Lesson 9 Assignment

[Danielle Dillard]

Vision: To write family stories that educate and entertain at the same time.

What I learned doing this assignment is brainstorming the below, and I’m still developing it:

EXT. APARTMENT – DAY

Tina approaches the door of the apartment carrying a decorative cake. She hears the laughter of another woman from inside of the apartment.

Essence: Tina is surprising her boyfriend with a festive cake.

Conflict: Who and why is another woman laughing in her apartment?

Subtext: Tina doesn’t know that her boyfriend is cheating.

Hope/fear: We hope her surprise won’t be ruined. We fear she’ll get her heart broken.

INT. APARTMENT – CONTINUOUS

Tina opens the door and sees David on the couch making out with another woman.

Essence: Tina busts in on David with another woman.

Conflict: Fight between David and Tina with the other woman in the middle.

Subtext: Tina is breaking up with David.

Hope/fear: We hope Tina will dump David. We fear that someone may get physically hurt during the heated argument.

EXT. APARTMENT – CONTINUOUS

Tina throws David’s belongings on the curb. David rushes out of the house and gathers his things. Tina continues to toss his things out on the street. Tina’s kids are watching.

Essence: Tina kicks David out.

Conflict: Will David retaliate?

Subtext: Tina wants a replacement.

Hope/fear: We hope that David won’t physically hurt Tina or her kids. We fear that things could get worse.

INT. CHURCH – DAY

Tina sings a moving song with the church choir. She sings a solo piece that has everyone mesmerized except a prominent woman staring at her in disgust which catches her eye.

Essence: Tina is in a choir at a church.

Conflict: Why is there a woman at this church looking at Tina in disgust?

Subtext: Tina doesn’t seem to live the lyrics of the song she’s singing.

Hope/fear: We hope Tina gets over her breakup. We fear the icy look on the woman’s face.

INT. SANCTUARY – DAY

Tina converses with men on a dating website during the sermon.

Essence: Tina is more interested in meeting new men.

Conflict: Tina is flirting with men online while she’s in church.

Subtext: Tina’s goal is to get a new man.

Hope/fear: We hope Tina decides what’s most important. We fear she will miss the important message in the sermon.

EXT. SUNDAY SCHOOL – DAY

Barry hangs around the Sunday School area admiring the kids. He catches Tina’s eye and she introduces herself to him.

Essence: Barry is scoping the little girls.

Conflict: Tina doesn’t notice him admiring her daughter.

Subtext: Tina is interested in Barry, he plays along.

Hope/fear: We hope she doesn’t come on to Barry. We fear Barry since he’s fixated with the girls.

INT. RESTAURANT – NIGHT

Barry and Tina are having a romantic dinner.

Essence: Barry and Tina are hitting it off.

Conflict: Is Barry really attracted to Tina?

Subtext: Barry keeps asking about her daughter and wants to see pictures of her.

Hope/fear: We hope Tina is on alert. We fear Barry may be after her daughter.

INT. PARK – DAY

Barry, Tina and Tina’s kids play together at the park.

Essence: Barry is in like Flynn.

Conflict: Why does he keep taking pictures of Tina’s daughter?

Subtext: Barry is grooming Tina’s daughter and gaining her trust.

Hope/fear: We hope nothing happens to Tina’s daughter. We fear that Tina is moving too fast with Barry.

INT. CHURCH, WOMEN’S RESTROOM – DAY

Tina touches up her makeup while looking at herself in the mirror. The icy woman from before enters the restroom and sees Tina, approaches her and gives her a bitter message about her lifestyle and the consequences coming.

Essence: Tina is being confronted about her lifestyle

Conflict: Tina gets offended.

Subtext: Tina knows this woman is telling the truth and she fears it.

Hope/Fear: We hope that Tina takes heed to this message. We fear that Tina’s defensiveness and denial will cause her to miss it.

EXT. APARTMENT, BARBECUE – DAY

Tina, Barry and the kids have a barbeque. Tina’s mother and her friends are present. Her friends like Barry. Her mother has reservations about him.

Essence: Tina is introducing Barry to her friends and family.

Conflict: Tina is offended at her mother’s observations about him. Barry leaves the barbecue and sneaks into Tina’s daughter’s room.

Subtext: Barry has a plan.

Hope/Fear: We hope Tina’s mother’s suspicions are wrong. We fear why Barry is in the girl’s room.

[Brandyn Cross]

Brandyn Cross’ Scene Requirements

My vision for success in this program is to develop and hone my skills to the extent that my screenplays will be produced and widely viewed.

What I learned from this assignment is how to understand each scene of the outline more deeply.

ACT 1

EXT. GRAVEYARD – NIGHT

Alex drinks at a gravesite as snow falls.

Scene Arc: As Alex drinks more at the grave, he gains more and more courage to kill himself.

Essence: Showing Alex’s desperation, and that it is related to the loss of someone close.

Conflict: In visiting the grave of someone dearly departed, he is essentially pretending to get their permission to commit an atrocious act.

Subtext: Alex is deciding whether or not to kill himself, using alcohol and the grave to talk himself into it.

Hope/Fear: We hope Alex will be okay. We fear something bad will happen to him, given it is snowing and he his drunk in a cemetery.

EXT. FREEWAY – NIGHT

Alex intentionally drives his car full speed into an overpass pylon in a suicide attempt.

Scene Arc: Alex starts out contemplating suicide, and ends with him making a serious attempt.

Essence: We see Alex so desperate that he intentionally runs his car into a concrete pylon at high speed. He is at a point where being dead seems a better option than being alive.

Conflict: Alex is fighting himself over the classic Shakespearean dilemma, “To be or not to be.”

Subtext: Is Alex seriously wanting to die, and how is that related to the grave?

Hope/Fear: We hope he survives unhurt. We fear he may not survive.

INT. HOSPITAL – DAY

As Alex recovers, he is despondent and negative over a series of misfortunes which have befallen him.

Scene Arc: Begins with Alex allegedly having survived the crash, but we end up seeing that the issues that drove him to attempt suicide are still present within him.

Essence: We see that Alex is very fragile and conflicted even after his suicide attempt.

Conflict: Alex wants to leave the hospital to dive into his work, but is frustrated at how slow the recovery process is.

Subtext: He wants to revive his career, but still doesn’t want to live because his problems have only increased.

Hope/Fear: We hope Alex will overcome his depression, but fear he will attempt suicide again.

INT. HOSPITAL – NIGHT

Alex starts having psychic experiences and ghostly visitations, something he has never experienced before. It’s not something he is happy about.

Scene Arc: Alex begins seeing things that seem impossible, but ends up with him realizing he is seeing ghosts for real.

Essence: We discover that Alex has gained the ability to communicate with ghosts following his accident.

Conflict: Alex is seeing ghosts, but doesn’t want to.

Subtext: Alex is being drawn into a world of ghostly encounters that will certainly change his life.

Hope/Fear: We hope Alex’s psychic powers will give him a reason to live, but we fear that either the ghosts will kill him, or he will kill himself in fright.

EXT. PARK – DAY

10-year-old Sandy tries to befriend Alex, but he rejects the boy.

Scene Arc: Alex may reject Sandy’s overtures of friendship, but at least he finally talks to another person.

Essence: Though he doesn’t know it, meeting Sandy puts him on a journey that will change his eternal future.

Conflict: Sandy is very kind-hearted and offers Alex his friendship, but Alex is still too self-absorbed in feeding his negativity that he doesn’t want a friend.

Subtext: Sandy didn’t arrive in Alex’s life accidentally, and is destined to change Alex on a fundamental, emotional level.

Hope/Fear: We hope Alex will accept Sandy’s friendship, but we fear he will hurt both himself and Sandy by refusing it.

INT. ALEX’S APARTMENT – NIGHT

Sandy reveals himself to Alex as a ghost.

Scene Arc: We begin realizing Alex has been released from the hospital, though permanently disabled and wheelchair-bound, and end up realizing that Sandy is a ghost, and that Alex can communicate with him.

Essence: Alex is introduced directly to the ghostly world and, with his new psychic powers, is now a part of it.

Conflict: Alex’s only concern is getting to work and reviving his career, but is being bothered by ghosts who want his help.

Subtext: Sandy isn’t targeting Alex randomly, and has a specific mission he needs to complete for Alex’s own sake, which will involve a much deeper interaction with several ghosts.

Hope/Fear: We hope Alex will find a way to regain happiness, but we fear he will refuse to communicate with Sandy after learning he is a ghost.

INT. ALEX’S APARTMENT – NIGHT

As Sandy tries to convince Alex to use his new psychic powers to help ghost children, Alex refuses. He says if he were to connect with a ghost child, it would be with his own deceased son, not with some ghost stranger.

Scene Arc: We begin reinforcing our belief that Alex is just a negative, unpleasant person, and then find out that he has experienced real tragedy in the loss of his only son.

Essence: We see how accepting his ability to communicate with ghosts may help Alex overcome the tragedies that have robbed him of happiness and the desire to live.

Conflict: Alex accepts that he can communicate with ghosts, and that he could use that power to help the ghost children and their families, but feels he is being cheated if he isn’t allowed to use his powers to see his own deceased son again.

