Lesson 9

[Lloyd Shellenberger]

Working hard every day to become the best writer I can be and as a result I do become the Best writer in Hollywood.

Lloyd Shellenberger Module 4 Lesson 9 Scene Requirements

“What I learned from doing this assignment is the continued and precise plotting of these scenes helps to nail down what you want from your characters and the scenes themselves.

ACT 1:

INT. OPERATIONS CENTER 306th INFANTRY CO. – PRE DAWN 2-5 Pages

SCENE ARC 1:

START: Early morning patrol prep. Designed to show Reese’s demand for compliance and protocal. Soldiers mock his preciseness.

END: the interpreter gets denial letter from the State Department, Reese retrieves it from the trash.

EXT. GREEN ZONE FRONT GATE BAGHDAD – DAWN 5-10 Pages

SCENE ARC 2:

START: Humvees and MRPS exit the Green zone and rumble through the street of Baghdad.

They eventually pull up to the park entrance. Patrol mission: open air market in Baghdad. Interpreter spots trench and wires. Reese, his men, civilians, and the interpreter are in the Kill Zone. Reese must extract his men and the civilians before the explosives are detonated.

END: Scene ends with Reese and his men chasing Al-Sadar through a building only to find it was an ambush.

INT. GREEN ZONE COMPANY HEADQUARTERS – LATER THAT DAY 2-3 Pages

SCENE ARC 3:

START: Reese sits in his office writing a letter to the family of the soldier. He can no longer contain himself and violently sweeps his desk. He has written too many of these. Reese remembers what his father told him before he left home, “You are just as responsible as though you had pulled the trigger yourself”.

END: Those words ring true. Reese breaks down and cries.

Essence: The scenes are designed to show how far the transformational journey for Reese must be. We also see the struggles and tragedy war has brought to the Iraqi people. Reese must now recognize this fact also. In particular the interpreters have been vilified and exposed.

Conflict: Reese and his men are up against a brutal and skilled terrorist cell. The State Department is part of the triangle Reese must defeat. War presents unforgiving consequences for any mistakes. The game is life and death.

Subtext: This scene opens a wound from Reese’s past about the loss of his brother in a drive by. Reese always plays by the rules until he can’t. Reese’s rude and dismissive behavior toward the interpreter is changed forever when he is saved by him. His realization that soldiers are not the only ones suffering in this war. The fact that the interpreter didn’t tell him he had applied for asylum is a stinging bite since Reese felt he understood the dynamics of the war better than anybody. During the market scene we foreshadow the murder of the Interpreter.

Hope/fear: His hope that day is to have an uneventful day. His fear is exactly what happened. He lost a man and he may be at fault for it.

Intrigue moments scene one: Lesson 8 Incorporate into scene. Further insights to be incorporated into the scene below.

Scheme: SFC Reese an his men are setup on routine patrol by a terrorist. The terrorist sets up the ambush leaving Reese and his men to decide who lives and dies. Reese is saved by his Iraqi interpreter. Reese lets his anger get the better of him and it costs the life of a soldier as this was a set for an ambush.

Superior position. The interpreter figures out this is an ambush and saves Reese. Al-Sadar played upon Reese’s anger baiting him into a chase.

Irony/Intrigue: The same interpreter he is often rude and dismissive is the hero that saved him. He finds out the interpreter was a soldier too.

Cover up: Before the market scene. Reese gives his safety speech, meanwhile the Interpreter is called into the commanders office and given a letter. He later reads it in the briefing room and realizes it is another denial letter from the State Department for his Asylum request. He angrily tosses it into the trash and is visibly upset. He will not tell Reese. Reese retrieves the letter and reads it.

Mystery: What is he afraid of? Why won’t he show it to Reese? He believes Reese will never understand and would be of little help.

Intrigue: The letter is coming from the Baghdad office and an individual Reese thought was sympathetic to the plight of the interpreters. Why is he denying the request. We find out later it is the Iraqi government demanding the US Army turn over the names of the Interpreters which the State Department has resisted until now.

Scheme: Before every mission the Interpreter asks the commander to take care of his family if anything happens to him, but not Reese. Why? When Reese questions him about the letter he is offended that the interpreter has not come to him before.

ACT 2:

EXT. BAGHDAD STREET – PREDAWN A quite street appears normal but this is a prelude to the hell that is about to be unleashed by Al-Sadar and his men. 4-10 Pages

SCENE ARC 4:

START: The family appears to begin another day normally but it is the Interpreter’s last moments. Reese receives a phone call telling him his family is under attack. He immediately dispatches the QRF to the Interpreters home

END: The interpreter lies dead on the front lawn as the family watched his murder in horror.

INT. INTERPRETER’S HOME BAGHDAD – PRE-DAWN 4-10 Pages

START: Reese and his men stakeout the the home to protect the family, Al-Sadar returns as promised. Reese tries to deal with an incompetent police force with little interest in helping. Reese finds stacks of denial letters from the State Department.

END: Al-Sadar returns, but he is unsuccessful. Reese’s newest soldier is killed in the raid.

INT. 306th INFANTRY DIVISION HEADQUARTERS – NIGHT 2-3 Pages

SCENE ARC 5:

START: Reese is told he will face disciplinary hearings for the loss of two men and he may loose his command.

END: His commander tells him to just do his job and get the hell out of this place alive. Reese tells him there is more than that to helping these people. He shows him the letters from the interpreters family.

INT. STATE DEPARTMENT OFFICE – DAY 2-3 Pages

SCENE ARC 6:

START: Reese throws the letters on the desk of the diplomat and asks him to justify the murder of his interpreter. He can’t but he tells him the Iraqi government is demanding the names of the interpreters but he hasn’t given them to the Iraqi officials.

END: Reese leaves vowing to help this family at all costs and suggest the Diplomat help and do not give the Iraqis the interpreters names.

Essence: The scenes are designed to show what levels of bureaucracy Reese must fight and the futility of the fight. We also see the fight the Interpreter and his family faced requesting Asylum.

Conflict: The State Department is being pressured not to give Asylum visas to the interpreters. Trying to keep the family alive with limited resources, cooperation, and manpower.

Subtext: Reese sees the family as his validation of everything he is doing as a soldier and vindication for his brother’s murder. The State department and those in charge can no longer be trusted.

Hope/fear: His hope is that he can get an asylum visa for this family. Fear, they will be killed before he can get them out.

Intrigue moments Act Two: Lesson 8 Incorporate into scene. Further insights to be incorporated into the scene.

Covert Agenda: Al-Sadar has decided he will make and example of the interpreter and his family. He ambushes them at his home killing an American Soldier.

Cover Up: the interpreter knew who the Terrorist was but said nothing out of fear. The Terrorist has moles even in the units and on the main post.

Conspiracy: Reese and his men deceive their command and protect the widow and her children. Reese believes he can kill Al-Sadar and sets him up at the widows home but he only wounds him. Reese realizes he is up against a skilled opponent.

Intrigue:

Wound open for Reese: connected to the child killed at the market. Reese’s soldier’s connect the dots and realize his brother was murdered in a drive by shooting.

Cover Up concerning Reese: They also suspect he killed the ones responsible for that. He has never returned home to Brooklyn and visit his parents like other soldiers.

Mystery: Did he kill his brothers murderers. Why is he so street smart? We see this in the First act. He immediately calls for the spotter.

He knows someone is watching and waiting to set off the bombs. He doesn’t tip his hand.

Scheme: He decides to play politics and take on the State Department. He will not accept the denial letter and he draws in the Congressman.

Covert Agenda: No one knows he was going to basically take the Congressman to the family home. The military command din’t know it was a setup when he volunteered for VIP protection duty. The audience didn’t know either.

ACT 3:

EXT. HUMVEE – STREETS OF BAGHDAD – DAY 4-6 Pages

SCENE ARC 7:

START: There are a series for bombings depicted on the news and in the streets of Baghdad. These are seen from the pedestrians point of view. News Clipping will also help.

END. Bodies being place in body bags as the death toll mounts.

EXT. WIDOWS HOME – NIGHT 5-8 pages

SCENE ARC 8:

START: Reese and his men do an off the books mission of visiting a Sheiks house

END: They convince him to give up Al-Sadar of the money will be cut off.

INT. US EMBASSY GREEN ZONE ROBERT DELANEY’S OFFICE – NEXT DAY 1-2 Pages

START: Congressmen and women from various districts are in his conference room. A knock on the doors alerts Robert. He answers and Reese appears.

END: Reese is on the mission as VIP protection for the Congressman and his crew.

EXT. STREETS OF BAGHDAD UP- ARMORED BUSES – DAY 5-8 Pages

SCENE ARC 9: 10 Pages

START: The Congressman stands up and walks to the front of the bus. He orders the driver to go to this address. It is the Widows. 8-12 Pages

END: After talking to the widow and her family the Congressman agrees to sponsor them. The Diplomats are furious with Reese since he arranged this behind their back but there is nothing they can do.

INT. COMMANDERS OFFICE GREEN ZONE BAGHDAD – DAY 2-4 Pages

SCENE ARC 10:

START: Reese and his men are told they will be sent back and they will face disciplinary action. Reese responds by saying he can bring down Al-Sadar. He says he is the only one that can do. Reese tells them who the mole is and how they can use him. Plan is devised.

END: The state Department agrees to Reeses plan and allows him and his men to stay if he can pull it off. Al-Sadar is to be brought in alive. Reese also tells them they will protect the widow and her children until they are on the plane and safe.

Essence: Reese’s old way are gone he is committed at all cost to stop Al-Sadar and save this family.

Conflict: Time is not in his favor or the widows. The terrorists will kill the family.

Subtext: This is Reese’s salvation. He cannot let the widow and children die like he did his brother. They are the one thing that validates him and who he has become and what he has left behind.

Hope/fear: His hope was to get the Congressman to sponsor them. His fear would be he wouldn’t and they would be denied the visa.

Intrigue moments Act Three: Lesson 8 Incorporate into scene.

Cover Up. Reese and his men are staying at the home of the widow against the orders of the Command. Reese reminds his commander of the promise he made.

Hidden Agenda: Reese uses this time to gather intel. He actually leaves the wire and contacts a local sheik. Reese demands he hand over Al-Sadar or the protection payments will end.

Hidden Identity: There is a mole on the main post identified by the Sheik. The command doesn’t fire him, instead they use him to set up Al-Sadar.

Covert Agenda: By feeding the informant false information the State Department is able to determine who the mole is. Reese follows him and locates Al-Sadar.

A sense of Urgency: Attacks around Baghdad have increased leaving bodies in their wake.

Reese says he can stop them. The CIA and intel mock him asking how a grunt can do what they can’t. He says because I know him, I am him!

Scheme: Reese and his men are facing military discipline but Reese cuts a deal to bring Al-Sadar in. He sets up Al-Sadar using the mole. Reese has no intention of bringing Al-Sadar in alive. He tells the mole their will be a small patrol on Heifa Street and when. He also tells the mole he will be leading that patrol. Al-Sadar has his sights set on Reese, the man who injured him.

ACT 4

INT. STATE DEPARTMENT OFFICE US EMBASSY GREEN ZONE – DAY 2-4 Pages

SCENE ARC 11:

START Reese is called in by the diplomat and a Col. who tells him he is playing a dangerous game. If he fails and more men are killed his career is over.

END: He convinces him he has intel and needs their help in setting up Al-Sadar, they agree and the plan is set in motion. The Visa is approved and the preparations are made to get them out of Baghdad.

EXT. HEIFA STREET BAGHDAD – DAY 4-10

SCENE ARC 12:

START: It appears as though Reese and his men are on their own but hey are bait. The 81st has already scouted the position and several OH-58’s are in the are ready for the battle.

END: Reese and his men Kill Al-Sadar and his crew. Reese does not lose anymore men.

INT. STATE DEPARTMENTS OFFICE US EMBASSY BAGHDAD – DAY 3-5 Pages

SCENE ARC 13:

START: Reese is told that the names of the interpreters were submitted but because of the language barrier they may have submitted the wrong names.

END: The ambassador thanks him for reminding him why we are here and tells him if he ever want to run for office he should since he can play a pretty mean game of politics. He also tells him the mole was arrested.

EXT. GRAVEYARD BAGHDAD – DAY 1-2 Pages

SCENE ARC 14:

START: Reese and his men exit the MRP and escort the family to her husbands grave. Reese promises to come and see her and the boys.

END: She boards the bus and we cut to the BIAP with a C130 taking off.

EXT. SOLDIER’S PHONE PHONE BANK GREEN ZONE- DAY 1-2 Pages

SCENE ARC 15:

START: Reese picks up a phone and hesitates. He hangs up and walks away.

END: A second later he returns and dials a number.

INT. REESE”S PARENTS HOME BROOKLYN, NY – NIGHT 1-2 Pages

SCENE ARC 16:

START: You see the parents and Reese talking on the phone/spit screen. They seem genuinely happy to hear from him.

END: We fade out as we see Reese finally at peace with himself and the ones he loves.

Essence: The essence of this act is simple. We also Reese put to bed the demons he has been wrestling with. Reese has achieved his inner journey and the transformation is complete.

Conflict: Finding and facing off against a formable foe such as Al-Sadar. Getting all the agencies to work together when they aren’t very good at it.

Subtext: Killing Al-Sadar was akin to slaying his own demons. He needed that to move on.

Hope/fear: The hope is Reese continues on with his military career and prospers and that he has left his negative past behind. The fear of failing was huge. Being sent back with his men in disgrace.

Intrigue Moments Act 4: Lesson 8 Incorporate into scene.

Covert Agenda: More false information is sent out. Al-Sadar takes the bait.

Superior Position: Soldiers from the 81st Airborne are deployed. The audience doesn’t

now they are already in place. Neither does Al-Sadar. Reese and his men act as bait. The battle ensues and Reese kills Al-Sadar and his crew. His command wanted him alive but they will let it go.

Act of Defiance: Reese and his unit take the widow and the family to her husbands grave.

Intrigue: Seeing the pain of leaving her country forever the widow ask Reese to come see

her again. She also tells him to forgive himself and call his parents. En-Shalla let it go. She knows what happened.

Wound: The wound Reese has been carrying around all these years is now settled. He calls his parents and they are happy to hear from him. They have forgiven him a long time ago. .

• This reply was modified 1 year, 9 months ago by  Lloyd Shellenberger.

[Alyssa Giannola]

Alyssa’s Scene Requirements

One Sentence Vision: To be the best writer I can be and a go-to writer in the industry, crafting scripts that become successful movies and make a lasting impact on people.

What I learned from this assignment is…how helpful it is to break down scenes in this way and collect scattered thoughts into a logical and emotionally impactful way. It revealed a few beats that I needed to change from my original beat sheet. There are a few things still missing, hoping to fill those in as I go.

ACT 1: Alex becomes a Fate Runner and receives the Death Fortune

FADE IN

Opens with a V.O. from Nijara that gives exposition about the state of the world, Fate being the new god, and introduces the idea of daily fortunes (one page with minor visuals).

1. EXT. ROOFTOP – DAY

Alex’s father has the “death fortune” and tries to throw himself, Alex (as a child) and Alex’s mother off a half-built skyscraper’s roof but Alex escapes at the last second.

• Scene Arc: From looming death for all three to one survivor
• Essence: Alex survives his father’s murder-suicide
• Conflict: Alex vs his father, his father vs mother, father vs the cops
  Subtext: Alex is the reason his father received the Death Fortune
• Hope/fear: Fear for Alex and his family. Hope that Alex will escape.

2. EXT. ALEX’S LAB – NIGHT

30 years later: a sky car haphazardly flies through the city and parks badly in front of the lab. Alex exits, rushed, and hurries into the building (his official introduction).

• Scene Arc: From danger (driving) to relief (only late)
• Essence: Alex arrives late for the gala.
• Conflict: Alex vs pedestrians who are annoyed at his driving/parking skills.
• Subtext: His car, clothes and lab are all a bit run down revealing he’s running out of money.
• Hope/fear: Fear that this guy is drunk and could hurt someone. Hope that he doesn’t.

3. INT. ALEX’S LAB – LOBBY – NIGHT

Alex is stopped by security robots until his assistant, Jo, enters and calms things down.

• Scene arc: From getting kicked out to escorted in
• Essence: Jo helps Alex get past robots
• Conflict: Alex vs the robots
• Subtext: Alex distrusts technology that he can’t control
• Hope/fear: Fear the robots may kick him out to hope as Jo arrives.

4. INT. ALEX’S LAB – GALA ROOM – NIGHT

Jo asks Alex about the mystery announcement and testing as they walk to the main stage.

• Scene Arc: From confidence to anxiety (delayed fortune reveal)
• Essence: Jo and Alex discuss the upcoming announcement.
• Conflict: Alex vs Jo
• Subtext: Alex doesn’t want to tell Jo the truth because she’s a believer in Fate.
• Hope/fear: Fear that his delayed fortune might be a bad sign. Hope that it’s fine.

5. INT. ALEX’S LAB – SUPPLY CLOSET – NIGHT

Jo pulls Alex into a supply closet when he mentions he hasn’t gotten his fortune yet.

• Scene Arc: From worry to partial reassurance
• Essence: Alex and Jo discuss his delayed fortune and what it could mean.
• Conflict: Alex vs Jo as she interrogates him on the delayed fortune, he deflects
• Subtext: Jo is attracted to Alex and he’s not immune.
• Hope/fear: Fear that his delayed fortune might be a bad sign. Hope that it’s fine.

6. INT. ALEX’S LAB – GALA ROOM – NIGHT

Alex announces his project and how it will “set people free” from the religion of Fate. It’s not received well. He receives a delayed fortune to destroy the experiment.

• Scene Arc: From confidence to shattered hope
• Essence: Alex gives a speech and then gets a fortune to destroy his project.
• Conflict: Alex vs crowd as they react badly, Alex vs himself when he gets the fortune
• Subtext: Jo is shocked about Alex’s revelation. Alex is terrified of the fortune he received
• Hope/fear: Hope that his speech will be received well. Fear that he got terrible news.

7. INT. ALEX’S LAB – LOBBY – NIGHT

Alex tries to run but his head scientist, Lila, pings him about an emergency and he can’t leave.

• Scene Arc: From running away to running back in
• Essence: Alex tries to leave the building but is called back for an emergency
• Conflict: Alex vs himself as he attempts to run, Alex vs Jo as she convinces him to obey
• Subtext: He’ll do anything but destroy his life’s work, even if it kills him.
• Hope/fear: Hope that Alex can escape. Fear that he can’t.

8. INT. ALEX’S LAB – PRIMARY LAB – NIGHT

Alex and Lila work to save the experiment but they fail and part of the lab blows up, killing Jo.

• Scene Arc: From confident to defeated
• Essence: The serum is destroyed and Jo dies.
• Conflict: Alex vs experiment as it overheats, Alex vs Jo as she tries to stop him.
• Subtext: Jo knows what Alex’s fate is but he doesn’t let her tell Lila.
• Hope/fear: From hope that Alex can change his fate to fear for their lives

9. EXT. ALEX’S LAB – NIGHT

Alex gets medical care as Jo’s body is removed. Celia interrogates Alex about what happened.

• Scene Arc: From sorrow and affection to frustration and further separation.
• Essence: Alex and Celia argue about what really happened.
• Conflict: Alex vs Celia
• Subtext: Alex is in denial. Their marriage is on the rocks. Celia still cares for him.
• Hope/Fear: Hope they get along, fear they’ll push each other away

10. EXT. SIDEWALK – NIGHT

Alex walks to his apartment and passes a jumper w/ a death fortune who threw himself from the roof, just like his father did.

• Scene Arc: From denial about his future to a reminder of his past and what could come
  Essence: Alex is reminded of his father’s death and that it’s his fault on his way home.
• Conflict: Alex vs himself as he tries to forget the past and deny the future
• Subtext: He’s reminded of his guilt. Afraid of the future.
• Hope/fear: Fear of what’s to come. Hope that Alex can avoid the death fortune.

11. INT. ALEX’S APARTMENT – NIGHT to DAY

Alex is in his apartment. At 6AM he gets the death fortune. He calls Celia but there’s no answer.

• Scene Arc: From sorrow about the past to fear of death/failure
• Essence: Alex gets the death fortune.
• Conflict: Alex vs himself, Alex vs fate as he chooses to fight it.
• Subtext: He’s afraid of failure and dying like his father.
• Hope/fear: Hope that he will reconnect with Celia. Fear that he’s going to die.

TURNING POINT #1 – END OF ACT 1

ACT 2: Alex recruits Celia to help him escape death and they pursue the Fate Walker.

12. INT. CELIA’S PRECINCT – COMMAND – DAY

Celia is in a briefing with Parker, who sees Alex is calling, and pushes her to leave him.

• Scene Arc: From partners to “enemies” (differing opinions)
• Essence: Celia ignores Alex’s call.
• Conflict: Celia vs Parker as he pushes her about Alex, she pushes back.
• Subtext: Parker is in love with Celia and she doesn’t know it.
• Hope/fear: Hope she’ll answer the phone to fear she won’t while Alex is in trouble.

13. EXT. TRANSPORT STATION – DAY

Alex takes the futuristic transport but it malfunctions, almost killing him.

• Scene Arc: From safety to danger
• Essence: Alex is almost killed on the way to the precinct.
• Conflict: Alex vs technology
• Subtext: Nijara/The AI is manipulating the transport to malfunction
• Hope/fear: We fear he’ll die. We hope he escapes.

14. INT. CELIA’S PRECINCT – DAY

Celia and Parker argue about Alex as he arrives, bloodied.

• Scene Arc: From a typical day to disaster approaching
• Essence: Alex arrives at the precinct
• Conflict: Celia vs Parker, Alex vs Parker
• Subtext: Parker is jealous of Alex (over Celia), Alex distrusts Parker
• Hope/fear: We fear Alex and Parker will get in a fight, we hope they don’t

15. INT. CELIA’S OFFICE/STATION – DAY

Sequence arc: from “enemies” (in regards to goals) to being on the same page

Alex tells Celia about the “death fortune” and that he needs her help to survive until 6AM.

• Essence: Alex tells Celia what’s going on
• Conflict: Alex vs Celia
• Subtext: Alex is afraid
• Hope/fear: Fear Celia won’t help, hope she can

16. INT. MORGUE – DAY

Celia shows Alex bodies of other Fate Runners who tried to escape death but died anyways.

He convinces her to help him but only if he gives up his ambitions.

• Essence: Celia and Alex agree to work together
• Conflict: Alex vs Celia
• Subtext: Alex lies to Celia
• Hope/fear: Fear Celia won’t help, hope they can figure things out together

17. INT. CELIA’S OFFICE/STATION – DAY

She grabs her gear and we see on her fortune flash on one of her devices: KILL ALEX CADE.

• Essence: Celia is the one who has to kill Alex but he doesn’t know
• Conflict: Celia vs herself
• Subtext: She doesn’t tell Alex her fortune
• Hope/fear: Fear she’s going to kill Alex, hope she won’t

18. INT. CHURCH – DAY

Celia meets with a priest but is denied. A church member slips a note to Alex to follow him and he leaves without telling Celia.

• Scene Arc: From working together to Alex going on his own
• Essence: At the church Alex receives a note to follow someone
• Conflict: Celia vs priest
  Subtext: Alex doesn’t tell Celia he’s leaving
• Hope/fear: Fear this is a dead end, hope Alex has a chance

19. EXT. MARKET – DAY

Alex follows the church member into the market as Celia calls to yell at him. He suspects someone is following him but makes it safety to the meeting room.

• Scene arc: From danger to safety
• Essence: Alex follows the church member through the market
• Conflict: Alex vs unknown pursuer, Alex vs Celia
• Subtext: Parker is the pursuer
• Hope/fear: Hope Alex will survive and get information, fear he’s walking into a trap

20. INT. BACK ROOM – DAY

Church member tells Alex his suspicions about the church and they get locked in (about to die) but Celia saves them at the last minute.

• Scene arc: From safety to danger
• Essence: Alex is faced with the truth of the church and is almost killed
• Conflict: Alex vs the room, as they’re locked in and can’t get out.
• Subtext: Parker locked them in
• Hope/fear: Fear they will die, hope someone will save them

21. EXT. MARKET – DAY

The church member is SHOT. Celia chases the shooter as Alex gets the final piece of information from the dying church member.

• Scene arc: from danger to safety
• Essence: Alex gets information as Celia chases the shooter
• Conflict: Celia vs shooter
• Subtext: The church member also has the death fortune
• Hope/fear: Fear Alex and Celia will die, hope Celia can catch the shooter

22. INT. PRECINCT – DAY

Celia and Alex enlist Parker’s help to get to the Fate Walker.

• Scene Arc: From “enemies” to working together
• Essence: Celia convinces Parker to help Alex
• Conflict: Celia and Alex vs Parker
• Subtext: Parker and Alex hate each other, Parker loves Celia and Alex starts to suspect
• Hope/fear: Fear Parker won’t help, hope he will

**TRAVEL/TRANSITION SCENE – FINDING NIJARA?

23. INT. NIJARA’S LAIR – DAY

Alex and Celia confront Nijara but escape before she can kill them.

