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carl marshall

Member

June 23, 2025 at 7:52 pm in reply to: Lesson 26

Carl Marshall
LOGLINE: Carley and Marcus realize they were meant to be together
ESSENCE: learning how to love.
INT. SMALL BOOKSTORE- EVENING
CARLEY, late 20s, stands rigidly by the “Self-Help” section, clutching a paperback. MARCUS, early 30s, dressed with precision, leans against a nearby shelf, arms crossed.

MARCUS
(sarcastic)
Let me guess, you’re here to fix yourself again?

CARLEY
(sharp)
At least I admit I need fixing.

MARCUS
(grinning)
I prefer to win. Fixing’s for losers.

CARLEY
(igniting)
There it is. That stupid game-playing ego.

MARCUS
You’re confusing strategy with ego.

CARLEY
You’re confusing people with pawns.

They lock eyes. A beat.. Carley shifts to another aisle, hiding behind a stack of romance novels.

CARLEY
(firm)
Not everything’s a game of chess, Marcus.

MARCUS
It is with you. You distract, deflect, run…

He steps closer. She steps back.

CARLEY
(quiet)
You don’t know me.

MARCUS
(softer now)
I did. I think I still do.

CARLEY
(pain surfacing)
You set me up to fail last time. Don’t act surprised I walked away.

MARCUS
I didn’t mean to—

CARLEY
(interrupting)
But you did.

MARCUS
I thought if you saw how bad it could get, you’d finally believe in yourself.

CARLEY
That’s not strategy. That’s sabotage.

A long pause. Her anger is spent. His confidence falters.

MARCUS
(genuinely)
I wanted to be the reason you fought harder. Not the reason you quit.

CARLEY
(tearing up)
And I wanted you to just believe I was enough without the war games.

Silence. Then, laughter—nervous and unexpected. Carley wipes her eye. Marcus smirks.

MARCUS
We’re a mess.

CARLEY
(deflecting with a grin)
Tragically poetic.

They look at each other. A long, weighted pause.

MARCUS
(soft)
What if we tried again… no games?

CARLEY
Only if you promise no sabotage.

MARCUS
Only if you stop running.

She steps closer. He matches. Inches apart.

CARLEY
What now?

MARCUS
We stop fighting.

They kiss. Not dramatic, but honest. Real.

carl marshall

Member

June 19, 2025 at 11:50 am in reply to: Lesson 23

Carl Marshall QE 4
LOGLINE: One person promises the other that they kept the secret, but really didn’t
ESSENCE: REALIZATION OF BEING HUNTED
TRAIT CHANGED for: RENEE: From outgoing to fault finder

SCENE: MAXINE REVELATION

INT. LUXURY HOTEL SUITE – NIGHT

A spacious, dimly lit suite. Candles flicker. Rain patters softly against the window. MAXINE, dressed immaculately in an expensive robe, pours wine into two crystal glasses. RENEE stands near the fireplace, arms crossed, eyes alert.

MAXINE
(handing a glass to Renee)
To secrecy. And survival.

RENEE
To secrets kept and kept well.

They clink glasses. An uneasy silence hangs between them.

MAXINE
You told no one, right?

RENEE
(smiles tightly)
Of course not. I’m not stupid.

MAXINE
Good. Because if this gets out—

RENEE
It won’t.

A tense beat.

MAXINE
(eyeing Renee)
You hesitated.

RENEE
No, I didn’t.

MAXINE
You did. A flicker.

RENEE
You’re paranoid. No one knows.

MAXINE
Then why did my driver ask me about a “charred ledger”?

Renee freezes. Tries to recover.

RENEE
Coincidence. That could mean anything.

MAXINE
He said, “the one you and Renee buried.”

RENEE
(shaken)
He’s bluffing.

MAXINE
(pressing closer)
Did you tell him? Or did someone overhear you telling someone else?

RENEE
(defensive)
I told you I didn’t say anything!

MAXINE
(cold)
I didn’t say you *said*. I asked if you told.

Maxine steps closer. Predatory now.

MAXINE (CONT’D)
Did you need to feel powerful again, Renee? Or just relevant?

RENEE
(snaps)
I kept it! I did!

MAXINE
Then why did the hotel manager just send me *this*?

She hands Renee a small envelope. Renee opens it—inside is a photo: a blurry image of two women burying something at night.

Renee’s face drains of color.

MAXINE (CONT’D)
You buried the secret… but someone *dug it up*.