Subtext: Whether he admits it or not, Alex accepts his ability to communicate with ghosts. He just wants to direct that ability toward something that benefits him, rather than others.

Hope/Fear: We hope Alex can see his deceased son again and gain a reason to live, but we fear he will refuse to help the ghost children if that demand is refused.

ACT 2

INT. ALEX’S APARTMENT – NIGHT

Despite Alex’s attempts to ignore Sandy and Rorie, deep down he is taken by the ghost children and wants to help them.

Scene Arc: Alex begins by reinforcing his negative attitude toward Sandy and the ghost children, such as Rorie, that he is being introduced to. At the end, Alex is being won over by the kindness and friendly nature of these ghost children, and their genuine need for help that only Alex can provide.

Essence: Alex begins having a change of heart, and contemplating for the first time helping Rorie give his parents closure about Rorie’s death.

Conflict: Alex still wants to devote his time to reviving his career, and still considers being constantly interrupted by ghosts a bother, but has begun softening and developing a genuine concern for the well being of the ghost children.

Subtext: Alex keeps up his gruff persona for Sandy and Rorie but, inside, is starting to care for them and wanting to help them.

Hope/Fear: We hope Alex will soften up and help the ghost children, but are afraid he can’t break through the negative barriers he has erected around his inner self.

EXT. FREEWAY – NIGHT

Angel helps Alex see more detail about his accident. He sees a boy get out of one of the cars that had stopped to help, and run across the road, stopping midway, with a terrified expression.

Scene Arc: Alex starts with his continued insistence that his suicide attempt is no one else’s business, but realizes with horror that what he considered a solitary act may have had direct repercussions on others.

Essence: Demonstrates that Alex’s suicide attempt may be related to his ability to now see ghosts.

Conflict: Alex feels a need to help the ghost children, but is now afraid of what truths may await him at the end of the road.

Subtext: We begin to wonder if the presence of a young boy at Alex’s accident scene may mean that something very bad happened to the boy.

Hope/Fear: We hope the boy will be okay, but we fear Alex’s suicide attempt may have gotten the little boy killed.

INT. ALEX’S APARTMENT – NIGHT

Sandy convinces Alex to write Rorie’s book.

Scene Arc: Alex’s heart going out to Rorie, and with the realization that he may have somehow harmed him, Alex agrees to write the boy’s book for his parents.

Essence: Alex now begins working with the ghost children to bring closure to their families.

Conflict: Alex wants to help the ghost children, but is afraid of what dark secrets he may uncover in doing so.

Subtext: Alex is entering into completely uncharted territory in the history of humanity by taking a mortal role in helping the ghosts of children cross over into heaven.

Hope/Fear: We hope Alex can help Rorie’s family make peace with his death, and help Rorie cross over into heaven. We fear he may fail, or perhaps even inadvertently make things worse.

INT. RORIE’S HOUSE – DAY

Rorie’s parents reject Alex and Rorie’s book.

Scene Arc: Alex goes from being casually optimistic that each ghost will easily gain closure, to realizing it may be a difficult, or even impossible, task.

Essence: Alex learns that bringing the ghost children and their families will be a much more difficult and complicated task than he initially thought.

Conflict: Alex questions whether it’s worth the effort to write the child children’s stories, while Sandy and Rorie are adamant that they must convince Rorie’s parents to accept contact from him.

Subtext: Alex thinks he’s found a loophole that will rid him of responsibility over the ghost children, and wants to wash his hands of the whole affair.

Hope/Fear: We hope Alex can succeed in helping Rorie, but fear he will walk away from the entire prospect.

INT. ALEX’S APARTMENT – DAY

Sandy is determined to convince Rorie’s parents, but Alex doesn’t care, until he realizes that without their acceptance, his memories of his son are fading. He then becomes obsessed with convincing Rorie’s parents to believe him.

Scene Arc: Alex begins happily disposed to forgetting the entire ghost child scenario, and ends with him firmly resolved to get Rorie’s parents to believe him and accept Rorie’s story.

Essence: When Alex realizes helping the ghost children has a personal benefit to him, he decides to continue working with them.

Conflict: Alex would rather forget the whole ghost children affair, but can’t, because the closer he works with these children, the closer his connection to the ghost of his own son.

Subtext: Alex realizes the key to getting what he most wants is to help resolve the ghost children’s problems.

Hope/Fear: We hope Alex will change his mind and start helping Rorie again, while we fear he will abandon the ghost children, and return to his old dark, self-centered ways.

EXT. GRAVEYARD – DAY

As Alex remembers more about the grave, Sandy becomes convinced that Alex will regain total recall, and fulfill Sandy’s wish to be reunited in heaven with his dad.

Scene Arc: Sandy starts out cautiously optimistic that Alex will continue with Sandy’s mission, and ends being perhaps overly optimistic that the finish line is in sight.

Essence: We see a glimpse into the reality that there is more connecting Sandy to Alex than we have been led to believe.

Conflict: Alex is still a bit reluctant to bring the ghost children’s unresolved issues to a successful conclusion, while Sandy is nearly desperate for them to succeed because of the personal stake he has in the outcome.

Subtext: Sandy is desperate for Alex to succeed in convincing Rorie’s parents to accept his story, because Sandy’s own eternal fate lies rests on that success.

Hope/Fear: We hope Alex and Sandy can convince Rorie’s parents that their son has contacted them from beyond, but, because of Sandy’s investment in the outcome, we fear there may be detrimental consequences we are unaware of should they fail.

INT. ALEX’S APARTMENT – DAY

As Alex and Sandy succeed in helping Rorie and his family gain closure relating to Rorie’s death, Alex has a genuine change of heart, and becomes obsessed with helping the ghost children and their families.

Scene Arc: Alex goes from somewhat reluctant participant, to a converted messenger for children from the other side.

Essence: Alex has a transformational moment, in which he is now more concerned with the ghost children’s well being than with his own.

Conflict: Alex wants to help the ghost children, but must still fight against the negative influences that have long plagued his state of mind.

Subtext: Alex is overcoming the negatively oriented person he was, and becoming the good and positive person Sandy hoped he would be.

Hope/Fear: We hope Alex can help a lot more ghost children, but fear he may still revert into the dark recesses of his isolation.

ACT 3

INT. ALEX’S APARTMENT – DAY

Alex feels true peace of mind in helping the ghost children and their families, and even accepts the chance that a heavenly reunion with his own son may have to wait. Meanwhile Sandy, who had led Alex to this point, is more conflicted, now becoming the impatient one regarding this reunion.

Scene Arc: As Sandy succeeds in convincing Alex to help the ghost children, he becomes conflicted and impatient to have his own reunion with his father.

Essence: Sandy has his own stake in Alex’s journey, and he now comes across as the 10-year-old boy that he is.

Conflict: Alex has progressed to where Sandy led him, but Sandy now fears it may cost him everything.

Subtext: Sandy’s greatest concern is his heavenly reunion with his father, which he fears may be in danger by Alex having become so committed to the other ghost children.

Hope/Fear: We fear Alex and Sandy both get what they want, but fear their relationship could be in danger.

INT. ALEX’S APARTMENT – DAY

When Alex is introduced to Beth, he is impatient to write her book and get another fill of pure joy. His new obsession with selfless service replaces the obsession he previously had with the self-centered revival of his career.

Scene Arc: Alex begins reveling in his success with Rorie’s, and jumps at the chance to start working with the next ghost child, and repeat that success.

Essence: Alex is converted to serving the ghost children, believing he is quickly learning how to succeed in helping them.

Conflict: Alex is anxious to get started on Beth’s book, while Sandy still worries that the more committed Alex is to the other children, the more Sandy’s own happy ending could be jeopardized.

Subtext: As Sandy knows Alex is his father, he worries that he is taking a back seat to the other ghost children in his father’s eyes.

Hope/Fear: We hope Alex will help Beth’s family gain closure about her death, but we fear things may be going too well, and a shoe is about to drop.

INT. ALEX’S APARTMENT – DAY

Alex becomes overconfident and egotistical as he glories in taking credit for the benefits of his psychic abilities. This blinds him to red flags signaling serious problems within the families of the ghost children.

Scene Arc: Alex is too cavalier about working with the ghost children, as Sandy tries to bring him down a little more to earth.

Essence: We see Alex getting a very big head, and becoming boastful over gifts from heaven, and taking credit for accomplishments in which he was merely in instrument in God’s hands.

Conflict: In failing to give glory to God for what He has allowed Alex to accomplish, he jeopardizes his ability to access these powers.

Subtext: Alex’s growing ego threatens his mission and blinds him to developing problems with the families of the ghost children.

Hope/Fear: We hope things will work out well for Beth and her family, but we fear Alex is headed for trouble.

INT. HOSPITAL – NIGHT

Alex is devastated upon learning that Rose has committed suicide after receiving Beth’s book. He refuses to use his powers anymore for the ghost children, and tells Sandy to leave him alone.

Scene Arc: Alex blames himself for Rose’s suicide and, after reflecting on it, decides the only way he can make things right is to not endanger anyone else, so refuses to work with Sandy or the ghost children any longer.