• Scene Arc: From guests to prisoners to escapees
• Essence: Alex and Celia discover the truth of the church and the AI
• Conflict: Alex and Celia vs Nijara
• Subtext: Nijara’s control, Celia’s fortune, Alex’s fears- there’s lot going on in this scene
• Hope/fear: Fear they will be killed, hope they will escape

TURNING POINT #2 – MIDPOINT

Act 3: Finish the serum before the data is lost forever.

24. INT. LILA’S APARTMENT? – DAY

Alex enlists Lila’s help to access his old lab and server data.

• Scene Arc: ?
• Essence: Alex goes to Lila’s home to convince her to give him her security code to override the lab lockdown (his is invalidated)
• Conflict: Alex vs Lila
• Subtext: Is Alex hiding the truth from Lila?
• Hope/fear: Fear Lila won’t help, hope she will

25. INT. PRECINCT / GYM – DAY

Celia enlists Parker’s help to bypass the guard bots.

• Scene Arc: From helpful to suspicious (on Celia’s part)
• Essence: Celia meets Parker in the gym to convince him to turn off the bots for an hour.
  Conflict: Celia vs Parker
• Subtext: Parker wants Celia to stay away from Alex so he can kill him
• Hope/fear: Fear Parker won’t help, hope he will

26. INT. NIJARA’S LAIR – DAY

Nijara is reprimanded by the AI. She sends a message to the assassin who killed the church member to kill Alex next.

• Scene Arc: From a chastised child back to position of authority
• Essence: Nijara argues with the AI and
• Conflict: Nijara vs AI, Nijara vs assassin
• Subtext: Nijara dislikes the AI’s plan and treatment of her
• Hope/fear: Fear the assassin will kill Alex, hope he won’t

27. EXT. ALEX’S LAB – NIGHT

Alex and Celia sneak by the guard bots and break into the building.

Sequence Arc: From breaking in covertly to a fiery escape that almost kills them.

• Essence: Alex and Celia break in to the lab
• Conflict: Alex and Celia vs guard bots
• Subtext: Their relationship is strengthening as they work together
• Hope/fear: Fear they’ll get caught, hope they’ll succeed

28. INT. ALEX’S LAB – NIGHT

Alex works on the serum but the assassin arrives and Celia fights him off. The incineration process starts. They barely escape with one vial of serum.

• Essence: Alex finishes the serum while Celia fights off the assassin, they escape.
• Conflict: Celia vs assassin, Alex vs time, everyone vs incineration
• Subtext: Alex values his work too highly, puts Celia in danger. The assassin holds back
  Hope/fear: Fear everyone will die, hope they’ll survive

29. INT. NIJARA’S LAIR – NIGHT

Nijara argues with the AI about going after Alex but is denied.

• Scene Arc: From equals to not equals
• Essence: Nijara and the AI argue
• Conflict: Nijara vs AI
• Subtext: Nijara plans on disobeying the AI, the AI is concerned about her
• Hope/fear: Fear Nijara will go after Alex, Hope she won’t

30. EXT. STREETS – NIGHT

Alex and Celia are targeted by hostile robots and make a run for it.

• Scene Arc: From safety to danger
• Essence: The robots turn hostile and attack
• Alex
  Conflict: Alex and Celia vs robots
• Subtext: ?
• Hope/fear: Fear the robots will kill them, hope they’ll escape

31. INT. MEDI-CENTER or APARTMENT? – NIGHT

Alex and Celia hide out from robots and Alex takes the serum, forcing Celia to cut off his hand. He survives proving the serum works.

• Scene Arc: From hopelessness and defeat to victory
• Essence: Alex takes the serum and it works
• Conflict: Alex vs Celia
• Subtext: Deeper bonding between Alex and Celia
• Hope/fear: Fear Alex will die, hope the serum works

TURNING POINT #3

ACT 4: Alex must get across the city to give his blood and instructions to Lila before Fate wins.

32. EXT. CITY GARAGE – NIGHT

Alex and Celia hijack a sky car to quickly get across the city as the robots close in.

• Scene Arc: From ground to sky
• Essence: Sky car chase
• Conflict: Alex and Celia vs robots
• Subtext: They’re going to trick the robots
• Hope/fear: Fear the robots will catch them, hope they’ll escape

33. EXT. SKYWAY – NIGHT

Alex and Celia split up in the middle of the chase in separate cars.

• Scene Arc: From together to separate
• Essence: They split up
• Conflict: Alex vs Celia (if they’re arguing about the plan)
• Subtext: Tricking the robots who are tracking their bands
• Hope/fear: Fear Alex or Celia will die, hope they won’t

34. EXT. SKYSCRAPER ROOFTOP – NIGHT

Scene/Sequence arc: from defeat to victory to defeat again

This ending sequence takes place in one location (might adjust if it gets stale)

Nijara’s robots chase and take down Celia’s car, giving Alex a clean getaway.

• Essence: Celia’s car crashes and she’s surrounded by hostile robots
• Conflict: Celia vs robots
• Subtext: Celia thinks she’s going to die but at least Alex will live
• Hope/fear: Fear that she’s going to die, hope she defeats the robots

Alex crashes into the robots at the last moment, destroying them, and saves Celia.

• Essence: Alex saves Celia’s life and kills the robots
• Conflict: Alex vs robots, Celia vs Alex
• Subtext: Celia is grateful Alex saved her life but mad that he put himself in danger
• Hope/fear: Hope that Celia and Alex are alive, fear that it won’t last long (stranded)

Nijara arrives, takes control of Celia and orders her to kill Alex.

• Essence: Nijara forces Celia to pull a gun on Alex
• Conflict: Alex and Celia vs Nijara, Celia vs herself
• Subtext: Alex wants Celia to kill him and save herself
• Hope/fear: Fear Celia will kill Alex, hope that she won’t

Celia is able to fight the mind control and shoots Nijara instead of Alex.

• Essence: Celia kills Nijara
• Conflict: Celia vs herself, Celia vs Nijara
• Subtext: The AI gives Celia enough control to kill Nijara
• Hope/fear: Fear Celia will kill Alex, hope Nijara is dead for good

Parker arrives and fatally shoots Alex

• Essence: Alex is shot
• Conflict: Parker vs Alex, Parker vs Celia
• Subtext: Parker doesn’t know he gave Celia the death fortune by killing Alex instead of her or that he’s potentially doomed everyone.
• Hope/fear: Hope Alex will survive, fear he will die

Alex dies in Celia’s arms at 6:01AM. She receives the Death Fortune and takes a vial of Alex’s blood to finish his mission.

• Essence: Celia takes up Alex’s mission
• Conflict: Celia vs the world
• Subtext: Revenge
• Hope/fear: Hope Celia can take down the AI, fear she won’t be able to

35. INT. SERVER ROOM – NIGHT

Nijara is reborn in a vat as a clone who keeps having her memory wiped.

• Scene Arc: From confusion to anger
• Essence: Nijara finds out she’s not who she thinks she is
• Conflict: Nijara vs herself, Nijara vs AI
• Subtext: Nijara thought she was the AI’s partner, not its slave
• Hope/fear: Fear the villain is back to hope she switches sides

• This reply was modified 1 year, 9 months ago by  Alyssa Giannola.

[Lenore]

Lenore Bechtel’s Scene Requirements

My vision: I want to create enough salable screenplays that an agent will want to market my work and recommend me for writing assignments.

What I learned from doing this assignment is that each scene needs its own arc, essence, conflict, and subtext, designed to evoke the audience to either hope or fear for the protagonist.

My Title: Berlin Rendezvous?

Concept: Keeping her promise to Zhores, the Russian soldier she loved until the Berlin Wall went up in 1961, Libby—flying to meet him when the Wall is coming down in 1989—is stunned to learn how her seat-mates lives intertwined with theirs.

Dramatic triangle: Libby, Freida, Allison

Genre: Drama/Suspense

ACT ONE

INT. AIRPORT TICKET COUNTER — NIGHT — 1989

Libby (48), Allison (12), and Freida (25) get tickets to fly to Berlin.

Essence: Libby promised to meet her Russian soldier lover on the day the Wall came down.

Conflict: They must fly to Paris, have a layover, then connect to Berlin.

Subtext: The Wall is expected to come down tomorrow.

Hope/fear: We hope Libby gets there to keep her promise.

INT. AIRPORT CORRIDOR – CONTINUOUS

Arc: Libby stops a cart driver, Freida jumps on, and Allison runs behind.

Essence: The flight to Paris may be the last European flight this night.

Conflict: Will they get to the gate on time?

Subtext: While running, Freida holds her hand over her pendant.

Hope/fear: We hope they get on the plane.

INT. AIRPLANE – LATER

Arc: After introductions, Allison asks Libby how she met and fell in love with a Russian soldier.

Essence: Freida is leaving San Francisco because of earthquakes. Allison has an audition app’t with Claudio Abbado.

Conflict: Becoming comfortable with Allison holding her violin case.

Subtext: Allison is reluctant to talk about herself,

Hope/fear: We’re eager to hear Libby’s story.

EXT. BERLIN’S SHELLENBERG PARK — DAY — 1961

Arc: The Major and Marilyn leave Young Libby babysitting Stephanie.

Essence: Young Libby resents having seen her birth father, the Major.

Conflict: Young Libby hides her fear of being alone in a strange country.

Subtext: She’s actually terrified to be on her own in a foreign city.

Hope/fear: We hope she’ll give the Major a second chance.

EXT. LATER

Arc: Helga talks Young Libby into going with her and Sonja to buy clothes to sneak back to East Germany.

Essence: Helga’s boyfriend Heinz, a VOPO guard, will wave them through the crossing to the East.

Conflict: Helga scolds Sonja for marching and singing a Young Pioneer song.

Subtext: What’s this Young Pioneer business all about?

Hope/fear: We hope Libby won’t regret this escapade.

INT. AIRPLANE — LATER 1989

Arc: Allison admires and Freida envies Young Libby’s boldness.

Essence: Freida wishes she had been as bold in San Francisco.

Conflict: Allison refuses to allow her violin to be stored in compartment above.

Subtext: Was the recent earthquake Freida’s only reason for leaving the USA?

Hope/fear: We’re eager to get back to Young Libby’s story.

INT. DEPARTMENT STORE DRESSING ROOM – DAY – 1961

Arc: Young Libby and Helga laugh and layer clothes on the four of them.

Essence: East Berliners have many restrictive rules.

Conflict: Will they be able to keep from laughing at the crossing point?

Subtext: No wonder East Berliners come over to the West and never return.

Hope/fear: We hope they’ll make it safely to the East.

EXT. CROSSING POINT — LATER

Arc: Heinz is not the guard, but they get waved through when Helga tells Sonja and Stephanie to march and sing a Young Pioneer song.

Essence: Helga has Sonja do something that she, Helga, hates.

Conflict: They would have been arrested if the guard had inspected them.

Subtext: Why isn’t Heinz at the crossing as he was supposed to be?

Hope/fear: We’re relieved they made it through.

EXT. EAST BERLIN STREETS – CONTINUOUS

Arc: On their walk to Helga’s home, Young Libby turns down Helga’s offer to fix her up with Heinz’s friend, a Russian soldier.

Essence: East Germany is dismal compared to the West.

Conflict: Young Libby is definitely not interested in dating a Russian.

Subtext: Young Libby might be hesitant to trust Helga again.

Hope/fear: We hope she and Stephanie get out of the East without problems.

INT. THE GOHKLE HOME — CONTINUOUS. TURNING POINT 1

Arc: A solider interrupts Herr and Frau Gohkle’s hospitality to take Young Libby and Stephanie back to the West.

Essence: Furious at being followed, she tells Helga she’ll date that Russian.

Conflict: Young Libby struggles against the soldier.

Subtext: Somehow she’ll find a way to show the Major her independence.

Hope/fear: We’re torn between sympathizing with Young Libby or the Major.

INT. AIRPLANE – LATER – 1989

Allison admires Young Libby’s spunk—just like she wants to be.

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Essence: Freida is flabbergasted with Young Libby’s story.

Conflict: Stewardess still wants to store Allison’s violin, but she refuses.

Subtext: Allison is independent, but actually wishes she didn’t have to be.

Hope/fear: We’re wonder how the Major will react to Young Libby’s blind date.

ACT TWO:

EXT. SHELLENBERG PARK — EARLY EVENING — 1961

Arc: The Major interrogates Zhores and allows Young Libby to date him.

Essence: Zhores risks being exiled for crossing into the West in civilian clothes.

Conflict: Zhores’ father died at Vyasma—the worst slaughter of World War II.

Subtext: Zhores loves his motherland, but takes risks to learn how others live.

Hope/fear: We like this Russian soldier.

MOMENTS LATER

Arc: Young Libby, Zhores, Helga and Heinz discuss politics and look up in awe as Sputnik passes overhead.

Essence: Zhores’ 16-year-old father, already a cellist with the Moscow Symphony, had one night of passion with his mother before leaving with the militia and his early death.

Conflict: Are Krushchev and Kennedy are playing Berlin like a game of poker?

Subtext: Allison recalls her grandparents were in Berlin when Sputnik went over.

Hope/fear: We can’t help but be impressed with Zhores’ idealism.

INT. AIRPLANE — CONTINUOUS – 1989

Arc: Allison hopes she was conceived with such passion, and Freida already misses the passion she had with Stuart .

Essence: Both want to get back to Young Libby’s story.

Conflict: Both Allison and Libby criticize Freida for leaving a husband she loves.

Subtext: Libby reacts to the name Stuart because it’s her son’s name.

Hope/fear: We wonder why Libby look so startled at one point in Freida’s laments.

INT. GASTHAUS – ANOTHER NIGHT – 1961

Arc: Heinz laments being left as a newborn outside an orphanage. Zhores’ tells about his grandmother, a refusenik documenting communist’s crimes.

Essence: The four vow to demonstrate that different nationalities can get along.

Conflict: Heinz drinks much too much, to Helga’s chagrin.

Subtext: Joking about Young Libby marrying Zhores is no joke.

Hope/fear: We’ll root for these two couples for wanting to make a difference.

INT. AIRPLANE – CONTINUOUS – 1989

Arc: Freida compares Heinz’s obsession with finding his mother to Stuart’s sense of being betrayed by his birth mother.

Essence: Having a close family is one of life’s greatest treasures.

Subtext: Libby thinks she may be the mother Stuart resents.

Hope/fear: We sympathize with both Heinz and Stuart.

EXT. SHELLENBERG PARK – ANOTHER NIGHT – 1961 TURNING POINT 2

Arc: Heinz interrupts Young Libby’s and Zhores’ date by putting up orange posts and barbed wire to divide the park.

Essence: Russians fenced in East Germans to keep them from the West.

Conflict: Zhores is angry with Heinz.

Subtext: Helga didn’t talk her parents into leaving the East in time.

Hope/fear: We fear the fun these couples had together will be ending.

INT. INSIDE THE MAJOR’S APARTMENT – LATER THAT NIGHT

Arc: Young Libby tells the Major about the orange posts.

Essence: American military knew Russians were planning to build a Wall.

Conflict: The only way to talk to Helga is vie tied-up lines to Copenhagen.

Subtext: The Major may help get Helga and family out of the East.

Hope/fear: We hope Helga and family get out safely.

EXT. SHELLENBERG PARK – DAY – A FEW DAYS LATER

Arc: Young Libby passes fake West German ID cards, supplied by the Major, to Helga through a hole dug under the barbed wire.

Essence: West Germans are still allowed to go back and forth freely.

Conflict: Danger looms at night as VOPOs rotate a spotlight to keep a sharp eye on the barrier.

Subtext: The Major has given Young Libby reason to change her attitude toward him.

Hope/fear: We hope the IDs work to get the Gohkles out.

EXT. SHELLENBERG PARK – NIGHT – A FEW DAYS LATER

Arc: Zhores and Young Libby finalize plan to get Helga and family out. Before they could use their IDs, a new rule prohibits West Germans going freely back and forth.

Essence: Young Libby will need to hide them once they’re over the fence.

Conflict: The VOPOs spotlight constantly interrupts their plotting.

Subtext: Young Libby is learning how much the Major loves her.

Hope/fear: We hope the plan works.

THE NEXT NIGHT

Arc: Heinz, Helga, Sonja, and Herr and Frau Gohkle make it to the West.

Essence: Young Libby’s jubilation is marred when Zhores doesn’t follow them.

Conflict: Sonja, gagged to keep her from screaming, resists escaping.

Subtext: Young Libby is proud of the Major and Marilyn for helping.

Hope/fear: We still hope Zhores will come to the West.

INT. AIRPLANE – DAY 1989 – CONTINUOUS

Arc: Freida reveals Stuart makes a living playing baseball, Libby reveals he’s her son, and Freida tells she left the USA to avoid arrest for looting pendant.

Essence: Freida is sorry she left only a note for him, with a receipt for picking up pictures of their before-and-after earthquake damage.

Conflict: Libby’s and Freida’s clash ends with Freida realizing she can go back to Stuart, either return the pendant or buy it, and avoid jail time.

Subtext: Might the roll of film be significant?

Hope/fear: We hope Stuart will forgive Freida for running away.

ACT 3:

INT. CHARLES DE GAULLE Airport – DAY

Arc: Allison tricks Libby and Freida into accompanying her to the Louvre.

Essence: The three are now friends, not seat mate strangers,

Conflict: the limited time of a 5-hour layover vs. seeing a world famous museum of art

Subtext: Allison doesn’t reveal why going to the Louvre is important to her.

Hope/fear: We look forward to seeing the Louvre and parts of Paris.

MONTAGE – TAXI DRIVING FROM THE AIRPORT TO THE LOUVRE – DAY

With her nose against the taxi window, Allison enjoys the drive.

Arriving at the Louvre, she gives the driver her credit card.

She runs into the Louvre ahead of Libby and Freida.

INT. THE LOUVRE – DAY

Arc: Libby weeps as Allison plays “Mona Lisa” and Freida drags them from ithe audience’s enthusiastic accolades.

Essence: Allison fulfilling a dream puts Libby in touch with her emotional self.

Conflict: No time for an encore.

Subtext: Allison played directly to Libby for some reason we don’t yet know.

Hope/fear: We fear they might miss their connection to Berlin.

EXT. CURB ON BUSY PARISIAN STREET – DAY

Arc: Freida’s sex appeal lures a driver to stop and drive them to the airport. TURNING POINT 3

Essence: Freida’s nervous shy being is now a spirited, take-charge extrovert.

Conflict: Busy Parisian traffic delays them.

Subtext: Libby’s midnight deadline is now shared by the others.

Hope/fear: We’re so afraid they won’t make their connecting flight.

MONTAGE – THE THREE RUN FROM THE TAXI, THROUGH THE AIRPORT, TO THE COUNTER AT THEIR GATE, ARRIVING 15 MINUTES BEFORE TAKE-OFF.

INT. AIRPORT TICKET COUNTER – DAY

Arc: When boarding started and they weren’t there, their seats were released. Freida gets them tickets on a plane boarding at this very moment for Hamburg.

Essence: No other chance of getting to Germany in time to drive to Berlin before midnight.

Conflict: Libby can’t keep up with Allison’s and Freida’s running to the gate,

Hope/fear: We’re happy when Allison hands Libby her boarding pass.

INT. AIRPLANE – LATER

Arc: Libby tells about the 1974 trip she and Stuart took to visit Helga, Heinz and Olga.

Essence: Allison suspects the truth of her birth in 1975.

Conflict: Libby regrets losing contact with Helga after that trip.

Subtext: Libby wishes she’d taken Stuart on more trips.

Hope/fear: We wonder why Allison is suddenly so elated.

INT. HAMBURG AIRPORT LOBBY – NIGHT

Arc: Freida calls her mother, Libby rents a car, Allison gets a map, and they go.

Essence: Freida’s mother now knows she’s on her way to Shellenberg Park.

Conflict: Can Freida drive the Audi fast enough to get there in time?

Subtext: Getting there seems as important to Allison as to Libby.

Hope/fear: Of course, we’re still rooting for them!

MONTAGE: Freida drives the car from Hamburg to Berlin, and they get stuck in traffic and mobs of pedestrian celebrants headed toward Brandenburg Gate.

ACT FOUR:

EXT. BERLIN STREET – NIGHT

Arc: Allison gets the crowd’s attention by playing her violin and singing in German. She sits on the car’s hood, and motions the admiring crowd to open a path to a side street while pontificating about the urgency of getting to Shellenberg Park to meet her Russian grandfather for the first time. Before getting back into the car, Allison asks for directions and memorizes them.

Essence: Allison is even smarter than we realized.

Conflict: They must get through the mob to drive the back streets.

Subtext: If Allison’s is right, Libby will enjoy being an immediate grandmother.

Hope/fear: We hope Stuart did impregnate Allison’s mother in 1973.

CONTINUOUS

Arc: Freida drives wildly to Allison’s direction and Libby prays until screeching to a halt at Shellenberg Park’s gate

Essence: This day has brought a change to all their lives.

Conflict: It’s almost midnight.

Subtext: Libby’s career will no longer be more important than family.

Hope/fear: We’re still hoping they get there in time.

EXT. SHELLENBERG PARK – CONTINUOUS

Arc: Waiting in the park, Stuart reveals picture evidence that frees Freida from all fears, then Helga and Heinz (now Helen and Hank) confirm Stuart is Allison’s father. Finally, Zhores arrives.

CLIMAX: Allison, Freida, and Stuart stand by through Libby’s and Zhores’ prolonged, but tearful kiss, after which Libby introduces them as Zhores’ son, daughter-in-law, and granddaughter. Helen and Hank join into a group hug with exuberant laughter, drawing passing celebrants’ cheers.

Action: When the group huggers begin a circular dance, Libby and Zhores break away, hold hands, look into each other’s eyes, and smile.

The End

[Ruthie Harris]

Ruthie’s Scene Requirements

What I learnt: This helps to highlight where the holes are in my story.

OPENING: MISS CAST

EXT/INT. ZADIE’S CAR – LOS ANGELES – DAY

ZADIE is flooring it, belting along to the radio, oblivious a cop car is chasing her.

Scene Arc: From being oblivious to trying to wiggle out of yet another speeding ticket.

Essence: Zadie would flirt with a tree stump if she thought it might help.

Conflict: She’s unable to charm her way out of this situation.

Subtext: She’s relying on her bodacious personality to get out of trouble.

Hope/fear: Hope she gets away with it, fears she won’t.

EXT. LA COURTHOUSE – DAY – ESTABLISHING

Reveal: Turns out she led the cop car to her court appointment.

INT. COURT HOUSE – DAY

She’s in court representing herself against previous traffic violations.

Scene Arc: From goofy defendant to banned from driving for 12 months.

Essence: Once again can she charm her way out of a situation.

Conflict: The judge is having none of it.

Subtext: We see the judge is not completely immune to her personality.

Hope/fear: She can get away with it, fears she’ll be banned from driving.

INT. LOWRY MANAGEMENT GROUP – DAY

Zadie breezes in handing over a bunch of business cards and car keys to her assistant Audrey, who reinstates Zadie’s Uber account.

Scene Arc: From being banned to business as usual.

Essence: Reinforces how Zadie does business.

Conflict: Her big personality butting up against her buttoned-up assistant.

Subtext: Zadie can’t always expect to breeze her way out of a situation.

Hope/fear: Hopes she maintains her relationship with Audrey, fears they may clash.

INT. ZADIE’S OFFICE/CLOSET – DAY

Before Zadie returns important calls, she has to psych herself up in her closet first.

Scene Arc: From seemingly confident to imposter syndrome.

Essence: The real Zadie is faking it – she feels like an imposter in this business.

Conflict: Her outer confidence v. her inner imposter syndrome.

Subtext: Is she good enough?

Hope/fear: Hopes she can pull through; fears she’ll be exposed as a fraud.

INT. LOWRY MANAGEMENT GROUP FOYER – DAY

On her way out, Zadie passes a group of young actors and their chaperones. She’s drawn to the brother of a girl who’s there to audition but sees potential in him instead.

Scene Arc: On her way out but recruiting talent along the way.

Essence: spotting potential talent at twenty paces and isn’t afraid to pursue her instincts.

Conflict: This guy could not be less interested in being an actor.

Subtext: Zadie’s really good at her job but can’t acknowledge that fact.

Hope/fear: She lands the talent, fears he’ll walk away.

EXT. LOWRY MANAGEMENT GROUP – DAY

Waiting for her Uber, Zadie is dashing up and down the street like a dog with worms.

INSERT: Zadie’s location on the Uber app – is a blue dot bouncing around at a dizzying pace.

Inciting Incident:

INT. UBER DRIVER’S CAR – DAY

Zadie’s Uber driver is former child star Jasper Benjamin, who blackmails her into taking him on as a client or he’ll ban her from the app.

Scene Arc: A conflict escalates resulting in Zadie forced to take Jasper on as a client.

Essence: Jasper is determined to leverage the situation to his advantage.

Conflict: The pair are immediately antagonistic, and Zadie is not happy to be blackmailed.

