[Charles Jessen]

My name is Charles (Chuck) Jessen.
I have written nine screenplays to date.
I hope to fine-tune and improve the RomCom screenplay I recently completed by what I learn in this class and help shape my new RomCom concept I’m developing now. Additionally, I have several other RomCom ideas and will get to them in due time.
I am a former TV commercial writer/director/producer that specialized in comedic commercials.

[Charles Jessen]

I, Charles Jessen, agree to the terms of the group release below:
GROUP RELEASE FORM
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.

[Charles Jessen]

Subject Line: Chuck’s Character Profiles Part 1
My Vision: I am a writer/director known for a particular brand of storytelling, in both comedies and dramas, that greatly appeal to their respective markets. I have Studios, Producers, and Actors wanting to work with me.

What I learned from this assignment: putting flesh on a character takes approaching it from all these various angles.
Character: Dr. Tom Walker
A. The High Concept: When a bizarre virus from feral cats turns a town’s residents into subservient humans with cat-like behavior, two estranged former lovers – a leading scientist and a small-town veterinarian — must race against time to avert a global pandemic.
B. This character’s journey: Goes from unassuming, self-doubting, heart-broken, lonely to confident in his place, a hero, partner to Kathryn.
C. The Actor Attractors for this character: Cool, laid-back small-town veterinarian who becomes an unlikely hero in a crisis; from underdog to savior, with a touch of comedic flair.
Using MacGyver-like solutions based on commonsense and his professional knowledge of cats which usurps Kathryn’s more scientific methods.

• Role in the Story: Protagonist
• Age range and Description: Early 30s, cool, easy going, laid back small-town veterinarian, lives on a small hobby farm where he houses animals he saved from being put down, each with a flaw.
• Core Traits: cool, easy going, laid back, resourceful, passive-aggressive wit
Motivation; Want: to live life on his terms, away from the rat race. Need: validation, recognition, love.
• Wound: heartbreak from Kathryn years earlier
• Likability: Helps animals, giving damaged, misfit animals a home on his farm.
Relatability: Average Joe guy, a member of the small-town community
• Empathy: earlier heartbreak from Kathryn, made to feel inferior by her for his lifestyle choices.

Character: Dr. Kathryn Wells:
A. The High Concept: When a bizarre virus from feral cats turns a town’s residents into subservient humans with cat-like behavior, two estranged former lovers – a leading scientist and a small-town veterinarian — must race against time to avert a global pandemic.
B. This character’s journey: Goes from ego-driven, glory seeking, scientific rigidity to embracing unconventional paths, confronting her vulnerabilities, and thawing her heart towards Tom
C. The Actor Attractors for this character: Smart, attractive, driven woman who is totally emotionally inept, with growth needed in learning to love and be loved.

•Role in the Story: Antagonist, Co-protagonist
• Age range and Description: Early 30s, attractive, confident, smart, a self-promoting, world-renown virologist who loves the limelight and doesn’t have time for a traditional relationship.
• Core Traits: Vain, confident, driven, smart, emotionally inept.
• Motivation; Want: To be a celebrity scientist of sorts, the top authority in her field … that would be invited on a TV show anyway (forget University lectures). Loved by millions. Need: Loved completely by one.
• Wound: Guilty over her inability to maintain relationships. Was ignored and written off by her father as a child as only wife/mother material.
• Likeability: Confident, Smart, Driven. Wants to win.
• Relatability: Struggles with achieving balance in life; problems with relationships
• Empathy: Fish out of water, discovers and embraces her vulnerability. Trapped in her own ambition.

[Charles Jessen]

Chuck’s Likability/Relatability/Empathy
My Vision: I am a writer/director known for a particular brand of storytelling, in both comedies and dramas, that greatly appeal to their respective markets. I have Studios, Producers, and Actors wanting to work with me.
What I learned from this assignment: These three shades—Likeability, relatability, empathy- are the soft underbelly of character development and vital building blocks.
Character: Dr. Tom Walker
• Likability: Easy-going, hometown veterinarian that helps everyone’s animals. He likes animals and has created a home for unwanted, misfit, damaged animals on his little country farm.
• Relatability: Average Joe with no pretenses. Living life on HIS terms. No one pulling HIS strings. Well liked in the community.
• Empathy: Heart broken by Katy years ago, now self-protection mode. She puts him down masking her own true feelings.

Character: Dr. Kathryn Wells
• Likeability: Confident, Smart, Driven. Wants to win.
• Relatability: Struggles with achieving balance in life; problems with relationships
• Empathy: Fish out of water, discovers and embraces her vulnerability. Trapped in her own ambition.

[Charles Jessen]

Subject Line: Chuck’s Character Intrique
My Vision: I am a writer/director known for a particular brand of storytelling, in both comedies and dramas, that greatly appeal to their respective markets. I have Studios, Producers, and Actors wanting to work with me.
What I learned from this assignment: Intrique is a necessary layer of character development. Sets up many dramatic elements to come.
Character Name: Tom Walker, hometownVet
Role: Co-protagonist, reluctant hero
Competition: With Kathryn to solve the virus crisis his way.
Conspiracies: Have Kathryn fail, then fall into his arms…. Then into his bed.
Hidden agendas: Win Kathryn back
Secrets: Still in love with Kathryn
Deception: Pretending he doesn’t like Kathryn out of spite and self-protection.
Unspoken Wound: hurt from their break up
Secret Identity: Hosts misfit, damaged, unwanted animals at his little farm –Dr. Doolittle style.

Character Name: Dr. Kathryn Wells
Role: Antagonist AND co-protagonist, celebrity scientist
Hidden agendas: Become famous AND become a wife and mother
Competition: Has to be first, the best, the one who solves the crisis.
Secrets: Insecure over relationship skills; Has a conflicting goal of wanting a family.
Unspoken Wound: Guilty about break up with Tom, wanting a family.
Secret Identity: Homemaker for one. Martha Stewart protégé.

Character Name: Dr. Klaus Von Furbol
Role: Triangle character, surface antagonist, Duplicitous mastermind of the virus.
Hidden agendas: Help his evil friends achieve global population control with the cat virus
Competition: the Mayor Lenora who has her own agenda regarding the cat virus
Conspiracies:
Secrets: He mutated the cat virus and is working with nefarious global cabal intent on world domination.
Deception: Pretending to be a retired, reclusive professor while being the mastermind behind the virus.
Unspoken Wound: Was fired and disgraced from the University and the scientific community.
Secret Identity: Mastermind toward achieving a take over of civilization.

[Charles Jessen]

Chuck’s Character Subtext

My Vision: I am a writer/director known for a particular brand of storytelling, in both comedies and dramas, that greatly appeal to their respective markets. I have Studios, Producers, and Actors wanting to work with me.

What I learned from this assignment: Subtext is a nuance to be designed into character from the beginning, before writing the script.