Essence: We learn the magnitude of the stakes when dealing with heavenly power and matters of eternal significance.

Conflict: Alex decides the risks are too great to trust himself with the awesome power of God, while Sandy is desperate for him to press forward, as Sandy’s on eternal journey is directly tied to the completion of Alex’s mission.

Subtext: Angel knows that what Alex views as a failure was, in fact, a great success, but Alex isn’t in a position to be receptive of that message.

Hope/Fear: We hope that Alex can recover from this setback, but fear he will completely revert to the person he was.

EXT. PARK – DAY

Sandy is crushed by Alex’s rejection of him and tells Angel he can’t do this anymore. He refuses her suggestion to try to encourage Alex to keep going.

Scene Arc: Sandy feels betrayed by Alex to the extent that, when Angel reassures him and tries to coax him into resuming their work, Sandy refuses and becomes lost in self-pity.

Essence: We see Sandy as an innocent little boy with fragile feelings who can, when pushed far enough, pout and refuse to talk to someone he is angry with.

Conflict: Alex has shut down his work with the ghost children, while Sandy refuses to change his mind, as he is pissed enough at Alex that he doesn’t want to work with him either.

Subtext: Alex has no idea of the real agenda in what he is being led to do, while Sandy’s feelings were hurt by his father, whom he feels is ignoring him and doesn’t love him anymore.

Hope/Fear: We hope Angel will talk Sandy into reasoning with Alex, but we fear Sandy may be so hurt that he refuses to work with Alex again

ACT 4

EXT. PARK – DAY

Beth and Angel show Sandy and Alex that Rose was destined to commit suicide no matter what happened but, without their intervention, it would have been much worse. Alex and Sandy were forced into a no-win situation because, without them, she would also have killed her husband and kids.

Scene Arc: Initially, Sandy and Alex don’t want to talk to each other but, as they are made to listen to Angel and Beth, realize they didn’t screw up like they thought they did, and both warm up to each other, each taking the first step toward reconciliation.

Essence: Sandy and Alex learn that God does indeed work in mysterious ways, as what they viewed as a failure had in fact been a success, and accomplished the intended plan of God for Beth’s family.

Conflict: Alex and Sandy are out of step with each other, and are collectively out of step with Angel and Beth, requiring those two to stage an intervention for Alex and Sandy.

Subtext: Beth’s family needed a completely different closure than either Sandy or Alex realized. They were given information on a ‘need to know’ basis, leading them to successfully complete their task with Beth’s family, despite having no idea what actually needed to happen. Had they known, they may not have completed the mission successfully, as they would have obsessed only with trying to keep Rose from committing suicide, which may have caused a catastrophic failure.

Hope/Fear: We hope Sandy and Alex patch things up, but fear they may still be too gun shy to work effectively with other ghost children.

INT. ALEX’S APARTMENT – NIGHT

Alex and Sandy agree to resume working with the ghost children, and are introduced to Kody. Alex remembers more about his accident, and thinks he recognizes Kody as the kid in the road.

Scene Arc: Alex meets Kody with some trepidation but, when he thinks he recognizes him from the accident, he fears there might be a lot more to Kody than he realizes.

Essence: We get a glimpse of the connection between Alex and the ghost children, far beyond randomly being asked to write their stories.

Conflict: Alex wants to help Kody but, after the experience with Beth, is nervous that there is more to Kody than he realizes, and can’t help second guessing himself.

Subtext: Alex is now being let in on the secret of the ghost children, and the connection he has with them.

Hope/Fear: We hope Alex and Sandy will solve Kody’s issues, but fear Alex may be held back by his fears that he will hurt Kody and his family more than help them.

EXT. HEAVENLY CLOUD – DAY

As Alex finishes Kody’s book, he and Sandy realize that Angel is Kody’s mother, and the book was necessary to help Kody cross over and be reunited with her. Only then do they realize the magnitude of the work they’ve been doing with the ghost children.

Scene Arc: Alex and Sandy are initially simply relieved to have Kody’s book finished but, when they realize that, in this case, it was Kody who needed to come to terms with his own death, and the relationship between Angel and Kody, they are stunned by how connected and profound the work they’ve been doing really is.

Essence: We’re seeing how connected everyone in Alex’s story is with each other, and how all the individual pieces fit together in divine fashion.

Conflict: Sandy’s mentor, Angel, actually had a huge stake in the outcome, so couldn’t even tell Sandy everything she knew, particularly about Kody. Sandy and Alex have been forced by circumstances to blindly trust the other heavenly entities, as they have not been able to share all the pertinent truths with them.

Subtext: The heavenly plan is being fulfilled piece by piece, but seldom if ever in the way Sandy and Alex are led to understand the goal.

Hope/Fear: We hope Kody and Angel can finally be reunited, but fear something may still go wrong when we realize how significantly Alex and even Sandy misunderstand the true goals they are working toward.

EXT. HEAVENLY CLOUD – DAY

Kody and Angel thank Alex, and say they forgive him. Rorie, Beth and Rose then appear, also saying they forgive Alex, at which point Sandy reveals to Alex that this has all been a journey of forgiveness, and all that’s left is for Alex to forgive himself.

Scene Arc: Alex is initially confused when Angel and Kody say they forgive him, leading to even greater confusion as Sandy revels this whole journey has been about Alex being forgiven.

Essence: Though not everything is revealed, we now understand that those involved in the journey need to forgive Alex, and that he needs to forgive himself, in order to be prepared for entry into heaven. Although as yet, he has no real idea for what.

Conflict: Although he has no clue what, Alex has done something to the ghost children and their families that he is in need of forgiveness for, and discovers he needs to forgive himself as well.

Subtext: We are finding out here that there is far more to the story between Alex, the ghost children and their families than we were aware, now leaving us wanting to learn the rest.

Hope/Fear: We hope Alex will receive the forgiveness he needs, including from himself, while fearing he may have done something too horrible to receive this forgiveness.

INT. ALEX’S APARTMENT – DAY

Alex now remembers everything. He realizes he has been dead the whole time, and that he was responsible for the ghost children’s deaths. Sandy begs him to accept everyone’s forgiveness, and forgive himself, so they can be reunited in heaven, but Alex is too consumed with guilt to do it.

Scene Arc: Alex is overwhelmed to remember everything, including that he has been dead since his suicide. But upon realizing he was responsible for the deaths of all the ghost children, he is overcome with guilt, and refuses to forgive himself.

Essence: All the secrets are revealed; that Alex is dead, Sandy is his son, and that Alex caused the deaths of the ghost children. The whole journey has been to prepare Alex to enter heaven and be reunited with his son, Sandy.

Conflict: Upon total recall, Alex is unable to forgive himself for causing the deaths of the ghost children, despite it being a necessary step to his reunion with Sandy.

Subtext: From Sandy’s perspective, this has all been about Alex learning what he needed, and forgiving himself, so Sandy could finally be reunited with his father.

Hope/Fear: We hope Alex and Sandy can be reunited, but fear Alex won’t be able to forgive himself.

INT. ALEX’S APARTMENT – DAY

Angel places Alex face to face with Jesus and tells him to lay his sins at His feet, and accepts His forgiveness. Alex does and, with the weight of his guilt relieved, he is able to begin forgiving himself, and accepting the forgiveness of those he had wronged, including Sandy.

Scene Arc: When Alex is sent to meet Jesus, he is too consumed with guilt to forgive himself. After he lays his sins at the feet of Jesus, and receives His forgiveness, he is able to forgive himself.

Essence: Alex fulfills the last step of his redemption, forgiving himself.

Conflict: Alex must accept Christ’s forgiveness before he can forgive himself.

Subtext: Alex is set up to reunite with Sandy in heaven, and learns that this can only be done by the grace of God through Jesus.

Hope/Fear: We hope Alex will forgive himself, but fear he won’t accept the forgiveness of Jesus as a prerequisite to that.

EXT. HEAVENLY GATE – DAY

Sandy is finally allowed to reunite with Alex as father and son, and are able to enter Heaven together.

Scene Arc: Alex and Sandy stand at the gates of heaven, hopeful they will be accepted within. At the end, they are accepted into heaven and begin their eternity together.

Essence: We see Alex and Sandy accepted in to heaven to receive their eternal happily ever after.

Conflict: Despite having completed the prerequisites, Alex and Sandy have their doubts before officially being welcomed through the heavenly gates.

Subtext: Sandy and Alex have completed their journey, and helped some other deserving people along the way, and can now enter heaven, and partake of whatever that entails.

Hope/Fear: We hope Alex and Sandy will be welcomed into heaven but, before they officially are, there is always that nagging fear that they will be rejected.

[Paul McGregor]

Paul’s Scene Requirements.

6. Vision of success from this program: I want to write scripts that become movies that change people’s lives.

7. What I learned from this assignment is that it helped me make sure that each scene contributes to the overall story and remove weak scenes. It provides a model to follow as I come up with new scenes.

Title: Culiacán

Genre: Action/Drama

ACT ONE:

1. INT. BUS. DAY.

Scene arc: From Lilia (Protagonist) getting on bus to getting off because of army road-block.

Essence: The poverty of Culiacán.

