[Erin Ziccarelli]

Erin Ziccarelli’s Plan for Increasing Perceived Value!

What I learned doing this assignment is: Pricing strategies and the four ways to evaluate your value: you, the producer, the demand, and the budget/funding.

1. What is your specialty? Describe your expertise in that specialty in one or two sentences.

My specialty is drama, specifically low-mid budget dramas. More recently, I’ve learned more about contained movies and enjoy tackling the challenge of creating an interesting film set in a confined/limited space.

2. How many producers do you have in your LinkedIn Network?

I’ve sent out invites to at least 20 producers and 20 literary managers on LinkedIn.

3. Looking at the list above titled “Increasing Your Perceived Value,” please tell us your plan for increasing your value in these three time frames:

A. Today: updating my page to include more information (education, “about” section).

B. In the next 30 days: Continue sending out LinkedIn connection requests to managers and producers.

C. In the next 6 months: have completed at least one paid writing assignment which adds to my credibility as a writer.

[Erin Ziccarelli]

Erin Ziccarelli is a Note-Taking Professional!

What I learned doing this assignment is: reasons producers ask for changes, and ways to take notes, collaborate, and come up with solutions to move the project forward.

1. Tell us the logline of your treatment from the last assignment.

When a brilliant yet reluctant American physicist is recruited to work on the Manhattan Project, he questions his growing allegiance to his country and its ideals.

2. Tell us how you would honor each of the following requests:

Cut the budget in half: re-locate the
D.C., Tennessee, and Europe scenes, make most of the scenes on the
compound, in the lab, and outside (during the day). I could cut pages off
the script by eliminating depth of the sub-plots surrounding Eve, Anna,
and Victor. Finally, Roy’s character could be eliminated.
Write it for a different audience
(quadrant):
main character could be changed to an older male (to appeal to the 25+ age
bracket) with a longer history of mistrusting the United States. Anna and
Eve could be made older, or Victor’s character could be an older woman.
Double the conflict: Martin could be
under even more scrutiny. Required to comply with regular checks from
Washington. He could be under even more pressure from Oppenheimer to get
the job done.
Change the sex and age of the lead
character:
character would likely not work as a female, but an older male would work.

Change the genre: the story could
be changed to a horror, (Martin fighting his inner demons), or an action
(more fight/explosion scenes), or comedy (Martin trying to find comedic relief
during the war).

[Erin Ziccarelli]

Erin Ziccarelli’s Decreased Budget

What I learned doing this assignment is: the main and secondary variables the determine budget. There are countless options to decrease budget and ensure the project keeps moving forward.

1. Run through this list and tell us how many ways (at least five ways) you can decrease the budget on your High Budget screenplay and what changes you might make in the script to do that.

To decrease the budget of Azurite Sunrise, cut the Washington D.C. scenes (Arlington Cemetery, Washington Monument), helicopter scenes, reduce the bad weather scenes (rain, dust storms), put more scenes during the day, cut the number of scientists in the lab and in the prisoner exchange.

2. With a major scene that depends upon a “high budget variable,” take it through the process of finding another way to deliver on the dramatic goal.

Tell us about the high budget item
in your script that you are letting go of: The Tennessee plant could be
transformed into diagrams on a wall.
Ask, “What is the dramatic goal am I
trying to accomplish with this scene?” Martin’s knowledge is tested
against the current research/projects. He passes the test with both ease
and arrogance.
Ask, “How can I accomplish the
dramatic goal without the expense?”: Martin could be looking at any of
kind of research – instead of constructing the plant, the same effect
could be accomplished with diagrams in a room. He could just as easy
replicate the diagrams.

[Erin Ziccarelli]

Erin Ziccarelli’s Key Business Decisions

What I learned doing this assignment is: the importance of business decisions (30% – 60%) of writing a movie. Work with your producer to get the movie made by deciding on the following business decisions!