Character Name: Dr. Tom Walker
Subtext Identity: Reluctant Hero
Subtext Trait: Passive aggressive, teasing. He harbors insecurity over his chosen career path and his past romantic rejection from Kathryn, which makes him seem distant, passive, and indifferent.
Subtext Logline: Tom is a reluctant hero who masks his fears of inadequacy with humor and nonchalance.
Possible Areas of Subtext:
Hiding Something: Tom hides his true feelings of inadequacy and love for Katheryn under his laid-back and humorous demeanor. He mocks her rigid scientific solution to every problem. And, throws jabs at her career, her choices, her big city ways, and her lack of awareness, as self-protection to the pain he feels from their breakup.
Afraid to Say: He is reluctant to confront Katheryn about their past and his ongoing feelings for her.
Being Polite: Uses his charm and wit to deflect serious conversations about his emotions or the gravity of the situation.

Character Name: Dr. Katheryn Wells
Subtext Identity: Egocentric, publicity-seeking intellectual
Subtext Trait: one-upmanship, smarter than others. Her emotional detachment and rigid adherence to scientific solutions are defenses against her fear of emotional pain and failure.
Subtext Logline: Katheryn is a ego & career driven intellectual who uses her scientific prowess to shield herself from the complexities of human emotions.
Possible Areas of Subtext:
Withholding: Katheryn withholds her emotions and vulnerabilities, presenting a composed exterior to avoid dealing with her deeper feelings.
Secret: She secretly fears that her emotional detachment has cost her personal happiness and meaningful relationships.
Brash: Putting down Tom for his small town ways and his Vet-logic, exposing her own insecurity and confusion over their past relationship.

Character Name: Dr. Klaus Von Furbol
Subtext Identity: Fallen Visionary
Subtext Trait: Klaus’s public persona as a harmless, retired academic masks his deep resentment towards those who discredited him and his intense desire to prove his superiority.
Subtext Logline: Klaus is a fallen visionary who plots his return to relevance through dangerous scientific breakthroughs, believing he is destined to change the world.
Possible Areas of Subtext:
Lying: Klaus consistently lies about his intentions and the nature of his research, presenting himself as a misunderstood genius.
Plotting: Every interaction with Tom and Katheryn is laced with the subtext of manipulation as he seeks to either deflect their focus or use them to further his own plans.
Delusions of Grandeur: Klaus often reminisces or hints at his past glories and future triumphs, indicating his belief in his destined greatness.

[Charles Jessen]

Chuck’s Actor Attractors

My Vision: I am a writer/director known for a particular brand of storytelling, in both comedies and dramas, that greatly appeal to their respective markets. I have Studios, Producers, and Actors wanting to work with me.

What I learned from this assignment: How AI can help give my characters more color and dimension that might help attract name actors to the role.
Movie Title: “Cat Town”
Genre: Comedy, Rom-Com

Dr. Tom Walker
1. Known for Role: Tom is the cool, laid-back small-town veterinarian who becomes an unlikely hero in a crisis. Actors will be drawn to the role for its transformation from underdog to savior, with a touch of comedic flair.
2. Most Interesting Character: Tom is interesting because he combines professional Vet acumen with a whimsical, common-sense understanding of animal behavior, providing comic relief and grounded wisdom, as he wins and saves humanity from the cat virus.
3. Interesting Actions: Comes up with MacGyver-like solutions based on his commonsense knowledge of cats which usurps Kathryn’s more scientific approaches, blending comedy with heroism.
4. Introduction: Introduced as he reluctantly rescues a cat from a tree, mumbling comedic quips about his ‘real’ job, highlighting his humor and reluctant hero persona. Cool character, drives a vintage van with his Vet service name on it, respected by the residents of this small town.
5. Emotional Range: Tom’s emotional journey from comedic disbelief and vindictive passive-aggressiveness over past hurt, to an inspired hero in love once again.
6. Subtext: Passive aggressive comments and jabs at Kathryn, masked in a comedic exterior, shield the wounds of his broken heart and his unresolved feelings for her.
7. Interesting Relationships: His dynamic with Kathryn, filled with witty banter and unresolved romantic tension, provides depth. His mentor-student relationship with the eccentric Dr. Klaus Von Furbol, full of admiration and betrayal, adds complexity. His professional relationship with “Cleo the cat whisperer” adds humor.
8. Unique Voice: Veterinary jargon humorously misapplied to humans; his no-nonsense, intuitive actions executed in a cool, laid-back way.
9. Special: Though a small-town average Joe, his common sense allows him to win and save humanity from the cat virus. He enjoys badgering and teasing Kathryn who is a fish out of water in this small town environment, though he secretly still loves her.

Tom’s ability to apply veterinary solutions to human problems in humorous ways makes him uniquely special, bridging science with slapstick comedy.

Dr. Kathryn Wells
1. Known for Role: A role that showcases Kathryn as a brilliant, ego-driven, celebrity-seeking but emotionally stunted virologist who must confront her faults as she works with Tom to stop the virus offers an actor a chance to explore a complex, evolving character.
2. Most Interesting Character: Kathryn is compelling due to her journey from scientific rigidity to embracing unconventional wisdom, mirroring her personal thawing towards Tom.
3. Interesting Actions: Her actions include breaking into secret labs, concocting antidotes under pressure, and navigating cat-like human mobs, providing a blend of action and intellect.
4. Introduction: Stylish, big-city look, stepping off a private jet with a TV reporter wanting to interview her.
5. Emotional Range: Kathryn’s range spans from arrogance, intense concentration and a dismissiveness in anything not scientific to vulnerable moments of reconciliation and romantic rekindling with Tom.
6. Subtext: Her professional demeanor often masks her fear of failure and intimacy, allowing an actor to play with layers of guardedness revealing underlying vulnerabilities.
7. Interesting Relationships: Her relationship with Tom provides a mix of conflict and chemistry, while her nostalgic respect for Dr. Klaus Von Furbol sets up his ultimate betrayal, inviting intrigue.
8. Unique Voice: Kathryn’s dialogue would be sharp, confident, intellectual, condescending, and often laced with scientific metaphors.
9. Special: What makes Kathryn special is her journey from a purely logical scientist to someone who becomes open to the irrational, both in science and in love, making her character arc profoundly relatable.

Dr. Klaus Von Furbol
1. Known for Role: Klaus is a once respected scientist now fallen from grace in disgrace; a villain with a twist, providing a complex character study of brilliance gone awry. His role offers an actor the chance to explore a morally ambiguous, multifaceted antagonist.
2. Most Interesting Character: Klaus is fascinating due to his transition from a respected scientist to a disgraced outcast and then to a diabolical mastermind behind the virus, blending intelligence with madness.
3. Interesting Actions: His actions involve orchestrating a covert operation, manipulating genetic experiments, and participating in a secret society will il intent, all while maintaining a facade of a reclusive, harmless old professor.
4. Introduction: He’s first seen in a dimly lit room, surrounded by ancient artifacts and cat paraphernalia, hinting at his obsession and depth.
5. Emotional Range: Klaus exhibits a range from charismatic charm to chilling malevolence, displaying a wide emotional spectrum that can be both enticing and terrifying.
6. Subtext: His dialogue and actions carry the subtext of a deep-seated need to be revered and feared, stemming from past humiliations and a desire for power.
7. Interesting Relationships: His past mentorship with both Tom and Kathryn adds depth, revealing a betrayed trust and a manipulative nature, leading to a dramatic confrontation.
8. Unique Voice: Klaus speaks with a refined, almost theatrical cadence, reflecting his grandiose self-image and delusions of grandeur, often quoting historical figures or scientific principles.
9. Special: Klaus is special because of his intellectual hubris and his ability to rationalize his extreme actions, making him a compelling and memorable antagonist in a darkly comedic setting.