Conflict: Between Lilia and bus-driver.

Subtext: Lilia’s life is a tough one.

Hope/fear: That Lilia will arrive home safely.

2. EXT. STREET. SAME.

Scene arc: From getting off bus to carrying away body of man killed by soldiers.

Essence: The violence of the drug war.

Conflict: Lilia and the soldiers.

Subtext: DEA is an anonymous presence.

Hope/fear: DEA has tabs of Lilia.

3. INT. DEAD MAN’S HOUSE. SAME.

We see the poverty that forced the man into drug production. Lilia outraged at family’s suffering.

Scene arc: From carrying dead body into home to lament from dead man’s widow.

Essence: Innocent people are dying in the drug war.

Conflict: Poor people and the “system”.

Subtext: The “system” is wrong.

Hope/fear: How will family survive after killing of the bread-winner?

4. EXT. STREET. SAME.

Scene arc: Lilia leaves house of dead man to encountering corrupt cop.

Essence: The corruption that thrives thanks to the drug war.

Conflict: Between Lilia and corrupt cop.

Subtext: DEA agent recognizes Lilia.

Hope/fear: Is Lilia on the DEA’s radar?

5. INT. LILIA’S HOME.

Scene arc: Lilia’s furious entry to the chore of preparing dinner.

Essence: Discover Tino’s (Lilia’s father) contrary view of the drug war.

Conflict: Between Tino and the system.

Subtext: The drug war is responsible for their misery.

Hope/fear: Will Marisol (Lilia’s daughter) can escape the poverty by studying.

6. EXT. STREET. NEXT DAY.

Lilia walking home with shopping bags. See places discreetly selling drugs.

Scene arc:

Essence:

Conflict:

Subtext:

Hope/fear:

7. EXT. LILIA’S HOUSE. SAME.

Scene arc: Lilia returning home to announcement of daughter’s (Marisol) scholarship.

Essence: Marisol has a future outside Culiacán.

Conflict: Lilia/Marisol vs Tino.

Subtext: Tino has some reason for not liking the US.

Hope/fear: Marisol can escape the grinding poverty.

8. EXT. CULIACÁN AIRPORT. DAY.

Scene arc: Leaving home with Marisol’s bags to airport departures.

Essence: Marisol is leaving Culiacán for a brighter future.

Conflict: Lilia/Marisol against Tino’s negative attitude to USA.

Subtext: Where did Tino get the wad of dollars he handed to Marisol?

Hope/fear: Marisol is escaping.

9. INT. LIBRARY US COLLEGE. DAY.

Scene arc: Marisol studying hard in library to agreeing to go to party.

Essence: Marisol being drawn away from her studies.

Conflict: Between studies and invitations to party.

Subtext: Privileged US college students are aim-less wasters.

Hope/fear: Marisol’s escape plan could be sabotaged.

10. INT. POSH HOUSE. EVENING.

Scene arc: Marisol arrives at party to collapsing from drug overdose.

Essence: Death of Marisol.

Conflict: Between Marisol who refuses the drugs and college student Marcus who forces them on her.

Subtext: Rich and privileged US violates poor and struggling Mexican.

Hope/fear: Will Marisol die?

11. EXT. POSH HOUSE. NEXT MORNING.

Scene arc: From journalists gathering outside house to Senator Marcus accusing the Mexican girl of bringing the drugs into US.

Essence: Reveal that drug-taking college student is son of a Senator who is a hawk in the drug war.

Conflict: Between Senator and memory of Marisol.

Subtext: US political hypocrisy.

Hope/fear: Senator’s son will escape punishment.

12. INT. MIDDLE CLASS HOME IN CULIACÁN. NEXT DAY.

Scene arc: Lilia busy at work to desperately checking phone for messages from daughter, Marisol.

Essence: Show that Lilia is without news of Marisol.

Conflict:

Subtext:

Hope/fear: How will she react when she learns of Marisol’s death?

13. EXT. LILIA’S HOUSE. LATER SAME DAY.

Lilia returning home. Worried. Neighbor meets her. Shows her video on cell-phone. Senator MARCUS claiming Mexican girl brought drugs to his house and she died. Not his son’s fault.

Scene arc: From returning home concerned to confirmation of daughter’s death.

Essence: Lilia learns of daughter’s death from TV news item on friend’s phone.

Conflict: Between Lilia and father of college student who has caused daughter’s death and has added insult to injury.

Subtext: US hypocrisy revealed.

Hope/fear: How will Lilia react to news of daughter’s death?

14. INT. LILIA’S HOUSE. SAME.

Scene arc: Lilia returns home with the news to Tino vowing revenge.

Essence: Revenge will be taken.

Conflict: Lilia/Tino and the Senator/his son.

Subtext: Things are going to get bad for the Senator and his son.

Hope/fear: That Lilia can avenge the death of her daughter.

ACT TWO:

15. INT. BAR IN CULIACÁN. EVENING.

Scene arc: Tino enters bar to agreeing with Cartel guy on kidnapping of college student, Hank Marcus.

Essence: Tino has influential connections in the Cartel.

Conflict: Between Tino and the college student who killed his granddaughter.

Subtext: It’s the Cartel that runs the show.

Hope/fear: That Hank Marcus will pay the price for his crimes.

16.-20. Kidnapping of Hank Marcus and transfer to Culiacán.

Scene arc: Hank Marcus abducted while purchasing drugs outside college dorm to crossing US-Mexican border.

Essence: The start of Hank’s ‘trip’ in Mexico.

Conflict: Cartel operatives and Hank.

Subtext: There’s no stopping the Cartel.

Hope/fear: Hank is going to die a nasty death.

21. INT. UNDERGROUND ROOM. SEVERAL DAYS LATER.

Scene arc: From Lilia face-to-face with daughter’s killer to planning his ‘drug trip.’

Essence: Determines the next two acts: it will be a discovery of the reality of the drugs supply chain.

Conflict: Hank up against the family determined to avenge their daughter’s death at his hands.

Subtext: Lilia just wants Hank dead; not fully in favor of her dad’s plan.

Hope/fear: What Hank is going to discover on his ‘trip’.

22. TV SCREEN.

Scene arc: Senator interviewed by journalist and begins by denying disappearance of son is linked to death of Marisol, to promising to pay costs of repatriating body of the dead girl.

Essence: The Senator is going to play a central role in this story.

Conflict: Rich US family vs poor Mexican family.

Subtext: Who knows where this story is going to lead.

Hope/fear: The story will end with a peaceful exchange of dead body for live body, with no further violence.

23. INT. HOME OF MAN KILLED IN SCENE 2.

Scene arc: From Marcus being forced to meet widow and family of dead man to start of his ‘trip’.

Essence: Beginning of Marcus’s discovery of reality in Culiacán and the drug supply chain.

Conflict: Marcus against everyone he meets.

Subtext: It’s people like Marcus who caused the death of this man.

Hope/fear: Marcus is going to end up dead.

24. EXT. HILLSIDE FIELDS IN SIERRA MADRE, OUTSIDE CULIACÁN. DAY.

Scene arc: Hank’s arrival in small village in Sierra Madre to night in small cell.

Essence: Hank’s first encounter with violent reality of the drug supply chain.

Conflict: Hank and his ‘tour guides’ who want to make his ‘trip’ unforgettable!

Subtext: The total absurdity of drug laws.

Hope/fear: This is just the beginning of Hank’s suffering.

25. INT. SENATOR MARCUS’ OFFICE. DAY.

Senator Marcus contacts friends in DEA to organize visit to Culiacán to search for his son.

Scene arc: Senator Marcus talks on phone with DEA friends to finalizing plans to travel to Culiacán, Mexico.

Essence: Senator is determined to find his son.

Conflict: Between Senator and his son’s kidnappers.

Subtext: Senator has special relationship with the DEA.

Hope/fear: This conflict is going to spiral out of control if DEA is brought into play.

28. EXT. STREET. NIGHT.

Informer within DEA calls Cartel to warn of Senator Marcus’s visit.

Scene arc: Unknown man walking down street in Culiacán to calling number on cell phone and finalizing plans for intercepting Senator.

Essence: A plan is underway to catch the Senator when he arrives in Culiacán.

Conflict: Senator and unknown conspirators.

Subtext: There is an informer in the DEA office in Sinaloa.

Hope/fear: Senator is going to be dead on arrival.

29. EXT. CULIACÁN AIRPORT. EVENING.

Scene arc: Senator’s plane lands at Culiacán airport to the killing of his driver and his abduction.

Essence: Senator is now a prisoner of the Cartel.

Conflict: Senator and his abductors.

Subtext: The DEA has been infiltrated.

Hope/fear: The Senator is about to be killed.

30. INT. UNDERGROUND ROOM. NIGHT.

Scene arc: Senator face-to-face with Lilia and Tino in underground cell and to beginning his first night in captivity.

Essence: The Senator is starting the same ‘trip’ as his son.

Conflict: Senator against Lilia and Tino.

Subtext: The Cartel is highly organized.

Hope/fear: This is going to end very badly for the Senator.

31. US TV NEWS.

Scene arc: TV journalist reporting news of Senator’s disappearance to speculating on whether he has been kidnapped, along with his son.