RENEE
(barely a whisper)
We’re being watched.

MAXINE
No, Renee. We’re being hunted.

Renee’s horrified reaction…

FADE OUT.

carl marshall

Member

June 19, 2025 at 11:42 am in reply to: Day 23 Assignment

Carl Marshall QE 4
LOGLINE: One person promises the other that they kept the secret, but really didn’t
ESSENCE: REALIZATION OF BEING HUNTED
TRAIT CHANGED for: RENEE: From outgoing to fault finder

SCENE: MAXINE REVELATION

INT. LUXURY HOTEL SUITE – NIGHT

A spacious, dimly lit suite. Candles flicker. Rain patters softly against the window. MAXINE, dressed immaculately in an expensive robe, pours wine into two crystal glasses. RENEE stands near the fireplace, arms crossed, eyes alert.

MAXINE
(handing a glass to Renee)
To secrecy. And survival.

RENEE
To secrets kept and kept well.

They clink glasses. An uneasy silence hangs between them.

MAXINE
You told no one, right?

RENEE
(smiles tightly)
Of course not. I’m not stupid.

MAXINE
Good. Because if this gets out—

RENEE
It won’t.

A tense beat.

MAXINE
(eyeing Renee)
You hesitated.

RENEE
No, I didn’t.

MAXINE
You did. A flicker.

RENEE
You’re paranoid. No one knows.

MAXINE
Then why did my driver ask me about a “charred ledger”?

Renee freezes. Tries to recover.

RENEE
Coincidence. That could mean anything.

MAXINE
He said, “the one you and Renee buried.”

RENEE
(shaken)
He’s bluffing.

MAXINE
(pressing closer)
Did you tell him? Or did someone overhear you telling someone else?

RENEE
(defensive)
I told you I didn’t say anything!

MAXINE
(cold)
I didn’t say you *said*. I asked if you told.

Maxine steps closer. Predatory now.

MAXINE (CONT’D)
Did you need to feel powerful again, Renee? Or just relevant?

RENEE
(snaps)
I kept it! I did!

MAXINE
Then why did the hotel manager just send me *this*?

She hands Renee a small envelope. Renee opens it—inside is a photo: a blurry image of two women burying something at night.

Renee’s face drains of color.

MAXINE (CONT’D)
You buried the secret… but someone *dug it up*.

RENEE
(barely a whisper)
We’re being watched.

MAXINE
No, Renee. We’re being hunted.

Renee’s horrified reaction…

FADE OUT.

carl marshall

Member

June 10, 2025 at 12:04 pm in reply to: Lesson 12

Carl Marshall: Challenging Situations
SCENE 1: Caretaker Returns – Confrontation Turns Deadly
Situation:
Kara and her squatter group have moved into the supposedly abandoned caretaker’s cabin. The old caretaker returns, demanding they leave. Chaos erupts. Kara fatally stabs him during the panic. They bury him near a marked grave.

SCENE 2: The Knock – The Dead Groundskeeper Returns
Situation:
Later that night, the squatters are recovering. A slow, thunderous knock shatters the silence. Kara peers through the fogged window and sees the grinning, dead caretaker — seemingly alive.

carl marshall

Member

June 9, 2025 at 7:36 am in reply to: Lesson 17

Carl Marshall QE 4
LOGLINE: One person promises the other that they kept the secret, but really didn’t
ESSENCE: REALIZATION OF BEING HUNTED
TRAIT CHANGED for: RENEE: From outgoing to fault finder

SCENE: MAXINE REVELATION

INT. LUXURY HOTEL SUITE – NIGHT

A spacious, dimly lit suite. Candles flicker. Rain patters softly against the window. MAXINE, dressed immaculately in an expensive robe, pours wine into two crystal glasses. RENEE stands near the fireplace, arms crossed, eyes alert.

MAXINE
(handing a glass to Renee)
To secrecy. And survival.

RENEE
To secrets kept and kept well.

They clink glasses. An uneasy silence hangs between them.

MAXINE
You told no one, right?

RENEE
(smiles tightly)
Of course not. I’m not stupid.

MAXINE
Good. Because if this gets out—

RENEE
It won’t.

A tense beat.

MAXINE
(eyeing Renee)
You hesitated.

RENEE
No, I didn’t.

MAXINE
You did. A flicker.

RENEE
You’re paranoid. No one knows.

MAXINE
Then why did my driver ask me about a “charred ledger”?