[Charles Jessen]

Chuck’s Actor Attractors for “Cat Town”

My Vision: I am a writer/director known for a particular brand of storytelling, in both comedies and dramas, that greatly appeal to their respective markets. I have Studios, Producers, and Actors wanting to work with me.

What I learned from this assignment: How to give the character more color and dimension that might help attract name actors to the role.
Movie Title: “Cat Town”
Genre: Comedy
Lead Character Name: TOM WALKER
1. Why would an actor WANT to be known for this role? Cool, laid back guy who ends up saving humanity and finally getting his girl.
2. What makes this character one of the most interesting characters in the movie? Understated, cool, laid-back small-town guy, yet able to solve problems with global consequences for humanity and win.
3. What are the most interesting actions the Lead takes in the movie? Comes up with MacGyver-like solutions based on his common sense knowledge of cats which usurps Kathryn’s more scientific approaches.
4. How is this character introduced that could sell it to an actor? Cool character, driving a vintage pickup truck, making his way down main street of his small town, respected by its residents, headed to a meeting at the Crisis control center.
5. What is this character’s emotional range? Vindictive passive-aggressiveness over past hurt, to a hero in love once again.
6. What subtext can the actor play? Passive aggressive comments and jabs at Kathryn shielding the wounds of his broken heart.
7. What’s the most interesting relationships this character has? With Kathryn as his past and future love interest. With Cleo the cat whisperer, as a professional relationship. With Dr. Furbol, his former professor and mentor who has now gone rougue.
8. How is this character’s unique voice presented? Through his no-nonsense, intuitive actions executed in a cool, laid-back way.
9. What makes this character special and unique? He enjoys badgering and teasing Kathryn who is a fish out of water in this small town environment, though he secretly still loves her.

[Charles Jessen]

Chuck’s Genre Conventions

My Vision: I am a writer/director known for a particular brand of storytelling, in both comedies and dramas, that greatly appeal to their respective markets. I have Studios, Producers, and Actors wanting to work with me.

What I learned from this assignment: AI can get corny with comedy but it does point me in a few directions and reinforces a couple of gags that I already had in my notes file. Overall, I’m learning to push the boundaries in all directions.

Genre = Comedy
Concept = When a bizarre virus from feral cats turns a town’s residents into subservient humans with cat-like behavior, two estranged scientists, former lovers, must race against time to avert a global pandemic.
Genre conventions = incongruent pairings, hilarious purpose, sight and prop humor, misinterpretation, absurd purpose, toppers, running gags, incongruent perspectives, set up/punchline, “fish out of water” situations, odd behavior

Structure =
Act 1: Introduction and Crisis Opening: The town of Limestone Springs is struck by a mysterious virus originating from cats, turning residents into subservient, cat-like beings.

Inciting Incident: The sudden murder of a Catholic priest, presumably by cats, escalates the situation, leading to the formation of a local Crisis Command Center. Tom, the local veterinarian is called to join the team. In walks Dr. Kathryn Wells, a world renown virologist and his former lover who he has not seen since graduate school and hoped to never see again. They are put together and told to work together as a team since Tom knows the local area well.

Running Gag: Residents increasingly exhibit cat-like behaviors, like purring during conversations, hissing at dogs, or getting distracted by laser pointers during serious meetings.

Incongruent Pairings: Kathryn is a serious yet vain, fame-seeking virologist, while Tom, her former lover, is a laid-back, small-town veterinarian. Their conflicting approaches to the crisis inject humor into the chaos.

Turning Point: Tom and Kathryn, after some preliminary investigations, return to the Command Center to find that the other team mates have been affected by the virus and are acting like cats. Now, as the only unaffected team members, they must find a way to work together to solve the mysterious virus.

Act 2: Deepening Mystery and Initial Confrontation New Plan:
Tom informs Katheryn that a retired (disgraced) professor they both once studied under, Dr. Klaus Von Furbol, is a recluse, living in the woods nearby. They decide to seek his opinion and advice. Dr. Furbol pretends to be helpful but directs their focus in the wrong direction. Tom and Kathryn seek out alternative sources, such as Cleo, the Cat Whisperer. Plan in Action: They discover the underground labyrinth beneath the cat food factory, leading them closer to the conspiracy’s heart. Midpoint Turning Point: Tom and Kathryn are captured and learn from Dr. Furbol about the global domination plot, marking a critical realization and heightening stakes.

Act 3: Escalation and Desperation Rethink Everything: In captivity, Tom and Kathryn reassess their strategies and personal feelings, realizing they need each other to escape and foil the plot.
New Plan and Huge Failure: During their first escape, Tom uses a cat-toy swinging-pendulum technique to distract guards. The escape briefly, but are captured again.

Act 4: Climax and Resolution Climax/Ultimate Expression of the Conflict: Using the antidote and their scientific and local knowledge, Tom and Kathryn manage to administer it through the town’s water supply, effectively saving the townspeople and disrupting the global plot. Resolution: The town is restored, and Tom and Kathryn’s bond is renewed. They emerge not just as heroes but as a couple prepared to face the future together, acknowledging their past mistakes and embracing their new roles in life and with each other.

Absurd Purpose: The entire virus situation is handled with an undercurrent of dark, absurd humor, highlighting the ridiculousness of the scenario and the over-the-top reactions of the townspeople.

[Charles Jessen]

Chuck’s 4 Act Transformational Structure

My Vision: I am a writer/director known for a particular brand of storytelling, in both comedies and dramas, that greatly appeal to their respective markets. I have Studios, Producers, and Actors wanting to work with me.

What I learned from this assignment: AI is not going to solve it all for me… I’ll need to grind it out with my traditional work flow to this process to figure out this 4 act structure which isn’t quite right yet. Thank God there’s still room for our own brain in this process.

Genre = Comedy
Title = Cat Town

High Concept = When a bizarre virus from feral cats turns a town’s residents into subservient humans with cat-like behavior, two estranged scientists, former lovers, must race against time to avert a global pandemic.

Major Story Hook = Two scientists, estranged ex-lovers, racing to understand the cat virus and develop a vaccine, first must untangle a secret underground society worshiping ancient Egyptian cat deities; a centuries old vendetta against the Catholic Church; a former professor and mentor turned rogue; the involvement of a rouge, geo-political organization bent on population control; and their animosity toward each other.

4-Act Transformational Structure for “Cat Town”

Act 1: Introduction and Crisis
Opening: The town of Limestone Springs is struck by a mysterious virus transmitted by feral cats which turns residents into subservient, cat-like beings.

Inciting Incident: The sudden murder of a Catholic priest, presumably by cats, escalates the situation, leading to the formation of a Crisis Command Center in the neighboring city. Limestone Springs quarantines itself without having been asked to do so.

Turning Point: Tom and Kathryn return to Command HQ only to discover all other team members have been infected with the cat virus. As the only unaffected team members, they must now collaborate despite their rocky past, investigate, and seek a solution.