Essence: This story is getting more complicated.

Conflict: Senator and family of dead Mexican girl.

Subtext: The Cartel is not to be messed with.

Hope/fear: Senator has been kidnapped by the Sinaloa Cartel.

END

[I am posting just Act 1 and 2 so as not to bore the reader.]

[Kristina Zill]

KZ’s Scene Requirements

Vision: To master screenwriting so that I can turn any of my ideas into sellable scripts and help get them made into movies.

What I learned doing this assignment: to think through the key elements of the scene to ensure maximum entertainment… and that I have a lot more thinking to do about this plot.

ACT 1

INT. WENDY’S OFFICE – DAY

Warren Buffet promotes meditation as a way to get an edge in business

• Scene Arc: Young business types watch the interview on TV, send texts around, leave the office in droves. Wendy finds her secretary’s memo, follows her to the class.
• Essence: They’re taking meditation for all the wrong reasons
• Conflict: Wendy comes out of her office, finds everyone gone, feels left out
• Subtext: She wants to be in on the latest craze

EXT. NYC BUILDING / INT. FOYER & STAIRCASE – DAY

Wendy meets Darwin on the NYC street, they both continue to the foyer and a flight of stairs.

• Scene Arc: They arrive for class.
• Essence: Meet cute
• Conflict: Wendy and Darwin negotiate over who will hold the door, who will go first
• Subtext: Neither wants to be at a disadvantage
• Hope/fear: Hope that sparks will fly.

EXT. MEDITATION CLASS – DAY

Darwin takes his place in class. Wendy is turned away, but manipulates her way in.

• Scene Arc: The class is full and the receptionist won’t take a bribe. Wendy sees a coworker in the class. She calls him on the cell phone, gets him to leave and takes his place.
• Essence: Show Wendy being ruthless to get her way
• Conflict: Wendy vs. the gatekeeper
• Subtext: Wendy never takes no for an answer
• Hope/fear: Hope that she’ll get in / Fear that she’ll get in

INT. MEDITATION CLASS – DAY

Myra scores her first point against Wendy

• Scene Arc: Wendy is self-satisfied with her expensive gear. Myra makes them all shift places
• Essence: Myra is a thorn in Wendy’s side
• Conflict: Myra’s one-with-the-universe vs. Wendy’s individualism
• Subtext: Two willful women battling it out
• Hope/fear: Hope that Wendy will learn a lesson

EXT. MEDITATION CLASS – NIGHT

After class, Wendy is invited out (out of obligation) by a co-worker, but she opts out – she has a “date”

• Scene Arc: Wendy seems to have a date, but she’s going to a speed dating event.
• Essence: Wendy is alone, and others don’t really want her
• Conflict: Wendy’s co-worker is relieved and surprised that Wendy has a previous engagement
• Subtext: Wendy is too fierce to have friends
• Hope/fear: Hope that she’ll be invited along. Hope that this date turns out to be great.

INT. AUDITORIUM– NIGHT

Wendy participates in Speed Dating, where she turns off every single guy

• Scene Arc: Wendy sets her cap at the guys but turns them off one-by-one, and leaves alone.
• Essence: Wendy can’t find a boyfriend.
• Conflict: Wendy vs. the guys
• Subtext: Wendy scares away potential boyfriends
• Hope/fear: Hope that she’ll find a date. Fear that she’ll be alone.

INT. DARWIN’S HOUSE – NIGHT

Darwin arrives home to find that his mother has arranged a date for him, and the girl’s mother is there, too.

• Scene Arc: Darwin is pissed his mother is trying to arrange a marriage, so he announces at dinner that he’s gay to stop her meddling.
• Essence: Darwin will be ruthless to get his way.
• Conflict: Between Darwin and his mother over her meddling in his romantic affairs
• Subtext: Darwin can’t find a mate on his own
• Hope/fear: Hope that this guy turns out great for Wendy. Fear that the mother will succeed.

EXT. NYC STREET – DAY

At lunch, Wendy negotiates her way to the front of the line of people waiting for a hot dog.

• Scene Arc: Wendy is in a hurry and the line is long, but she negotiates her way to the front.
• Essence: Wendy gets her way through negotiation
• Conflict: The others in line don’t believe that she’s friends with the guy
• Subtext: Wendy doesn’t care about others’ disapproval
• Hope/fear: Hope that she’ll get through the line unscathed and make it to her appointment on time.

INT. THERAPIST’S OFFICE – DAY

Wendy wonders whether she should just give in to her boss since she can’t find a guy. She argues with her therapist, bringing her to tears. The therapist tells her she’s cured to get rid of her.

• Scene Arc: Wendy goes from supplicant patient to domineering negotiator
• Essence: Even the therapist doesn’t like her
• Conflict: Wendy vs. the therapist
• Subtext: Wendy can’t be helped
• Hope/fear: Hope that she’ll have a revelations

INT. MEDITATION CLASS – DAY

Wendy isn’t able to meditate, and Myra gets the better of her again.

• Scene Arc: Wendy tries to game the class and meditation, but Myra wins again, getting everyone to shift to the left this time.
• Essence: Wendy is frustrated by meditation and by Myra
• Conflict: Wendy vs. Myra
• Subtext: Wendy wants to control everything
• Hope/fear: Hope that she’ll learn meditation and become calmer.

INT. CONFERENCE HALL – DAY

Wendy and Darwin are on a panel with three others discussing negotiation tactics

• Scene Arc: From Wendy & Darwin share a philosophy to they use ruthless tactics on each other.
• Essence: Wendy & Darwin are compatible
• Conflict: Wendy & Darwin vs. the others in the room
• Subtext: Neither one will give ground
• Hope/fear: Hope that they’ll get together Fear that they’ll get together

INT. HOTEL SUITE – NIGHT

Wendy and Darwin are invited by their young staffers to join in a game of strip poker, but they’re too good at the game and keep their clothes on, and then can’t negotiate the win/win of love.

• Scene Arc: From Wendy & Darwin seem made for each other to… they can’t negotiate a romance.
• Essence: Wendy & Darwin cannot come to terms about romance
• Conflict: Wendy & Darwin vs. the others in the room
• Subtext: Romance takes a backseat to competition
• Hope/fear: Hope that they’ll lose at poker but win at love. Fear that Wendy is going to muck it up again.

INT. WENDY’S OFFICE – DAY

Wendy discovers that she and Darwin will be facing off in an important negotiation.

• Scene arc: Wendy is starting to think romantically about Darwin, but asks her assistant to build a dossier on him when she finds that she will be negotiating with him.
• Essence: Wendy and Darwin thrown into opposition
• Conflict: Internal conflict for Wendy. She’s attracted to Darwin but has to bury it.
• Subtext: Romance takes a backseat to competition.
• Hope/Fear: We hope they can build a romance anyway.

INT. MEDITATION CLASS – DAY

Darwin tells Wendy he arranged for her to be his opponent because he knows he can win against her.

• Scene arc: From Wendy has the superior position to Darwin gains the advantage.
• Essence: We see how Darwin operates by psyching out his opponent.
• Conflict: Wendy vs. Darwin
• Subtext: They’re each signaling that they’ll put business before pleasure.
• Hope / Fear: Hope that they’ll get together. Fear that they won’t.

INT. DARWIN’S HOUSE – NIGHT

Darwin arrives home to find that his mother has a new intended mate for him: a roly-poly guy named Gary.

• Scene arc: From Darwin solved his problem to now he has a whole new problem.
• Essence: Darwin’s mother outwits him every time.
• Conflict: Darwin vs. his mother
• Subtext: The mother will get her way no matter what the obstacle.
• Hope / Fear: We hope Darwin will extract himself from the situation without hurting Gary’s feelings.

ACT 2

INT MEDITATION CLASS – DAY

In a guided meditation by the visiting Monk, everyone in class is vying to “ace” the meditation.

• Scene arc: Myra is serene to Myra is competitive with the monk.
• Essence: Myra and the Monk are oblivious to the way they vie for status
• Conflict: Myra chides her students for engaging in power struggles, then struggles herself with the Monk
• Subtext: They’re each hoping to be more spiritual than the other
• Hope / Fear: We hope Myra and the Monk will be shown their hypocrisy. We fear that they will continue blindly.

INT. TRAIN = NIGHT

The Monk, along with Myra, Darwin and Wendy wind up on the train headed for Nirvana.

• Scene arc: From Wendy aced meditation to she winds up in the Dark Night of the Soul
• Essence: This scene puts them on the train
• Conflict: The Monk and Myra are ecstatic to be on the train. Darwin and Wendy want to get off.
• Subtext: One man’s ceiling is another man’s floor?
• Hope / Fear: We hope this train ride is a good thing. We fear that it is not good.

INT. TRAIN – NIGHT

Wendy and Darwin join forces to torment the monk to get the information they need to return to reality

• Scene arc: From monk being en route to Nirvana to being cast back into Samsara
• Essence: Wendy and Darwin push the monk to the brink
• Conflict: Bad behavior vs. decency
• Subtext: They begin to soften in their constant desire to win at all costs.
• Hope / Fear: We hope Wendy and Darwin will make it back to reality. We fear that the monk will become suicidal.