Renee freezes. Tries to recover.

RENEE
Coincidence. That could mean anything.

MAXINE
He said, “the one you and Renee buried.”

RENEE
(shaken)
He’s bluffing.

MAXINE
(pressing closer)
Did you tell him? Or did someone overhear you telling someone else?

RENEE
(defensive)
I told you I didn’t say anything!

MAXINE
(cold)
I didn’t say you *said*. I asked if you told.

Maxine steps closer. Predatory now.

MAXINE (CONT’D)
Did you need to feel powerful again, Renee? Or just relevant?

RENEE
(snaps)
I kept it! I did!

MAXINE
Then why did the hotel manager just send me *this*?

She hands Renee a small envelope. Renee opens it—inside is a photo: a blurry image of two women burying something at night.

Renee’s face drains of color.

MAXINE (CONT’D)
You buried the secret… but someone *dug it up*.

RENEE
(barely a whisper)
We’re being watched.

MAXINE
No, Renee. We’re being hunted.

OFF Renee’s horrified reaction…

carl marshall

Member

June 8, 2025 at 11:24 pm in reply to: Lesson 14

Carl Marshall
LOGLINE: the train station
ESSENCE: find the keycard
SCENE: INT. ABANDONED TRAIN STATION – NIGHT
A LOUD BUZZ from an old intercom precedes a mechanical CLUNK — a door slides open.)
NANCY (40s, storms in, heels echoing. She sees SQUIRE (30s, roguish with a fake smile) already lounging on a crate, feet up, smug as ever.
NANCY
Of course you’re early. What, couldn’t seduce your way out of traffic?
SQUIRE
Thought I’d soak in the ambiance. Something about rain makes lies sound romantic.
NANCY
Cut the charm act. If this job goes sideways, I’m not taking the fall.
SQUIRE
Job’s already sideways. We’re missing the keycard, and you’re not as stealthy as you think.
NANCY
(leaning in) You think I lost it? Or sold it?
SQUIRE
(grinning) Just betting against your record.
NANCY
They put us together to clean up a corpse nobody wants found. Why would they trust you?
SQUIRE
Why would they trust *you*? Maybe they want us both buried in the mess.
NANCY
(pauses, calculating) You think this is a setup?
SQUIRE
Oh, I don’t think. I *know*. And they’re watching — right now.
(A red laser dot lands on Nancy’s blazer. She freezes.)
NANCY
Don’t move. We’re being watched.
SQUIRE
Relax. That’s just my old friend, the sniper. He likes foreplay.
(Nancy PUNCHES Squire hard across the face. He staggers back, laughs, spits blood.)
SQUIRE
Now we’re finally communicating.
(From above, an unseen drone WHIRS, recording. Neither notices.)
NANCY
If we don’t find that keycard, the body’s going public — with our names on it.
SQUIRE
Then I guess we better dig… or bury each other.
(They stare each other down. Thunder ROLLS. The lights SNAP off. BLACKOUT.)

carl marshall

Member

June 8, 2025 at 10:36 pm in reply to: Lesson 13

Title: (Carl Marshall) Max Interest 2 (Creating a future, Hook)
“What I’ve learned that is improving my writing is Detachment
Logline: Caretaker returns and finds squatters in his home.
Essence of scene: caretaker is killed.
Interest techniques for rewrite, Hook, Mystery
Scene = Kara the leader of a group of squatters move into the home of the grounds keeper of a cemetery who returns unexpectedly and is killed and buried by the squatters. Later that night the squatters hear a loud knock at the door. Kara looks through the window and is horrified to see the grounds keeper standing with a terrifying grin.
THE BLACKROOT TOMB
Scene : The Caretaker Returns
INT. CARETAKER’S CABIN – DAY
Raining hard. The squatters — KARA, JIM, and two others — unpack scavenged supplies in the dusty caretaker’s cabin.
The door bursts open. THE CARETAKER (70s, ) stares them down.
CARETAKER
This is my cabin. Get the hell out.
Tension spikes. Kara steps forward, arms out.
KARA
We didn’t know anyone was still here. We’re just trying to survive.
The caretaker pulls a rusted blade. Panic erupts. Kara lunges. A struggle. The blade turns. He collapses, bleeding out.
They bury him near a marked grave in the cemetery.
INT. CARETAKER’S CABIN – NIGHT
. A LOUD KNOCK shakes the cabin. The squatters freeze.
Kara creeps to the fogged window. Wipes a hole. Her breath catches.
Outside stands the CARETAKER — pale, filthy, with a terrible, twisted GRIN.
Kara stumbles back, horrified.
KARA
He’s back. The caretaker. I saw him.
The others rush to the window. No one is there now. Just shadows.
INT. CARETAKER’S CABIN – LATER THAT NIGHT
The squatters sit in tense silence. One lantern burns low.
JIM
You sure it was him? Maybe… maybe you imagined it.
KARA
I know what I saw. We buried him. .
The youngest squatter, MARA, whispers:
MARA
The grave… it looked open when I passed it.
Arguments erupt. Fear rising. Accusations fly.
KARA
You think I’m crazy? Go dig him up. I’m not stopping you.
Someone snuffs the lantern. The room plunges into near-dark.
A whisper slides through the room:
KARA (CONT’D)
He’s not done with us. And we’re not alone.

