moment ties together her journey—through betrayal, desire, and finally, self-acceptance and artistic freedom.
• Hope/Fear: We hope this final act of artistic creation is the culmination of Hope’s journey toward emotional freedom, and we feel the weight lifted as she fully reclaims herself.

• This reply was modified 7 months ago by  Sylvia Krawczyk.