1. Give us the decisions that are in your current High Budget script:

Genre: contained genre
Title: Silhouette of a Woman
Concept: Mystery surrounds a stranger’s arrival at a
grieving widow’s New England lighthouse.
Audience: females 25 and under – and
anyone who has ever grieved before.
Budget: low budget
Lead Characters: Claire Drystan (young
widow, emotionally isolated, terrified, and guilt-ridden), Gabe
(mysterious), Captain Marris (demanding)
Journey / Character Arc: Scared and
guilt-ridden lighthouse keeper who hates her job to emotionally stable and
vindicated lighthouse keeper who feels hope for her future (character
arc). Claire facing her grief and reliving the night of her husband’s
death is the only thing that can free her (journey).

· Opening / Ending

2. Tell us which of those decisions you could improve to make your script more marketable.

The opening/ending scenes need improvement to make the script more marketable.

Opening: builds intrigue through the opening V.O., a storm is brewing, Claire is cleaning the table that her husband’s ashes/urn sits on. She’s too young to be living like this.

Closing: closing V.O. that the ship has safely made it. Claire steps outside for the first time. Takes the ashes and scatters them to sea. She’s free and ready to live.

[Erin Ziccarelli]

Erin Ziccarelli’s Specialty – Drama

What I learned from doing this assignment is: the importance of specializing and how it will make you more marketable as a writer. The conventions of each genre, specifically drama.

1. Tell us your specialty.

Drama conventions:

· Purpose: explore stories w/ emotional and inter-personal high stakes for their characters

· Character-driven journey: we care about the characters, internal journey drives the film’s events/progression

· High stakes come from within: struggles/obstacles/stakes come from within the characters more than from external pressures

· Emotionally resonates: drama audiences want to feel/be moved by characters’ emotions

· Challenging, emotionally-charged situations: characters challenged to their core by the emotional situations/struggles they run into

· Real-life situations: drama stories grounded in reality

2. Do a quick Google search for “top (genre) movies.” Select two of the top movies in your genre to watch.

https://www.harpersbazaar.com/culture/film-tv/g39853184/best-drama-movies/

A Star is Born (success and love)

A Streetcar Named Desire (starting over, cracks in perception of reality)

Almost Famous

Animal kingdom (once you’re in the violent family business, violence is the only way out)

Atonement (naivety of childhood, love, torn apart by conflict, coping with regret)

Beautiful Boy (challenges of addiction)

Billy Elliot (following you passion)

Dunkirk (Brits evacuate more than 300,000 troops trapped by the Nazis)

Eternal Sunshine of the Spotless Mind (memory, romance, loss)

3. As you watch each movie, take notes on how that movie fulfills the key parts of your genre.

4. For each movie, tell us the following:

Genre:
Title:
How it
delivered on the genre conventions:
Outline of
the movie, highlighting the parts that fulfill the genre:

[Erin Ziccarelli]

Erin Ziccarelli’s Credibility is Going Up!

What I learned from doing this assignment is: the different ways to measure credibility. It can come in the form of representation, writing assignments, networking, and competition/festivals wins and participation.

1. Based upon the Credibility Model in this lesson, fill in the Credibility Checklist to show us your current credibility.

1. Your Writing Sample

‘Recommend’ from Coverage: score of
7 on Blacklist for Azurite Sunrise, Coverfly score of top 17%
Delivers on the genre in a strong
way: drama conventions

Purpose: explore
stories with emotional and interpersonal high stakes for their characters
(Martin’s journey to loyalty and moving on from his past)
Character-driven
journey: internal journey drives film’s events and progression (Martin’s
journey drives his actions – from deceiving to lying to finally turning
in the Russian spy)
High stakes come
from within: struggles, obstacles, and stakes come from within the
characters more than from external pressures (Martin personal struggles
and drive to get the project done drive him forward)
Emotionally
resonates: audiences want to feel moved by characters’ emotions and how
they experience the events (Martin feeling triggered, old wounds brought
up, high stakes and personal decisions that he must make and deal with
afterwards)
Challenging,
emotionally-charged situations: characters are challenged to their core
by emotional situations/struggles they run into (old wounds triggered)
Real-life
situations: grounded in reality (realities/ethical dilemmas of the
Manhattan Project and the aftermath)

Delivers on the business decisions

2. Screenwriting Accomplishments

Contest wins: Screencraft Pitch
(semifinalist), Screencraft Fellowship (quarterfinalist)
Smaller deals (options, sales,
writing assignments)
Larger deals
Movies produced

3. The Google factor

Google your name. How many items on the first page show you as a professional screenwriter?