carl marshall

Member

June 8, 2025 at 10:16 pm in reply to: Lesson 11

Carl Marshall

“What I’ve learned that is improving my writings: reflection and writing during the early morning hours

Logline: Squatters kill the grounds keeper of a cemetery who returns home unexpectedly.
Karen Before: Role: Reluctant leader of the squatters; former addict trying to stay clean.
Core Traits: Resourceful, empathetic, courageous — but guilt-ridden. Motivation: Protect her younger brother and find redemption for a past she’s running from.
Wound: Accidentally caused the overdose death of a close friend she was trying to save.
Intrigue: Secretly took something from the demon’s cabin before the killing—a cursed object she’s hiding from the others.
Transformational Journey (25 words or less):Kara must stop running from her guilt and accept painful truth—only by embracing responsibility can she save others and outwit a demon who wears her shame.
Subtext fault finder.

Karen revised profile:
Role: The reluctant leader of the squatters; a former addict clinging to redemption.
Core Traits: Empathetic, strategic, protective — but emotionally volatile and haunted by shame.
Motivation: Keep her brother alive and untainted by the horrors she unleashed; earn forgiveness from a God she no longer believes is listening.
Wound: Her failed attempt to detox a friend ended in a brutal overdose — in front of the friend’s child.
New Intrigue: The cursed object she stole from the demon’s cabin whispers her own sins back to her. She believes it’s punishing her… but can’t bring herself to let it go.
Subtext: Karen is harsh and fault-finding because she believes she must be perfect to prevent more deaths. Her judgment hides self-loathing.
Dramatic Layer: She suspects the cursed object might resurrect her dead friend — but only if someone else dies in her place.
:
Jim Karen’s brother: before [current profile, description, core traits, subtext]
Role: Kara’s younger brother; comic relief turned conscience of the group.
Core Traits: Clever, loyal, honest — but impulsive.
Motivation: Prove he’s not just a burden; make Kara proud.
Wound: Believes he caused their family’s ruin by getting expelled and landing them on the streets.
Intrigue: Reed sees visions the others can’t—because he’s being marked by the deeper evil the demon was containing.

Jim Karen’s brother: REVISED
Jim – “The Burden Who Broke the Chain”
Role: Karen’s younger brother; the group’s comic relief masking a brewing inner storm.
Core Traits: Witty, devoted, sharp — but deeply insecure and self-destructive.
Motivation: Escape the shadow of Karen’s overprotection and prove he’s more than her guilt project.
Wound: After being expelled, he spiraled into petty crime — which indirectly led to Karen’s husband getting killed in a burglary gone wrong.
New Intrigue: He knows Karen knows the truth, but they’ve never spoken of it. Their dynamic is a powder keg of unspoken blame.
Subtext: His sarcasm masks the fact he’s waiting for punishment — or for the cursed tomb to devour him first.
Dramatic Layer: Jim starts hearing voices calling from beneath the tomb — voices that sound like Karen’s husband.