Subtext: Zadie might be able to do something with a former child star.

Hope/fear: Zadie can triumph fears she has no choice but to succumb to blackmail.

EXT. INDOOR SKYDIVING FACILITY – DAY

As Zadie exits the car, she agrees to his conditions and throws her business card at him.

INT. INDOOR SKY DIVING – DAY

She meets director Molly Palmer. They discuss an indy project, that Zadie thinks could be perfect for Jasper.

Scene Arc: Zadie is terrified but if it means securing an audition for Jasper, she’ll “fly”.

Essence: Zadie will do what it takes for her clients.

Conflict: She’s terrified, we feel her fear, but she goes for it anyway.

Subtext: Once again overcoming her fears. Fake it till you make it.

Hope/fear: Hope she lands the audition for Jasper; fears she may bottle out of flying.

INT. NAIL SALON – DAY

Jasper is having a pedicure. Zadie sneaks up and replaces the technician.

Scene Arc: Getting one over on Jasper while revealing the good news.

Essence: These two could actually get along.

Conflict: Zadie paints Jasper’s toes hot pink before he opens his eye and realizes.

Subtext: Having him as a client might just work out.

Hope/fear: She can maintain the equilibrium; fears she might blow it.

EXT. SKATE BOARD PARK – DAY

Zadie tracks down Lenny (the brother of the aspiring actress), as he’s not been returning her calls.

Scene Arc: Her determination secures that Lenny finally agrees to the audition.

Essence: When she knows a client is right for a job, nothing stands in her way, ever skateboarders!

Conflict: Lenny challenges Zadie to stand in the middle while skaters whizz by her, before he agrees.

Subtext: She’s a great agent, she just doesn’t allow herself to believe it.

Hope/fear: Hope she lands Lenny as a client. Fear that he’ll walk away.

INT. CASTING SUITE – DAY

Jasper nails the audition – it’s like lightening in a bottle – it looks like the part will be his.

Scene Arc: From anxiety to exhilaration as Jasper knocks it out of the park.

Essence: Jasper’s a great actor, he just needs a break.

Conflict: He wants it so much it hurts.

Subtext: He’s desperate to get back int Hollywood.

Hope/fear: Can he land this or will he fuck it up.

EXT/INT. DRIVE-THROUGH CAR WASH – DAY

Zadie tracks Jasper down with good news about his call-back.

Scene Arc: Zadie comes to deliver the good news about his audition.

Essence: They are still giving each other shit, but this could actually work out for both of them.

Conflict: Against their better judgments they are trying to remain civil.

Subtext: Wait – could this work out?!

Hope/fear: Hope Jasper lands it but it could go either way.

INT. DISUSED WAREHOUSE – DAY

At the callback, Molly overhears Zadie running lines with Jasper and asks her to audition.

Scene Arc: From Zadie supporting Jasper and then auditioning to keep her client happy.

Essence: Jasper’s great but Zadie’s an unknowing revelation.

Conflict: This is Jasper’s comeback – is Zadie about to snag it?

Subtext: Zadie has no skin in the game and just goes for it.

Hope/fear: Hope this does not come between J&Z. Fears this will blowup.

Turning Point:

INT. DEPARTMENT STORE CHANGING ROOMS – DAY

Zadie receives the call she’s been offered the role instead and must break the news to Jasper.

Scene Arc: Zadie going about her life to a lifechanging phone call.

Essence: Things will never be the same for Zadie moving forward.

Conflict: She’s snaked the comeback role from her star talent.

Subtext: This wasn’t supposed to happen.

Hope/fear: She’ll make the most of it, fears Jasper’s retribution.

Act 2:

New plan:

INT. LOWRY MANAGEMENT GROUP – DAY

Jasper goes on a tirade against Zadie in front of all her colleagues when he finds out he did not get the role and it’s gone to her instead.

Scene Arc: From a buoyant Jasper to a vengeful one.

Essence: This is the end of J&Z’s fledgling professional relationship.

Conflict: Now Jasper’s out to get her.

Subtext: Zadie needs to watch her back moving forward.

Hope/fear: Jasper will be reasonable but fears he’s now out for revenge.

INT. PATTERSON & ASSOCIATES – DAY

Jasper is poached by rival agent – Emily ‘mutherfucking” Patterson.

Scene Arc: Emily fears Jasper is more concerned about getting even than his career.

Essence: Jasper is vengefully angry towards Zadie.

Conflict: Emily’s all business, Jasper is more concerned with getting even.

Subtext: Jasper’s main priority is vengeance.

Hope/fear: Jasper remains stable, fears he may be unhinged.

EXT. PARK – DAY

Audrey & Zadie are feeding ducks gluten free bread and discussing how several clients have been poached recently. Reveal: Audrey is Zadie’s daughter.

Scene Arc: From boss/assistant to mother and daughter.

Essence: Audrey is the only one Zadie can be herself in front of.

Conflict: Audrey can sense Zadie is spiraling but trying to hold it together.

Subtext: Zadie’s imposter syndrome is rearing its ugly head.

Hope/fear: Zadie doesn’t spiral, fears she may unravel.

INT. FILMING – MONTAGE

The movie goes into production and Zadie has a complete blast making it

INT. LOWRY MANAGEMENT GROUP – DAY

Zadie returns to work and thinks nothing of her 21 days away filming. Audrey says there’s someone she’d like to recommend Zadie sees as a potential new client.

Scene Arc: For Zadie it’s business as usual.

Essence: She’s not taking this acting lark seriously.

Conflict: The last thing Zadie needs is another go-see.

Subtext: She doesn’t believe the movie will go anywhere.

Hope/fear: Hope Zadie can juggle everything but fears it will blow up in her face.

INT. OBSCURE THEATRE – NIGHT

Zadie endures a painful night of theatre saying that the costumes were the best thing when Audrey calls to follow-up.

Scene Arc: Zadie’s not about to rep talent she doesn’t believe in.

Essence: She’s discerning even if the recommendation came from her own flesh and blood.

Conflict: She won’t take on Audrey’s recommendation.

Subtext: Zadie has standards as an agent.

Hope/fear: Zadie doesn’t capitulate and that it doesn’t interfere with her relationship with Audrey.

INT. ZADIE’S OFFICE – DAY

Audrey announces that it was her girlfriend Juniper in the show (also responsible for wardrobe) and that’s she’ll be transferring to help Evan run the New Faces Division.

Scene Arc: Audrey is hurt Zadie does not want to rep her girlfriend and leaves for another department.

Essence: Zadie has to stand firm as a boss rather than a mother.

Conflict: Zadie has lost an ally by being true to her principles.

Subtext: Audrey probably isn’t cut out to be an agent.

Hope/fear: They can sort this out, fears it may come between them.

Midpoint Turning Point: SIX MONTHS LATER:

INT. FILM PREMIER – NIGHT

The film debuts to major buzz and a standing ovation.

Scene Arc: From standing ovation to a hoot of an on-stage Q&A.

Essence: Zadie’s an overnight sensation.

Conflict: Is she an agent or an actor?

Subtext: This movie will be a smash and make her famous.

Hope/fear: Hope for the best for Zadie but fear Jasper will be on the warpath.

ACT 3. – Rethink everything:

INT. LOWRY MANAGEMENT GROUP – DAY

All the staff are out to congratulate Zadie. She plays it down stating “it’s business as usual for me folks – not show business”.

Scene Arc: From adulation to business as usual for Zadie.

Essence: She’s playing this down.

Conflict: Her agency will want to make $ off her and she doesn’t care for it.

Subtext: She’s not believing this will go anywhere but her life is about to change.

Hope/fear: Hope she does not get taken advantage of, fears Zadie will mess up.

EXT. LOWRY MANAGEMENT GROUP – NIGHT

Zadie returns to her office and is papped – but jokes that it must be a slow night if she’s being photographed rather than her clients. One photographer makes a snide comment about her being the next big thing with emphasis on big. It’s videoed.

Scene Arc: Zadie nor believing the paps are for her and a video goes viral.

Essence: Things are heating up for Zadie.

Conflict: A pap making snide remarks about her physique.

Subtext: Zadie still refusing to believe this will be a big deal.

Hope/fear: She can handle herself, fears the video will only escalate the situation.

INT. ZADIE’S OFFICE/CLOSET – NIGHT

Zadie’s phone, email and social media are blowing up. She’s an overnight star and crawls into her closet as she can’t handle it. Then sees paps are still waiting for her outside. She texts Jasper to pick her up.

Scene Arc: From being oblivious to finally realizing this is out of her control.

Essence: When the penny drops, a new plan forms.

Conflict: Zadie confronts Jasper.

Subtext: She has a new plan which the audience won’t know.

Hope/fear: She can handle herself, fears she’s going to mess everything up.

INT. LOWRY MANAGEMENT GROUP CONFERENCE ROOM – DAY

Zadie and colleagues are discussing their new client – Zadie. Thanks to the viral body shaming video, she’s been offered a 7-figure weight loss endorsement deal. She turns it down.

Scene Arc: From excitement at Zadie becoming a cash cow for the agency, to turning it down.

Essence: Zadie loves being body positive and does not want to lean away from that.

Conflict: Her boss is super pissed at the loss of revenue opportunity.

Subtext: This will not bode well for Zadie moving forward.

Hope/fear: Hopes Zadie will stick to her guns now that she’s inadvertently made an enemy of her boss.

INT. TALK SHOW – NIGHT

Zadie refuses to acknowledge her sexuality, saying it shouldn’t matter. She’s loud, proud and embraced by the LGBTQ+ community, having won a role meant for a man.

Scene Arc: Audiences love her but Zadie is walking a fine line.

Essence: She’s happy to remain ambiguous.

Conflict: Will she upset the LGBTQ+ community when they discover the truth.

Subtext: Will this backfire on Zadie?

Hope/fear: She can walk the line and not have it backfire.

INT. BREAKFAST TV STUDIO – DAY

Jasper appears on a morning show for the 25-year anniversary of the show he used to be on and announces that Zadie’s role had been meant for him and that she stole it from under him.

Scene Arc: Jasper’s riding a wave of nostalgia and trashing Zadie.

Essence: The tide could be turning against Zadie.

Conflict: Jasper causing issues publicly for Zadie.

Subtext: He’s out to get her.

Hope/fear: Hope this won’t destroy Zadie, but we fear the tide may be turning.

INT. RADIO SHOW – DAY

Zadie tries to retaliate/defend herself by saying that Jasper is an Uber driver now not an actor. Her comments are misconstrued with people rushing to Jasper’s defense defending his honest living.

Scene Arc: From feeling the love to feeling the heat.

Essence: This is not going well for Zadie.

Conflict: Callers are angry with her.

Subtext: This could be her downfall if she’s not careful.

Hope/fear: She doesn’t fuck everything up but fears the fall out could be devastating.

INT. LOWRY MANAGEMENT GROUP – DAY

LMG is hemorrhaging clients due to Jasper’s smear campaign and Zadie is fired.

Scene Arc: From defensive to despondent.

Essence: Zadie has hit rock bottom.

Conflict: Her agency no longer wants anything to do with her.

Subtext: Zadie has failed.

Hope/fear: Hope she’ll survive fear she’ll tank and imposter syndrome will get the best of her.

ACT 4.

EXT. UBER GREENLIGHT HUB – DAY

Jasper and Emily are heading a press conference to announce Jasper’s new show – “The Car Club”, a talk show from his car, sponsored by Uber.

Scene Arc: Jasper is on the rise.

Essence: As Jasper waxes, Zadie’s waning.

Conflict: Jasper’s newfound popularity conflicts with Zadie sliding in popularity.

Subtext: Could he win out?

Hope/fear: Hope this doesn’t torpedo Zadie, fears this will slide her further down.

INT. DENTIST – DAY

Zadie she’s been nominated for a major award. Zadie immediately rings Audrey and asks if Juniper can make her outfit. She struggles to make herself understood due to injections.

Scene Arc: Finally some good news for Zadie

Essence: Can she leverage this news?

Conflict: Not being able to make herself understood.

Subtext: Where can Zadie go with this?

Hope/fear: This is great news but please don’t fuck it up.

Turning Point: Huge failure / Major shift:

INT. THE CAR CLUB – FILMING – NIGHT

Jasper’s first guest is Ledicia who basically ‘outs” Zadie as straight.

Scene Arc: Jasper gets the scoop of the day.

Essence: Drop the mic moment.

Conflict: There will be backlash.

Subtext: How will Zadie cope?

Hope/fear: Can Zadie overcome this not have it affect her nomination.

INT. ZADIE’S HOME CLOSET – NIGHT

Zadie has gone into hiding in her closet, reading a back-lash to her not being gay and having potentially used/deceived the LGBTQ community. #gaygate is trending.

Scene Arc: Has Zadie fucked up?

Essence: This could be her cancelled.

Conflict: Zadie V. the LGBTQ+ community.

Subtext: Could she be cancelled?

Hope/fear: Hope she’ll swim dears she’ll sink.

INT. ZADIE’S APARTMENT – DAY

There’s frantic knocking at her apartment door. Zadie reluctantly opens it to Audrey and Juniper. Audrey leaked the fact Zadie turned down a 7 figure weight loss sponsorship to stay true to who she really is. There’s also a hilarious public apology from Ledicia for “outing” her. Juniper starts taking her dress measurements.

Scene Arc: From despair to a turnaround.

Essence: Zadie has been redeemed.

Conflict: Has she done enough to overturn her negative situation?

Subtext: She won’t be cancelled.

Hope/fear: Hope this is enough to redeem her but maybe it isn’t.

Climax/Ultimate expression of the conflict:

INT. AWARDS CEREMONY – NIGHT

She wins (wearing a spectacular rainbow dress) but at the podium turns down her award – stating that it should have gone to Jasper and oh yes she’s not gay, she won’t be returning to acting and as of Monday, she might just be driving your Uber.

Scene Arc: Walking away from the ultimate accolade/triumph.

Essence: This was always Zadie’s plan.

Conflict: Turning her back on a potential acting career.

Subtext: She knows what she’s doing.

Hope/fear: Hope she will triumph, fears she may not.

RESOLUTION:

EXT: ZADIE HAYGATE & ASSOCIATES – DAY

Zadie hands cash over to the fat-shaming paparazzi outside her brand-new agency.

Scene Arc: What has Zadie been up to?

Essence: Intrigue at the potential subterfuge.

Conflict: Wasn’t this the guy who fat-shamed her?

Subtext: A set-up that It was all part of Zadie’s plan.

Hope/fear: Hope she knows what she’s doing, fear she will get found out.

INT. ZADIE’S NEW OFFICE – DAY

In her new office, Zadie’s on the phone congratulating her client Ledicia on her comedy special. Reveal: Zadie recruited Ledicia into her big scheme.

Scene Arc: Zadie’s plan was to get Ledicia a streaming special all along.

Essence: What has she been up to?

Conflict: Ledicia is now a client.

Subtext: Zadie’s been scheming.

Hope/fear: Hope she knows what she’s doing, fear she will get found out.

INT: ZADIE’S SECRET NEW OFFICE CLOSET – CONTINUOUS

Jasper arrives, and the pair immediately start passionately kissing. He’s just landed the lead in an action trilogy. Reveal: Zadie and Jasper became lovers. Zadie decided to leverage her impending fame, to hoodwink Hollywood and finally get them both what they wanted.

Scene Arc: An aha moment – Zadie & Jasper were in cahoots.

Essence: Zadie orchestrated this all along.

Conflict: From alleged enemies to lovers.

Subtext: She’s a really fucking amazing agent who hoodwinked Hollywood to leverage both their careers.

Hope/fear: Zadie knew what she was doing all along. No more imposter syndrome!

[H. Vince]

H. Vince’s Scene Requirements

WIM Module 4 – 2023

Lesson 9: Scene Requirements

My Vision: I am going to be a professional screenwriter.

What I learned from doing this assignment is…

I started expanding the outline in Final Draft with slug lines and short descriptions to start to lay the story out better.

TITLE: DREAM VACATION

GENRE: DRAMA/THRILLER

MAIN CONFLICT:

James starts developing dementia while he and his wife, Clara are on their retirement vacation. Clara has to take care of James and try to bring him back to the U.S. all while trying to figure out what happened to her husband.

Act 1:

INT: LAX – DAY

The couple board the plane with excitement.

Essence:

James and Clara, (late 50s-60s) excited to go on their dream retirement vacation.

-holding hands

-having some drinks

-smiling

-saying they can’t believe it’s finally here

-telling someone on the plane it’s their dream vacation Subtext:

Hope/fear: James telling Clara he planned a couple of good surprises

EXT: VACATION DESTINATION – DAY

Seeing the sights!

Essence:

They’ve been waiting their whole lives to go here.

They finally made it!

The best day ever!

Dream come true!

Subtext: James is starting to feel off

Inciting Incident:

James shows signs of memory loss.

Essence:

James forgets where he is

Conflict:

This is starting to ruin their dream vacation

Subtext:

The edible is too blame and Clara has no idea at this point.

Hope/fear: Clara gets scared that James is no longer in charge especially since he planned this whole trip.

Act 2: Clara decides she needs to take James home.

Clara books tickets to leave the next day

Essence: Clara is convinced that if she can just get James home, she can be more calm and in control of the situation.

Conflict: James forgets who Clara is. James is not acting like himself – he seems scared.

Subtext: Clara is concerned for James well being.

Hope/fear: Clara is afraid James may have dementia

Flashback: To conversation Clara had with hairdresser on different types of dementia and how to get it.

Clara gets James to calm down and tells him to just go to sleep.

INT. HOTEL ROOM – NEXT DAY

Clara wakes up and James is missing

Act 3: Clara needs to find her missing husband, James.

Essence: Clara contacts her kids to tell them what happened

Clara gets assistance to find James

Conflict: Clara is running into dead ends trying to find James.

Subtext: Clara feels she failed James by letting him leave when his mind is lost. She thinks she should have gotten him help sooner and not tried to just book a flight. She maybe didn’t take his condition as serious as she should have.

Hope/fear: Clara is scared out of her mind that her husband is missing in a foreign country and will she ever find him?

-James and Clara’s son books a flight to help his mom find his dad

-Clara’s son’s flight is cancelled

Act 4:

(FLASHBACK) INT. LAX – DAY

LAX AIRPORT BATHROOM

James is taking an edible without his wife knowing.

James exits airport bathroom to join his wife.

CLARA

Everything alright

JAMES

Of course dear

Back to bliss and anticipation of dream vacation.

(Present)

-Clara finds James

-Clara takes advantage of their travel insurance to take James to a doctor

-The doctor keeps James for observation and his safety for the time being until he can find out any information from his doctor back home.

Clara finds out that the edible James took was from a clinical trial that accelerated memory loss and he is still under clinical trial.

Essence: The doctor abroad researches James’s medical history

Conflict: Dr. Ria has been finding out this this clinical trial edible caused memory loss and failed to alert James and his family even when he knew James would be traveling abroad.

Subtext: Clara is angry with James for not telling her what was going on with him before their vacation

Hope/fear: Will James regain his memory or will his cognitive abilities continue to decline?

-Clara’s son contacts a lawyer

Resolution: Clinical trial ends. Vacation did not go as expected.

-James regains memory

-Dr. Ria sued

-James says they can try a different vacation

-Clara gets cancer

[Brian Bull]

BRIAN BULL – Scene Requirements

VISION!!!
My ultimate goal is to get my scripts from my hands to the SILVER SCREEN!!

“What I learned from doing this assignment is…
I learned so much from doing this lesson. It gave me a greater appreciation for my scenes and made me really think about them. I added a few things and there are a lot more things I want to explore. This story is far from being complete. I have a few more layers to add.

The ONE THAT GOT AWAY – A Fisherman’s Tale
While fishing, a fisherman reflects on all the events that have lead to his present state of determination to catch the fish that has eluded him for 25 years which he blames for his younger brother’s death, however, in the end, it turns out the fisherman is the one who had gotten away.

GENRE: DRAMA

“Fishing is the art of lying convincingly about the size of the fish that got away.” -Unknown

ACT 1

SCENE ARC: From John putting the boat in the water to John getting to getting ready to fish at “The Spot”.

EXT. LOUISIANA BAYOU – NIGHT

John puts the boat in the water.


ESSENCE: Establishing the location and the action.
CONFLICT:
SUBTEXT:
HOPE/FEAR:

EXT. BOAT – NIGHT

In a ceremonially act, John respectfully places a fishing hat on the seat of the boat.

ESSENCE: John is going fishing and the hat obviously means something to him.
CONFLICT: John is fighting back tears.
SUBTEXT: Who’s hat is that?
HOPE/FEAR: We hope John finds peace / We fear that he won’t

EXT. LOUISIANA BAYOU – DAY

John heads up the river to “The Spot”.

ESSENCE: John boats up the river noticing all the things that makes this an incredible location and very remote.
CONFLICT: The surroundings are beautiful but John is not relaxed.
SUBTEXT: Why is John so anxious?
HOPE/FEAR: We hope John finds peace / We fear that he won’t

EXT. BOAT – DAY

John very methodically anchors the boat and starts to get his fishing equipment out.

ESSENCE: This is something John has done religiously for 25 years.
CONFLICT: John seems to be a casual guy but his actions seem very regimented.
SUBTEXT: This seems to be more than just a guy going fishing.
HOPE/FEAR: We hope John can relax / We fear that he won’t

SCENE ARC: From John learning how to fish by his father to John teaching Jim, his younger brother how to fish; how the love of fishing is passed down from generation-to-generation.

EXT. LOUISIANA BAYOU – DAY – 30 YEARS EARLIER

John’s father teaching John how to fish and family values.

ESSENCE: A bonding moment for father and son that will last a lifetime.
CONFLICT: A father teaching his son the right way of doing things pertaining to fishing.
SUBTEXT: Someday you will be teaching these things to someone else.
HOPE/FEAR: We hope John will learn everything / We fear he will forget something

EXT. BOAT – DAY – PRESENT DAY

John fishing.

ESSENCE: John reflecting on how the previous scene with his father impacted his life.
CONFLICT: Happiness vs. Sadness = Gratefulness
SUBTEXT: The things his father taught him he will be able to share.
HOPE/FEAR: We hope John remembers everything / We fear he will forget

EXT. BOAT – DAY – 25 YEARS EARLIER

John teaching Jim, his younger brother, how to fish and family values, however, this isn’t the first time – it’s something John does every time they go fishing.

ESSENCE: A bonding moment between brothers that will last a lifetime, however it gets a bit ridiculous because Jim has heard it so many times before.
CONFLICT: John thinks this “stuff” he’s teaching Jim is so important vs. Jim who has has heard it a thousand times before; likes the birds.
SUBTEXT: John and Jim love each regardless of their differences.
HOPE/FEAR: We hope this relationship flourishes / We fear that it won’t

EXT. BOAT – DAY – PRESENT DAY

John fishing.

ESSENCE: John reflecting on the previous scene with a slight smile
CONFLICT: John seeing how serious he was back then vs. how his brother was just having fun and this makes him smile.
SUBTEXT: John recognizing the difference between him and Jim.
HOPE/FEAR: We hope John will relax a bit more / We fear he won’t

EXT. BOAT – DAY – 25 YEARS EARLIER

A picture of Grandpa reinforces John’s commitment to being a successful fisherman leading to John catching a catfish.

ESSENCE: John catches a good size catfish.
CONFLICT: A “good-size” catfish vs. “bigger” fish to fry.
SUBTEXT: If Jim were to apply the lessons John’s teaching him, he too can catch fish.
HOPE/FEAR: We hope they catch a really big catfish / We fear that they won’t

EXT. BOAT – DAY – PRESENT DAY

John sees the picture of Grandpa in the tackle box.

ESSENCE: John is reminded of his commitment to fishing.
CONFLICT: Grandpa caught a massive catfish vs. John hasn’t
SUBTEXT: John’s a failure until he catches a massive catfish like Grandpa.
HOPE/FEAR: We hope John catches a massive catfish / We fear he won’t

SCENE ARC: John is prepping to go fishing, he’s confronted by his wife to stay home with their son however John is determined to go.

INT. JOHN’S GARAGE – DAY – YESTERDAY

John entering the garage to get his fishing equipment, confronted by his wife, Teresa.

ESSENCE: John is determined to go fishing and he will not take no for an answer.
CONFLICT: John’s determination to fish and his wife’s persuasion not to go.
SUBTEXT: John is determined to catch the fish he blames for his brother’s death.
HOPE/FEAR: We hope John catches the fish / We fear he won’t

ACT 2

SCENE ARC: From the tranquility of a beautiful setting to the devastating loss of John’s brother.

EXT. BOAT – DAY – PRESENT DAY

John kicks back, enjoying his surroundings…

ESSENCE: John taking notice, maybe for the first time, of his surroundings.
CONFLICT: John’s determination of catching “The Fish” vs. the enjoyment of fishing.
SUBTEXT: Fishing was suppose to be fun and relaxing
HOPE/FEAR: We hope John catches “The Fish” / We fear life will pass him by

EXT. BOAT – DAY – 25 YEARS EARLIER

Jim catching a “Stick Bass” and John running out of bait, John decides to change bait to chicken.