Buzz posts, interviews, news reports, etc.

Coverfly, Blacklist profiles

4. Your Network

How many producers are in your
network?
How many Connections do you have who
are connected to producers?

5. Education specific to screenwriting

Degree in film or screenwriting
Master Screenwriter Certificate
program at ScreenwritingU – Creative Mastery classes, Contained Screenplay
classes are a work in progress

6. Borrowed Credibility

Represented by an agent or manager
Working with a producer
Connected to a star
Connected to a funding source

7. IMDB CREDITS

Go to IMDB and search your name. What credits show up there for you?

8. Other forms of credibility that is related to screenwriting:

Novels published
Producer or director experience
Experience working with agencies,
production companies, film festivals, etc..

2. Make a list of possible things you can do to increase your credibility in the future.

· Secure management

· Complete ScreenwritingU classes to earn the badges

· Contact producers

· Finishing SOAW, BB, CP, FORT

· Rewriting AZS

3. At the top of the page, tell us the 2 or 3 steps you’ll take in the next 30 days to increase your credibility.

· Stick to my writing plans! No matter what it takes, keep to the calendar.

· Successfully complete the Manager Mastery class

· Complete the badges classes

[Erin Ziccarelli]

Erin Ziccarelli’s Feedback Exchange

I’m ready to swap! My script is a drama about counterfeiting and cocaine hustling in Boston in the 1990’s. Send me an email at eeziccarelli@gmail.com.

[Erin Ziccarelli]

Erin Ziccarelli Is a Proofreading Star!

Vision: I am creating profound scripts that leave audiences remembering my movies and leave me excited to keep writing and moving up in the industry.

What I learned from doing this assignment is: this is my first time using Final Draft’s “read aloud” function. It took a couple minutes to get used to the monotone voice, but once I did I caught several phrases that sounded “out of place” and were definitely left over from my Module 5 drafts.

4. Tell us how much of a difference this made for your script.

This is the first time I’ve heard my script read out loud, so that helped me catch some of the out of place phrases. I also recommend copying your script into a google doc or word document, because the word/spell checks are a little more advanced than Final Draft.

[Erin Ziccarelli]

Erin Ziccarelli’s Wordsmithing!

Vision: I am creating profound scripts that leave audiences remembering my movies and leave me excited to keep writing and moving up in the industry.

What I learned from doing this assignment is: I had several vague/repetitive verbs that needed some elevating. The words, “look,” “turns,” and “goes” where my most-used…before completing the assignment.

6. Tell us how many changes you made and give us three you feel really good about.

I made at least 40 changes for this lesson. I reduced the amount of “-ing” words, elevated vague verbs, and cut a few parentheticals. I’ve been told that I overuse beats, so I wanted to make sure to use them in only the right situations…such as right before a dramatic reveal happens or when a character foreshadows.

[Erin Ziccarelli]

Erin Ziccarelli Has Tested Every Line!

Vision: I am creating profound scripts that leave audiences remembering my movies and leave me excited to keep writing and moving up in the industry.

What I learned from doing this assignment is: at this stage in my writing process, most of my scenes feel necessary because of all the interest techniques and deeper layers that I’ve incorporated. I cut 14 pages out of my script by reducing my descriptions and tightening dialogue. This was a big to-do for me since my script was at 137 pages and some scenes felt a little too long/drawn out.

5. Tell us how much of a difference this made for your script.

After completing this process, I no longer have scenes that are over five pages – I reduced a lot of “over-directing” and blocking that would be added in perhaps a shooting script later on. One of the biggest changes I made was tightening up the opening scenes and adding shorter and more suspenseful descriptions to draw the reader in.