Act 2: Deepening Mystery and Initial Confrontation
New Plan: After visiting Dr. Klaus Von Furbol and being misled in a totally wrong direction, Tom and Kathryn decide to seek out alternative sources, including Cleo, the Cat Whisperer.

Plan in Action: They discover the underground labyrinth beneath the cat food factory, leading them closer to the conspiracy’s heart. They investigate. Discover a bizarre cat-deity worship session in an underground chamber led by Mayor Lenora. Dr. Von Furbol is part of it also.

Midpoint Turning Point: Tom and Kathryn are captured and learn from Dr. Furbol about the global domination plot, marking a critical realization and heightening stakes.

Act 3: Escalation and Desperation
Rethink Everything: In captivity, Tom and Kathryn reassess their strategies and personal feelings, realizing they need each other to escape, foil the plot, and save humanity.

New Plan: They escape the cage using their combined skills and a moment of ingenuity.

Turning Point: Huge Failure / Major Shift: They attempt to gain control of the situation but are once again overpowered and facing capture.

Act 4: Climax and Resolution
Climax/Ultimate Expression of the Conflict: With quick thinking, Tom is able to distract all the Cat-virus controlled subjects and turns the tables on Von Furbol and Mayor Lenora. Using the antidote and their scientific and local knowledge, Tom and Kathryn manage to administer it through the town’s water supply, effectively saving the townspeople and disrupting the global plot.

Resolution: The town is restored, and Tom and Kathryn’s bond is renewed. They emerge not just as heroes but as a couple prepared to face the future together, acknowledging their past mistakes and embracing their new roles in life and with each other.

Old Ways: Tom is a laid-back, resigned veterinarian, doubting his abilities to affect change, avoiding deep connections due to past hurt. Kathryn is an uptight, career-driven, spot-light seeking, renown virologist, emotionally guarded, and skeptical of non-scientific ideas.

New Ways: Tom embraces his role as a leader and an innovative thinker, confidently stepping into action and acknowledging his feelings for Kathryn. Kathryn lets go of her rigid scientific bias, opens up to Tom, and embraces a broader view of science, mysticism, and small-town common sense logic, opening the door for a more balanced personal and professional life.

[Charles Jessen]

Chuck’s Subtext Plot

My Vision: I am a writer/director known for a particular brand of storytelling, in both comedies and dramas, that greatly appeal to their respective markets. I have Studios, Producers, and Actors wanting to work with me.

What I learned from this assignment: There are many different angles from which to develop subtext.
Title: "Cat Town"

Scheme and Investigation:
Subtext Plot: Dr. Klaus Von Furbol, the former professor/mentor and now a rogue scientist, is working with a dark, nefarious secret government unit, to mutate the cat virus for population control. An unintentional lab leak has infected the small nearby town of Limestone Springs. Meanwhile, world-renown virologist, Dr. Kathryn (Katy) Wells, is drawn back into Tom’s life by the crisis. Eventually, they suspect Von Furbol's involvement and begins to piece together his secret activities through subtle clues, confrontations, and scientific investigation, leading to a dramatic revelation.

Layering:
Subtext Plot: Beneath the comedic chaos of Limestone Spring’s transformation into a cat-dominated society lies a deeper critique of human-animal relationships and the weaponizing of viruses by nefarious government factions. As Kathryn and Tom delve into the virus's origins, they uncover a layered history of the ancestral worship of cats, rouge factions interested in population control through biological virus weapons, and the consequences of modern humanity’s disconnection from nature. These revelation reshape their understanding of the pandemic and their personal responsibilities.

Competitive Agendas:
Subtext Plot: As the global threat of the virus escalates, different factions emerge with competing agendas. The new Mayor with her secret cat-worship society and a connection to the cat virus, Dr. Klaus Von Furbol, the scientist behind the virus development and mutations, the shadowy government agency interested in the test results from the experiment in Limestone Springs, with hopes of using the virus as a population control tool. Kathryn and Tom must navigate these competing forces, using wit and science to ally, outmaneuver, and ultimately expose each faction’s motivations and tactics.

• This reply was modified 1 year ago by  Charles Jessen.
• This reply was modified 1 year ago by  Charles Jessen. Reason: typo

[Charles Jessen]

Chuck’s Transformational Journey of Protagonist

My Vision: I am a writer/director known for a particular brand of storytelling, in both comedies and dramas, that greatly appeal to their respective markets. I have Studios, Producers, and Actors wanting to work with me.

What I learned from this assignment: How to flush out and give depth to a character’s journey and how AI can help make the process so much easier.

Transformational Journey of Dr. Tom Walker

Character Arcs for Dr. Tom Walker in "Cat Town"

Dr. Tom Walker, Co-Protagonist
Arc Begins: Tom is introduced as a talented yet withdrawn and disillusioned local small-town veterinarian who remains deeply connected to his hometown of Limestone Springs despite feeling sometimes undervalued. He prefers to help animals now, as he finds some human behavior disgusting. His past relationship with Kathryn ended poorly ten years earlier, leaving him cynical about relationships and the scientific world she belongs to.

Arc Ends: By the end of "Cat Town," Tom has transformed into a more confident and engaged leader within his community, recognizing the significant impact he can have. His renewed bond with Kathryn and successful integration of his veterinary skills with non-scientific, intuitive common sense in solving the pandemic crisis reinvigorates his passion for both his profession and personal life.

Internal Journey: Tom's internal journey involves overcoming his skepticism and rediscovering his existential sense of purpose. He grapples with his feelings of inadequacy and learns to believe in himself and trust Kathryn again, reevaluating their relationship and collaborative potential.

External Journey: Externally, Tom confronts the virus's supernatural origins and the societal breakdown in Limestone Springs. His actions evolve from passive observation to active involvement, culminating in the risky strategy to reverse the curse using a blend of his veterinary knowledge and mystical, un-orthadox practices.

TOM – Old Ways/New Ways:
Old Ways:
• Laidback
• Detached, doubting his abilities to effect change
• Avoids deep emotional connections due to past hurt
• Prefers animals to humans as he thinks they’re kinder
• Resigned to a quiet life in his hometown as a Vet.

New Ways:
• Proactive
• Embraces his role as hero and community leader.
• Openly acknowledges his feelings for Katy.
• Embraces professional collaboration and open communication.
• Commits to using his unique skills toward a broader benefit of humanity.

• This reply was modified 1 year ago by  Charles Jessen.

[Charles Jessen]

Chuck’s Intentional Lead Characters

My Vision: I am a writer/director known for a particular brand of storytelling, in both comedies and dramas, that greatly appeal to their respective markets. I have Studios, Producers, and Actors wanting to work with me.

What I learned from this assignment: AI is great for helping to flush out the characters! It will save me weeks on each script.

Character Profiles for "Cat Town"

Characters for the feature screenplay "Cat Town"

1. Protagonist: Dr. Tom Walker
Role: Protagonist
Logline: TOM, 35, a former scientist is now a small-town veterinarian, single, easy going, unassuming, with an understanding and empathy for both human and animal behavior. He prefers a simple, uncomplicated life which is partially why he dropped out of the high-pressure scientific world. He is an ex-lover of Katheryn (Katy) Wells who he has not seen since they broke up after graduate school. His background is the perfect balance for working with Katy to solve the cat-virus crisis.