ESSENCE: Jim’s lost interesting in fishing, John is still determined.
CONFLICT: Jim’s disinterest vs. John’s determination
SUBTEXT: The brother’s fish for different reasons.
HOPE/FEAR: We hope they don’t fight or argue / We fear they might

EXT. BOAT – DAY – PRESENT DAY

John hears a fish jump in the distance, birds fly from the trees.

ESSENCE: John is reminded why he is out here.
CONFLICT: Relaxation vs. a Job “to-do”
SUBTEXT: John is here for a reason – to catch “The Fish”
HOPE/FEAR: We hope John catches “The Fish” / We fear he won’t

EXT. BOAT – DAY – 25 YEARS EARLIER

John catches “The Fish” and struggles to reel it in. John gets pulled into the water and Jim dives in to cut the line. Only John emerges, Jim is gone.

ESSENCE: John catches “the Fish”, Jim saves John’s life and John is left alone.
CONFLICT: Jim dies and John survives
SUBTEXT: Things can go wrong very quickly.
HOPE/FEAR: We hope John can get revenge / We fear he won’t

ACT 3

SCENE ARC: From Jim’s hat sitting in the boat with John as he fishes to John’s uncovering the Jim’s hat in garage and bringing it along as a reminder of his task.

EXT. BOAT – DAY – PRESENT DAY

John fishing and seeing Jim’s hat on the seat.

ESSENCE: Jim’s hat reminds John why he is out here fishing.
CONFLICT: Jim’s absence vs. Jim’s presence
SUBTEXT: Jim is gone and he’s not coming back.
HOPE/FEAR: We hope John catches “The Fish” / We fear he might not

INT. JOHN’S GARAGE – DAY – YESTERDAY

While gathering his fishing equipment, John sees Jim’s photo and takes Jim’s hat.

ESSENCE: Jim’s hat reminds John why he is out here fishing.
CONFLICT: Jim’s absence vs. Jim’s presence
SUBTEXT: Jim is gone and he’s not coming back.
HOPE/FEAR: We hope John catches “The Fish” / We fear he might not

SCENE ARC: From John taking inventory of his fishing equipment in the boat to the day he acquired it from the Trading Post.

EXT. BOAT – DAY – PRESENT DAY

John fishing and taking notice of his newly acquired equipment.

ESSENCE: John has added new equipment to his gear.
CONFLICT: Old equipment vs. New equipment
SUBTEXT: Will the New equipment make a difference
HOPE/FEAR: We hope John catches “The Fish” / We fear he might not

EXT. TRADING POST/GAS STATION – DAY – YESTERDAY

At the Trading Post/Gas Station, an old-timer recalls a fishing tale about catfish so large one catfish could feed an Indian village. John buys new equipment and a whole cajun chicken.

ESSENCE: Hearing a fish tale about massive catfishJohn buys new equipment.
CONFLICT: Old ways vs. New ways
SUBTEXT: Maybe John under estimated “The Fish”
HOPE/FEAR: We hope John catches “The Fish” / We fear he might not

SCENE ARC: From John finding an empty hook and another fail attempt to having a conversation with his deceased brother Jim.

EXT. BOAT – DAY – PRESENT DAY

John reels his line in and finds an empty hook, he’s out of bait.

ESSENCE: John finds an empty hook and is tired of failure.
CONFLICT: The old ways aren’t working vs. trying something different
SUBTEXT: It might be time for something new.
HOPE/FEAR: We hope John catches “The Fish” / We fear he might not

EXT. BOAT – DAY – JOHN’S IMAGINATION

John has a conversation with his deceased brother, Jim

ESSENCE: Jim tries to talk John out of catching “The Fish”, John refuses
CONFLICT: Jim opinion of “Don’t do this” vs. John’s opinion “I have to”
SUBTEXT: You have to do what you have to do.
HOPE/FEAR: We hope John survives catching “The Fish” / We fear he might not

ACT 4
SCENE ARC: From John changing his bait to John catching “The Fish” to getting “The Fish” right up to the boat to John’s realization “He was the One That Got Away!” to “The Fish” engulfing John.

EXT. BOAT – DAY – PRESENT DAY

John changes his bait then catches “The Fish” only to come face-to-face with “The Fish” realizing he’s “The One That Got Away” before being engulfed.

ESSENCE: John successfully catches “The Fish” but realizes the tables have turned.
CONFLICT: John vs. “The Fish”
SUBTEXT: John’s “The One That Got Away!”
HOPE/FEAR: We hope this wasn’t the case / We fear that it is

CREDITS ROLL

EXT. BOAT – DAY – PRESENT DAY

“The Fish” eats hat.

ESSENCE: “The Fish” ate the fisherman and his hat.
CONFLICT: Man vs. Fish – Fish wins!!!
SUBTEXT: Don’t mess with Mother Nature – you might just lose your hat
HOPE/FEAR: We hope there will be a sequel / We fear there won’t be

• This reply was modified 1 year, 9 months ago by  Brian Bull. Reason: Changed DAY to NIGHT for obvious reasons and left out "John" in two places

[Marguerite Langstaff]

a

Module 4 Lesson 9: Scene Requirements

Marguerite Langstaff: The Billionaire in 501

Vision: I want to learn to write and market movie scripts.

What I learned doing this assignment: I learned that my assignments act as my notes and memory joggers, and when I worked on the scene requirements I learned to loosen up my too-pragmatic-imagination and think through a few scenes.

State/Activity: I have so much fun creating scene requirements for my outline.

Act 1:

EXT. SHADY ACRES RETIREMENT VILLAGE-DAY

Scene One:

Scene Arc: The driver helps GM out of limo, loads her luggage onto a massive luggage carrier, and leaves GM and the luggage at the front door so GM has to push the heavy luggage carrier into the bldg..

Essence: I want the audience to know that GM is “on her own” from the very beginning.

Conflict: GM arrives in the elegant luxury of a limo, with the solicitous help of the driver, goes into a beautiful retirement center, and suddenly is faced with pushing her own heavy luggage without help of anybody.

Subtext: GM has to be independent from the very first scene.

Hope/Fear: We hope the driver will help GM push her luggage inside, but we fear he won’t help her.

INT. SHADY ACRES LOBBY-DAY:

Scene Two:

Scene Arc: GM struggles with the luggage in the lobby but is behind a woman pushing a walker with a bag of oranges. GM leaves her luggage and walks behind the woman picking up the oranges and giving them to the woman as she continues to push her walker and spill oranges. Pappy sits behind a newspaper pretending to read but actually taking in the entire scene. A few other residents sit around the lobby paying no attention to the woman spilling her oranges and making no efforts to help. Finally when the woman reaches the elevator without even acknowledging GM’s kindness Pappy yells across the room for Mattie (the woman with the oranges) to say “thank you.”

Essence: I want the audience to have positive feeling about GM right at the first of the movie.

Conflict: Clearly GM can use some help, but none of the residents seem friendly as they just ignore her.

Subtext: Pappy has his eye on GM from the very beginning, and he shows his bossiness from the very beginning.

Hope/Fear: We hope someone will stop Mattie who is dropping the oranges and will help GM, but we fear nobody will.

INT. GM’S APARTMENT AT SHADY ACRES-NIGHT

Scene Three

Scene Arc: GM sits at her desk with a great big checkbook open in front of her and with an adding machine right beside her. Her purse is on the desk and is wide open. GM has pens and paper and a stack of notes cluttering her desk. She hums softly as she works with the checkbook and the adding machine. After a few times adding she begins to look worried … and then more worried, etc…and finally frantic she pulls out her cell and makes a phone call to her son Alex. She tells him all is lost…then in exasperation she says…it’s Healthy Peanuts, Inc which is lost. She tells him it went bankrupt today. In greater exasperation she tells him yes, yes..she went all in and gave Healthy Peanuts all the money she had. She hangs up, puts her head down on top of the checkbook and sobs.

Scene Arc: We’re happy to see and hear GM humming while in her new apartment and while working on her checkbook. We’re sad to see the change in her as she works with the adding machine and calls Alex, her son.

Essence: I want the audience to suffer GM’s awful discovery of financial embarrassment.

Conflict: The conflict is that she’s finally in her beautiful new apartment and tragedy has struck.

Subtext: The deeper meaning is that she can’t afford to stay at Shady Acres.

Hope/Fear: We hope she has made a mistake and that she didn’t really give Healthy Peanuts, Inc all the money she had, but we fear it may be true.

Act 2:

INT. FRONT DOOR IN LOBBY OF SHADY ACRES/ DAY

Scene One:

Scene Arc: GM meets Alex, her 35 year old son, and Sam, her 10 year old grandson, at the front door of the lobby of Shady Acres. She is smothered with hugs and kisses from Sam…and a few hugs from Alex. When Alex asks if Sam can come over after school for three days a week she, of course agrees and after more hugs and kisses Alex leaves and GM and Sam get onto the elevator to go to GM’s new apartment. Alex’s reaction to GM’s being broke is merely a shrug.

Scene Arc: We’re happy to see GM and 10 year old Sam, but we’re disappointed that her son Alex doesn’t come to GM’s rescue for the financial disaster.

Essence: I am trying to accomplish the wonderful family relationships GM has with her family…and Sam, whose parents are divorced and sort of juggling him around can flourish and be happy with GM’s association and love.

Conflict: Although Alex is no help in the financial problem, GM holds no grudge or responsibility for him to do so. Again we see that she is indeed an independent soul.

Subtext: GM’s priorities are not in question. She maintains her strong independence, but she takes the role of rescue person for Sam….three days a week.

Hope/Fear: We hope all will be well for GM AND for Sam, but we fear that she may not be at Shady Acres long enough to benefit either of them.

Act 2, Scene 2:

INT. GM’S APARTMENT-DAY

Scene Arc: GM and Sam bond immediately. GM tells Sam how she was a counselor in Middle School and had to answer millions of questions from her students. Sam tells how his counselor locks herself away and won’t answer any questions. They agree tat questions need answers. GM shows Sam her new computer and he shows her how to turn it on.

Scene Arc: Wheras this scene could begin with a “what shall we do together?” bit, it begins with an enthusiastic let’s do this together enthusiasm. It ends with a knowledge that this enthusiasm may be short lived if GM can’t afford to stay at Shady Acres.

Essence: I am trying to establish a close relationship between GM and Sam.

Conflict: The conflict is that GM may not be there long enough to establish a close relationship with her Grandson Sam.

Subtext: The deeper meaning is that GM who spent her entire life advising other people what to do is now relegated to trying to decide what to do for herself.

Hope/fear: We hope that having Sam come in the afternoons will work out all right, but we fear, still, that GM cannot stay at Shady Acres because she cannot pay.

Act 2: Scene 3:

INT. DINING ROOM SHADY ACRES – DAY

Scene Arc: Pappy and GM have a glass of wine together in the diningroom at Shady acres and share that GM is broke and that Pappy has a little/big problem with his daughter wanting to be his mother and telling him everything to do.

The change in his scene is that the good news is that Pappy and GM are together sharing wine and feelings, but that the future looks bleak with Pappy’s daughter being so forceful and intrusive and with GM’s sad financial outlook.

Essence: I am trying to have the audience feel the inner frustration of Pappy who is experiencing loss of independence and of GM who knows she can’t stay at Shady Acres without any money.

Clinflict: The conflict of the scene is that they found each other and a grand relationship in old age….but it’s hampered by new age problems…children and money. They discuss getting into a business with the other residents.

Subtext: They’re beginning a grand new relationship.

Hope/Fear: We hope they can get together, but we fear they cannot.

Act 2, Scene 4: Pappy and GM meet with about 16 residents and talk about starting a business so GM can stay. They will make homemade wares and sell them outside like an old fashioned market. Various residents ask GM questions re: their personal problems….all of which she easily answers.

Scene Arc: We see them being optimistic about having a market and making a thriving business, but then we hear them planning obsolete type marketing and items in their planning.

Essence: I’m trying to show total failure on the part of GM’s new friends to made a going business of anything, but they continue to rely on GM for advice…increasingly so. Everything seems out of date….EXCEPT GM’s consistent advice.

Conflict: Pappy’s daughter Sally continues to nag him to “give up” his friendship with GM. She thinks GM is after his money. We’re beginning to wonder too.

Subtext: The whole matter has been set up for failure.

Hope/fear: We hope the market business will be a success, but we fear failure, because people don’t want knitted hats in the summertime.

Act 3, Scene 1:

INT. GM’S APARTMENT – DAY

Sam and GM work on the computer. He shoots her a question and she shoots back an answer…and then she type furiously on the computer with Sam directing her as far as settings, etc go.

Scene Arc: We think GM is simply babysitting Sam after school, but then we realize they’re truly bonding and seem to be relishing an activity which is getting all the attention from both GM and Sam.

Essence: I am trying to accomplish having the audience join with Sam and GM in trying to accomplish a business or other activity.

Conflict: The conflict in this scene is Sam’s youth (10 years old) and GMs retirement age (70’s). That they could even be interested in the same thing brings some conflict. The younger has become the teacher, but the older still is in charge of whatever project they’re working on.

Subtext: The deeper meaning is that even though things seem to be failing … such as GM’s losing all her money in a failed investment, and the business undertaken by the residents at Shady Acres….and the relationship between Pappy and GM….Something of interest is definitely going on when GM and Alex get together three times a week.

Hope/fear: We’re hoping for a miracle for the protagonist (GM) but fear for her failure.

INT.PAPPY’S APARTMENT – DAY

Act 3, Scene 2: Sally, Pappy’s daughter, pins him down and has a heart to heart with him in his apartment during which she tells him in no uncertain terms to terminate his relationship with GM and that he is an old man who should know better.

Scene Arc: When Sally and Pappy meet again we hope they’ll agree on some things…but when the scene ends we know they’ve agreed on absolutely nothing.

Essence: I am trying to show that for Pappy his daughter wants to be his boss, and many in the audience will identify with that problem.

Conflict: The conflict in this scene is between Pappy and Sally. Sally wants him to give up GM’s friendship, and he is not going to do that.

Subtext: Beneath the surface we, the audience, want GM and Pappy to get together….

Hope/fear: We hope that Sally will go away or at least leave her father alone to make his own friends, but we fear that he will give in to her pleas. \

Act 3, Scene 3:

INT. MEETING ROOM SHADY ACRES- DAY

The residents of Shady Acres as so sad because GM will have to leave Shady Acres and they’ve all perked up and become more active just having her there. The has been so good at helping them with their problems and gloom and doom reign over the meeting in Scene 3 of Act 3.

Scene Arc: The change in this scene demonstrates the change in attitudes at Shady Acres since GM came. GM and Pappy interact with their friends there and good will abounds. The gloom and doom exists because GM is going to have to leave.

Essence: I want the audience to feel that GM has made such a difference in how people feel about each other.

Conflict: The conflict is the vast difference in what the people all want and what is actually happening.

Subtext: Pappy is the saddest of all. He has fallen head over heels in love with GM even though she never will let him boss her around.

Hope/fear: We hope for a miracle, but we fear that GM will have to leave this beautiful community.

Act 4, Scene 1

INT.POST OFFICE SHADE ACRES-DAY

GM and Sam pick up a special letter at the Post Office…and after they open it they hug and dance around with glee and happiness.

Essence: They received good news in the mystery mail.

Conflict: What is the good news?

Subtext: We hope GM can stay at Shady Acres.

Hope /fear: But we fear she cannot.

Act 4: Scene 2

INT.SHADY ACRES MEETING ROOM-DAY

Pappy and GM whisper together as Sam helps the residents find chairs to sit in in the meeting room. GM stands on the stage and announces that her advice column is a major success and is bringing in so much money that she can spend the rest of her life at Shady Acres. Pappy beams and the residents cheer.

Essence: GM’s worries are over.

Conflict: Will Sally change?

Subtext: Pappy continues to advise GM what to do with her new wealth, and she patiently tells him she’ll continue to do as she always has…what she wants to do…but no more fly-by-night stock investments.

Hope/fear: We hope Pappy and GM are now a twosome, but we fear Sally’s appearance on the scene will dampen all spirits

Act 4: Scene 4:

INT.LOBBY SHADY ACRES- DAY

The lobby is decorated with balloons, confetti, and signs of hurrahs! Cakes and wine are on all the tables and counters. People are wearing party clothes. Pappy and GM come through the lobby together with cheers and applause coming from the happy residents. Sally and Alex (GM’s son) are together drinking wine. He asks her if he thinks Pappy is after GM’s money. Pappy and GM leave in a long black limo.

Scene Arc: The celebration is underway and the arc is that it gets better and better when we see GM and Pappy leaving on a real date.

Essence: We’re trying to accomplish a happy ending and great celebration.

Conflict: The conflict of Sally’s bossing her father is turned light heartedly to comedy when Alex asks her if he’s dating GM for her money.

Subtext: Old age can be fun. People need other people. Stay active. Grandchildren are pretty wonderful.

Hope: The hope is that people can keep leading active and fun-filled lives after retirement…without fears of “what if?”a

Module 4 Lesson 9: Scene Requirements

Marguerite Langstaff: The Billionaire in 501

Vision: I want to learn to write and market movie scripts.

What I learned doing this assignment: I learned that my assignments act as my notes and memory joggers, and when I worked on the scene requirements I learned to loosen up my too-pragmatic-imagination and think through a few scenes.

State/Activity: I have so much fun creating scene requirements for my outline.

Act 1:

EXT. SHADY ACRES RETIREMENT VILLAGE-DAY

Scene One:

Scene Arc: The driver helps GM out of limo, loads her luggage onto a massive luggage carrier, and leaves GM and the luggage at the front door so GM has to push the heavy luggage carrier into the bldg..

Essence: I want the audience to know that GM is “on her own” from the very beginning.

Conflict: GM arrives in the elegant luxury of a limo, with the solicitous help of the driver, goes into a beautiful retirement center, and suddenly is faced with pushing her own heavy luggage without help of anybody.

Subtext: GM has to be independent from the very first scene.

Hope/Fear: We hope the driver will help GM push her luggage inside, but we fear he won’t help her.

INT. SHADY ACRES LOBBY-DAY:

Scene Two:

Scene Arc: GM struggles with the luggage in the lobby but is behind a woman pushing a walker with a bag of oranges. GM leaves her luggage and walks behind the woman picking up the oranges and giving them to the woman as she continues to push her walker and spill oranges. Pappy sits behind a newspaper pretending to read but actually taking in the entire scene. A few other residents sit around the lobby paying no attention to the woman spilling her oranges and making no efforts to help. Finally when the woman reaches the elevator without even acknowledging GM’s kindness Pappy yells across the room for Mattie (the woman with the oranges) to say “thank you.”

Essence: I want the audience to have positive feeling about GM right at the first of the movie.

Conflict: Clearly GM can use some help, but none of the residents seem friendly as they just ignore her.

Subtext: Pappy has his eye on GM from the very beginning, and he shows his bossiness from the very beginning.

Hope/Fear: We hope someone will stop Mattie who is dropping the oranges and will help GM, but we fear nobody will.

INT. GM’S APARTMENT AT SHADY ACRES-NIGHT

Scene Three

Scene Arc: GM sits at her desk with a great big checkbook open in front of her and with an adding machine right beside her. Her purse is on the desk and is wide open. GM has pens and paper and a stack of notes cluttering her desk. She hums softly as she works with the checkbook and the adding machine. After a few times adding she begins to look worried … and then more worried, etc…and finally frantic she pulls out her cell and makes a phone call to her son Alex. She tells him all is lost…then in exasperation she says…it’s Healthy Peanuts, Inc which is lost. She tells him it went bankrupt today. In greater exasperation she tells him yes, yes..she went all in and gave Healthy Peanuts all the money she had. She hangs up, puts her head down on top of the checkbook and sobs.

Scene Arc: We’re happy to see and hear GM humming while in her new apartment and while working on her checkbook. We’re sad to see the change in her as she works with the adding machine and calls Alex, her son.

Essence: I want the audience to suffer GM’s awful discovery of financial embarrassment.

Conflict: The conflict is that she’s finally in her beautiful new apartment and tragedy has struck.

Subtext: The deeper meaning is that she can’t afford to stay at Shady Acres.

Hope/Fear: We hope she has made a mistake and that she didn’t really give Healthy Peanuts, Inc all the money she had, but we fear it may be true.

Act 2:

INT. FRONT DOOR IN LOBBY OF SHADY ACRES/ DAY

Scene One:

Scene Arc: GM meets Alex, her 35 year old son, and Sam, her 10 year old grandson, at the front door of the lobby of Shady Acres. She is smothered with hugs and kisses from Sam…and a few hugs from Alex. When Alex asks if Sam can come over after school for three days a week she, of course agrees and after more hugs and kisses Alex leaves and GM and Sam get onto the elevator to go to GM’s new apartment. Alex’s reaction to GM’s being broke is merely a shrug.

Scene Arc: We’re happy to see GM and 10 year old Sam, but we’re disappointed that her son Alex doesn’t come to GM’s rescue for the financial disaster.

Essence: I am trying to accomplish the wonderful family relationships GM has with her family…and Sam, whose parents are divorced and sort of juggling him around can flourish and be happy with GM’s association and love.

Conflict: Although Alex is no help in the financial problem, GM holds no grudge or responsibility for him to do so. Again we see that she is indeed an independent soul.

Subtext: GM’s priorities are not in question. She maintains her strong independence, but she takes the role of rescue person for Sam….three days a week.

Hope/Fear: We hope all will be well for GM AND for Sam, but we fear that she may not be at Shady Acres long enough to benefit either of them.

Act 2, Scene 2:

INT. GM’S APARTMENT-DAY

Scene Arc: GM and Sam bond immediately. GM tells Sam how she was a counselor in Middle School and had to answer millions of questions from her students. Sam tells how his counselor locks herself away and won’t answer any questions. They agree tat questions need answers. GM shows Sam her new computer and he shows her how to turn it on.

Scene Arc: Wheras this scene could begin with a “what shall we do together?” bit, it begins with an enthusiastic let’s do this together enthusiasm. It ends with a knowledge that this enthusiasm may be short lived if GM can’t afford to stay at Shady Acres.

Essence: I am trying to establish a close relationship between GM and Sam.

Conflict: The conflict is that GM may not be there long enough to establish a close relationship with her Grandson Sam.

Subtext: The deeper meaning is that GM who spent her entire life advising other people what to do is now relegated to trying to decide what to do for herself.

Hope/fear: We hope that having Sam come in the afternoons will work out all right, but we fear, still, that GM cannot stay at Shady Acres because she cannot pay.

Act 2: Scene 3:

INT. DINING ROOM SHADY ACRES – DAY

Scene Arc: Pappy and GM have a glass of wine together in the diningroom at Shady acres and share that GM is broke and that Pappy has a little/big problem with his daughter wanting to be his mother and telling him everything to do.

The change in his scene is that the good news is that Pappy and GM are together sharing wine and feelings, but that the future looks bleak with Pappy’s daughter being so forceful and intrusive and with GM’s sad financial outlook.

Essence: I am trying to have the audience feel the inner frustration of Pappy who is experiencing loss of independence and of GM who knows she can’t stay at Shady Acres without any money.

Clinflict: The conflict of the scene is that they found each other and a grand relationship in old age….but it’s hampered by new age problems…children and money. They discuss getting into a business with the other residents.

Subtext: They’re beginning a grand new relationship.

Hope/Fear: We hope they can get together, but we fear they cannot.

Act 2, Scene 4: Pappy and GM meet with about 16 residents and talk about starting a business so GM can stay. They will make homemade wares and sell them outside like an old fashioned market. Various residents ask GM questions re: their personal problems….all of which she easily answers.

Scene Arc: We see them being optimistic about having a market and making a thriving business, but then we hear them planning obsolete type marketing and items in their planning.

Essence: I’m trying to show total failure on the part of GM’s new friends to made a going business of anything, but they continue to rely on GM for advice…increasingly so. Everything seems out of date….EXCEPT GM’s consistent advice.

Conflict: Pappy’s daughter Sally continues to nag him to “give up” his friendship with GM. She thinks GM is after his money. We’re beginning to wonder too.

Subtext: The whole matter has been set up for failure.

Hope/fear: We hope the market business will be a success, but we fear failure, because people don’t want knitted hats in the summertime.

Act 3, Scene 1:

INT. GM’S APARTMENT – DAY

Sam and GM work on the computer. He shoots her a question and she shoots back an answer…and then she type furiously on the computer with Sam directing her as far as settings, etc go.

Scene Arc: We think GM is simply babysitting Sam after school, but then we realize they’re truly bonding and seem to be relishing an activity which is getting all the attention from both GM and Sam.

Essence: I am trying to accomplish having the audience join with Sam and GM in trying to accomplish a business or other activity.

Conflict: The conflict in this scene is Sam’s youth (10 years old) and GMs retirement age (70’s). That they could even be interested in the same thing brings some conflict. The younger has become the teacher, but the older still is in charge of whatever project they’re working on.