6. Give us the before-and-after on the scene where you made the biggest changes.

This draft was an opportunity for me to add some poker terms and phrases, in keeping with my title, Blind Bet. I gave Scarlett and Alex each a poker phrase in the scene where he hires her. (Alex: I know when to hold ’em, I know when to fold ’em.)

(Scarlett: If I can’t spot the sucker in my first half hour at the table, I am the sucker.)

[Erin Ziccarelli]

Erin Ziccarelli Has Amazing Dialogue!

Vision: I am creating profound scripts that leave audiences remembering my movies and leave me excited to keep writing and moving up in the industry.

What I learned from doing this assignment is: The skill mastery sheet is helpful for improving dialogue! It helped me the most to go back to the engaging banter and anticipatory dialogue lessons in this module.

2. Use the strategy above along with the Skill Mastery Sheet to elevate as many lines as you can.

3. Tell us how many lines you elevated and give us three before-and-after examples.

About 25 lines elevated!

Example 1:

· Alex: Who set the fire?

· Alex: Who destroyed the only thing I’ve ever done right?

Example 2:

· Scarlett: Does this bother you?

· Scarlett: Let me guess – this is below you now.

Example 3:

· Alex: I worked on the Mercedes – I think he’s really going to like it. It wasn’t such a lost cause after all. It just needed some help.

· Alex: The Mercedes is in his hands – it wasn’t a lost cause, it just needed a helping hand.

[Erin Ziccarelli]

Erin Ziccarelli Has Incredible Monologues!

Vision: I am creating profound scripts that leave audiences remembering my movies and leave me excited to keep writing and moving up in the industry.

What I learned from doing this assignment is: the steps to creating a great monologue. I have three lead characters each with a scene where I can combine some of their lines of dialogue into a monologue. This lesson has helped me give essence to the monologue and keep it organized to deliver a punchline at the end.

2. Using the steps above, write a monologue for each of your lead characters.

3. Tell us the setup for the scene, then present the scene, including the monologue.

· Setup for Scarlett’s monologue: Scarlett has just found out Alex’s identity. She’s not taking it well. She’s starting using to try to numb the pain. Alex arrives and tries to explain himself, but he’s not doing a good job.

· Setup for Roger’s monologue: Roger has revealed that his last name is really Walsh. Alex has just realized that he’s been helped by someone from a rival family.

· Setup for Alex’s monologue: Alex has just rejected his old ways. He doesn’t know if Scarlett will wake up or if she can hear him. Still, he wants to deliver a speech to her and apologize for his past mistakes.

4. Present these elements for each monologue.

Demanded by the situation:

Scarlett needs to
confront Alex about the inheritance.
Roger needs to
tell Alex the truth about his past to help him.
Alex needs to
apologize to Scarlett and explain that he’s changed.

Takes us to a deeper place

Scarlett: deeper questions
about the crime families and the point of all the black marketeering and
family structures.
Roger: deeper
understanding of how Alex can change and move forward, just as he has.
His “change agent” status in the story is solidified.
Alex: Deeper
answer to Scarlett and Roger’s questions about what the point of their lives
was.

Turning point:

Scarlett: Scarlett
reveals that she knows the truth about the conservatorship. It all makes
sense to her why Alex reached out.
Roger: Roger
motivates Alex to go back to the South End and confront Richard.
Alex: Alex
declares his devotion to Kitty’s memory and Scarlett’s future.

Emotional

Scarlett: It’s makes
us empathize with Scarlett’s otherwise unlikeable character. We
understand why she acts the way she does, and we understand where Alex is
coming from.
Roger: We respect
his resilience and see his kindness and generosity towards Alex. He’s
overcome a lot to get to this point. He’s devoted to his job and to helping
Alex make a lasting change.
Alex: the
audience is moved as Alex realizes what he’s been given and reassures us
that Alex has made a permanent change.