Unique: Tom’s deep understanding of animal behavior and his empathy for both animals and humans make him uniquely suited to unravel the mystery of the cat virus and his demeanor is the perfect balance for Katy as a partner.

2. Antagonist: Dr. Klaus Von Furbol
Role: Antagonist
Logline: Dr. Klaus Von Furbol is a former professor from the university that both Tom and Katy attended for graduate studies. Though he was a leading expert in viruses carried by animals, a scandal deemed unethical forced him to resign in disgrace. Yet he now lives in an impressive palatial estate, with security, deep in the woods outside of the town of Limestone Springs where the cat virus breakout has occurred. Conincidence?

Unique: Von Furbol’s expertise in viruses transmitted from animals to humans gives him the ability to create a believable and scientifically plausible threat. His transformation from a mentor to a nemesis adds layers to his character.

3. Triangle Character: Dr. Kathryn (Katy) Wells
Role: Triangle Character/ Co-Protagonist
Logline: Dr. Katheryn (Katy) Wells is a very successful, celebrity virologist, and foremost expert in her field when it comes to viruses transmitted by animals to humans. She is a type A, career driven, workaholic woman who loves the spotlight, often appearing on TV as an expert, and has never been able to give the time that a relationship requires – just part of the reason she and Tom split up after graduate school.

Unique: As a top virologist, Kathryn’s career-driven, Type-A personality contrasts with Tom’s more empathetic, community-oriented approach, creating dynamic conflict and a compelling love interest.

• This reply was modified 1 year ago by  Charles Jessen.

[Charles Jessen]

Chuck’s title, concept, character structure.

My Vision: I am a writer/director known for a particular brand of storytelling, in both comedies and dramas, that greatly appeal to their respective markets. I have Studios, Producers, and Actors wanting to work with me.

What I learned from this assignment: Building a good outline is a systematic approach that will make my story better, more marketable, and save me time down the road in the re-write stage.

Title: “Cat Town”

Concept: When a bizarre virus from feral cats turns a town's residents into subservient humans with cat-like behavior, two estranged scientists, former lovers, must race against time to avert a global pandemic

Character Structure: Rom-Com, Co-Protagonists vs Antagonist

• This reply was modified 1 year ago by  Charles Jessen. Reason: Lost the line spacing when I posted, but in the edit box, the spacing is there

[Charles Jessen]

Not to allow myself to get bogged down in too much AI feedback and scenarios which is very easy to do … especially for a Libra. Too many options creates roadblocks for me. I will push past them and keep moving forward.

[Charles Jessen]

Charles Jessen here. I’ve written nine screenplays, two of these in the last year as part of ScreenwritingU classes — one of which is currently a semi-finalist in two screenplay competitions. My 4th screenplay was optioned three different times over the years but the funding never fell into place despite a lot of interest from named actors. I am a retired ad guy, most recently was a writer/director/producer of live-action comedic TV commercials. Now focused solely on writing more screenplays this year, setting aside other hobbies such as flying and sailing. Originally from Minnesota, I now live in Mill Valley, CA.

[Charles Jessen]

I, Charles R. Jessen, agree to the terms of this release form.

GROUP RELEASE FORM

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.

[Charles Jessen]

My name is Charles Jessen. I’ve written eight screenplays and one TV pilot with a pitch bible. Though I took the Hal’s AI seminar back in July, and the Bingeworthy TV class five years ago, I hope to get an update on the Bingeworthy methods and learn how to specifically apply AI research to the TV series writing process. I’m polishing my last two screenplays at the same time so it’s going to be a busy couple months. Retired pretty much from my advertising career — most recently writing/producing/directing TV commercials and videos at my own production company. Have taken/audited many ScreenwritingU classes over the years… most recently “Unstoppable,” “Write a screenplay in 30 days” and “Professional Re-write Class.” Looking forward to this class.

[Charles Jessen]

As a member of this group, I, Charles Jessen, 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.

[Charles Jessen]

I am ready to exchange feedback. I have a drama, a road trip movie set in the days before Christmas. (but definitely not a Hallmark or Lifetime style Christmas movie). PM me if you’d like to exchange feedback.

[Charles Jessen]

What I learned is that there are always more stones to turn over when looking at your story. This particular screenplay I’m rewriting, “The Road Back,” doesn’t fit the classic ScreenwritingU model, so there is only so much more I can squeeze out of it. This is a dialog intensive script of two guys in a car on a cross country road trip so my hands are tied as to how much I can do with each scene. Plus, I think all the prep work I did before I began writing it pulled a lot of the possibilities out of it already. The story is what it is, and I accept that it may not be the most commercial as a result. Many of these new skills will be helpful for all future scripts I write. Still there have been some big revelations that have come to me applying some of these scene enhancers to my project. Beside what I have previously shared, today I realized that I could add a very big reveal by having Josh, the young recovering former drug addict, admit (half way through) that he was the one who passed the street drugs to the three fellow homeless friends who ended up overdosing on Fentynal. (someone had dropped them in his guitar case so he gave it to his friends since he is no longer partaking) Consequently, he is carrying guilt for this. This new reveal will require that I go back through the prior pages of the script and change his attitude and the tenor of his conversation to reflect this secret he is hiding. A major improvement to the story, I think.

[Charles Jessen]

Charles Jessen solves (somewhat) major problems.

One line in particular jumped out at me when reading the class assignment about the transformational journey: “There is something about them that has to change, but they don’t know that, yet.”

<font face=”inherit”>RE: “The Road Back,” I am satisfied with my opening and my closing. I feel they are strong and right for the story. Though lacking was conforming to the structure as we have been directed. Some of that won’t change as it is not inherent in the story. However I was able to sharpen the transformation journey of the two primary characters, realizing more definitively what their core flaw/wound is and what needs to change. I discovered the mid-20s homeless recovering addict Josh has Narcissistic Personality Disorder and he has to learn to care about others and atone for his past. It was always buried in my script but now I bring it to the for front. The mid 60s, black, retired bereaved widower, Al, is cynical and bitter since his son was murdered 10 years before… He has to learn to accept what is past, be in the </font>moment, and<font face=”inherit”> forge a path int the future. I moved events around in the </font>outline, and<font face=”inherit”> deleted a couple that didn’t directly contribute to the journey, and was able to create a dramatic midpoint where Al has a major roadside meltdown and Josh is forced to attend to him, changing the dynamic between the two. The script is getting better. </font>

<font face=”inherit”>What I learned from this assignment is better definition of the character cores drives the journey and therefore the outline.</font>

[Charles Jessen]

RE: “The Road Back” What I learned from this lesson was discovered a better order of elements to improve the outline and reach a key midpoint in this drama — a midpoint that was previously lacking. Deleted scenes and a particular tone that wasn’t staying true to the concept. This will always be a tough story to conform to all these conventions, but it is improving neverthess. The 1st and the 4th acts are short, but I am happy with them as strong opening and closings. Four acts though, nevertheless, that deliver on the Drama genre, and the Characters acting true to their profiles, fulfilling their story lines.