Subtext: The deeper meaning is that even though things seem to be failing … such as GM’s losing all her money in a failed investment, and the business undertaken by the residents at Shady Acres….and the relationship between Pappy and GM….Something of interest is definitely going on when GM and Alex get together three times a week.

Hope/fear: We’re hoping for a miracle for the protagonist (GM) but fear for her failure.

INT.PAPPY’S APARTMENT – DAY

Act 3, Scene 2: Sally, Pappy’s daughter, pins him down and has a heart to heart with him in his apartment during which she tells him in no uncertain terms to terminate his relationship with GM and that he is an old man who should know better.

Scene Arc: When Sally and Pappy meet again we hope they’ll agree on some things…but when the scene ends we know they’ve agreed on absolutely nothing.

Essence: I am trying to show that for Pappy his daughter wants to be his boss, and many in the audience will identify with that problem.

Conflict: The conflict in this scene is between Pappy and Sally. Sally wants him to give up GM’s friendship, and he is not going to do that.

Subtext: Beneath the surface we, the audience, want GM and Pappy to get together….

Hope/fear: We hope that Sally will go away or at least leave her father alone to make his own friends, but we fear that he will give in to her pleas. \

Act 3, Scene 3:

INT. MEETING ROOM SHADY ACRES- DAY

The residents of Shady Acres as so sad because GM will have to leave Shady Acres and they’ve all perked up and become more active just having her there. The has been so good at helping them with their problems and gloom and doom reign over the meeting in Scene 3 of Act 3.

Scene Arc: The change in this scene demonstrates the change in attitudes at Shady Acres since GM came. GM and Pappy interact with their friends there and good will abounds. The gloom and doom exists because GM is going to have to leave.

Essence: I want the audience to feel that GM has made such a difference in how people feel about each other.

Conflict: The conflict is the vast difference in what the people all want and what is actually happening.

Subtext: Pappy is the saddest of all. He has fallen head over heels in love with GM even though she never will let him boss her around.

Hope/fear: We hope for a miracle, but we fear that GM will have to leave this beautiful community.

Act 4, Scene 1

INT.POST OFFICE SHADE ACRES-DAY

GM and Sam pick up a special letter at the Post Office…and after they open it they hug and dance around with glee and happiness.

Essence: They received good news in the mystery mail.

Conflict: What is the good news?

Subtext: We hope GM can stay at Shady Acres.

Hope /fear: But we fear she cannot.

Act 4: Scene 2

INT.SHADY ACRES MEETING ROOM-DAY

Pappy and GM whisper together as Sam helps the residents find chairs to sit in in the meeting room. GM stands on the stage and announces that her advice column is a major success and is bringing in so much money that she can spend the rest of her life at Shady Acres. Pappy beams and the residents cheer.

Essence: GM’s worries are over.

Conflict: Will Sally change?

Subtext: Pappy continues to advise GM what to do with her new wealth, and she patiently tells him she’ll continue to do as she always has…what she wants to do…but no more fly-by-night stock investments.

Hope/fear: We hope Pappy and GM are now a twosome, but we fear Sally’s appearance on the scene will dampen all spirits

Act 4: Scene 4:

INT.LOBBY SHADY ACRES- DAY

The lobby is decorated with balloons, confetti, and signs of hurrahs! Cakes and wine are on all the tables and counters. People are wearing party clothes. Pappy and GM come through the lobby together with cheers and applause coming from the happy residents. Sally and Alex (GM’s son) are together drinking wine. He asks her if he thinks Pappy is after GM’s money. Pappy and GM leave in a long black limo.

Scene Arc: The celebration is underway and the arc is that it gets better and better when we see GM and Pappy leaving on a real date.

Essence: We’re trying to accomplish a happy ending and great celebration.

Conflict: The conflict of Sally’s bossing her father is turned light heartedly to comedy when Alex asks her if he’s dating GM for her money.

Subtext: Old age can be fun. People need other people. Stay active. Grandchildren are pretty wonderful.

Hope: The hope is that people can keep leading active and fun-filled lives after retirement…without fears of “what if?”

[Margaret]

Margaret’s Scene Requirements

Vision: To be the best faith-based screenwriter.

What I learned: This took a lot longer than I thought, but the details of each scene became clearer to me as I put in the scene requirements.

Opening:

1. EXT. IRELAND – MT. CRUACHAN – Evening

The goddess of Ireland’s otherworld, MORRIGAN, comes out of a trance, screaming that the Irish belong to her.

Scene Arc: From trance-like state to anger

Essence: Morrigan sees a future that troubles her

Conflict: What is it that Morrigan fears?

Subtext: A human will take the allegiance of the Irish away from Morrigan

Hope/fear: Fear whatever is troubling this woman

Inciting Incident:

2. EXT. BRITAIN – DOCK – DAY

Twenty-five years earlier. Patrick and his sister, ALITA, are captured. Their kidnappers plan to take them to Ireland and sell them as slaves.

Scene Arc: ALITA searching for her brother PATRICK, to both being kidnapped

Essence: Patrick was conned in his effort to escape his father’s wish for him to serve the church and is trapped, kidnapped.

Conflict: Alita fighting with Patrick to get him to come home; Fisherman are really kidnappers who trap the teens.

Subtext: Fisherman are not there to recruit Patrick but to kidnap him.

Hope/fear: Hope Alita can convince Patrick to obey his father; fear that the teens will be harmed and neither will see their parents again.

By page 10, you know what the movie is about:

3. EXT. MT. CRUACHAN – DAY – FIVE YEARS LATER

BACRAH, a powerful druid, recites incantations to create an opening in the rock wall, hoping to release otherworld creatures. He is confronted by Morrigan who tells him there is a threat in Ireland and Bacrah must find and extinguish that threat. Morrigan tells Bacrah that if he fails, she will bind his own feet in a noose.

Scene Arc: Bacrah looking for power to becoming a servant of Morrigan

Essence: Morrigan forces Bacrah to help her extinguish a threat

Conflict: Morrigan threatens Bacrah to force him to do her will

Subtext: Morrigan fears Patrick

Hope/fear: Hope Bacrah and Morrigan will not hurt those with them; fear Morrigan’s power over the elements and the people around her.

4. EXT. FIELD NEAR MILCHO’S HOME – DAY

A wolf (Bacrah) searches for Patrick. Watches as he herds the sheep and attempts to save an errant lamb from a raging river.

Scene Arc: Search for Patrick to locating him.

Essence: Bacrah locates Patrick.

Conflict: Lamb in danger!

Subtext: Patrick pledges allegiance to God, to save “lambs” but in reality he is pledging to care for the Irish.

Hope/fear: Hope the wolf won’t attack; fear for the life of the lamb.

5. EXT. RIVER – MOVING WITH PATRICK (ABOVE/UNDERWATER) – DAY

Patrick unsuccessfully attempts to save the lamb while a wolf (Bacrah) watches.

Scene Arc: Patrick’s attempt to save the lamb to the lamb’s death.

Essence: Patrick has failed his promise to shepherd the lambs.

Conflict: Struggle to save the lamb.

Subtext: Patrick feels guilt that his actions, both with the lamb and his sister Alita, have caused harm. Patrick doubting God heard his request.

Hope/fear: Hope Patrick can save the lamb; fear the druid who watches Patrick.

6. EXT. MILCHO’S HOME – EVENING

Patrick brings the dead lamb to his master (Milcho). Milcho finds purpose in the lamb’s death and cares for Patrick so he won’t get sick.

Scene Arc: Patrick’s confession to Milcho that he did not protect the lamb to Milcho caring for Patrick.

Essence: Milcho cares for Patrick, does not want him harmed.

Conflict: Patrick’s confession to a irritated master.

Subtext: Milcho doesn’t want Patrick harmed.

Hope/fear: Hope Milcho accepts Patrick’s confession, fear Patrick will get sick.

7. INT. MILCHO’S HOME – NIGHT

Milcho is disturbed in the night by wolf’s howling. He sees a fire outside near a statue of a sun god. Fearful, recognizing he is being called, he leaves the house.

Scene Arc: Milcho watching Patrick sleep peacefully to Milcho fearfully leaving his house.

Essence: Milcho is being summoned by Bacrah.

Conflict: Milcho is forced to leave the house to meet with Bacrah.

Subtext: Milcho is afraid of the power of the druids.

Hope/fear: Hope the wolves won’t harm them; fear for Milcho’s safety.

8. EXT. HILL – NIGHT

Milcho meets with Bacrah at the statue of the sun god. Bacrah pays Milcho for Patrick and states he will come for him in the morning.

Scene Arc: From Milcho’s arguing against releasing Patrick to accepting payment for his release.

Essence: Bacrah pays for Patrick’s release and Milcho is forced to accept.

Conflict: Milcho arguing against releasing Patrick to Milcho.

Subtext: There is a woman (Alita) who could also fulfill Morrigan’s vision. Milcho fears Bacrah’s power.

Hope/fear: Hope Milcho won’t release Patrick to Bacrah; fear for Milcho and Patrick’s safety.

9. INT. MILCHO’S HOME – DAY

Milcho warns Patrick about Bacrah and Patrick flees.

Scene Arc: Patrick arguing that God will protect him to Patrick fleeing for his life.

Essence: Patrick gives in to fear instead of trusting God to protect him. Milcho warns Patrick he must not waste his youth and potential under the control of others.

Conflict: Milcho trying to convince Patrick to run.

Subtext: Milcho doesn’t want Patrick to suffer under Bacrah’s control. Milcho is under the control of the druids.

Hope/fear: Hope Patrick will be safe; fear what will happen to Milcho when Bacrah arrives.

10. EXT. HILL – DAY

Patrick meets wolves, runs back to the safety of Milcho’s home.

Scene Arc: Patrick running to freedom to running back to slavery.

Essence: Patrick fears for his life and prefers the known over the unknown.

Conflict: Wolves confronting Patrick.

Subtext: The wolves are the druids after Patrick.

Hope/fear: Hope Patrick will be safe; fear if he returns to Milcho, he will be handed over to Bacrah.

11. EXT. MILCHO’S HOME – DAY

Milcho doesn’t let Patrick in so Patrick runs into the forest to escape the wolves.

Scene Arc: Patrick expects Milcho to let him in to keep him safe to Patrick running for his life.

Essence: Milcho doesn’t want Bacrah to have Patrick.

Conflict: Patrick seeking safety from the wolves.

Subtext: The wolves are the druids.

Hope/fear: Hope Patrick will be safe; fear Patrick cannot outrun the wolves.

12. EXT. MILCHO’S HOME – DAY

Bacrah leaves Milcho’s home, shapeshifts into a wolf, leads the pack to find Patrick. A crow flies overhead.

Scene Arc: Bacrah the man shapeshifted into a wolf to seek Patrick.

Essence: Bacrah is actively looking for Patrick under the watchful eye of Morrigan (the crow).

Conflict: Bacrah is chasing Patrick.

Subtext: Morrigan is keeping an eye on Bacrah.

Hope/fear: Hope Patrick had enough of a head start to evade Bacrah; fear Patrick will be caught.

13. EXT. RIVERBANK – DAY

Bacrah (as a man) catches up with Patrick at the edge of the river, mocks Patrick’s God. Patrick escapes by jumping onto a tree being carried along on the fast current. The crow watches from the top of a tree nearby.

Scene Arc: Patrick is trapped to Patrick’s escape.

Essence: God provided a way for Patrick to escape.

Conflict: Bacrah taunts Patrick and mocks his God.

Subtext: Morrigan is keeping an eye on Bacrah.

Hope/fear: Hope Patrick can escape Bacrah, fear for his safety in the raging river.

14. EXT. RIVERBANK – EVENING

Patrick makes it safely to shore. No sign of Bacrah. The crow watches – lightning strikes near Patrick. Patrick moves into the forest to seek shelter from a storm.

Scene Arc: Patrick safe from the river to seeking shelter from a storm.

Essence: Patrick is safe from Bacrah, but not from Morrigan.

Conflict: Patrick is in the open during a lightning storm.

Subtext: Morrigan wants Patrick dead.

Hope/fear: Hope Patrick is safe from Bacrah; fear he may be harmed in the storm.

15. EXT. FOREST – NIGHT

Patrick regrets leaving the sheep and not trusting God and cries out to God for wisdom – should he return to Milcho?

Scene Arc: Patrick attempting to care for himself to crying to God for protection and wisdom.

Essence: Patrick wants God’s leading in his life, wants to serve God.

Conflict: Patrick doesn’t know the next step to take.

Subtext: Patrick feels guilt over his decision to leave his post.

Hope/fear: Hope Patrick will be safe; fear he will decide to return to Milcho.

16. DREAM SEQUENCE – EXT. NIGHT – AN HOUR LATER

Patrick dreams of Victor telling him to leave Ireland, that God will give him another flock to care for. He tells him he will protect him from other “gods”. Patrick runs from Bacrah after Victor intervenes.

Scene Arc: Patrick sleeping peacefully to running away, feeling safe.

Essence: God is protecting Patrick, directing him to leave Ireland and has a future ministry for Patrick.

Conflict: Victor confronts Bacrah.

Subtext: God’s power is stronger than Morrigan’s or Bacrah’s.

Hope/fear: Hope that Bacrah won’t harm Patrick; fear for Patrick’s life.

17. EXT. MEADOW – DAY – SAME

Bacrah runs through a meadow but is stopped by Morrigan. She is livid, asks Bacrah why her servants are less powerful than another god’s. Tells Bacrah he will be her service dog for the high king but his failure will come at a cost, he will lose his ability to shapeshift.

Scene Arc: Bacrah fleeing to trembling before Morrigan.

Essence: God’s angel is more powerful than Morrigan’s druid.

Conflict: Morrigan’s anger at Bacrah’s failure.

Subtext: Morrigan will take over pursuing Patrick. Bacrah hates Morrigan’s control.

Hope/fear: Hope Patrick can withstand Morrigan, fear her power.

18. EXT. MEADOW – DAY

Patrick stumbles through a meadow. Gaunt, dehydrated. He falls, unconscious.

Scene Arc: From physically beat to unconscious

Essence: Patrick’s journey has exceeded the level of physical ability.

Conflict: Patrick’s inability to go forward.

Subtext: Patrick’s journey has taken his toll on his body.

Hope/fear: Hope Patrick will find food/water; fear he will die.

19. DREAM SEQUENCE – EXT. – DAY

Morrigan appears to Patrick, accuses him of not being good enough to live since he caused the capture of his sister, and the death of the lamb. She warns he will be rejected by his parents if he attempts to return home and it would be better for him to die and serve her in the otherworld. Patrick tells her he will serve no other god but the true One.

Scene Arc: Accusation by Morrigan and her attempt to get him to serve her to Patrick’s

rejection of her.

Essence: Morrigan wants Patrick’s loyalty, Patrick’s loyalty is with God.

Conflict: Morrigan’s attempt to gain Patrick’s loyalty.

Subtext: Morrigan is fearful of Patrick.

Hope/fear: Hope Patrick will not let guilt cloud his decisions; hope he will stand firm.

20. EXT. MEADOW – DAY

Two sisters discover the half-starved Patrick unconscious in a meadow. They assume he is dead. When he breathes, they attribute his life to the fairy people and take him to their Da. A crow in a tree watches the action.

Scene Arc: Patrick unconscious in a field to his rescue.

Essence: Patrick’s journey has taken its toll, but he has help.

Conflict: Women debating who the unconscious man is and what to do with him.

Subtext: The women are steeped in the stories of the otherworld.

Hope/fear: Hope Patrick will be helped. Fear his illness and what brought him to this point?

21. INT. COTTAGE – DAY

The Irish family (Cailin, Moira, and Da) interrogate Patrick, attempts to convince him to stay with him.

Scene Arc: Patrick is rescued to Patrick stating he will leave.

Essence: Patrick is tempted to stay with the family.

Conflict: Moira’s seduction, attempt to get Patrick to stay.

Subtext: Temptation is a way to deter Patrick from his mission and to have him serve Morrigan. Moira is really Morrigan, shapeshifted. Patrick speaks of his “master” but really refers to God.

Hope/fear: Hope Patrick is strong enough to avoid temptation. Fear he will be seduced by Moira.

22. EXT. IRELAND – DOCKS – DAY

Patrick begs for work to pay for passage to England and is rejected. Morrigan shapeshifts into the Captain and brings Patrick on board.

Scene Arc: From Patrick’s rejection to a job offer.

Essence: God has provided passage for Patrick back to England.

Conflict: Patrick’s rejection.

Subtext: Morrigan wants Patrick out of Ireland.

Hope/fear: Hope Patrick makes it safely to England; fear Morrigan’s agenda.

23. EXT. OCEAN – DAY

A crow flies over the ship. Lightning strikes the ship. The wind whips up the water.

Scene Arc: A ship sailing in calm seas to being battered by a storm.

Essence: Morrigan whips up a storm to kill Patrick.

Conflict: The ship is under attack by the elements.

Subtext: Morrigan controls the weather.

Hope/fear: Hope the ship can weather the storm; fear they will be shipwrecked.

24. EXT. WALES – DAY

The sailors are shipwrecked along with a pack of Irish wolfhounds. The Captain asks Patrick to call on his God for food. Patrick prays and a herd of pigs appears.

Scene Arc: Sailors are hungry to abundance of food.

Essence: The shipwrecked sailors are hungry. Patrick asks for God’s provision and he provides.

Conflict: Captain’s taunting Patrick to call on his God for help.

Subtext: The Captain does not believe in God’s power to help.

Hope/fear: Hope God will supply food; fear Patrick will starve.gff

25. EXT. BRITAIN – PATRICK’S HOME – DAY

Patrick is reunited with his parents; tells them he is ready to be a priest. Patrick lets them know he couldn’t find Alita.

Scene Arc: Patrick’s joyful reunion with parents to admitting he couldn’t find Alita.

Essence: Patrick has decided to become a priest.

Conflict: Patrick’s confession – he couldn’t find Alita.

Subtext: Patrick feels guilt for not finding his sister.

Hope/fear: Hope Alita gets found; fear she may be lost forever.

26. INT. PATRICK’S HOME – BEDROOM – NIGHT – FIVE YEARS LATER

Patrick sleeps at a desk, his head on a piece of paper, ink dripping from the quill in his hand.

DREAM SEQUENCE

Patrick dreams of letters from Ireland telling him to come and tell them of God.

Scene Arc: From sleeping to awake and realizing God is sending him back to Ireland.

Essence: Patrick has a mission from God.

Conflict: Patrick’s inner conflict – returning to a land where he was a slave.

Subtext: Patrick is to shephard the Irish as God’s flock (ink blot resembling staff)

Hope/fear: Hope Patrick is up to this task; fear what Morrigan will do if he returns.

First turning point at end of Act 1: Patrick’s return to Ireland.

27. INT. PATRICK’S HOME – DAY

Patrick tells his parents he plans to become a priest and return to Ireland, pay Milcho the

debt for his freedom and share the message of God’s love with the Irish.

Scene Arc: From arguing with his parents about returning to Ireland to leaving with their blessing in the hopes of finding his sister, Alita.

Essence: His parents don’t want to lose their son.

Conflict: Patrick’s mission vs his parent’s need.

Subtext: Parents are agreeing to Patrick leaving hoping his sister will be found.

Hope/fear: Hope Patrick can find Alita; fear Patrick will never return.

New Plan: Evangelize the Irish.

New Plan in Action: Evangelize Milcho

28. EXT. MILCHO’S HOME – DAY

Patrick tries to pay Milcho for his freedom and evangelize him. Both efforts are rejected and Patrick is told to return the next day.

Scene Arc: From Patrick’s hope that Milcho will listen to being rejected.

Essence: Patrick is intent on saving Milcho.

Conflict: Milcho’s rejection of Patrick’s money and his message.

Subtext: Milcho is afraid.

Hope/fear: Hope Milcho will listen to Patrick; fear that Patrick will not be able to convince him.

29. INT. MILCHO’S HOME – DAY

Threatened with an afterlife of torture, Milcho commits suicide, killing his wife as well so not to fall under Patrick’s spell and accept his God.

Scene Arc: From Neighbor trying to convince Milcho to not go through with his plan to Milcho burning the house down around him and his wife to keep from eternal torture in the otherworld.

Essence: Milcho is more afraid of Morrigan than of death.

Conflict: Conflict with Neighbor and his wife, trying to deter Milcho from his course of action.

Subtext: The Irish are steeped in fear.

Hope/fear: Hope someone can talk sense into Milcho; fear that Milcho and his wife are dead.

30. EXT. MILCHO’S HOME – DAY – MOMENTS LATER

Patrick tries to save Milcho to no avail. He leaves Milcho’s and runs towards the statue of the sun god.

Scene Arc: From Patrick’s trying to save Milcho to running from his home.

Essence: Patrick cannot save Milcho and his wife from their allegiance to Morrigan.

Conflict: Patrick’s attempt to save Milcho and his wife from death.

Subtext: Patrick feels guilt over Milcho’s death.

Hope/fear: Hope Patrick can save the couple; fear they are dead.

Midpoint Turning Point:

31. EXT. HILL – DAY

Patrick desecrates the statue to the sun god. Vowing that the Irish will not belong to that god. As Patrick turns from the statue, a crow lights onto it.

Scene Arc: From Patrick’s anger of his defeat to renewal of his mission.

Essence: Patrick’s anger causes him to desecrate the circle of the sun god – painting a cross over it.

Conflict: Patrick’s attack on the statue of the sun god.

Subtext: Patrick has renewed his hope.

Hope/fear: Hope Patrick will succeed; fear Morrigan is too strong.

32. EXT. KING LOEGHAIRE’S CASTLE – EVENING

Bacrah kneels trembling in front of Morrigan, asking why he has been brought to King Loeghaire’s castle. He is given a mission to keep King Loeghaire from listening to Patrick. His life depends on it.

Scene Arc: A confused Bacrah to him understanding his life and death mission.

Essence: Bacrah is under Morrigan’s control and to save his life he must keep Patrick from convincing the King of Patrick’s message.

Conflict: Morrigan’s threat to Bacrah’s life.

Subtext: Bacrah hates the control Morrigan has over him but he fears her.

Hope/fear: Hope Bacrah doesn’t thwart Patrick; fear he might succeed.

33. EXT. TARA – HILL OF SLANE – EVENING

Patrick desecrates the sun god’s statue as a crow flies overhead. A flash flood takes away the crosses and drenches Patrick. He lights a fire on the eve of Paschal to dry out, inadvertently breaking a pagan prohibition. He vows to follow the Creator God.

Scene Arc: From Patrick’s doubt that he is worth anything to God to giving his all to serve God.

Essence: Patrick believes and trusts in the one true God.

Conflict: Patrick’s inner doubt that he is able to do what God requests.

Subtext: Morrigan can control nature, won’t let Patrick win.

Hope/fear: Hope Patrick realizes his strength comes from God; fear he will give up.

34. EXT. KING LOEGHAIRE’S CASTLE – EVENING

Bacrah watches the countryside, notes Patrick’s fire from a distance, growls like a wolf.

Scene Arc: From watching to recognition of a threat.

Essence: Bacrah recognizes the fire as a threat from Patrick.

Conflict: Patrick is threatening the old ways.

Subtext: Patrick is a threat to Bacrah.

Hope/fear: Hope Patrick doesn’t have to confront Bacrah; fear Bacrah will harm Patrick.

35. INT. KING LOEGHAIRE’S CASTLE – EVENING

Bacrah notifies the king of the Paschal fire and obtains permission to seek and kill the man who lit the fire. He takes the Queen, the king’s chief druid, and nine warriors with him.

Scene Arc: King Loeghaire’s discovering someone has lit the Paschal fire to sending Bacrah to kill him.

Essence: King Loeghaire is fearful of Bacrah’s power and submits to his decision to have the man who lit the Paschal fire killed.

Conflict: Threat to King Loeghaire’s rule.

Subtext: The King is afraid of Bacrah, to the point of agreeing to send his Queen with him.

Hope/fear: Hope Patrick will be safe; fear the engagement to come with Bacrah.

36. EXT. TARA – HILL OF SLANE – EVENING

Bacrah confronts Patrick and curses his God. Patrick calls on God and a miraculous

intervention leaves Bacrah unconscious, the King’s druid (Dubtach) joining Patrick out of fear, and the Queen flees back to the castle, taking Bacrah with her.

Scene Arc: From Bacrah and his men confronting Patrick to being overcome by God’s power.

Essence: God is stronger than the power of the druids.

Conflict: Confrontation between Bacrah and Patrick.

Subtext: Dubtach and the Queen fear Patrick’s power.

Hope/fear: Hope Patrick will survive; fear what will happen to Patrick if he insists on seeing King Loeghaire.

37. EXT. KING LOEGHAIRE’S CASTLE – DAWN

Patrick and Dubtach make their way to King Loeghaire’s but are hampered by a thick fog sent by Morrigan. A blind beggar attempts to divert Patrick from his mission by telling him he is needed to help the poor and the blind and that God will bless him with riches and power if he obeys this directive. Patrick rejects the beggar’s philosophy and the fog instantly clears. Victor warns Patrick he must keep his focus, and blesses his journey.