High stakes

Scarlett was the
last thing that was keeping Alex from slipping back into his drug use
habits. If she rejects him, he’ll go right back to his old ways.
Roger’s reveal
comes at the beginning of Act 4 when Alex is still grappling with whether
or not he should confront his antagonist. Roger pushes him in the right
direction without telling him what to do.
Alex’s apology to
Scarlett and telling her that he forgives her comes after he’s found out
that she told Richard to destroy him. We’re not sure how he’s going to
react, but he does so through the forgiveness that Roger showed him.

A beginning, middle, and ending.

Scarlett:

Beginning: Alex
triggers Scarlett by referring to her as “family”
Middle: Scarlett
annunciates a lot of the questions that Alex has been trying to answer. She’s
struggling with them too.
Ending: Scarlett
reveals to Alex that she knows about the inheritance. Answers the question,
and not in the way that Alex wanted to hear. It flusters him, only
digging a deeper hole.

Roger:

Beginning: Roger
is forced to admit his past. He describes his role in the black market
and the futility of the old ways.
Middle: Roger explains
the transition he’s made – from hating people like Alex to helping him.
He tells Alex that he must leave Boston.
Ending: He hands
over the last of the inheritance money. Tells Alex that he has
everything he needs to be free of the old life.

Alex:

Beginning: Alex sees
Scarlett lying there. It reminds him of being by Ted’s side as he died.
He tells her there are things he wish he had told her.
Middle: Alex
explains that he no longer sees value in the inheritance money from
Nathanial Caden. He sees value in their relationship.
End: Alex
apologizes and tells Scarlett that they can move forward together. They can
move onto a better life.

5. Share the monologue with us.

Scarlett to Alex:

SCARLETT

Why now? Was it a near death experience? Bet to an old friend? Or…fate. Do you remember how Nathanial Caden made his money? That asshole profited off screwing people like you, and then his last laugh was leaving the results of it to you. So, what is family? What was the point of this life? Do we live life? Do we lead a life? Do we choose a life, or do others choose for us? He chose – family was a card in his game, you’re no different. If you want to call Kitty family, if you want to call me family, tell me one thing – did you try to find me before or after you learned of the conservatorship?

Roger to Alex:

ROGER

I chose. If I hadn’t, I’d still be at odds with people like you. I was good at the business too, Alex. If I’d stayed, I would’ve worked on the Dunbar sale. I would’ve gone to jail later on, right alongside Ted. And for what? Scarlett will always be one of mine. You were right – you never leave the old life behind. But the same loyalty I have to her, I have to you too. I always will. That’s where I’ve changed. I’ve tried to help you see that it’s not too late. There’s still a chance for you and Scarlett. Once she’s well, you’re both leaving. I told you that to get out and stay out, you need means and hope. You did it on your own and your future is yours. Cash the check or don’t, it’s your choice. You’ve got all the hope you need.

Alex to Scarlett:

ALEX

Roger never gave up on you, Scarlett. You owe him your life. And now I know I owe you mine. Those days and nights when I had no reason to believe, to keep going, you gave me one. I wish I could’ve told you that. And I wish I had told you…. (beat) Kitty couldn’t say it for the same reason I didn’t. We were ashamed. And when your grandfather left me his fortune, he knew it would lead me to you. Why he waited 24 years, I’ll never know. The money wasn’t the gift. I’m proud that you’re my daughter. Whether it’s fate or destiny…you’re dealt your cards and you play your game. Sometimes it’s skill, the rest is luck. I’m sorry for letting you both down. The choices I made…left me with regret. I can’t go back. I know the three of us will never be together as a family, but you and I can still move forward. You were by my side as I left it all behind, and I promise to be there when you do the same. Don’t go down the same road I did, Scarlett. There’s another life, a real life, waiting for us. You won’t have to stand alone anymore.

[Erin Ziccarelli]

Erin Ziccarelli is great at Subtext Pointers!

Vision: I am creating profound scripts that leave audiences remembering my movies and leave me excited to keep writing and moving up in the industry.