[Charles Jessen]

What I learned from this assignment is that writing out the character arcs separately and uncover some gems not previously discovered. My story lacks conventional turning points, but I found a crucial change in Al’s state of mind to pivot the story on.

“The Road Back”

Character: JOSH, 26

• Beginning: Josh busking on street corners, heads back to his homeless camp make-shift “family.”

• Inciting incident: Friends in homeless camp dead, Fentanyl overdose.

• Turning Point: Josh agrees to take the paid gig driving a retired widower (Al) to Chicago, to appease his parole officer. Committed now.

• The Journey: Josh, caustic and cynical, masking insecurities. Many road trip experiences. Antagonistic banter back and forth. Some funny moments.

• Midpoint: Josh plays guitar in a bar, proves his talent, then defends Al in bar fight.

Later, Al breaks down, bereaved. Josh takes charge, has to be the strong one, grows up a bit

• Turning Point 2: Josh screws up, gets drunk in a dive bar, pops a pill. Al fires him… plans to fly Josh back. A dark night for Josh’s soul. Josh gets a second chance.

• Dilemma –Go home, or continue the journey with Al, as uncomfortable as that may be.

• Major conflict: Al wants to detour and take Josh to his hometown for Christmas. Josh fights him on that –overcome with shame and emotion. He relents. Agrees to it.

• Ending: Josh confronts his past, apologizes to girlfriend… goes home for Christmas to face his past and reconcile with his real family.

Character: AL, 64

Beginning: Alone in the darkness of his house. Packed, ready to go. Removes Christmas tree. Throws away Christmas cards.

Inciting Incidents: (prior to opening: Wife died. Sister wants him to come to Chicago for Christmas)

Turning Point: Josh, his co-driver for the cross-country drive, shows up. They start out.

The Journey: Realizes Josh is an arrogant jerk. Must get through next 3 days somehow.

Various events. Ebb and flow of their interaction; their relationship. Plus and minus charged.

Midpoint: Al has a breakdown, still grieving over the loss of his wife and son. Josh comforts him. Shift of responsibility. Josh’s responsibility to get Al to Chicago. Josh impresses Al with his guitar playing.

Turning Point 2: Josh screws up. Must send him home. Josh is devastated. Al decides to forgive and allow Josh to continue on trip.

Dilemma: Continue to his sister’s place in Chicago as planned, or detour to drop Josh at his Mother’s home for Christmas.

Major Conflict: Argument with Josh roadside. Getting him to go home and face his past.

Ending: Drops Josh at his Mother’s house. Feels good now… a step toward his own healing.

[Charles Jessen]

What I learned from this assignment: More useful ways of extracting the essence of the character from the marrow of my muse.

“The Road Back” by C. Jessen

CHARACTER PROFILES:

A. NAME(s)

JOSH ADAMS: 26, white, recovering drug addict, parolee, homeless street musician, from Iowa originally.

AL INGRAM: 64, black, recent widower, forcibly retired from his Corporate IT job; his only child deceased 10 years now. From Chicago, with a sister there.

B. ROLE IN THE STORY:

JOSH: Provocateur, surrogate son and side kick, needing to grow and learn.

AL: Wounded sage & mentor needing to heal.

C. CORE TRAITS:

JOSH: Cynical, smart-assed know it all, dreamer ; arrogant; detached/indifferent/aloof; yet conscientious and determined to change,

AL: Cynical, responsible, frugal, conservative, perceptive, pragmatic, but also considerate & compassionate.

D. MOTIVATION WANT/NEED

JOSH: WANT: Appease parole board, make $600, audition in Chicago. NEED: Get away for a few days to gain clarity after the drug overdose of his friends; avoid being alone.

AL: WANT: To get to Chicago in time for Christmas with sister NEED: to escape lonely holiday at home; be somewhere else with others; to heal from his loss and find a path forward.

E. FLAW/WOUND:

JOSH: Chases dopamine thrills … drugs, drinking, rock-star fantasies //shame for the pain he caused; lost Daddy complex: never had a father figure to give him encouragement, compliments, guidance…

AL: Short tempered, intolerant, unsympathetic, bitter // grieving the loss of his wife, his son, and his career after he was forcibly retired. Feeling no life purpose.

F. SECRET//HIDDEN AGENDA:

JOSH: Misdeeds of past, harbors shame, mother took out loans to pay for his rehab twice, but it didn’t take. He went to prison eventually // Restart his career/life, make it big in the music business, thinking it will vindicate his journey with his family, ex-girlfriend, etc. BEFORE he considers reconciling with anyone…. family, girlfriend, etc.

AL: Close to giving up, had considered suicide, drinking too much, little purpose in life // 4^th Act:… changes plans …now dropping Josh off with Josh’s family in his home town.

G. INTERNAL DILEMMA:

JOSH: Keep pursuing music, try to become a big star vs. go back to college or find another career? Bury the past and the debris field vs. confront and reconcile it?

AL: Give up on life vs. find a new purpose somewhere.

H. WHAT MAKES THIS CHARACTER PERFECT FOR THEIR ROLE IN THE STORY?

JOSH: Modern day prodigal son – a product of societal ills and misdirected ambition, but now seeking reform and redemption.

AL: Wounded sage & mentor. Having suffered loss, now giving so that he may receive.

[Charles Jessen]

What I learned from this assignment: That I may be able to pull off this drama with internal conflict and how it manifests, without having to worry about external events happening all the time.

Title: “The Road Back”

Concept: Two strangers – a white, homeless, recovering-addict street musician, 26, and a black, retired, bereaved widower, 64 –share a cross country drive just days before Christmas, a holiday they both dread, discovering a path of redemption and renewed purpose along the way.

Genre: DRAMA – Road trip bromance set at Christmas

DRAMA CONVENTIONS:

What do each of the two characters Want/Need?

JOSH: WANT: Appease parole board; make $600 driving Al to Chicago; audition once in Chicago; turn his life around and be a success. NEED: Get away for a few days to gain clarity after the drug overdose of his friends. People to believe in him. And to forgive him.

AL: WANT: To get to Chicago in time for Christmas with sister NEED: to escape lonely holiday at home; be with others; to make a difference somewhere for someone.

What is at stake for each?

JOSH: Must turn life around to redeem himself and overcome his shame. To regress to his drug-using ways is enter a death spiral.

AL: Must not be alone for Christmas wallowing in bereavement and depression, lest he surrender to his suicidal thoughts. He must find new purpose or die.

What gets in their way?

JOSH: His stubborn ego and arrogance. His hidden shame for his past misdeeds.

AL: Josh’s bad attitude and screw ups; Al’s empty bitter shell and unyielding rules;

What emotionally-charged situations occur?

• Josh confesses how his drug addiction damaged relations with his family and former girlfriend.

• Al reveals the details of the recent death of his wife and the death of their son and only child 10 years before.

• Al breaks down when he hears a performer sing what was his wife’s favorite Christmas song.

• Al fires Josh, after Josh’s drunken bender, and drops him off at the nearest airport before having a change of heart and giving him a second chance.

• Josh confronts his past and apologizes to his ex-girlfriend back in his Iowa hometown.

• Al and Josh say goodbye as Al drops Josh off at his mother’s house on Christmas eve.