Scene Arc: Lost in a fog to clearly seeing the path before him.

Essence: Patrick is tested to see if he will remain faithful to his mission.

Conflict: Lost in a fog, trying to find the way.

Subtext: Patrick must keep himself free from distractions in order to serve God.

Hope/fear: Hope Patrick finds his way; fear he is lost.

38. INT. KING LOEGHAIRE’S CASTLE – DAY

Patrick seeks an audience with King Loeghaire but is not able to turn his heart to God. Instead, Patrick is directed to the castle of another King, King Eochaid. Patrick sees a serving woman, thinks it is Alita, and asks for her freedom.

Scene Arc: From attempting to turn King Loeghaire to God to seeking to save Alita.

Essence: Patrick has a reputation for have mystical power. Patrick has found “Alita” and is being sent with her and Dubtach to King Eochaid.

Conflict: Patrick’s verbal sparring with King Loeghaire over religion.

Subtext: The King is afraid of Patrick’s power. Dubtach is afraid of King Eochaid.

Hope/fear: Hope the king will turn to God; fear Patrick’s trip to King Eochaid will be dangerous.

39. INT. KING LOEGHAIRE’S CASTLE – PATRICK’S ROOM – EVENING

“Alita” (Lizzie) is sent to Patrick’s room. He discovers she is not his sister.

Scene Arc: From Patrick’s joy at rescuing “Alita” to discovering she is not his sister.

Essence: Patrick desire to find his sister blocks his view of reality.

Conflict: Verbal sparring between Lizzie and Patrick.

Subtext: Lizzie thinks she is there to meet Patrick’s needs, not as his sister.

Hope/fear: Hope Patrick realizes his error; fear Lizzie will be returned to servanthood.

40. INT. KING LOEGHAIRE’S CASTLE – BACRAH’S ROOM – NIGHT

A dread falls on Bacrah as he wakes. Morrigan appears, threatens him once again for his failure, now removing his ability for foresight. She sends him to the High King. States if he does not protect King Aengus, he will be the lowliest in the otherworld for eternity. She disappears as Bacrah screams out in anger.

Scene Arc: Fear of Morrigan to hate of her power.

Essence: Bacrah has failed twice, another failure will subject him to a powerless state for eternity.

Conflict: Morrigan’s threat.

Subtext: Bacrah has no choice but to obey.

Hope/fear: Hope Bacrah and Morrigan do not succeed; fear for Patrick.

41. INT. KING EOCHAID’S CASTLE – THRONE ROOM – DAY

Patrick meets King Eochaid, who is doubtful that Patrick can help free his kidnapped son. The King’s son appears and the grateful king agrees to listen to Patrick.

Scene Arc: From King Eochaid’s doubt of Patrick to his gratitude.

Essence: Patrick prays for the deliverance of the King’s son and the son is released.

Conflict: King Eochaid’s threats to Patrick if unsuccessful in helping him.

Subtext: God intervened.

Hope/fear: Hope Patrick can help; fear the King’s punishment if Patrick doesn’t succeed.

42. INT. KING EOCHAID’S CASTLE – BANQUET HALL – DAY

Patrick, Dubtach, and Lizzie enjoy the banquet. Patrick tells the King of God’s love. He is listening until a crow flies into the castle. In fear at seeing the crow, the King has a heart attack and Patrick, Dubtach, and Lizzie are taken to the dungeon.

Scene Arc: From enjoying the banquet to being thrown in a dungeon.

Essence: The King fears Morrigan and is afraid of Patrick’s message.

Conflict: Verbal sparring over religion, the fear of the King when he sees the crow.

Subtext: Morrigan is the crow and her presence is threatening to the King.

Hope/fear: Hope the King will listen; fear Patrick will be harmed.

43. INT. KING EOCHAID’S CASTLE – DUNGEON – DAY

Dubtach looks for Patrick’s power to free them, Patrick seeks God’s will which angers Dubtach. Lizzie sees Patrick’s faith and turns to God.

Scene Arc: From being locked in dungeon to escorted to King Eochaid.

Essence: Love of God casts out fear.

Conflict: Dubtach seeking power over submission to God.

Subtext: Dubtach seeks power not God.

Hope/fear: Hope they will be rescued; fear what will happen to Patrick.

44. INT. KING EOCHAID’S CASTLE – KING’S BEDROOM – DAY

King Eochaid rejects Patrick’s message but agrees to send him to the High King under his protection.

Scene Arc: From freedom to speak to the King to being asked to leave.

Essence: The King will not accept Patrick’s God.

Conflict: Verbal sparring over religion.

Subtext: The King fears Morrigan.

Hope/fear: Hope the king will listen; fear what will happen to Patrick.

Act 3:

Rethink everything: Patrick heads to King Aengus

45. EXT. KING EOCHAID’S CASTLE – DAY

Patrick laments the lost soul and vows to go to the High King. A sudden downpour and a visit from a Banshee with the prophesy of Lizzie’s death if Patrick doesn’t leave his current path leaves Dubtach unsettled.

Scene Arc: From storm to prophesy of death to moving on in faith to the High King.

Essence: Patrick is not deterred by fear

Conflict: Dubtach’s fears vs Lizzie’s faith, Patrick’s decision to move on.

Subtext: Morrigan wants to stop Patrick

Hope/fear: Hope Patrick doesn’t give up; fear for Lizzie’s safety

46. EXT. KING AENGUS’ CASTLE – DAY

Bacrah meets Patrick, Dubtach, and Lizzie outside of the castle. Dubtach betrays Patrick. Bacrah threatens Lizzie if Patrick doesn’t yield and Lizzie responds by killing herself. Patrick is taken to the dungeon.

Scene Arc: Bacrah confronts a confident Patrick to Patrick overcome by guilt.

Essence: Dubtach’s betrayal and Lizzie’s death cause Patrick guilt.

Conflict: Bacrah threatens Lizzie’s life, Dubtach’s betrayal.

Subtext: Lizzie is a strong woman of faith.

Hope/fear: Hope Lizzie won’t be harmed; fear what will happen to Patrick.

47. EXT. KING AENGUS’ CASTLE – DUNGEON – NIGHT

Patrick feels like he is a failure but his faith in God prevails and renews his courage.

Scene Arc: From Patrick’s feeling of failure to hope.

Essence: Patrick realizes he must go forward in God’s strength.

Conflict: Patrick’s self-doubt.

Subtext: God is Patrick’s source of strength.

Hope/fear: Hope Patrick can pull out of his pity party; fear he will be stuck in the dungeon.

48. INT. KING AENGUS’ CASTLE – THRONE ROOM – DAY

King Aengus is angry that Bacrah overstepped his power by throwing Patrick in the dungeon. He orders Patrick and Bacrah to face him tomorrow.

Scene Arc: Aengus berating Bacrah to ordering him to bring Patrick before him.

Essence: King Aengus wants to hear what Patrick has to say.

Conflict: King Aengus’ anger towards Bacrah.

Subtext: King Aengus feels he is all-powerful and does not fear a druid.

Hope/fear: Hope Patrick will be given a chance; fear what Bacrah will do.

49. EXT. KING AENGUS’ CASTLE – DAY

Patrick speaks to the King but refuses to show his power. He is sentenced to face Morrigan on Mt. Cruachan.

Scene Arc: Patrick free to speak to sentenced to face Morrigan on Mt. Cruachan.

Essence: Patrick refuses to use power to turn the King’s heart.

Conflict: Bacrah’s verbal attacks on Patrick’s weakness.

Subtext: You don’t need powerful signs to turn a heart.

Hope/fear: Hope the King will listen; fear Patrick’s journey to Mt. Cruachan.

50. EXT. BASE OF MOUNT CRUACHAN – DAY

Patrick is being taken up Mt. Cruachan. He sees a peasant woman by a stream (Morrigan) washing clothes soaked with blood. She stares at Patrick as she holds up the rinsed clothes, he realizes they are the exact match of his own. The woman disappears and the soldiers take it as a sign he will die, and that the woman was none other than Morrigan.

Scene Arc: Peaceful journey to prophesy of Patrick’s death.

Essence: Morrigan wants Patrick to know he will die soon.

Conflict: Prophesy of certain death.

Subtext: Patrick will die on Mt. Cruachan.

Hope/fear: Hope Patrick won’t die; fear the prophesy will come true.

51. EXT. MT. CRUACHAN – EVENING

Bacrah sends Patrick into a cave to meet Morrigan.

Scene Arc: From threat of danger to willingly entering.

Essence: Patrick is going of his own free will into danger.

Conflict: Bacrah sending Patrick to certain danger.

Subtext: Patrick will be killed.

Hope/fear: Hope Patrick will survive; fear he will be killed.

52. INT. MT. CRUACHAN – CAVE – EVENING

Patrick enters the cave to confront coils of snakes. He sends them out of the cave and out of Ireland.

Scene Arc: From threat of snakes to safety.

Essence: Patrick is relying on God’s power.

Conflict: Threat of snakes.

Subtext: God’s power is with Patrick.

Hope/fear: Hope Patrick won’t be bitten; fear he will die.

53. EXT. MT. CRUACHAN – EVENING – MOVING WITH THE SNAKES

The snakes come out of the cave and from the woods, overcoming and moving over the soldiers. The snakes move down the trail and head down the mountain into the sea to die.

Scene Arc: From snakes overcoming soldiers to dying in the sea.

Essence: The snakes are under Patrick’s power and are leaving Ireland.

Conflict: Men vs snakes.

Subtext: God’s power moves the snakes away.

Hope/fear: Hope all the snakes go away; fear of where the snakes are going.

54. INT. MT. CRUACHAN – CAVE – NIGHT

A woman’s voice beckons Patrick deep into the cave. He finds “Alita” who attempts to turn his allegiance to Morrigan. Unbending, Morrigan reacts by showing herself, letting Patrick know Alita is dead and then she kicks Patrick out of the cave.

Scene Arc: From joy at finding Alita to learning she is dead.

Essence: Morrigan cannot turn Patrick.

Conflict: Alita’s attempt to turn Patrick, Morrigan’s anger.

Subtext: Morrigan cannot sway Patrick.

Hope/fear: Hope Patrick will not listen; fear Morrigan’s power.

Turning Point Act 3

55. EXT. MOUNT CRUACHAN – EVENING

Patrick faces the onslaught of the otherworld creatures of Ireland and Morrigan threatens the Irish if he does not submit. In her anger, she takes a piece of the mountain and throws it (the Rock of Cashel). Victor comes to assist him but Patrick refuses to leave Mt. Cruachan until Victor assures him the Irish will turn to God.

Scene Arc: To Morrigan’s onslaught to Patrick’s freedom.

Essence: Patrick has the power to help the Irish and cannot be overcome by Morrigan.

Conflict: The threat of the dangers of nature that Morrigan stirs up.

Subtext: Morrigan can control the elements but not destroy Patrick.

Hope/fear: Hope Patrick survives; fear what Morrigan will do to the Irish.

Act 4:

Crisis:

56. INT. KING AENGUS’ CASTLE – THRONE ROOM – DAY

King Aengus and Bacrah investigate the sudden darkness of the day. Bacrah sees Meraxes but the King is unaware and not believing in the otherworld creature.

57. EXT. KING AENGUS’ CASTLE – SAME

Bacrah sees the otherworld creatures approaching the castle but the King is blind to them. They both go back into the castle for safety.

58. INT. KING AENGUS’ CASTLE – SAME

The King and Bacrah see the smoke in the castle. The King goes to his room for safety while Bacrah investigates.

59. EXT. KING AENGUS’ CASTLE – ROOF – SAME

Bacrah attempts a spell to bring rain and extinguish the flames from Meraxes.

60. INT. KING AENGUS’ CASTLE – BED CHAMBER – SAME

The King attempts to extinguish the flames at his window with bed covers.

61. EXT. KING AENGUS’ CASTLE – ROOF – SAME

Bacrah calls down lightning to destroy Meraxes. With an injured wing, Meraxes flies back to Mt. Cruachan. The Rock of Cashel flies over and lands, causing the earth to quake.

62. INT. KING AENGUS’ CASTLE – BED CHAMBER – SAME

Bacrah tells the King of the extinguished fire and the Rock of Cashel. The King refuses to hide in his room any longer.

63. EXT. KING AENGUS’ CASTLE – SAME

Seeing the approach of the otherworld creatures, with Patrick behind them, Bacrah orders the King’s men to attack creatures they cannot see, leaves to give orders from the balcony.

64. EXT. KING AENGUS’ CASTLE – BALCONY – SAME

Bacrah orders the men to start the fight from the balcony. The soldiers cannot see the creatures and begin to fall. He calls for Morrigan and she tells him she is taking his power away by taking those who serve him.

Scene Arc: (From Scene 56-64) From the approach of the otherworld creatures to a full-scale war with Morrigan against Bacrah and the King’s men.

Essence: The castle is being attacked

Conflict: Otherworld creatures vs the King’s men.

Subtext: King Aengus doesn’t trust Bacrah’s analysis of events.

Hope/fear: Hope the King will stay safe: fear the approach of the otherworld creatures.

Climax:

65. EXT. KING AENGUS’ CASTLE – SAME

Patrick prays for help and that the warrior’s eyes will be opened. Victor and angels appear and fight, Victor taking on Morrigan. Patrick is attacked but saved by angels. The warriors gain the upper hand once they can see. Morrigan and the otherworld are defeated.

Scene Arc: From King Aengus’ men losing the battle to victory.

Essence: God’s power can defeat spiritual attacks.

Conflict: The otherworld vs Patrick and the King’s men.

Subtext: God’s power is greater than Morrigan.

Hope/fear: Hope that Patrick and the warriors will win; fear Patrick will die.

66. INT. KING AENGUS’ CASTLE – THRONE ROOM – SAME

Bacrah tells the King of the victory, the King wants to see Patrick.

67. EXT. KING AENGUS’ CASTLE – SAME

Bacrah confronts Patrick and warns him not to try to turn the King away from the druids power.

Scene Arc: (Scene 66-67) Bacrah’s warning to Patrick’s rejection of the warning.

Essence: Bacrah seeks ultimate power now that Morrigan is bound.

Conflict: Bacrah vs Patrick’s influence on the King.

Subtext: Bacrah wants total control.

Hope/fear: Hope Patrick won’t be intimidated; fear Bacrah’s power.

Resolution:

68. INT. KING AENGUS’ CASTLE – BANQUET HALL – SAME

Patrick leads the King to the knowledge of the Lord.

Scene Arc: From Bacrah’s rejection of the truth to the King’s acceptance of God.

Essence: Bacrah loses, Patrick’s mission is accomplished.

Conflict: Bacrah’s fight for control.

Subtext: The King is not afraid of the otherworld.

Hope/fear: Hope the King will accept Patrick’s message; fear Bacrah’s power.

69. DREAM SEQUENCE – KING AENGUS’ CASTLE – PATRICK’S ROOM – NIGHT

Victor shows Patrick the Rock of Cashel and promises it to be a center for spreading the gospel. States the King will be baptized here.

Scene Arc: From barren rock to flourishing ministry.

Essence: Patrick has won and will have a ministry in Ireland.

Conflict: None

Subtext: Patrick will be a father to the Irish.

Hope/fear: Hope for the future.

70. EXT. ROCK OF CASHEL – DAY

Patrick baptizes the King and then lifts his staff to pray. He brings it down firm on the “Amen” and the sharp end of the staff goes right through the king’s foot. The people assume Patrick will be killed immediately. Patrick is challenged by his own fear at the event and humbly accepts his fate. The king only replies with Patrick’s own tale of Jesus on the cross, “If the Lord can be nailed through his feet, then I too will suffer for him.” Bacrah is banished.

Scene Arc: Baptism to Bacrah banished.

Essence: Patrick has won.

Conflict: Bacrah’s accusation of Patrick trying to harm the King.

Subtext: God is with Patrick.

Hope/fear: Hope Patrick is safe; fear Bacrah’s power.

71. EPILOGUE – EXT. ROCK OF CASHEL – DAY – FIVE YEARS LATER

A church has been built on the Rock of Cashel. Peasants file into the church. Patrick overlooks the valley to see a flock of white sheep, one black sheep bleating.

[Veronica Turowski]

Veronica Turowski’s Scene Requirements

What I learned from doing this assignment is I needed to clarify some things and had to get into detail to flush out the issues.

My Vision: I want to be a successful writer who writes several scripts yearly and then sells them to producers who create my vision for the big screen.

Concept: After a ghost tells a professional mourner during his funeral that a serial killer murdered him, she tries to prove him wrong so he can pass over, only to discover that she is a ghost and is the serial killer’s mother.

Title: Grave Justice

Genre: Supernatural Thriller

ACT 1:

1. INT. CHURCH BAPTISMAL – NIGHT

Lonnie checks the chemicals in the church baptismal. The lights go out. A dark figure attacks him. He breaks his neck and drowns. It looks like an accident.

Essence: Lonnie is killed for an unknown reason.

Conflict: Lonnie is attacked by a dark figure.

Subtext: Lonnie knows something and was attacked for it.

Hope/Fear: We hope Lonnie escapes. We fear he gets killed.

Scene Arc: Lonnie gets baptismal ready. Lonnie is killed.

2. EXT. CEMETERY – DAY

Eppsa attends a funeral. Lonnie motions her over to tell her he can’t pass over until the serial killer who murdered him is caught. She thinks he’s on drugs and runs off. Lonnie chases her and vanishes as he is hit by Hayden’s ice cream truck.

Essence: Eppsa talks to a ghost, Lonnie.

Conflict: Eppsa thinks Lonnie is a druggie.

Subtext: Eppsa is afraid he is either a ghost or a killer.

Hope/Fear: We hope he’s telling her the truth. We fear she will be a victim.

Scene Arc: Eppsa talks to Lonnie, not knowing he’s a ghost. She runs in fear.

3. INT/EXT. ICE CREAM TRUCK – SAME

Hayden and his son, Evren (14), drive past the cemetery with loud music playing. Eppsa screams for them to stop as Lonnie is hit and disappears.

Essence: Hayden and Evren are oblivious to Lonnie and Eppsa.

Conflict: Eppsa wants the truck to stop.

Subtext: Eppsa fears for Lonnie just in case he’s not a ghost.

Hope/Fear: We hope Lonnie is okay. We fear he’s going to get hit.

Scene Arc: Hayden and Evren drive to another location. They hit a ghost, Lonnie, but are unaware.

4. EXT. EPPSA’S HOUSE – LIVING ROOM – DAY

Eppsa talks to her neighbor for advice. Something ominous happens to them.

Essence: Eppsa doesn’t know who to talk to regarding Lonnie.

Conflict: Eppsa struggles with believing in ghosts.

Subtext: Eppsa wonders if she’s going crazy.

Hope/Fear: We hope she gets answers. We fear she’s going to be haunted.

Scene Arc: Eppsa is embarrassed about seeing a ghost. She talks to a clairvoyant, Clover, for answers.

Inciting Incident:

5. INT. CLOVER’S STORE – DAY

Eppsa talks to the psychic, Clover. She wants to know if Clover can help her find Hayden. When Clover tries to contact her deceased husband, an evil spirit enters the room. Clover warns Eppsa to be careful. The spirit attacks. They flee.

Essence: Eppsa wants to find her son.

Conflict: Clover can’t help her.

Subtext: Eppsa is a ghost who is looking for answers.

Hope/Fear: We hope Clover can help Eppsa. We fear she won’t find Hayden.

Scene Arc: Eppsa asks Clover for help. An evil spirit attacks them.

6. EXT. TAVISH’S HOUSE – DAY

Hayden tries to save Tavish. Evren calls 911.

Essence: Hayden tries to save Tavish.

Conflict: Hayden tries to save Tavish, but he dies doing a TikTok challenge.

Subtext: Hayden isn’t trying to help Tavish.

Hope/Fear: We hope Tavish lives. We fear he will die.

Scene Arc: Hayden tries to save Tavish. Tavish dies.

7. EXT. EPPSA’S HOUSE – BEDROOM – DAY

Eppsa irons her mourning outfit. Something ominous/ghostly happens.

Essence: Eppsa is given the name of the next victim.

Conflict: Eppsa doesn’t believe Lonnie.

Subtext: Eppsa is afraid and in disbelief.

Hope/Fear: We hope he is telling her the truth. We fear he’s lying.

Scene Arc: Eppsa is relaxed and ironing. Lonnie haunts her.

TURNING POINT 1:

8. EXT. EPPSA’S HOUSE – LIVING ROOM – DAY

Eppsa tells her neighbor about Lonnie’s visit. She sees Tavish in the news.

Essence: Eppsa realizes Lonnie gave her the correct name.

Conflict: Eppsa can’t believe he knew the victim’s name.

Subtext: Eppsa is curious about what Lonnie knows.

Hope/Fear: We hope her neighbor calms her down. We fear Lonnie is right.

Scene Arc: Eppsa laughs off Lonnie’s visit with her neighbor. She discovers the murder is actual.

ACT 2:

9. EXT. CEMETERY – DAY

Eppsa attends Tavish’s funeral and talks to Lonnie. She tells him to go. He says the next victim is Ramone.

Essence: Eppsa wants to be left alone, but Lonnie is determined.

Conflict: Eppsa doesn’t want to help Lonnie.

Subtext: Eppsa thinks Lonnie is a lost or confused soul.

Hope/Fear: We hope Lonnie is wrong. We fear Ramone will be next.

Scene Arc: Eppsa wants Lonnie to pass over. Lonnie gives her another name.

10. INT. HAYDEN’S HOUSE – LIVING ROOM – NIGHT

Hayden cleans something and gets a call from the police to remind him of his award in the morning. Something creepy happens. He dismisses it because it’s an old house or blames Evren.

Essence: Hayden gets an award for trying to save Tavish.

Conflict:

Subtext: Hayden knows they are being killed and not because of TikTok challenges.

Hope/Fear: We hope it’s not the evil spirit. We fear it is the evil spirit.

Scene Arc: Hayden is cleaning something at home. Something creepy happens.

11. EXT. EPPSA’S HOUSE – LIVING ROOM – DAY

Eppsa reads Ramone’s name in the obituary. She calls the police. It’s staticky. They tell her to come in. There’s a shadow. She thinks it’s Lonnie. She goes to the cops.

Essence: Eppsa fears Lonnie is right and knows she must talk to the cops.

Conflict: Eppsa’s phone doesn’t work, so she has to go to the station.

Subtext: Eppsa is worried about more victims.

Hope/Fear: We hope the cops will help her. We fear there are more victims.

Scene Arc: Eppsa is shocked Lonnie knew the name. She goes to the cops.

12. INT. POLICE STATION – FRONT DESK – DAY

Eppsa is at the police station. The cop tells her to wait on a bench. A cop in the bullpen motions her over. She passes by Hayden, who is in a chair. He shivers.

Essence: Eppsa waits to talk to the cops.

Conflict: Eppsa can’t actually talk to people.

Subtext: Eppsa wants to help find the killer.

Hope/Fear: We hope the cops help her. We fear they will think she’s involved.

Scene Arc: Eppsa waits to talk. She goes to the bullpen to talk to a cop.

13. INT. POLICE STATION – BULLPEN – DAY

Hayden is at the police station receiving an award. Hayden shivers when Eppsa’s spirit passes him. He asks them to warn people about the trying TikTok challenges.

Essence: Hayden gets an award for trying to save Tavish.

Conflict: Hayden must keep hiding that he is a serial killer.

Subtext: Hayden is the killer.

Hope/Fear: We hope people won’t do the challenges. We fear more people will die.

Scene Arc: Hayden gets an award. He leaves, not knowing Eppsa wants to talk.

14. INT. POLICE STATION – BULLPEN – DAY

From across the room, Eppsa hears a cop yell to Hayden for his good work. She rushes after Hayden, who is walking out.

Essence: Eppsa is anxious to talk to the cops.

Conflict: Eppsa wants to tell the cops there’s a serial killer, but she wants to talk to Hayden even more.

Subtext: Eppsa is anxious about everything.

Hope/Fear: We hope the cops help her. We fear they will think she’s involved.

Scene Arc: Eppsa walks over to the cop to talk to him. She runs after Hayden.

15. EXT. POLICE STATION – DAY

Lonnie, outside the police station, watches Eppsa run after Hayden’s truck. Eppsa overhears cops say the latest deaths were due to dangerous TikTok challenges.

Lonnie tells her there’s going to be another victim.

Essence: Lonnie needs Eppsa’s help, but she no longer believes him.

Conflict: Lonnie is desperate for her help. Eppsa wants him to go away.

Subtext: Eppsa doesn’t care about anything except finding Hayden.

Hope/Fear: We hope Eppsa talks to Hayden. We fear there will be another victim.

Scene Arc: Eppsa tries to talk to Hayden. She no longer believes Lonnie.

16. INT. HOMELESS SHELTER – DAY

Hayden volunteers at a homeless shelter. He talks to his old friend, Kenji.

Essence: Hayden is friendly to Kenji.

Conflict: Hayden is secretly mad at Kenji about the past.

Subtext: Hayden seems cordial but can’t wait to take revenge.