Richard: Karens boyfriend before
Richard: Karens boyfriend [current profile, description, core traits, subtext]
Role: Former spiritual influencer turned skeptic; most vocal about killing the groundskeeper.
Core Traits: Bold, persuasive, fearless — but manipulative.
Motivation: Reclaim fame and control in a world that discarded her.
Wound: Publicly shamed and “canceled” after a livestreamed spiritual cleansing caused someone’s death.
Intrigue: Secretly performing rituals to steal the demon’s power and bind it to herself, believing she can master it for her own gain
Subtext: control everyone

Richard karens boyfriend REVISED
Role: Karen’s boyfriend; ex-spiritual influencer turned nihilist with a Messiah complex.
Core Traits: Charismatic, calculating, fearless — but consumed by resentment and ego.
Motivation: Harness the dark power of the Blackroot Tomb to reignite his public influence and “fix” the world in his image.
Wound: His failed spiritual livestream ritual ended with a girl’s death — and her family still sends him threats. He claims it was possession… but maybe it was negligence.
New Intrigue: Richard secretly believes the demon is a holy force — misunderstood, unchained by hypocrisy. He wants to make a pact.
Subtext: He pretends to be helping the group survive, but he’s nudging them toward moral collapse to feed the demon.

carl marshall

Member

May 28, 2025 at 2:50 pm in reply to: Day 3 Assignment

Carl marshall
Logline: A face-to-face standoff where the good guy must get certain info from the bad guy before the fight start
ESSENCE: Who hired you to torch the clinic

INT. ABANDONED FACTORY – NIGHT

JOHN (40s), steps into view — his boots crunching over broken glass.His hand rests on the butt of his holstered gun, but he doesn’t draw.

NICK (30s), slick, confident, sits casually on a steel crate, spinning a coin. He smiles — the grin of a man who’s always five moves ahead.

NICK
You’re late.

JOHN
I waited to see if you’d bring backup.

NICK
I did. But they got bored. Left when they realized you weren’t dumb enough to walk into a trap.

JOHN
Just dumb enough to think you’d talk.

Nick flips the coin. It clatters on the concrete.

NICK
What do you want, John? Closure? A confession?

JOHN
The name. Who hired you to torch the clinic.

NICK chuckles, leans forward, elbows on knees.

NICK
Still playing hero. The kids were already gone.
You lost nothing but a lie you liked believing.

JOHN
The nurse died. She was pregnant.

Nick’s grin flickers — just briefly.

NICK
Collateral. You think anyone cares? The world’s not split into villains and saints. We’re all just players.
JOHN
Then play careful. You’ve got five minutes
before I stop asking.

John steps closer. Tension coils between them like a wire pulled taut. Nick slowly stands.

NICK
You always thought pain got you answers.
But you’re not that guy anymore. You’re soft now.

JOHN
Try me.

Nick paces slowly, drawing a folded paper from his pocket — dangling it between two fingers.

NICK
You want the name? Fine. But let’s trade.
You answer one question.

JOHN
Not a game I play.

NICK
Then you don’t want it bad enough.

John stares — measuring him. Finally:

JOHN
Ask.

NICK
Why did you leave her?

John’s shoulders tense. Nick watches like a hawk.

JOHN
Because I knew what I’d become if I stayed.

NICK
That’s the best lie you’ve ever told.

Nick tosses the paper. It flutters to the ground. John doesn’t look at it.

NICK (CONT’D)
Now you have your name. But here’s the real trick —
it won’t help you. They’re three steps ahead. Always.

JOHN
Then I’ll take six.

John snatches the paper, backs toward the exit.

JOHN (CONT’D)
You were right about one thing. I’m not soft.

Nick smiles again — wider now, darker.

NICK
I’m counting on it.

John vanishes into the shadows. Nick stays in the flickering light, flipping his coin.

FADE OUT.

carl marshall

Member

May 26, 2025 at 6:09 pm in reply to: Confidentiality Agreement

Carl Marshall.

. The words “I agree to the terms of this release form.

carl marshall

Member

May 26, 2025 at 6:04 pm in reply to: Confidentiality Agreement

carl marshall

Member

May 26, 2025 at 10:37 am in reply to: Lesson 7

Logline: Fight in the Cigar Lounge
ESSENCE: One character is lured into a back room where he is beat up
CARL MARSHALL QE 1
INT. PRIVATE CIGAR LOUNGE – NIGHT
Rritzy social club. Jazz hums from old brass speakers. Cigar smoke curls through a gold-tinted chandelier. Leather chairs, single malt on side tables. The room screams power.
AT CENTER: ROBERT (40s), grinning, a silk shirt open at the chest, holding court. He puffs confidently on a cigar, basking in attention. Around him: LAUGHTER, CHEERS, A TOAST.

ROBERT [to everyone]
To the man of the hour — Trent, the closest thing
I’ve ever seen to a walking Forbes list!
He gestures to a smug, well-tailored TRENT (30s), hair slicked, watch obnoxiously big. He raises his glass modestly but loves the spotlight.
TRENT
And to Robert — nobody spins a story like this guy.
If Wall Street ever collapses, he’ll sell the fall as performance art.
(LAUGHTER. CLINKING GLASSES.)