What is the glue that holds this story together?… the suspense?

• The journey of these two unlikely travel companions seemingly constantly at odds.

• The ticking clock of the approaching Christmas Holiday, which both men are dreading.

• Disassociation and dispair, giving way to friendship, good will, and hope for a better future for both.

What are themes contained herein that the audience will relate to; identify with?

“Prodigal Son” story; Drug addiction recovery; Dealing with, healing from, loss and bereavement; Forgiveness; Being home with family for Christmas.

[Charles Jessen]

Genre and 4 Act Structure

What I learned from this assignment: Never write a script UNTIL you have the structure worked out first. Also, hard to assign structure conventions to a road-trip drama where most of the movie is two guys in a car, talking. The bulk of it happens in my 2nd act – I must trim about 18 pages from my current 2nd act.

Title: “The Road Back”

Concept: Two strangers – a white, homeless, recovering-addict street musician, 26, and a black, retired, bereaved widower, 64 –share a cross country drive just days before Christmas, a holiday they both dread, discovering a path of redemption and renewed purpose along the way.

Genre: DRAMA

ACT 1

• OPENING:

Josh, white, 26, busking on a San Francisco street corner 6 days before Christmas. Refuses request by a kid to play a traditional Christmas song. Does one his way. Kid cries. Josh returns to his homeless camp to discover ….

•INCITING INCIDENT: Three good friends of his in a neighboring tent died of a Fentanyl overdose while he was out. Cops and news reporters on the scene. Josh is shocked, devastated.

• Cop recognizes him from a drug bust the prior year. Buys the distraught Josh a cup of coffee to comfort him. Tells him about his friend Al who needs someone to help drive him to Chicago for Christmas — $600, expenses, and plane ticket back. Josh dismisses the proposed gig.

• Next day, Josh faces the scrutiny of his parole officer. Offers up the Chicago driving gig as proof he has good intentions of reform. The Parole officer likes the idea. There’s no turning back for Josh now.

• TURNING POINT:

DAY 1, DEC. 21: Josh, now committed to the journey, meets retired, widower Al, black, 64, at Al’s suburban home. Car loaded up and ready. Meeting is awkward and confrontational. Josh reluctantly signs Al’s contract/agreement, pledging good behavior during the journey.

• They’re soon off, with Josh behind the wheel, saying he doesn’t want to talk during the trip. But soon they find themselves having to escape the wrath of a pissed-off truck driver who Josh cut off. The adventure begins.

ACT 2

• NEW PLAN:

• Music montage – driving shots across California. Josh driving, Al reading. Finally, Josh can’t stand it any longer and breaks the silence.

• PLAN IN ACTION:

• Conversation points:

–Al’s reading a travel book about historical sites along their route. Josh doesn’t care about history.

–Why Chicago? Josh asks. Al tells about his Sister’s invitation and the great Christmas waiting for him there. Josh is invited to join them Christmas eve, and stay there, before being taken to the airport Christmas day for his flight back to SF.

–Josh & Blues. Al learns of Josh’s love for playing the blues and interest in connecting with Blues venues in Chicago. Al knows blues. Amused to hear Josh consider himself a bluesman.

–Al shops the best price on gas, establishing his frugality.

• Sierra Mountains Blizzard. They buy chains, have them installed, make their way through the mountain pass.

• They stop at the Donner Memorial Monument. Time for lunch.

• They stop at a café in Truckee. Argue over the route. Josh wants the fastest route possible, driving long days to get the trip over. Al wants to deviate over an old historic highway through Nevada’s Great Basis Desert to take in some historical sites; to make it interesting. Al’s way or the highway.

• Josh makes a disparaging remark about a developmentally-challenged worker. Al calls him on it and chews him out. They leave to get back on the road.

• MUSIC MONTAGE 2: They make their way past Reno and into the expansiveness of the Great Basin Nevada desert.

• Al studies the map of their proposed journey. Asks Josh what town Josh is from in Iowa. Al finds it on the map. Josh tells about his family that still lives there, his mother and his married sister. And about his father who abandon the family when Josh was a young boy. He talks about his single mother’s modest house she’s been in for over 30 years, etc. Al tells Josh to respect her for having provided a home as a single mother and the struggles she’d endured.

• They stop at the ruins of a Pony Express station. Al talks about the under-appreciated, unheralded heros that made the Pony Express work, a metaphor for his own forced retirement.

• NIGHT 1, DEC. 21: They make it as far as Ely, NV and get a room at hotel. Go out to find a place for dinner and get mixed up in a Christmas Pageant going on in town. Josh ends saving the Savior from the prankster who steals it out of the live Nativity Scene Manager in front of the towns people. Josh and Al relish in being heros before learning the truth… the jokes on them.

• NEXT MORNING, DEC 22^ND: Josh strumming guitar in hotel room waiting for Al who is checking Blood Pressure and taking meds. PURPOSE: Josh’s guitar skills, Al’s health problems and lapse in his own care, as if he had previously given up. They hit the road.

• Conversations Points:

— Josh slams Christmas holiday. Al tries to defend it, but is also privately saddened by it.

–Al asks Josh if he’s ever been in love. Josh tells about his ex-girlfriend back in his hometown. Admits his fault for it not working out- drugs.

• Out of Gas scene. They run out of gas in the middle of nowhere. 3 “working girls” from a local Bordello ranch, headed on a ski trip, stop and offer assistance – but only after teasing Josh & Al.

• MUSIC MONTAGE 3 — Time Elapse, driving scenes.. They reach the landmark “Wendover Will” the 60’ Cowboy sign and get back onto Interstate 80…. They pass by the Great Salt Lake and soon, skirt the outside of Salt Lake City. Into mountainous, rocky terrain until they reach the ‘Welcome to Wyoming’ sign. Music out.

• Conversations Points:

–Christmas music on radio. Josh hates it, turns it off. Al tells him to lighten up.

–Josh reflecting on his dead friends. Recounts the incident. Al already familiar with the facts.

–Josh then careless seems indifferent about living or not – perhaps he should have joined them. Al jumps on his case about the comment. Josh points out Al’s own carelessness with his medications, cheating death, making him seem like a hypocrite.

• NIGHT 2, DEC. 22^ND: Cheyenne, WY – They check into a motel. It’s late but a nearby cowboy Saloon is still serving so they go there.

• Honky -Tonk Cowboy Saloon. Josh and Al are finishing their dinner. There is a band playing there but they are short their guitar player who is sick, so guest players are taking turns filling in. They are not very good. Al offers Josh up to them. Josh begrudgingly accepts and joins them on stage. Josh delivers an incredible, virtuoso blues guitar performance. Everyone in the bar sits up and takes notice. Al is very impressed and tells Josh so. As Josh and Al are leaving the bar, a redneck picks a fight with Josh. Bouncers pounce on the redneck and a bar brawl ensues. Josh and Al skedaddle.

• NEXT MORNING, DEC. 23^RD: They leave the hotel and get back on the road. Al driving now, Josh playing his harmonica.

• Conversations Points:

–Al raves again about Joshes blues performance. Asks where Josh learned to play. Josh says from an old guy who runs the music store in his Iowa hometown.