Hope/Fear: We hope they will get together.

Scene Arc: Hayden volunteers. Hayden plans to get together with Kenji.

17. EXT. CEMETERY – DAY

At Ramone’s funeral, Eppsa ignores Lonnie. He summons Ramone’s young daughter, Ynez, and gives her the name, Kizzy Mycroft, to tell Eppsa to get Kizzy’s info from the church office.

Essence: Eppsa ignores Lonnie, but he’s eager to tell her the next victim’s name.

Conflict: Eppsa ignores Lonnie because she doesn’t think there’s a serial killer.

Subtext: Eppsa wants Lonnie to go away while Lonnie is anxious and desperate.

Hope/Fear: We hope Eppsa heeds his warning. We fear there will be another death.

Scene Arc: Lonnie hopes Eppsa will listen to him. Eppsa goes to find the address.

18. INT. CHURCH – OFFICE – DAY

Eppsa looks for the address. Pastor Palmer McKee catches her. She apologizes.

Essence: Eppsa looks up the address of Kizzy to check on her.

Conflict: Eppsa isn’t supposed to be in there and gets caught.

Subtext: Eppsa hopes Lonnie is right.

Hope/Fear: We hope Eppsa gets the address. We fear she will be too late.

Scene Arc: Eppsa looks up the address. She’s caught and runs off.

19. INT/EXT. ICE CREAM TRUCK – DAY

Hayden and Evren are in a ritzy neighborhood. He talks to Kizzy’s husband, Thane.

Essence: Hayden is in Kizzy’s neighborhood.

Conflict:

Subtext: Hayden is concealing he killed Kizzy.

Hope/Fear:

Scene Arc: They sell ice cream. Hayden happily talks to Thane.

20. EXT. CHURCH – DAY

Lonnie stops Eppsa as she runs out. She got the address.

Essence: Lonnie is hopeful Eppsa can help Kizzy.

Conflict: Eppsa doubts Lonnie.

Subtext: Eppsa is hopeful. Lonnie is worried she’ll be too late.

Hope/Fear: We hope Eppsa warns Kizzy. We fear Kizzy will die.

Scene Arc: Eppsa’s happy she got the address. Lonnie’s worried she’ll be too late.

21. INT/EXT. KIZZY’S HOUSE – DAY

Eppsa knocks on the front door. No answer. She goes around back. Kizzy is floating in her pool or hot tub. Thane exits the house to find Kizzy dead. Eppsa runs.

Essence: Eppsa gets the courage to talk to Kizzy, but she’s too late.

Conflict: Eppsa is afraid she’s going to get caught.

Subtext: Eppsa is afraid to talk to Kizzy.

Hope/Fear: We hope Kizzy is okay. We fear she’s dead.

Scene Arc: Eppsa tries to warn Kizzy. She’s too late.

22. EXT. HAYDEN’S HOUSE – BACKYARD – DAY

Hayden has a BBQ. A neighbor’s new boyfriend is Finnick Ziccardi. They were friends in high school.

Essence: Hayden finds an old high school friend.

Conflict: Hayden wants to get revenge on Finnick Ziccardi.

Subtext: Hayden carries a grudge and wants revenge.

Hope/Fear:

Scene Arc: Hayden has a BBQ. He discovers Finnick has moved back to town.

TURNING POINT 2 / MIDPOINT:

23. INT. CLOVER’S STORE – DAY

Eppsa wants help. Clover senses an evil spirit. Lonnie appears. He predicts Kenji’s death. Things fly. Eppsa tells Clover she’s haunted by Lonnie’s evil spirit. Clover’s face is scratched.

Essence: Eppsa needs Clover’s help finding the serial killer, but an evil spirit hurts Clover.

Conflict: Eppsa is afraid of Lonnie.

Subtext: Eppsa thinks Lonnie is an evil spirit who is haunting her.

Hope/Fear: We hope Clover helps Eppsa. We fear the evil spirit will hurt Eppsa.

Scene Arc: Eppsa wants Clover to help her. They flee for their lives.

24. INT. SOUP KITCHEN – DAY

Hayden and Evren serve ice cream. Quince Ryan, who is in charge, praises them. Hayden gives them a $5000 donation. He can’t believe ice cream is so lucrative.

Essence: Hayden supports the soup kitchen. Quince is enamored with Hayden.

Conflict:

Subtext: Hayden is looking for Kenji to determine the best time and way to kill him.

Hope/Fear:

Scene Arc: Hayden and Evren serve ice cream. Quince is thankful for their help and the donation.

25. INT/EXT. EPPSA’S HOUSE – DAY

Eppsa hears a crash outside. Her neighbor is at the door, shaking. She pulls her in. Eppsa sees the ghost of a young woman walk away from the accident. She freaks. An evil spirit is inside. The neighbor flees. Eppsa hides. A crash upstairs. In Hayden’s room, a family picture is on the floor. An amulet hangs on the nail. She thinks the amulet protects Hayden, so she won’t touch it.

Essence: Eppsa’s neighbor came for a visit, but an accident changed everything.

Conflict: Eppsa saw another ghost.

Subtext: Eppsa is afraid of the ghosts she’s seeing.

Hope/Fear: We hope they are okay. We fear the evil spirit will hurt them.

Scene Arc: Eppsa’s neighbor visits. Eppsa finds Hayden’s amulet of protection.

26. INT/EXT. ICE CREAM TRUCK – NIGHT

Hayden follows a man in a hoodie. A police car pulls up with its lights. The man runs. Hayden calls out to Finnick. They all laugh about the mix-up. Hayden gives Finnick a ride home.

Essence: Hayden is stalking Finnick.

Conflict: Hayden stalks Finnick, although Finnick doesn’t know it.

Subtext: Hayden was going to kill Finnick.

Hope/Fear: We hope the killer is stopped. We fear the killer is still at large.

Scene Arc: Hayden stalks Finnick. Hayden tells a story of why he’s following Finnick.

ACT 3:

27. INT. EPPSA’S HOUSE – BEDROOM – DAY

Eppsa has a nightmare about her husband killing Hayden and himself. She tells her neighbor. She thinks it’s a premonition of Hayden dying.

Essence: Eppsa has a nightmare.

Conflict: She struggles with her dream and what really happened.

Subtext: Eppsa was killed by her husband but doesn’t want to remember.

Hope/Fear: We hope Eppsa’s dream doesn’t come true. We fear Hayden will die.

Scene Arc: She has a nightmare. She wakes up and tells her neighbor.

28. EXT. SOUP KITCHEN – DAY

As Hayden goes to his ice cream truck, he is robbed and taken to the hospital.

Essence: Hayden gets robbed.

Conflict: Hayden is attacked by a volunteer.

Subtext: Hayden has an enemy.

Hope/Fear: We hope Hayden is okay. We fear Hayden will be another victim.

Scene Arc: Hayden is at his truck. Hayden goes to the hospital.

29. INT. CLOVER’S STORE – NIGHT

Eppsa asks Clover to get rid of Lonnie. Lonnie materializes. There’s havoc. Clover says Lonnie isn’t evil, but the spirit wants something from Eppsa.

Essence: Eppsa is fearful of Lonnie because he’s evil. Clover says Lonnie isn’t evil.

Conflict: The evil entity attacks them.

Subtext: The evil spirit tries to get Eppsa to cross over to Hell.

Hope/Fear: We hope the evil spirit goes away. We fear the evil spirit will hurt them.

Scene Arc: Eppsa wants to get rid of Lonnie. Eppsa wants to get rid of the evil spirit.

30. INT/EXT. BAR – NIGHT

Hayden is at a bar with Kenji. They go to the park across the way. Hayden tells Kenji that when Evren returns to school, he can help him sell ice cream.

Essence: Hayden wants to help Kenji get back on his feet.

Conflict: Hayden is mad that Kenji turned his back on him after they joined the cult.

Subtext: Hayden is going to kill Kenji for betraying him in high school.

Hope/Fear: We hope Hayden helps Kenji. We fear the killer will kill one of them.

Scene Arc: Hayden and Kenji reminisce. Kenji warns Hayden to be careful.

31. EXT. GAS STATION – NIGHT

Eppsa sees Hayden and Kenji drinking beer. Hayden, drunk, tosses his keys inside his truck. They sit at a bus stop.

Hayden sees Eppsa. He yells at her thinking she’s a real woman who resembles his mom. Kenji witnessed her ineptness in high school. He passes out on the bench. Eppsa cries and runs away.

Essence: Hayden is drunk and yells at Eppsa, not knowing he’s yelling at her ghostly apparition.

Conflict: Hayden confronts Eppsa’s ghostly spirit.

Subtext: Hayden is angry with Eppsa that she wasn’t a good wife.

Hope/Fear: We hope Hayden forgives Eppsa. We fear he’s too angry to ever talk to her again.

Scene Arc: Hayden is happily drunk with Kenji. Hayden yells at Eppsa and passes out.

32. INT. EPPSA’S HOUSE – DAY

Eppsa reads the newspaper. She recognizes Kenji, who was killed last night in a hit-and-run. In Hayden’s yearbook, she finds Kenji’s picture. Eppsa notices a picture of a girl with a heart around her. An evil spirit moves about. A door slams shut. She thinks it’s Lonnie. She yells out to him.

Lonnie manifests, scaring her. He sees the amulet. Eppsa explains it still protects Hayden.

Essence: Eppsa is sad for Kenji but glad Hayden is okay because of the amulet.

Conflict: Eppsa can’t find a way to protect Hayden.

Subtext: Eppsa is fearful for Hayden’s life.

Hope/Fear: We hope Hayden will be okay. We fear Hayden will become a victim.

Scene Arc: Eppsa is sad about Kenji. Now, she’s more desperate to save Hayden.

33. EXT. SOUP KITCHEN – DAY

Hayden exits and sees blood on Quince’s bumper. He sees Ramone’s ??? in the back seat. He calls the police. Quince is arrested.

Essence: Hayden discovers Quince killed Kenji and possibly Ramone.

Conflict: Quince denies everything but doesn’t have an alibi.

Subtext: Hayden framed Quince.

Hope/Fear: We hope Quince is the killer. We fear it’s not him.

Scene Arc: Hayden thinks Quince killed Kenji and Ramone. Quince is arrested.

34. EXT. CEMETERY – DAY

Eppsa attends Kizzy’s funeral. She realizes Kizzy was the girl with a heart around her picture. Eppsa apologizes to Lonnie and wants to help.

Essence: Eppsa discovers it’s Hayden’s high school friends who are dying.

Conflict: She has inner turmoil.

Subtext: Someone is killing Hayden’s friends from high school.

Hope/Fear: We hope Eppsa can stop the killer. We fear Hayden is on the list.

Scene Arc: Eppsa attends a funeral. She wants to help Lonnie.

35. INT. POLICE STATION – DAY

Hayden receives a key to the town for helping find Kenji’s killer. Quince confessed he robbed Hayden. The cops also found pictures of Hayden and Ramone buried with bones in his backyard.

Essence: Hayden gets recognition for his good deeds.

Conflict:

Subtext: Hayden framed Quince.

Hope/Fear: We hope Quince is the killer. We fear it’s not him.

Scene Arc: Hayden is recognized as a pillar of the community. He gets the key to the city.

36. INT. CLOVER’S STORE – DAY

Eppsa wants Clover to summon her husband since he was close to Hayden. A crystal ball explodes.

Essence: Eppsa wants answers and to find Hayden.

Conflict: The evil spirit tries to stop Clover.

Subtext: The evil spirit tries to keep Clover from giving Eppsa answers.

Hope/Fear: We hope Clover can find Hayden. We fear the evil spirit will hurt them.

Scene Arc: Eppsa wants answers. An evil spirit stops the séance.

37. INT. EPPSA’S HOUSE – DAY

Lonnie snoops through Eppsa’s house. She catches him. He disappears.

Essence: Lonnie is looking for something.

Conflict: Eppsa catches him sneaking around her house.

Subtext: Lonnie wants to help Eppsa pass over.

Hope/Fear: We hope Lonnie is good. We fear he might be the evil spirit after all.

Scene Arc: Lonnie is looking for something. Eppsa catches him.

38. INT/EXT. ICE CREAM TRUCK – DAY

Hayden kills Sigrid in the back of his ice cream truck while Evren is upfront. Hayden tells Evren he was protecting himself. They can’t tell anyone. Maybe Quince didn’t act alone.

Essence: Hayden kills Sigrid and has Evren help him cover it up.

Conflict: Sigrid attacks Hayden and Hayden kills her.

Subtext: Hayden kills Sigrid because she was onto Hayden.

Hope/Fear: We hope Quince was the only killer. We fear someone else is the killer.

Scene Arc: Hayden kills Sigrid. He tells Evren he doesn’t want to die like his friends.

39. INT. EPPSA’S HOUSE – BEDROOM – DAY

Eppsa searches her closet. She finds a Satanic book hidden behind her husband’s clothes.

Essence: Eppsa wants to know what Lonnie was looking for.

Conflict: She is upset to find a Satanic book in her dead husband’s clothes.

Subtext: Eppsa wonders about her husband.

Hope/Fear: We hope her husband wasn’t Satanic. We fear he has something to do with the murders.

Scene Arc: Eppsa wants answers. Eppsa finds her husband’s Satanic book.

TURNING POINT 3:

40. INTEXT. CHURCH – NIGHT

After Eppsa prays, she sees a woman crying. Her grandson, Marvin, killed himself after joining the Satanic cult 20 years ago. She’s still grieving. The woman takes her to Marvin’s gravesite.

Essence: Eppsa feels sorry for the woman.

Conflict: Eppsa struggles with the thought of Hayden being in a cult.

Subtext: Eppsa is sad for the woman.

Hope/Fear: We hope Hayden didn’t join the cult. We fear he did.

Scene Arc: Eppsa wants peace. Eppsa discovers the cult has been going on for a long time.

41. INT. HAYDEN’S HOUSE – NIGHT

Hayden faces an evil spirit. It does something that reminds him of his dad. He wonders if something has disturbed his dad’s spirit. Possibly: The spirit tries to make him do something evil, but Hayden resists…??? He doesn’t want to be like his dad???

Essence: Hayden encounters the evil spirit.

Conflict: He doesn’t know the spirit is trying to tell him something.

Subtext: Hayden thinks the spirit is his dad.

Hope/Fear: We hope the spirit won’t hurt him. We fear it will.

Scene Arc: Hayden is enjoying his night with Neta. An evil spirit haunts him.

42. INT. CLOVER’S STORE – DAY

Lonnie finally talks to Clover. He’s worried about Eppsa. Should he stop Eppsa talking to Eppsa? He says Finnick is next. Clover says he needs to find Hayden, and he’ll help Eppsa find him when the time is right.

Essence: Lonnie thinks he’s making Eppsa’s existence difficult.

Conflict: Lonnie has inner conflict.

Subtext: Clover knows that Lonnie will help find the killer.

Hope/Fear: We hope Lonnie can help Eppsa find Hayden. We fear he won’t.

Scene Arc: Lonnie wants Eppsa to find peace. He is sad that Clover can’t help him.

43. INT/EXT. CHURCH – DAY

Eppsa attends Kenji’s funeral. No one else is there. She thanks Pastor McKee for a great service. Lonnie appears to say he’ll leave her alone. They walk outside so Eppsa can put flowers on Kenji’s plot.

Essence: While Eppsa attends a funeral, Lonnie tells her he won’t bother her anymore.

Conflict: Eppsa has an internal conflict about Lonnie leaving.

Subtext: Eppsa is relieved Lonnie won’t be around anymore.

Hope/Fear: We hope Lonnie doesn’t disappear forever. We fear Eppsa won’t get closure.

Scene Arc: Eppsa attends a funeral. Lonnie says he’s leaving her alone.

44. EXT. ICE CREAM TRUCK – DAY

Hayden and Evren sell ice cream in a park across the street from the cemetery. Hayden sees the cemetery at Kenji’s cemetery plot. Evren wonders why he didn’t go. They finish with a customer and drive away.

Essence: Hayden didn’t want to attend Kenji’s funeral because funerals remind him of his parent’s death.

Conflict: Hayden’s conflict is internal regarding his parents’ death.

Subtext: Hayden resents his dad killing himself but doesn’t care about his mom.

Hope/Fear: We hope he will get over the death of his parents. We fear he won’t.

Scene Arc: Eppsa attends a funeral. She’s sad no one else is there.

45. EXT. CEMETERY – DAY

As Eppsa and Lonnie walk, she sees Hayden’s ice cream truck pull out of the park. Lonnie remembers Hayden from church. He tells her to check the registry for his contact info. She runs to the church.

Essence: Lonnie recalls Hayden from church and believes his info is in the registry.

Conflict: Hayden drives away, and Eppsa doesn’t talk to him.

Subtext: Eppsa is excited she might finally be able to contact Hayden.

Hope/Fear: We hope Hayden’s info is registered. We fear it won’t.

Scene Arc: Eppsa sees Hayden. Lonnie remembers him from church. She rushes to get his phone number.

46. EXT. CEMETERY – DAY

Lonnie remembers Hayden attended the church. Eppsa goes back to the church.

Essence: Lonnie remembers that Hayden belonged to the church.

Conflict:

Subtext: Eppsa is hopeful.

Hope/Fear: We hope Hayden’s info is there. We fear it’s not.

Scene Arc: Lonnie remembers Hayden went to the church. Eppsa rushes inside.

47. EXT. PARK or BUILDING – NIGHT

Hayden, Neta, and Evren are celebrating on the eve of Evren’s 15^th birthday. Hayden, Finnick, and some other men escort Evren into the woods. Evren comes out with an amulet. He shows it to Neta.

Essence: Hayden and Neta celebrate Evren’s birthday. He gets an amulet.

Conflict:

Subtext: Hayden has Evren join the Satanic cult.

Hope/Fear: We hope the amulet protects Evren. We fear the woods.

Scene Arc: There’s a celebration. Evren gets an amulet.

48. INT. EPPSA’S HOUSE – NIGHT

Eppsa tells her neighbor she’s worried about calling Hayden. Her neighbor makes Eppsa call/text him.

Essence: Eppsa needs encouragement from her neighbor.

Conflict: Eppsa doesn’t know how Hayden will react.

Subtext: Eppsa fears talking to Hayden.

Hope/Fear: We hope she calls. We fear he won’t want to talk to her.

Scene Arc: She’s anxious about calling. Eppsa contacts Hayden.

49. EXT. PARK or BUILDING – NIGHT

Walking to their car, Hayden gets a call. It’s staticky. He gets a text from Eppsa. He says it can’t be her and to leave him alone.

Essence: Hayden thinks whoever calls and texts him is just a prank.

Conflict: Hayden can’t imagine who’s texting him.

Subtext: Hayden knows it can’t be his mom since she’s dead.

Hope/Fear: We hope he talks to her. We fear he won’t because he’s mad at her.

Scene Arc: Hayden is contacted by Eppsa. He tells her to stop messaging him.

ACT 4:

50. INT. HAYDEN’S HOUSE – GARAGE – DAY

Hayden checks the ice cream truck engine. Eppsa appears. Afraid, he throws a wrench at her. She ducks, but it goes through her. She’s shocked. A demon steps out of Hayden and morphs into her husband. He tells her Hayden will keep killing. She tells Hayden to get the amulet at the house to protect him from the demon. She disappears. The demon reenters Hayden. Hayden’s eyes turn black, then return to normal.

Essence: Hayden is surprised to see Eppsa. The demon wants Eppsa to go to Hell, where she belongs.

Conflict: The demon inside Hayden has taken over.

Subtext: The demon makes Hayden kill.

Hope/Fear: We hope the demon leaves Hayden and Eppsa alone. We fear it won’t.

Scene Arc: Eppsa confronts Hayden. The demon inside him scares her off.

51. EXT. CEMETERY – DAY

Lonnie takes Eppsa to her gravesite. She realizes the nightmares were about her death. They both vanish.

Essence: Lonnie can finally show Eppsa her gravesite.

Conflict: Eppsa can’t believe she’s dead.

Subtext: Eppsa needs closure.

Hope/Fear: We hope Eppsa gets closure. We fear she won’t.

Scene Arc: Eppsa sees her headstone. She realizes she’s dead.

52. INT/EXT. EPPSA’S HOUSE – DAY

Hayden is at his old, dilapidated house. Inside, it’s dirty and falling apart. In his old room, the picture is on the floor, and the amulet is still on the wall. Eppsa appears and angrily snatches it. He talks like a kid to soften her and beg for forgiveness. She crushes the amulet. Hayden rushes to Eppsa’s bedroom. He finds the old floor safe, pulls out a gun, and aims it at her. Struggling, she makes him turn the gun on himself. He begs her because it’s Evren’s 15th birthday. She makes him kill himself.

Essence: Hayden wants his amulet because it gives him incredible power.

Conflict: Eppsa won’t let him have it.

Subtext: Eppsa is angry because he killed people.

Hope/Fear: We hope Eppsa stops him. We fear it won’t be over.

Scene Arc: Hayden sees his old house is collapsing. Eppsa makes him kill himself.

53. INT/EXT. HAYDEN’S HOUSE – NIGHT

The police tell Neta and Evren that Hayden killed himself.

RESOLUTION:

54. EXT. CEMETERY – DAY

Eppsa, Lonnie, and the other spirits pass over, finding peace.

Essence: They find peace and pass on.

Conflict:

Subtext: Eppsa is thankful that Lonnie helped her end Hayden’s killing spree so she and everyone else could pass over.

Hope/Fear: We hope they enjoy Heaven. We fear it won’t be over.

Scene Arc: The group is happy at the cemetery. They all go to Heaven.

ONE YEAR LATER

55. INT. HAYDEN’S HOUSE – DAY

Neta watches the morning news as she makes Evren’s birthday breakfast. The news states the cops finally identified the bodies of Sigrid and Finnick who were found a few months ago in the soup kitchen after it closed. Quince was probably responsible for more deaths, but he claimed innocence.

Neta brings Evren his breakfast with the surprise of the ice cream truck keys hidden under the cover. Evren’s eyes turn black and return to normal.

[Adrienne Watkins]

Adrienne Watkins Scene Requirements Module 4 Lesson 9

My Vision: I am going to work as hard as I reasonably am able to succeed at script writing to be recognized by multiple movie producers as a skilled script writer, and to have my scripts produced worldwide.

What I have learned from this lesson is the outline is important towards painting the pictures of a screenplay.

Act 1 EXT. PUBLIC STREET- DAY

E-Roy is talking with a friend, he bumps into Fransie and spills his soda on her, she rolls her eyes and walks away, as he tries to apologize.

C-Fransie is deaf, Roy is unaware but embarrassed that he spilt soda on her white tee shirt.

S-Fransie’s building manager where she leases a shop has been sold.

H/F-Roy goes to bank sends his ex-wife her final alimony payment.

Act 2EXT-PUBLIC STREET- DAY

Roy sees Fransie dancing inside her shop as she packs up, approaches her and realizes she’s deaf.

E- Roy enters shop, convinces her to teach him rhythm by touch.

C-Flavia, Roy’s business manager meets Fransie, notices chemistry between Roy and Fransie.

S-Flavia is secretly in love with Roy, Fransie is dealing with being an orphan, Roy ignores his attraction to Fransie.

INT.STUDIO

H/F- Flavia hopes Roy will fall in love with her, Roy hopes Fransie’s dancing will make concert sales skyrocket. Fransie believes Roy is using her out of pity.

Act 3

INT-STUDIO-DAY

Flavia convinces Roy to go on a concert tour without Fransie.

E-Flavia’s Roy business manager signs contract for Roy to go on world tour.

C-Roy argues with Flavia, when he discovers Fransie is excluded from the contract.

S-Flavia explains that she can find dances better than Fransie.

H/F- Flavia takes up dancing lessons, Roy goes into an emotional rollercoaster.

Act 4

INT-STUDIO-DAY

Flavia discovers her and Fransie are sisters separated at birth, bring Roy and Fransie together.

E-Flavia receives a package from a lawyer that reveal Fransie’s birth certificate.

C-Flavia calls Fransie, invites her to the concert location, Fransie does not want to come.

S-Flavia sends Fransie a plane ticket telling her she wants to surprise Roy.

H/F- Roy ask Fransie to marry him, Flavia reveals to Fransie they are sisters.

[Melissa Barreca]

Melissa Barreca’s Scene Requirements

My vision: Melissa Barreca is one of the most sought after writers in the movie industry because of the artistry of her writing, professionalism and exceptional ability to tell important, entertaining, joyful, and heartbreaking stories that inspire audiences and become legendary classics.

What I learned…It’s hard to cut out information once I put it in, hence the long outline and long time it took to do this assignment!<div>

NEW TITLE: Starting Over

Act 1

EXT. FIELD OF CLOVER – DAY

Kids play in a field of clover, suddenly stopping at the sight of emaciated dead bodies in a pile; the group begins playing again after a few seconds of hesitation and ignores the sight, continuing with their games and song.

Essence: Showing the death and how pervasive it is.

Conflict: Starvation is everywhere and life is hopeless.