What I learned from doing this assignment is: different ways that using subtext pointers can point to underlying meaning. The challenge in this lesson was finding the right balance between being cryptic and being clear – I want to intrigue the audience, but not confuse them!

<b style=”font-family: inherit; font-size: inherit;”>4. Make a list of your 5 favorite Subtext Pointer changes and for each one, tell us:

Metaphor: Alex comparing himself to an old car that’s of no use.

Before lines: I shouldn’t be here. I’ve
lost hope.
After lines: I
had this car – a Peugeot. It was old, rusted, breaking down. One
night, I ran it into a ditch. They shipped it off to a junkyard. I’m
just saying I can tell when something’s beyond saving.

Implication: Roger implying that he will find out the truth behind the conservatorship

Before lines: I’ll start
my own investigation.

· After lines: There’s a lot I didn’t know. A lot I still don’t understand. A lot I can find out.

Insinuation: Richard insinuating that Scarlett gave Alex information.

· Before lines: You tipped him off.

· After lines:

Richard: Why did you go to work for him?

Scarlett: It was just a job.

Richard: It was more than a job.

Hint that Scarlett knows Alex is hiding something

· Before lines: You’re hiding something.

· After lines: I know base dealing when I see it.

Metaphor: Alex and Roger’s metaphors for the night of the Dunbar sale

· Before lines: You went back to the old life!

· After lines:

Alex: Why are you here?

Roger: Still playing the game.

Alex: I don’t know who’s going to win.

Roger: Soon as I go, I’m making a call. I hope tonight you find yourself on the right side of the harbor.

[Erin Ziccarelli]

Erin Ziccarelli loves Covering Subtext

Vision: I am creating profound scripts that leave audiences remembering my movies and leave me excited to keep writing and moving up in the industry.

What I learned from doing this assignment is: the difference between surface level and deeper meaning, and different methods to add subtext. It’s important to stay “in character” by picking the right method for subtext.

4. Continue through the entire script, adding subtext cover-ups to any scenes you can.

Roger, Demi, and Judge Wilson try to unravel the liquidation mysteries

· Subtext dialogue: Demi’s silence (she’s not interested in “solving the mystery”), change the subject (inviting Judge Wilson over), questions Roger,

· Anticipatory dialogue: Demi’s prediction that Roger’s past will keep following if he keeps overstepping, countdown (Roger knows something’s coming up), Demi implies consequences from Roger’s prying, Judge Wilson trying to “shield” Roger from what could be a big arrest, Demi’s warnings to Roger, challenge issued for Roger to find out who killed Kitty.

Alex and Scarlett’s first conversation at the DMV

· Subtext dialogue: misdirection (Scarlett describing the long line), Alex’s silence, Alex changes the subject form location to his “business”

· Anticipatory dialogue: Scarlett’s strange silence as Alex talks about his “business,” indirect prediction (Scarlett says that nothing good happens in Lawrence),

Scarlett and Joe plan for the next sale

· Subtext dialogue: action incongruent with words (Scarlett and Joe are “lovers” but their relationship is purely transactional), change subject (Joe changes the subject from money to the sale), question each other about Scarlett’s influence, she and Joe “attack” each other about their reputations/families, Joe tries to make a joke of it.

· Anticipatory dialogue: indirect prediction (Scarlett overestimates her influence), countdown (they only have a few months to print three million), implied consequences of Richard’s “undivided and unchecked hate,” shield from consequences in advance (shielding her from Richard implies danger), implied hopelessness (Scarlett says they’ll never be out from under Richard), warnings (Joe warns Scarlett of questioning Richard), creating a reputation for Richard, Scarlett confronts her future of fear, challenged issued for Scarlett to “overthrow” Richard, silence when Joe starts to overtake her.

Alex learns of the will’s conservatorship condition

· Subtext dialogue: silence (Alex won’t let Roger see the will), Alex changes the subject as soon as Roger walks out, Alex misdirects Roger’s questions.