ACT 3

INT. TRAIN – NIGHT

Wendy uses the information from Myra to take the one seat back to reality.

• Scene arc: From Wendy being trustworthy to betraying Darwin and Myra.
• Essence: Wendy chooses winning over love.
• Conflict: Wendy vs. her conscience
• Subtext: Her attitude still exists. Every person for themselves.
• Hope / Fear: We hope Wendy will do the right thing. We fear that she will be selfish.

INT. CONFERENCE ROOM – DAY

Wendy has the information needed to win the negotiation.

• Scene arc: From Wendy choosing winning to choosing love.
• Essence: Wendy chooses love over winning.
• Conflict: Wendy vs. her heart
• Subtext: She doesn’t want to be alone
• Hope / Fear: We hope Wendy will choose Darwin. We fear that she will choose to betray him and win the negotiation.

INT. TRAIN – NIGHT

Wendy wakes up from a bad dream and confesses to Darwin what she did.

• Scene arc: From Wendy being vulnerable to putting up defenses.
• Essence: Wendy can’t break out of her shell.
• Conflict: Wendy vs. her defenses
• Subtext: She must force herself to be vulnerable
• Hope / Fear: We hope Wendy and Darwin will be together. We fear that they’re stuck on the train forever.

INT. TRAIN – NIGHT

Myra insists that Wendy and Darwin talk the disappointed monk off the ledge.

• Scene arc: From Darwin and Wendy using negotiation to win in business to using it to save a life.
• Essence: The first time they experience win / win
• Conflict: The negotiators vs. the suicide
• Subtext: Using their talents for good
• Hope / Fear: We hope Wendy and Darwin will save the monk. We fear they’ll say the wrong thing and drive him over the edge

ACT 4

INT. CONFERENCE ROOM – DAY

Wendy and Darwin face off in the negotiation. Their jobs are at risk. At the end, they negotiate a deal and quit before they can be fired.

• Scene arc: From the bosses salivating over watching the drama, like warriors at the coliseum.
• Essence: Wendy and Darwin have changed
• Conflict: The negotiators vs. their bosses
• Subtext: Using their talents for good
• Hope / Fear: We hope Wendy and Darwin will come to terms. We fear the bosses will take revenge.

INT. DARWIN’S HOUSE – DAY

Wendy and Darwin plan to announce their engagement. Darwin’s mother is missing. He Facetimes her. She and Gary are on a cruise.

• Scene arc: From Darwin and Wendy worrying about the mother to realizing she’ll be fine – she’s found someone to take care of her
• Essence: They are free to love
• Conflict: The lovers vs. the mother
• Subtext: The mother also found her win/win solution
• Hope / Fear: We hope Wendy and Darwin will convince the mother. We fear the mother will prevail with a guilt trip or some other manipulation.

[Madeleind Gentinetta]

Madeleine’s Scene Requirements

Vision: I am going to do whatever it takes for me to be a writer of amazing stories with meaning who can move the audience and change the world resulting in financial, critical and audience success.

What I learned from doing this assignment is: What I learned it’s a great approach to find out where there are missing conflicts. It’s also great to find out, where things have to be set up earlier in order to pay of later. There are still gaps…. I trust the process.

Menopausal Dad (v1: 2023.01.24)

1. INT. UNIVERSITY, LECTURE HALL – DAY

ALEX FRIEDMAN (49) lectures growth economics as usual. MIRAI (21) provokes Alex with a critical question. Because Alex reacts offensively, Mirai threatens to go to the dean, if Alex does not apologize. A student mentions, that Alex seems strange lately.

Scene Arc: A self-confident professor turns into a middle-aged man with a major problem.

Essence: Self-demontage of a personality and exposition of a psychological issue.

Conflict: Clash of opposing values between Alex and Mirai.

Subtext: Alex’s reaction shows that he has an solved issue.

Hope/fear: We hope Alex will apologize. We are afraid Mirai will go to the dean.

2. INT. UNIVERSITY, DEAN’S OFFICE – DAY

When Mirai wants to complain about Alex at the dean LUKE (65), she crashes Alex’s small birthday reception in his office. Alex is fed up with students and wants to give up teaching. Luke reveals secretly to Alex that he plans to retire and would support Alex as his successor.

Scene Arc: From Alex hating his teaching job to having a new professional perspective.

Essence: Alex gets a new professional perspective.

Conflict: Alex quarrels with his profession as teacher because of his age.

Subtext: Luke shares a secret with Alex.

Hope/fear: We fear that Mirai’s complaints will have negative consequences for Alex, we hope that Luke’s proposition is a good solution to deal with the Alex’s problem.

3. INT. CAR – NIGHT (parallel to 4)

Alex is excited about the idea to become the new dean. He practices how to tell Corrie the news.

Scene Arc: From insecure argumentation to self-secure argumentation.

Essence: Exposition and set up for upcoming clash of values (family, profession).

Conflict: Upcoming argument how to continue with their lives (private and professional).

Subtext: Alex has to admit that he is not happy with his professional life.

Hope/fear: We hope Corrie finds it a good idea. We’re afraid Corrie finds it a bad idea.

4. INT. FRIEDMAN’S HOME, DINING ROOM – NIGHT (parallel to 3)

CORRIE FRIEDMAN (39) is excited to present Alex his gift (an easy-to-assemble garden house) and her vision for the next year: she wants him to take it easier at work and stay more at home, and relaunch her own career after many years of caring for the family and their daughter EVE. While preparing the dinner, she practices how she tells it Alex.

Scene Arc: From insecure argumentation to self-secure argumentation.

Essence: Exposition and set up for upcoming clash of values (family, profession).

Conflict: Upcoming argument how to continue with their lives (private and professional).

Subtext: Corrie has to admit that something is missing in her life.

Hope/fear: We hope Alex finds it a good idea. We’re afraid Alex hates the idea.

5. INT. FRIEDMAN’S HOME, BEDROOM – NIGHT

Disillusioned Alex and Corrie get ready to go to bed. EVE (13) finally gets an opportunity to give Alex his birthday present: a bonsai tree. Before falling asleep, Alex has to promise to Corrie to go the doctor to get a health check because he seems very irritable lately.

Scene Arc: From fighting to finding a compromise.

Essence: Eve confirms Corrie’s concerns and Alex takes a next step to clear the issue.

Conflict: Argument about Alex’s health situation, which he denies.

Subtext: Corrie is worried about Alex’s health. Alex has to admit that he changed.

Hope/fear: We hope they reconcile. We’re afraid they hate each other.

6. INT. MEN’S DOCTOR OFFICE – DAY

The DOCTOR informs Alex that after all the blood tests came back, it seems as if he has an entered an early stage of andropause. He suggests taking it easy and doing exercises. He advises against taking medication or hormones.

Scene Arc: From not care about a health issue to having to deal with a health issue.

Essence: Alex has a health problem: early and strong andropause.

Conflict: Argument between doc and patient about how to deal with the health issue.

Subtext: Alex has a health problem he has to take care of.

Hope/fear: We hope Alex get good news. We’re afraid Alex has a health problem.

7. INT. UNIVERSITY, ALEX and FLAVIA’S OFFICE – NIGHT

Alex is alone in his office. He wants to put the away the application. But then there is a small thing that reminds him of hating to teach and he starts the application.

Scene Arc: From putting aside the application to starting to work on the application.

Essence: Alex starts the application process.

Conflict: Emotional dilemma: shall he apply or not?

Subtext: Alex denies his health issue and does the opposite of what the doc said.

Hope/fear: We hope Alex does not apply. We know Alex works on his application.

8. INT. FRIEDMAN’S HOME, LIVING ROOM – NIGHT

At dinner Alex lies about why he is late and about his results from the doctor, although he is obviously very tired.

Scene Arc: From trusting each other to mistrusting each other.

Essence: Alex and Corrie lie to each other and pretend not to pursue their personal interest.

Conflict: Unspoken conflict between Corrie and Alex because they mistrust each other.

Subtext: Alex and Corrie lie to each other – and somehow know it.

Hope/fear: We hope Alex the truth about doc and application. We’re afraid he lies about it.

9. INT. BUSINESS BUILDING, ELEVATOR– DAY

Corrie accidently meets Luke in the elevator. She goes for a job interview and he goes to the oncologist. Without talking to each other, they know what’s going on. Corrie says that she worries about Alex’s health. Luke gets it. He promises to take care of the problem.

Scene Arc: From small talk to talk about life and death.

Essence: Corrie knows that Luke got cancer and get the promise that he takes care of Alex.

Conflict: They have to trust to each other with personal information.

Subtext: Luke has cancer, but Alex should not know it.

Hope/fear: We hope Luke is fine. We fear Luke is very ill.

10. INT. UNIVERSITY, ALEX and FLAVIA’S OFFICE – DAY

When Alex is alone in the office, he discovers that his colleague FLAVIA (41) also plans to apply as dean and discovers a flyer for the school’s marathon.

Scene Arc: From self-confident to mistrusting Luke and Flavia.

Essence: Alex got concurrence when wanting to become dean.