INT. LOUNGE – LATER
The crowd has thinned. Jazz is low. Robert refills his drink. Trent sidles up.
TRENT
You remember that investment guy I was talking about?
ROBERT
(chuckling)
The Swiss ghost with a Cayman address?
TRENT
Yeah. He’s here. In the back. Wants to talk.
ROBERT
Tonight? …..Yeah let’s talk
TRENT
He’s old school. Doesn’t come out often. Trust me — you’re gonna want to hear this.
A beat. Robert hesitates — he lives for secrets.
ROBERT
(leans in, intrigued)
Let’s meet your phantom financier.
INT. BACK ROOM – MOMENTS LATER
A shadowed room behind a secret sliding door in the cigar lounge. dim light overhead.
No one is inside. Robert steps in first, then turns — slightly confused.
ROBERT
Where’s our money man?
The door SLAMS behind him. Locks. Trent stays by the door, his entire demeanor shifts — no longer flashy and friendly. Now cold. Precise.
TRENT
He doesn’t exist. But something else does. Gossip.
ROBERT
(frozen) What are you—
TRENT
You started it, Robert. The story about me defaulting on the beach property. The one that scared off Northbridge Capital. You knew it wasn’t true.
ROBERT
(casually defensive)
I heard it from three different people. I never said it was definitely you. Gossip is currency, Trent, I just—
TRENT
(firm, stepping closer)
—Cashed out. On me.
A tense silence. Then:
ROBERT
It was nothing personal.
TRENT
That’s the problem. It never is. Until it is.
A sudden SHIFT — Two LARGE MEN emerge from the shadows behind Robert. Before he can turn — they GRAB him.
ROBERT
Whoa, hey—Hey! Trent!
TRENT
This is personal now.
Robert STRUGGLES, but the goons pin his arms. Trent watches as a punch lands deep into Robert’s gut. Robert gasps, dropping to his knees. Another hit. To the gut .
TRENT
You gave people permission to doubt me.
ROBERT
(choking, blood in his mouth)
You’re overreacting—
TRENT
overreacting, overreacting.
Trent kneels beside him,
TRENT
Tell the next lie carefully,
Trent rises, snaps his fingers. The goons DROP Robert. He slumps to the floor, gasping.
TRENT (CONT’D)
Let this room be what it always was — the place
where truths are… clarified.
He walks out. The door closes behind him, leaving Robert alone, broken, in gloom.

carl marshall

Member

October 5, 2024 at 8:29 pm in reply to: Confidentiality Agreement

i AGREE TO THE CONFIDENTIALITY AGREEMENT.
CARL MARSHALL
As a member of this group, I agree to the following:
1. That I will keep the processes, strategies, teleconferences, communications, lessons, and models of the class confidential, and that I will NOT share any of this program either privately, with a group, posting online, writing articles, through video or computer programming, or in any other way that would make those processes, teleconferences, communications, lessons, and models of the class available to anyone who is not a member of this class.
2. That each writer’s work here is copyrighted and that writer is the sole owner of that work. That includes this program which is copyrighted by Hal Croasmun. I acknowledge that submission of an idea to this group constitutes a claim of and the recognition of ownership of that idea.
I will keep the other writer’s ideas and writing confidential and will not share this information with anyone without the express written permission of the writer/owner. I will not market or even discuss this information with anyone outside this group.
3. I also understand that many stories and ideas are similar and/or have common themes and from time to time, two or more people can independently and simultaneously generate the same concept or movie idea.
4. If I have an idea that is the same as or very similar to another group member’s idea, I’ll immediately contact Hal and present proof that I had this idea prior to the beginning of the class. If Hal deems them to be the same idea or close enough to cause harm to either party, he’ll request both parties to present another concept for the class.
5. If you don’t present proof to Hal that you have the same idea as another person, you agree that all ideas presented to this group are the sole ownership of the person who presented them and you will not write or market another group member’s ideas.
6. Finally, I agree not to bring suit against anyone in this group for any reason, unless they use a substantial portion of my copyrighted work in a manner that is public and/or that prevents me from marketing my script by shopping it to production companies, agents, managers, actors, networks, studios or any other entertainment industry organizations or people.
This completes the Group Release Form for the class.