–Josh’s phone rings. Josh ignores it. It’s his mother. Al notices that—2^nd time this trip. Al tells him he’s lucky to still have a mother calling to check on him… Al talks how he misses his mother… about how there’s nothing more powerful than a mother’s love for her child.

–Roles in life. Al lectures Josh on accepting with honor the roles in life one has: Son, brother, and someday, husband and father. Josh gets testy… calls Al “Sappy Happy”

–Al is silent at first. Ruminates on this “Happy” label… then tells Josh about his wife that died two months before from Cancer and about the son they lost (their only child) ten years before that in a senseless street shooting near his highschool. Al is emotional, off in a dark zone. Josh insist on taking over driving. They’ll stop in Omaha for the night.

• MID-POINT TURNING POINT:

Last road-night together, Dec. 23^rd. Omaha Hilton. While having dinner and drinks together in the lobby restaurant bar, Al gets choked up when the Hotel lobby pianist performs a Christmas song that was a favorite of his late wife. He retires early. Tells Josh to meet him in the lobby at 8 am ready to go. But Josh slips off the edge into his old ways: gets drunk then ends up in a dive bar with some girls that encourage him to drop a pill with them. Stumbles back to the hotel, throws up, passes out and sleeps in long past his wake up call.

ACT 3

• RETHINK EVERYTHING:

Next morning, December 24^th, Al waits for no-show Josh, then discovers Josh’s hung over state, takes stock of the situation, helps him load his things into the car, then proceeds to drop him off at the nearest airport, having booked a plane ticket to send him home. Josh is crushed by this, losing this new friendship, feeling like a failure – again. Al notices all the pre-Christmas activity around them, travelers in happy moods, etc, then relents and decides to gives Josh another chance. They continue the last day of their journey together.

• NEW PLAN:

Al realizes that Josh’s tattered clothes won’t do for showing up at his sister’s house in Chicago for Christmas Eve. Plus, they smell like puke. Al finds a men’s clothing store still open mid-day Christmas eve and buys Josh a complete new set of clothes, plus a warm, long dress coat. Josh protests, but Al says he’d like to do it to honor his late son’s memory – about what he might have spent on him for Christmas if he were still alive. Josh concedes and accepts the gifts. They get in the car and continue on. Al drives so Josh can continue to sleep off his hang over.

• TURNING POINT:

Al driving on Interstate 80 through snow covered Iowa while Josh sleeps in the passenger seat, now dressed smartly, clean shaven, looking like a very different Josh from who he began the trip with. It’s starting to snow. Suddenly, Al sees a sign for Josh’s hometown; an exit just a couple miles ahead, which bothers him. Perplexed, he dials it into his GPS navigator and sure enough…. Josh’s hometown lies just about 40 miles north of their present position. The exit is getting closer. Al receives a text from his sister wondering about their ETA in Chicago that evening. Al is torn but takes the exit then pulls over to the side of the road to think it through. It all makes sense to him now.

ACT 4

• CLIMAX/ULTIMATE EXPRESSION OF CONFLICT:

Josh wakes up and looks around. He recognizes the road they are on. He starts screaming at Al to turn around. Al, startled by Josh’s reaction and outburst, pulls over to the side of the road. Al tries to reason with him. The otherwise cool, detached Josh now breaks down, gets emotional. Tells why he thinks he can’t go home again… about the shame he carries for those he hurt during his drug using days – his mother, sister and ex-girlfriend. Al calmly gives him the message Josh needs to hear about confronting his past head on and atoning as a way to move forward in life. Josh pulls himself together and then agrees to it.

• RESOLUTION:

As they enter Josh’s hometown, with the snow falling, afternoon giving way to evening, Josh has him stop off first at his ex-girlfriend’s small gift store. She is closing up. Al waits in the car as Josh goes in, and after receiving a very hostile greeting, he apologizes to his ex-girlfriend for his past misdeeds and mistreatment. After unleashing on Josh, she softens a bit and forgives him, wishing him a Merry Christmas. With their friendship restored, Josh leaves.

Then, after spending a light moment together taking a sled run down Josh’s former sledding hill, puzzling all the young kids sledding there, Al drops Josh off at his mother’s house lit up with Christmas lights and a small gathering going on inside. Al and Josh say their ‘good byes’ then Josh starts up the sidewalk with his things as his mother looks out the window, overcome with joy at the sight of her son. She and Al exchange warm gaze of understanding. He smiles and nods to her before getting back into the car and driving away, feeling good at the delivery of a son back to a parent, and this major step forward in his own healing. As he drives away, he starts to sing the very Christmas song that brought him to tears in Omaha the night before. Fade Out, music over credits.

[Charles Jessen]

What I learned from this assignment is: that an inner-conflict, inter-personal drama may never be considered “high concept” so I’m hoping that an A-list actor falls in love with the script.

A. Genre: Drama – A Christmas bromance road movie
B. Title: “The Road Back”
C. High Concept: Two strangers — complete opposites, cynical, with issues — must share a cross country drive over several days before Christmas.
D. Main Conflict: Both men, with immense inner-conflict over their respective circumstances, deal with external conflict between them based on generational, racial, spiritual, and life-value differences, while sharing an unspoken dread of the approaching Christmas Holiday and all the boredom and challenges the 4-day road trip presents.

E. Transformational Journey: The two men go from wounded, combative, cynical and antagonistic to friendly and supportive, finding a path toward redemption and renewal in their respective lives.
F. Opposition:

Bereavement, self-loathing, Christmas, and road-trip challenges.

[Charles Jessen]

Hello everyone,

My name is Charles Jessen. I’m currently finishing my 9th screenplay. And also wrote a TV pilot and pitch bible about 9 years ago (pre-Binge Worthy Class). One screenplay (#4) was optioned by 3 different small-time producers at different times, had talent interested, but was never made.

I hope to get a new perspective to elevate script #8, which I wrote earlier this year, as well as the script I’m finishing now. I feel being in Hal’s classes not only elevates my skills, but is like having a career coach to keep me on track…. that alone is worth the price of admission. I hope to have both scripts, #8 & #9, ready to pitch at a Pitchfest at the end of July.

I am retired from the Advertising/TV commercial world, where I was a writer/director/producer. I live in Mill Valley, CA, am a pilot, sailor and travel frequently.

[Charles Jessen]

I, Charles Jessen, agree to the terms of this release form below:

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.

[Charles Jessen]

I’ll send it to you Judith.

[Charles Jessen]

Hi Denise, when you are ready to exchange, email me at: charlesjessen@me.com Looking forward to seeing your outline.

[Charles Jessen]

Hey Denise, wow. 2nd round already… good for you. I’d like to catch up and get an exchange going right away. Hopefully I’ll be able to exchange with you on your next round, and my 2nd.

[Charles Jessen]

Hi June, I just sent you my outline for “The Road Back” Thank you!

[Charles Jessen]

Hi June, thanks! I’m going to noodle on my outline a bit today, based on feed back from round 1 and will then send it off to you.

[Charles Jessen]

Hey Brian, since we’re both catching up here with our first round, why don’t we exchange and get started. My email address is charlesjessen@me.com if you would like to exchange. Mine is a drama, with some humor in it. A pre-Christmas road trip movie.