Subtext: Families cannot survive here.

Hope/fear: We hope these kids will not starve. We fear they will.

INT. SMALL COTTAGE – NIGHT

Norah and Doyle Murphy laugh and pack with her family for their immigration to America.

Essence: Norah and Doyle are leaving a loving family in search of a better life.

Conflict: Saying goodbye is hard.

Subtext: They don’t want to leave their family but they must try to find a better life.

Hope/fear: We hope that they are doing the right thing. We fear for the hardships ahead.

EXT. PORT WITH OCEAN GOING BOATS – DAY

The family is saying their final goodbyes near the run-down, meager boat and then they board for the long journey.

Essence: The love within their family is strong and they are brave to do this.

Conflict: The journey is going to be really hard for all of them.

Subtext: There is an ominous sense of misfortune beginning to overshadow them.

Hope/fear: We hope they will survive this journey. We fear that it will be miserable.

INT. ELLIS ISLAND PROCESSING FACILITY – DAY

They have all lost weight and are dirty and covered in bites, bruises and blisters, with torn, dirty clothing and sunken eyes. They are glad to finally be on land, but they are confused, tired and at their limit. The chaos is shocking to them as they try to navigate with two small children.

Essence: The family has survived a horrible ordeal.

Conflict: The chaos and suffering is starting to mount.

Subtext: Will they find relief in America or more suffering?

Hope/fear: We hope that they find rest, shelter and food. We fear that things are just starting to get hard for them.

INT. GRAND CENTRAL TERMINAL – DAY

The family has arrived at Grand Central struggling with bags and kids as they make their way through the crowded station. Their friend Mick is a sight for sore eyes and they tear up when they see a familiar face.

Essence: Norah and Doyle have finally made it to a friendly, familiar face and are closer to their new beginning.

Conflict: It all seems overwhelming.

Subtext: They cannot do this alone.

Hope/fear: We hope things will take a turn for the better. We fear what comes next.

EXT. EXITING A COACH ONTO MULBERRY STREET – DAY

Arriving in the Five Points, the stench is unbearable and the new family is appalled at the pitiful sight of poor beggars and street children everywhere. When they exit the carriage, they are immediately embraced by friends from Ireland who have been waiting for them.

Essence: This is going to be their new home. It is nothing like where they came from.

Conflict: There is obvious poverty, crime and depravity all around.

Subtext: This is not an easy place to raise a family.

Hope/fear: We hope they can build a life here. We fear they will go the way of the people on the street.

INT. TENEMENT APARTMENT – NIGHT

Later that evening, Norah and Doyle are working hard to clean their one-room tiny tenement apartment, but they are so tired. The kids are sleeping as they try to prepare themselves to go to bed in the sparse surroundings and console each other.

Essence: This is just the pit of poverty and there are few comforts.

Conflict: They don’t know how they will continue to go on suffering this way.

Subtext: The sunny and optimistic side of them is cracking, as they try to keep it together.

Hope/fear: We hope things will get better. We fear they will not find work or food.

INT. TENEMENT APARTMENT – NIGHT

Some time has passed, and the apartment is a bit more lived in. It’s after dinner when Doyle gets home covered in grime from his factory job. They begin to argue but reign it in, when Norah shares that she is expecting. And they go to bed with a million thoughts.

Essence: It is really hard to make a living and feed a family and it is taxing them all.

Conflict: The strain of poverty is starting to tear them apart with stress and worry.

Subtext: Their relationship is suffering and how will they care for another child.

Hope/fear: We hope they will get along. We fear they will continue to grow apart.

INT. TENEMENT APARTMENT – DAY

A baby girl is born. Norah, Doyle and their many neighbors celebrate the birth of this new child and also share their plight. Mick brings them food and whiskey, giving Doyle a pat on the back that is a bit too rough and unsettling.

Essence: The scene shows hope for the future and the importance of community.

Conflict: There is a brewing tension between Doyle and Mick that we don’t understand.

Subtext: There is joy amidst the pain of this life.

Hope/fear: We hope the baby will thrive. We fear that things will get harder for all.

INT. DIMLY LIT BAR – NIGHT

A night at the local parlor and too much whiskey leads Mick and Doyle into a fight. We are seeing a dark side of their relationship and the realization that things have gone wrong.

Essence: Mick and Doyle are not as good of friends as we thought.

Conflict: The former friends are becoming enemies.

Subtext: There is a lot of baggage in this relationship that we do not yet know.

Hope/fear: We hope they don’t hurt each other. We fear this will escalate.

EXT. TENEMENT BUILDING – DAY

Norah is asking around to see if neighbors have seen her husband. Mick comes to Norah and tells her that Doyle has been killed at the factory.

Essence: This is a horrible tragedy and we see Norah’s heart broken in the most painful and gut-wrenching way.

Conflict: Norah must find a job and find help with the children.

Subtext: How will she survive without her family in a strange new world?

Hope/fear: We hope the family can survive. We are truly afraid they will starve or worse.

INT. TENEMENT APARTMENT – NIGHT

We see Norah hunched over and sewing in her dimly lit and now more sparsely furnished apartment as her kids sleep in the same pile of rags. Her older child is talking in his sleep to his daddy, and asking him why he died and came back. Two subleasers are in the apartment now, one is coughing violently.

Essence: Norah is working herself ragged trying to support herself and the kids.

Conflict: She is wearing herself out.

Subtext: How long can she keep this up? And what is the mysterious mumbling about?

Hope/fear: We hope Norah can survive this but fear she will succumb to the pressures.

INT. GROCERY IN TENEMENT GROUND FLOOR – DAY

Mick comes to Norah in the grocery as she is begging for an extension for some food and offers help to Norah but it is clear from his advances that he wants to take the place of Doyle. Mick is a familiar friend and she has to take his help, she has no choice and allows him to pay her bill.

Essence: Norah is desperate and Mick is willing to help her.

Conflict: Norah is resistant because she does not want him to try to replace Doyle.

Subtext: Mick is offering help but there are strings attached.

Hope/fear: We hope Mick will continue to help her and fear that his price is high.

EXT. STREET OUTSIDE TENEMENT – DAY

Norah’s older children begin to spend time on the street begging for food and helping sell fruit for the grocer in the building. Norah sits in a doorway, wearing her infant daughter who does not look well, and sewing. Mick sees them and berates her for letting her kids beg.

Essence: The pitiful sight of the children begging means they have fully been transformed by the situation in America.

Conflict: The family is living hand-to-mouth and it’s a daily fight for survival.

Subtext: How long can they survive like this?

Hope/fear: We fear that the kids will not survive and we hope they can find another way.

INT. TENEMENT APARTMENT – DAY

Norah wakes the children but their baby is not breathing. loses her infant daughter to cholera.

Essence: The death of the baby is an agonizing blow that defeats Norah emotionally.

Conflict: The light has gone from her eyes. She is walking in pain and can barely cope.

Subtext: Norah is numb after the death of Doyle and her daughter.

Hope/fear: We hope she can overcome this but fear that she will sink into a deep depression.

Act 2: Better Off

INT. BAR IN THE BACK OF GROCERY – DAY

She begins to drink at the grocery in their building. As she drinks, Mick comes in to pay the tab and buy her some groceries.

Essence: Norah is resisting full reliance on Mick and has only taken his charity, but it is not enough to help her feed her children and keep their apartment heated.

Conflict: They are starving and freezing.

Subtext: Mick’s gifts always come with whiskey and romantic advances.

Hope/fear: We hope Norah will be strong enough to stop drinking but fear she will spiral.

INT. SOCIAL SERVICE AGENCY – DAY

Mick finally intervenes and reports her to a local charitable group because he says he is worried about her and the children. We see Mick go to them, but Norah doesn’t know it was him.

Essence: Mick is losing patience with Norah’s independence and tells her that she is selfish for keeping her children in such squalor.

Conflict: Mick believes they are killing themselves needlessly since she could just listen to him and take his help.

Subtext: Mick gaslights her into believing that she is making them suffer when they could have a perfectly good life elsewhere.

Hope/fear: We fear that Mick is dark and controlling and hope Norah survives.

INT. TENEMENT APARTMENT – DAY

A home visit by the Children’s Home Society sees Norah being convinced that she is abusing her children by keeping them in squalor and the workers find that she has been drinking. She resists the call to give them up for adoption. She is holding out hope that she will be able to care for them.

Essence: Norah is confronted about her drinking and caring for the children.

Conflict: This is the first time Norah is forced to see how far she has fallen and deal with judgment.

Subtext: Norah is losing control.

Hope/fear: We hope she will have a wake up call and get it together but fear she will lose the kids.

INT. SOCIAL SERVICE AGENCY – DAY

Norah is summoned. She is drinking again. She tearfully agrees and believes she has no choice but to let them go. The separation is agonizing. Mick is supportive to Norah’s face and condescending to her when speaking with the workers behind her back, playing both sides.

Essence: Norah surrenders her children and is visibly manipulated by Mick.

Conflict: The agony of letting the kids go is devastating to Norah.

Subtext: This could be the end of her dream and she may not recover.

Hope/fear: We are so afraid for the kids, what will happen to them? And for Norah who is bound to spiral deeper into despair.

INT. MICK’S APARTMENT – DAY

Norah spirals into a dark place. Dependent on Mick, without her children, She is visibly pregnant and miscarries. Mourning her husband and missing her children. She feels like a failure and attempts suicide.

Essence: Norah is living as a captive, addicted to alcohol and loses a pregnancy.

Conflict: We see Norah live in fear. She doesn’t know what to do and is allowing Mick to lorde over her.

Subtext: She increasingly hits the bottle and submits to Mick’s will in exchange for his shelter and food.

Hope/fear: Hopefully we won’t all abandon Norah in disgust, but will look at her and think about all of the times we have been weak and allowed people to take advantage of us.

INT. BAR IN THE BACK OF GROCERY – NIGHT

A chance meeting with an old neighbor at the grocery bar who “was surprised she allowed Mick to take her beautiful children away” causes Norah to become aware that she was manipulated by Mick.

Essence: She is bitter, angry and — she stays and goes along with it.

Conflict: She has been fooled, manipulated and lied to.

Subtext: She did not need to let the children go. It is Mick that wanted this.

Hope/fear: This is unbelievable for the audience who wants her to fight for her kids.

INT. MICK’S APARTMENT – NIGHT

Even when they lose their first child, Mick is hopeful that they will have more. We see their domestic “bliss” play out with Norah going through the motions as his “wife” and Mick telling her that she is not good enough.

Essence: Mick has made Norah his own. They are a couple. He has her to himself.

Conflict: He is oblivious to her pain and sees her only as an accessory he needs to control.

Subtext: He feels like he is winning.

Hope/fear: We hope she will get away from him.

INT. MICK’S APARTMENT – DAY

Mick nonchalantly tells Norah he has sold her wedding veil to pay for some whiskey. We see her take the last bit of whiskey in her glass and pour it into the chamber pot.

Essence: She is heartbroken and something in her snaps and she sees him for who he is.

Conflict: She has lost her last memento that reminds her of Doyle and her old life with the children.

Subtext: She becomes convicted that she will do something.

Hope/fear: We hope this lights a fire in her and reminds her of what used to be. Norah will find them if it’s the last thing she does.

INT. SOCIAL SERVICE AGENCY – DAY

Norah finally meets the adoption agent who knows about her children.

Essence: Norah finally starts to wake up to Mick’s true character, but it is agonizingly slow.

Conflict: A chance to do something.

Subtext: She is so close to figuring this out.

Hope/fear: We have seen this man at work with the children and we know he is good. We can be gratified to see him connecting with Norah. We know he will care and do whatever he can to help.

Act 3: Flown the Coop

EXT. TENEMENT BUILDING – DAY

Norah talks with a trusted neighbor and hatches a plan.

Essence: Norah will leave Mick and attempt to join her kids.

Conflict: Her adoption agent has assured her that the kids are happy in a home of wealthy and loving parents but still she wants to reunite with them.

Subtext: She cannot support the kids.

Hope/fear: We are hopeful she can break away and find them.

EXT. PARK BENCH – DAY

Another meeting with the Adoption agent reveals that the family is looking for a domestic and he can get her the job.

Essence: This is the news she has been hoping for.

Conflict: While she would wish she could take the kids and raise them, she knows this is not possible and joining them is actually the best thing for all of them.

Subtext: This is too good to be true.

Hope/fear: The first time we have felt hope in a while in this story. It should be celebrated.

INT. MICK’S APARTMENT – NIGHT

Mick saw her with the adoption agent and threatens her life and flies off the handle in a drunken rage. Norah calms Mick with more whiskey and swears that she doesn’t want her children. He passes out. Essence: Norah sinks into submission – she dares not cross Michael for fear for her safety and the kids.

Conflict: He wants her to himself. He doesn’t want the children in their lives.

Subtext: She is at a new low and has no idea what to do.

Hope/fear: This is the point where we get a little angry with Norah, our heroine. How could she know who Michael is and STILL allow him to control and manipulate her? We are disgusted by her weakness, but it rings true with the human condition.

INT. MICK’S APARTMENT – DAY

Mick awakes to find that Norah is gone. He breaks the few items of furniture they have in a fit of rage.

Essence: She decided to leave Mick in secret and go to the home of the children/new family and become their Nanny.

Conflict: We see Mick transform into a rage monster.

Subtext: How will she do it? Will it work? Will she get caught?

Hope/fear: We are a little scared for her, but so proud of her bravery.

EXT. BOARDING TRAIN PLATFORM – DAY

She is boarding a train with adoption agents and children that are to be adopted.

Essence: they have offered to bring her along on the journey in the hopes of reuniting her with her children.

Conflict: We don’t know if this will work out.

Subtext: Norah rediscovers her purpose.

Hope/fear: We hope she is reunited with the children safely.

INT. TRAIN CAR – NIGHT

She helps the children at two stops of the train before getting to the town where her children have been adopted.

Essence: Norah helps orphan children,

Conflict: She is worried and riddled with doubt about her situation and worried for these orphan kids.

Subtext: rediscovering her motherhood instincts

Hope/fear: We care about the orphan kids and hope they find homes as we fear for Norah’s success in finding her kids.

INT. COMMUNITY HALL – DAY

Children are being introduced to prospective adoptive families and Norah is helping with a pair of toddlers.

Essence: This is the process these kids go through to find a home.

Conflict: Norah is coming face to face with what happened to her kids.

Subtext: This is a strange system but the best these kids can hope for.

Hope/fear: We hope the kids are adopted by loving families and feel mounting suspense for the reunion.

EXT. TRAIN STATION – DAY

Norah helps a few older kids back on the train, one is distraught after a younger sibling was adopted and he wasn’t.

Essence: Norah is back to her old self, helping others and thinking of them first.

Conflict: The kids are going through an ordeal and Norah is there for them.

Subtext: She has fully broken free of her addiction and is now present to help others.

Hope/fear: We are hopeful as we see the old Norah return but with an improved confidence and renewed purpose.

INT. TRAIN CAR – NIGHT

Norah soothes the youngest kids to sleep as the train rolls on. She sings a song that she used to sing to her children as she cries softly and looks out the window.

Essence: Norah is getting closer to her kids and she can feel it.

Conflict: The sense of longing is palpable.

Subtext: Anticipation is great.

Hope/fear: We are fully invested in this reunion.

Act 4: Revenge and Fear

EXT. VALLE HOME – DAY

Norah is reunited with her children.

Essence: They offer Norah a live-in position as a domestic servant where she can live in the house with the children.

Conflict: Great joy and happiness, but we still are uneasy with the knowledge the Mick is raging.

Subtext: It seems like the happy ending we wanted.

Hope/fear: We hope this is the happy ending.

EXT. TENEMENT BUILDING – DAY

He is back in the neighborhood looking for Norah. When he finds her friend with information, he interrogates her and ends up killing her.

Essence: Mick has gone off the deep end.

Conflict: Mick is a violent and dangerous man.

Subtext: It’s brutal and scary.

Hope/fear: We fear for Norah and the children.

EXT. VALLE HOME YARD – DAY

Children are playing with Norah watching. She sends them inside to wash up for dinner and begins working on laundry when she is grabbed from behind and dragged off into a barn. We do not see her assailant.

Essence: An attack shows that Norah was not safe after all.

Conflict: Who is this attacker? We assume it is Mick.

Subtext: Oh shit.

Hope/fear: Will she be killed?

INT. BARN – DAY

In the barn, it’s an all out brawl in the dark. Norah fights and claws with every fiber of her being. The attacker fiercely beats her and attempts to tie her up. Major Reveal: The subdued Norah is tied and she is dragged into the light. Her attacker is Doyle. She explodes in disbelief, anger, fear, confusion.

Essence: Norah fights back.

Conflict: Doyle has attacked her and he is not dead.

Subtext: She has been betrayed.

Hope/fear: We are just generally confused and angry.

EXT. OUTSIDE BARN – DAY

Mick arrives to take Norah back to New York. He has returned to find her and bring her back to Mick. he disappeared with the help of Mick and has left his family to suffer at the hands of Mick the whole time. Mick was helping him escape the men who were trying to kill him. But Mick was the reason he was in the mess in the first place.

Essence: We find out that Doyle is alive and he was the reason that she was “given” to Mick.

Conflict: Doyle initially left because of wanting to protect his family but in reality he was relieved to get out of the tenement and his horrible job and turned to a life of crime on the run, a complete change of character brought about by the harsh reality of life in the Five Points.

Subtext: Doyle is the ultimate traitor who exchanged his wife for passage to America and a fresh start,

Hope/fear: We hope that Norah can win against these two men who have victimized her.

EXT. BOARDING A HORSE CART – DAY

The disillusioned Mick still believes that Norah will go back with him and believes that he has won the battle, she is too weak to fight back. He tries to take Norah into the cart, but she fights back with a hidden knife and kills him.

Essence: Norah is the victor over Mick.

Conflict: When Mick tries to hurt her and return her to the old life, she finds strength to fight.

Subtext: Norah is strong and no longer a victim.

Hope/fear: We are proud of Norah and worried about the situation with Doyle.

EXT. BARN – DAY

With Mick’s blood on her hands, Norah turns to her betrayer, Doyle. She is having a complete fit of rage. She lunges at Doyle and cuts off his ear.

Essence: Norah is transformed into a warrior.

Conflict: Norah fights back.

Subtext: Norah is strong.

Hope/fear: We hope Doyle suffers.

EXT. BARNYARD CORNER

Doyle is backed into a corner. She screams at him and physically pounds at him with her fists. He cries out in sorrow and tells her he is also sorry for her sister. He confesses that he knows what happened to her sister and that Mick caused her accident and the lied. She drowned and they never told anyone. He cries and screams.

Essence: Norah unleashes her anger and frustration on Doyle.

Conflict: Doyle has has been tracking her since she left, lurking in the shadows, waiting for his moment.

Subtext: Our image of him is shattered. From a strong and loving husband, to a weak and pathetic loser.

Hope/fear:We are shocked to see him again because we thought she had lost him.

EXT. BARN – DAY

The family runs to the barn. They see the carnage of Mick, and the cowering pathetic Doyle, and the glassy-eyed Norah and rush to her aid. The husband subdues Doyle and summons the police.

Essence: She acted in self defense.

Conflict: Police are carting away Doyle and telling the group that he is a wanted man.

Subtext: The family agrees to allow Norah and the kids to stay, and Norah can raise them as part of one big extended family.

Hope/fear: We hope this is the end of drama.

EXT. YARD – DAY

The adoption agent is visiting the family in the yard. He sips tea with the family as the kids run through emerald fields laughing and singing with Norah by their side.

Essence: This is the happy ending.

Conflict: Norah has won and regained herself and her family.

Subtext: Happiness, joy and a belief that all of our trials can end in triumph.

Hope/fear: Happy ending.
</div>

[Bent Hanlen]

BENT’S SCENE REQUIREMENTS

MY VISION IS THIS ….. I WANT TO BE A RESPECTED SCREENWRITER AND WORK IN A TELEVISION WRITING ROOM.

WHAT I LEARNED DOING THIS ASSIGNMENT IS I HAVE SOMETHING TANGIBLE TO PITCH TO PRODUCERS. I AM BELIEVING IN THIS STORY MORE AND MORE

SANTA VS KRAMPUS

ACTION ADVENTURE

ACT ONE

INT. SANTA’S OFFICE

THE GENERAL TRIES TO PLEAD HIS CASE FOR OPENING UP MORE OIL DRILLING TO OTHER COUNTRIES SO THEY CAN USE THE MONEY FOR MODERNIZING SANTA’S VILLAGE

• Scene Arc: THE GENERAL TRIES AND FAILS TO PERSUADE SANTA TO CHANGE HIS MIND
• Essence: GENERAL WANTS TO TURN NORTH POLE INTO A FUNCTIONING CONTINENT.
• Conflict: SANTA IS OLD SCHOOL AND HAS NO INTEREST IN THIS IDEA.
• Subtext: GENERAL WANTS TO MILITARIZE NORTH POLE
• Hope/fear: INEVITABLY THE GENERAL WANTS MORE POWER.

INT. DINING ROOM – INDIGO’S HOUSE

THE MOTHER, FATHER, AND INDIGO AND HIS SISTER HAZELA SIT AT THE TABLE.

• Scene Arc: HAZELA EXPRESSES INTEREST IN GOING OUT
• Essence: HAZELA IS SECRETLY PLANNING TO ESCAPE THE HOUSE
• Conflict: HER FAMILY WANTS HER TO STAY HOME. NEVER DELIVERING PRESENTS BECAUSE OF THE DANGER.
• Subtext: FATHER HAS A WOUND THAT HE’S HIDING.
• Hope/fear: THE FAMILY FEARS HAZELA IS WANTING TO DO WHAT COULD PUT HER IN DANGER.

ACT TWO

EXT. TARMAC

INDIGO IS RUNNING AROUND TRYING TO EXPLORE THE SLEIGHS BEFORE THEY FLY OFF.

• Scene Arc: INDIGO IS SEARCHING ALL OF THE SLEIGHS FOR HIS SISTER FRANTICALLY
• Essence: HE IS PANICKING AS HE DOESN’T WANT HIS FAMILY SPLIT UP LIKE THIS.
• Conflict: THE SLEIGHS ARE NOT WAITING FOR HIM. NO ONE EVEN KNOWS HE IS LOOKING FOR HER.
• Subtext: MOTHER AND FATHER ARE DESPONDENT AND INDIGO DOESN’T WANT THEM HURT.
• Hope/fear: HE IS HOPING TO BE A HERO TO HIS PARENTS AND FIND HIS SISTER.

PART THREE

INT. HOME OF A FAMILY

INDIGO IS FORCED TO DELIVER PRESENTS AGAINST HIS WILL SO HE DOES IT. IN ONE HOME HE MEETS A LITTLE BOY WHO CAN’T FALL ASLEEP.

• Scene Arc: INDIGO MEETS A LITTLE BOY AND LEARNS THEY ARE SIMILAR IN MANY WAYS.
• Essence: INDIGO FINDS OUT HE HAS NOTHING TO BE AFRAID OF
• Conflict: HE FIGHTS HIS FEAR OF PEOPLE DIFFERENT FROM HIM
• Subtext: INDIGO IS OVERCOMING HIS FEAR OF THE OUTSIDE WORLD SLOWLY THROUGH LEARNING.
• Hope/fear: HE FEARS THE UNKNOWN AND IS FORCED TO FACE IT.

EXT. SLEIGHS

INDIGO AND THE GENERAL ARGUE OVER FINDING HIS SISTER

• Scene Arc: INDIGO PRESSES THE GENERAL TO HELP HIM SEARCH FOR HIS SISTER. AND THE GENERAL REFUSES.
• Essence: THE GENERAL DOES NOT CARE ABOUT ONE ELF AND IS DETERMINED TO FINISH THE DELIVERIES ON SCHEDULE.
• Conflict: INDIGO DEMANDS THEY FIND HIS SISTER AND THE LITTLE BOY WHO IS IN THE SACK OF KRAMPUS.
• Subtext: GENERAL HAS NO EMPATHY.
• Hope/fear: INDIGO FEARS HIS SISTER WILL BE DEAD AT THE HANDS OF KRAMPUS.

ACT 4

INDIGO SAVES SANTA FROM KRAMPUS

• Scene Arc: KRAMPUS HAS KILLED SANTA’S REINDEER AND THE SLEIGH DESCENDS TO THE OCEAN. INDIGO JUMPS ONTO THE SLEIGH AND ACTIVATES THE SLEIGH’S JET ENGINES UNDERNEATH.
• Essence: INDIGO’S LAST FEAR IS OVERCOME
• Conflict: THE GENERAL TRIES TO STOP INDIGO FROM SAVING SANTA AND THE DEMONS ATTACH TO THE GENERAL’S SLEIGH AND TAKE HIM DOWN INTO THE OCEAN.
• Subtext: INDIGO PROVES HE CAN BE A WARRIOR AND EVENTUALLY SANTA.
• Hope/fear: INDIGO FEARS LOSING SANTA WILL LEAD TO NO MORE NORTH POLE SO HE TAKES ACTION.