Conflict: Alex does not know how to react to Flavia and Luke.

Subtext: Alex discovers that he got serious concurrence and starts to mistrust Luke.

Hope/fear: We hope Flavia and Luke just laugh together. We fear there is more to it.

11. OUT. UNIVERSITY, DEAN’S OFFICE TO BALCONY – DAY

Suspicious Alex talks to Luke about the way he plans to support his candidacy. He tries to figure out, if Luke knows about Flavia’s candidacy. Luke advises to meet with Mirai to make sure to get the student’s support.

Scene Arc: From expecting help to not being sure, if Luke can help him at all.

Essence: Alex wants to reconfirm Luke’s support and find out if he encouraged Flavia.

Conflict: Unspoken conflict, if Luke is still behind Alex or if he secretly helps Flavia.

Subtext: Luke makes clear, he alone can’t make that Alex becomes dean.

Hope/fear: We hope Luke tells Alex the truth and helps. We fear Luke can’t help Alex.

12. OUT. SOMEWHERE INTERESTING – DAY

Alex meets secretly with Mirais to secure the students’ support. But Mirai’s demands exceed Alex’s morals and attitude (more contemporary curriculum and personal involvement with students’ activities).

Scene Arc: From hopeful to get the students’ support to having to give up this hope.

Essence: Alex tries everything to get the student’s support.

Conflict: Clash of values in arguments.

Subtext: Alex has to hide the fact it’s a major blow to him to negotiate with his enemy.

Hope/fear: We hope Alex gets Mirai’s support. We’re afraid he does not get Mirai’s support.

13. INT. FRIEDMAN’S HOME, OFFICE – NIGHT

Alex searches tutorials how to prepare for a marathon and secretly orders testosterone.

Scene Arc: From doing something good for his health to ordering illegal substances.

Essence: Alex orders illegal substances.

Conflict: Moral dilemma about following the doc’s advice and his will to please Mirai.

Subtext: Alex wants to hide the fact that he’s not fit.

Hope/fear: Alex does something good for his health. We’re afraid Alex hurts his help.

14. OUT. FRIEDMAN’S HOME, GARDEN – DAY

Corrie and Eve suspiciously observe and wonder about Alex’s new lifestyle, which includes the training for the marathon. He seems happier than ever.

Scene Arc: …

Essence: …

Conflict: no conflict yet.

Subtext: …

Hope/fear: …

15. INT. FRIEDMAN’S HOME, KITCHEN – DAY

Corrie secretly opens a parcel for Alex. When she discovers the testosterone pills, she suspects that Alex has an affair and looks for a replacement of the pills.

Scene Arc: Happy to receive something from Alex to believing that he has an affair.

Essence: Corrie believes that Alex has an affair because she finds the testosterone pills.

Conflict: Moral dilemma how to interpret the pills and how to react to it.

Subtext: Corrie believes Alex has an affair.

Hope/fear: Corrie looks forward to a long-awaited gift. We’re afraid it’s not the expected gift.

16. OUT. SOMEWHERE INTERESTING – DAY

Alex overdoes the training and suffers a heart attack. (He should probably train with somebody – maybe Luke, Eve?)

Scene Arc: From bluffing about fit he is to almost dying.

Essence: Alex suffers a heart attack.

Conflict: Argument with Eve about calling the doc.

Subtext: Alex wants to hide the fact that he takes illegal enhancers.

Hope/fear: We hope Alex is ok. We’re afraid he dies.

17. INT. HOSPITAL, ALEX’S ROOM – DAY

Corrie visits Alex in the hospital and informs Alex, that Luke has passed away. Alex is shocked and wants to return to work as soon as possible.

Scene Arc: From getting better at the hospital to suffering a next heart attack.

Essence: Alex learns Luke passed away.

Conflict: Argument between Corrie and Alex about being more careful about life.

Subtext: Alex becomes aware of his mortality.

Hope/fear: We hope Alex is doing better. We fear Alex for Alex’s health.

18. INT. UNIVERSITY, ALEX and FLAVIA’S OFFICE – DAY

When Alex returns to work (way to early), he wants to enter his office. People are moving Flavia’s stuff and tell him ruthlessly that he person is now in the dean’s office.

Scene Arc: From returning hopefully to the office to realizing something is different.

Essence: On the way to the office, everybody behaves strangely.

Conflict: Everybody tries to avoid him.

Subtext: Everybody hides the secret.

Hope/fear: We hope Alex can resume his life before Luke died, we fear his life has changed.

19. INT. UNIVERSITY, DEAN’S OFFICE – DAY

When Alex goes to the dean’s office, he sees that Flavia is the interim dean. She tells him, that she got nominated because he was in the hospital. She orders him to go home to recover entirely.

Scene Arc: From having to accept that Flavia is interim dean to having to leave school.

Essence: Alex suffers a major blow on his way to become dean.

Conflict: Argument with Flavia about his health.

Subtext: Alex realizes that he lost against Flavia.

Hope/fear: We fear Alex gets bad news. We’re afraid that Alex gets really bad news.

20. OUT. FRIEDMAN’S HOME, GARDEN – DAY

On top of doing physio – out of anger, Alex starts building his garden house.

Scene Arc: From being hopelessly angry to finding a constructive way dealing with it.

Essence: Alex starts a new way of life by building the garden house.

Conflict: Moral dilemma, how to deal with his anger.

Subtext: Alex realizes that this activity is actually good for him.

Hope/fear: We fear for Alex’s health. We wonder if he is actually doing something good.

21. INT. SOMEWHERE INTERESTING – DAY

Flavia plans to reduce Alex’s “classical economy” lessons because of dropping students’ interest.

Scene Arc: From hopeful returning to work to realizing that his workload will be reduced.

Essence: Alex will have less work in upcoming semester.

Conflict: Argument with Corrie about her going to work. Corrie having a good reason to go.

Subtext: Fear of secured income.

Hope/fear: We hope Alex gets good new. We’ar afraid Alex gets bad news.

22. INT. SOMEWHERE INTERESTING – DAY

Out of fear of losing income, Corrie starts new job.

Scene Arc: …

Essence: …

Conflict: no conflict yet.

Subtext: …

Hope/fear: …

23. OUT. FRIEDMAN’S HOME, GARDEN – DAY

To attract the students’ interest, Alex reads about sustainable lifestyles and experiments with it in the garden house.

Scene Arc: …

Essence: …

Conflict: no conflict yet.

Subtext: …

Hope/fear: …

24. OUT. FRIEDMAN’S HOME, GARDEN – DAY

Eve gets interested in Alex’s activities and shares her dad’s new life with a webcam. Alex seems to be happy and his health gets stronger.

Scene Arc: …

Essence: …

Conflict: no conflict yet.

Subtext: …

Hope/fear: We hope

25. INT. CORRIE’S OFFICE – DAY

When Alex wants his family to share his lifestyle, Corrie who is poverty traumatized refuses. Alex gets very drastic and destroys “needless” stuff to force the family to share his life in the garden house.

Scene Arc: From enthusiastic about his new life to destructive for his family.

Essence: Alex wants to impose his new extreme lifestyle upon the family.

Conflict: Physical destruction of the family goods by Alex.

Subtext: Too much of the good intention also turns bad.

Hope/fear: We hope Alex respects his family. We’re afraid he alienates them.

26. INT. CORRIE’S OFFICE – DAY

Corrie flees her husband emotionally and starts an affair with a rich guy.

Scene Arc: From finding consolation to entering an affair.

Essence: Corrie starts an affair.

Conflict: Emotional dilemma:

Subtext: Corrie needs not just financial security but also emotional security.

Hope/fear: We hope Corrie finds consolation. We’re afraid she leaves Alex.

27. OUT. FRIEDMAN’S HOME, GARDEN – DAY

After a big argument about how to live together, Corrie and Eve move out. Corrie wants to frighten Alex with her affair, but he does not want to compromise and continues his ego trip.

Scene Arc: From giving the family a last chance to having a breakup happening.

Essence: Corrie and Eve move out.

Conflict: Argument between Corrie and Alex how live together in the future.

Subtext: The old family lifestyle is destroyed.

Hope/fear: We hope the family gets back together. We’re afraid the family splits.

28. OUT. MARKET – DAY

Mirai meets Alex and tells him, that the students’ support his new approach and look forward to see him at the upcoming presentation (part of the dean selection process). Alex realizes that Flavia has not invited him.

Scene Arc: …

Essence: …

Conflict: no conflict yet.

Subtext: …

Hope/fear: …

29. INT. FRIEDMAN’S HOME, OFFICE – NIGHT

Alex works day and night at the presentation.

Scene Arc: …

Essence: …

Conflict: no conflict yet.

Subtext: …

Hope/fear: …

30. INT. UNIVERSITY, AUDITORIUM – DAY / OUT. UNIVERSITY, GARDEN – DAY

Alex surprises the committee, faculty, and students with an innovative curriculum. Although everybody is excited and supportive, Flavia speaks up against Alex’s nomination.

Scene Arc: From getting everybody’s support to getting opposition from Flavia.

Essence: Although Alex gets approval on a content level, there is a new issue.

Conflict: Conflict should be about something moral (what??)

Subtext: Here, a new problem arises.

Hope/fear: We hope Alex gets the nomination. We fear Alex does not get the nomination.

31. OUT. UNIVERSITY, ROOFTOP – DAY

During a hostile exchange on the rooftop, where Flavia reveals that Luke was terminally ill and wanted to prevent the same fate for Alex and therefore told her to do everything to prevent Alex from becoming dean, Flavia trips (this behavior will be set up) and falls to her death.

Scene Arc: From fighting Flavia for her behavior to understanding it but losing her.

Essence: Flavia reveals Luke terminally ill and wanted Alex to have more time with family.

Conflict: Argument about why Flavia did everything to prevent Alex from becoming dean.

Subtext: Flavia’s actions against Alex were directed by Luke and supposed to help Alex.

Hope/fear: We hope Alex and Flavia reconcile. We fear Flavia is dead.

32. INT. UNIVERSITY, ALEX’S OFFICE – DAY

Alex is alone in his office and discovers Luke’s small plant in the trash, which is in a bad and rushes home. He remembers that he has to take care of Eve’s greenhouse, which he promised but completely forgot.

Scene Arc: From neglecting the plant to taking care of the plant.

Essence: Alex decides to take care of Luke’s plant.

Conflict: Moral conflict about taking caring or not.

Subtext: Alex starts to care.

Hope/fear: We hope Alex takes care of the plant. We fear Alex neglects the plant.

33. INT. FRIEDMAN’S HOME, EVE’S GREENHOUSE – NIGHT

Alex is blown away when he enters Eve’s greenhouse. The bonsai, which she offered him long time ago is the centerpiece of a flying bonsai installation with sunlight generated energy and electricity. He sinks down with Luke’s plant and realizes that he misses his family. Somebody from the university finds him and offers the dean job. He rejects and invites the family for his upcoming 50^th birthday with the good news.

Scene Arc: From rejecting dean position to inviting his family for his birthday.

Essence: Alex choses family over job.

Conflict: Moral dilemma when he is in the garden house and argument.

Subtext: Alex discovers his true life.

Hope/fear: We hope Alex rejects the dean position. We fear he takes the dean position.

34. INT. FRIEDMAN’S HOME, ENTIRE HOUSE – DAY

Although, he hears nothing from Corrie and Eve, Alex prepares everything for his birthday. He reinstalls the house, prepares food. Mirai shows up and regrets. She looks for a place to stay. Alex invites her to stay but says that he has to discuss it with is family.

Scene Arc: From being alone to having Mirai helping him.

Essence: Alex sticks to his decision and creates a new family.

Conflict: Argument with Mirai about values.

Subtext: Alex creates a new family.

Hope/fear: We hope Alex gets news from the family. We fear Alex does not get news.

35. INT. FRIEDMAN’S HOME, DINING ROOM – NIGHT

Alex sits alone at the table. Nobody is showing up. He is desperate and sad. Around midnight he gets ready to go to bed. A few minutes after midnight, tired Eve and Corrie show up. Corrie tells him, that hates celebrating birthday and therefore came after his birthday.

Scene Arc: From celebrating his birthday alone, to celebrating it too late but with family.

Essence: Overcoming birthday trauma by celebrating too late.

Conflict: Inner fight about overcoming trauma.

Subtext: Trauma is banned because Alex survived his 50^th birthday.

Hope/fear: We hope they come for the birthday. We fear they come not for the birthday.

36. OUT. FRIEDMAN’S HOME, GARDEN – NIGHT

Alex shares his new insight: because he realized that he “just got one family,” he will decline the position as dean. Corrie clarifies that she “just got one life” and wants to enjoy her new “luxury” life and see how it turns out. Eve says they all “just got one planet” and wants to move back home and live in the garden house. Alex accepts everybody’s new lifestyle.

Scene Arc: From celebrating to splitting in a good way.

Essence: Celebrating a fragile new start.

Conflict: New lifestyles clash gently – everybody takes care of each other.

Subtext: Everybody changed for the good but have to readjust.

Hope/fear: We hope the family stays together. We fear the family does not stay together.

37. OUT. FRIEDMAN’S HOME, GARDEN – NIGHT

Alex and Eve dream about Corrie coming back in the near future.

Scene Arc: From hoping to starting a new life.

Essence: Everything changed.

Conflict: Inner conflict between hope and insecurity.

Subtext: Everything changes.

Hope/fear: We hope Corrie comes back one day. We fear she does not come back.

[Raquel Solomon]

Raquel’s Scene Requirements:

Vision: I want to go deeper into my writing to create screenplays where characters of depth are placed in compelling journeys with a fresh voice that Hollywood producers as well as independent film companies know they must make!

What I learned from doing this assignment is that is helpful to map out all of the senes of every act with the important dramatic info only through scene arc, essence, conflict, subtext and hope/fear. Action and dialogue can be added later.

I will add many scenes to this screenplay. I know the events that will happen but have to still write them.

Following Hal’s advice and putting this assignment up and will complete later.

Act 1

INT. WARSAW MUSIC CLUB-NIGHT

Scene Arc: Start: MIRI and her band are on stage and perform.

Essence: Miri is enjoying her musical success. Her band is popular and the audience is full.

Conflict: Two anti-semitic thugs attack a patron at music club.

Subtext: anti-semitism is spreading, there is fear of attack from Germany

Hope/Fear audience members grab the 2 men and throw them out the back and lock the door. Will Poland be able to withstand Nazi attack.

The MC urges the band to continue to perform.

Miri’s cool attitude has come undone. She gulps liquor. She drops music on the floor.

Scene Arc Ends: The concert ends.

EXT. WARSAW STREETS- NIGHT

Scene arc begins: ANDRE has joined Miri. He carries her violin for her.

They walk quiet streets to her apartment.

Essence: Andre speaks about the incident.

Conflict: Miri is silent.

Subtext: Miri wants life to go on as it is- without threats from Nazis.

Hope/fear: Will all stay well for Miri?

Scene arc end: For now the night’s peace returns.

EXT. MIRI’S APT-MOMENTS LATER

Scene arc begins: Miri opens her apartment door.

Essence: Andre and Miri kiss.

Conflict: Andre proposes. Miri declines marriage.

Subtext: Miri wants continued musical success.

Scene arc ends: Miri tries to maintain life as usual. Determined to live her free life.

Hope/Fear Andre is concerned. Miri suppresses her fears.

Turning Point 1: Miri is now confined in the Jewish quarter of the Warsaw Ghetto.

INT. WARSAW GHETTO DINING ROOM-DAY

Scene arc begins: Miri sits at a table with many others each being doled out soup.

Essence: ANGIE, another musician recognizes Miri and calls to her.

Conflict: the conflict for all in this scene is with starvation.

Subtext: Miri and Angie bond.

HOPE/FEAR Musicians will work with kids and have some normalcy.

Scene arc ends: Miri makes a plan with Angie to join her to teach music to class of kids.

ACT 2:

INT. GHETTO MUSIC ROOM-DAY

Scene arc begins: Miri teaches a song to the class of children

Essence : She learns from Claude that Jacob is pretends that his father is still alive.

Conflict: Miri has avoided teaching Jacob as he reminds her of her younger brother who had died.

Subtext: She can’t help her sympathy growing for Jacob.

Scene arc ends: Miri helps Jacob play her violin.

Turning point 2: Midpoint:

INT. MUSIC PRACTICE ROOM-DAY

Scene arc begins: Miri practices classical music to tryout for the ghetto orchestra.

Essence: Miri struggles to practice classical piece.

Conflict: She gave up classical to pursue blues/jazz.

Subtext: She stops practicing a starts a blues riff.

Hope/fear Miri wants to be accepted to ghetto orchestra for access to food to bring to her music students.

Scene arc ends. Miri’s smile returns as she plays a jazz tune she use to perform.

INT. MUSI PRACTICE ROOM-MOMENTS LATER.

.Officer Heinrich hears Miri practice and starts a conversation about the great German composers.

He forces a kiss which she rebuffs.

Miri will be his mistress or he will send Jacob to Treblinka.

ACT 3:

Miri uses her time at her “rehearsals” at a Nazi officers club outside the ghetto to sneak over to the Aryan side – pass as a non-Jew and meet with resistance members in order to smuggle weapons into the ghetto.

Turning point 3: Heinrich becomes suspicious of her absences and also hears she has a Jewish lover (Avi).

Miri is worried for Jacob and helps hide him to escape from the ghetto. Avi is killed aiding this escape.

Miri is devastated that Avi died protecting Jacob. She stays alive to continue to smuggle weapons for the cause.

ACT 4: Climax: Drunk Heinrich catches Miri with a potato sack filled with weapons. He aims his weapon to shoot her.

Climax: Miri raises a gun and kills Heinrich.

Miri runs away. She is being chased. Shots fired.

She escapes the ghetto so she will not be killed in retribution. She fights with Polish Partisans until the war ends.

Resolution:

Miri hears a rumor that Jacob is alive. She searches for him and finds him at a Jewish orphanage. They are reunited but she has to say goodbye. He is being sent to relatives in Palestine.