· Anticipatory dialogue: indirect prediction (Roger wants to know more, implying that he’ll find out), countdown (Alex “counting down” how many bills he has), imply hopelessness (Alex won’t see the inheritance money anytime soon), challenge issued (Alex to become financially self-sufficient), silence when Roger tries to look at the will and find out the conservatee.

Biofeedback session w/ Dr. Reynolds

· Subtext dialogue: Alex changes the subject from the treatment plan to talking about his old Peugeot, questions Dr. Reynolds

· Anticipatory dialogue: Dr. Reynolds direct prediction of him “losing,” countdown to Alex’s seizure, Dr. Reynold’s warnings, challenge issued for Alex to stop gambling with his future.

Roger reveals Alex’s inheritance

· Subtext dialogue: Alex’s silence when Roger mentions Nathanial’s lack of surviving family, Alex’s changes the subject to ask who else knows, he attacks Roger about knowing about the will, Roger questions Alex about his life.

· Anticipatory dialogue: Roger’s direct prediction over how Alex’s life will be if he doesn’t change, Alex’s indirect prediction about his future, Roger implies consequences over not following Nathanial’s “advice,” Alex is in denial about his life and Roger tries to call it out, Alex warns Roger about others finding out the truth.

Alex meets Demi, Roger, and Will

· Subtext dialogue: Roger doesn’t answer many of Will and Demi’s questions (silence), action incongruent with words (Will and Demi are unimpressed by Roger but act like they respect him), Roger changes the subject (not wanting to talk about his time in Boston), Roger questions them back about the will, Roger’s misdirection on the will.

· Anticipatory dialogue: challenge issued (Roger and Alex are going to have to talk eventually), Alex’s silence at strange times, implied hopelessness about Alex’s unfailing loyalties.

Will and Demi puzzled about Nathaniel Caden’s will

· Subtext dialogue: action incongruent with words (Demi and Will should be excited about handling the will, but instead they’re not), Demi questions Will about the will, they both try to make a joke of it.

· Anticipatory dialogue: Will’s comment that Demi would rather they “kill themselves,” foreshadowing Richard’s death, indirect prediction that they’ll “come together,” Will tries to shield Demi from the truth about Alex’s whereabouts, challenge issued to get the money to Alex, Will and Demi’s silence over reading the will.

Kitty and Richard argue over the Dunbar Sale

· Subtext dialogue: Kitty’s silence when Nathanial thanks her for her loyalty, action incongruent with words – she accepts his thanks but is visibly displeased, changes the subject from the coin to Dunbar, questions Nathanial back.

· Anticipatory dialogue: Richard’s direct prediction that she is the future, countdown to the end of the sale, Kitty implies hopelessness for the future, her warning to Nathanial, establishing Richard’s reputation, challenge issued for Kitty to become the future of the North End, Nathaniel in denial about Richard’s motives.

Alex and Kitty’s love story introduced

· Subtext dialogue: Alex and Kitty question each other back, Kitty “attacks” him back,

· Anticipatory dialogue: Alex predicts that the South End will control the black market, Kitty and Alex counting down to Dunbar sale, Kitty implies consequences from their night together, Kitty warns Alex of “fallout” from their time together, challenges issued by exposing these characters weak points

Richard and Nathanial’s confrontation

· Subtext dialogue: action incongruent with words (Nathanial and Richard are “allies” and yet he pulls a gun on Richard), he attacks Richard back.

· Anticipatory dialogue: Richard says Nathanial is weak, Richard implies the Cadens are “in bed with them,” they’re counting down until Dunbar, Richard implies consequences if they lose the sale, Nathanial implies future conflict by saying that he made Richard who he is, he lays out their “mission statement” (creates a reputation), Kitty listening in on them is a challenge/threat.

Opening poker scene

· Subtext dialogue: Alex’s silence as Shane says they should end every rival of theirs, Alex speaks well of Shane and then leaves to be with Kitty, questioning Saoirse (“Could they really be so different from us?”), Saoirse attacking him back, Shane complementing Alex

· Anticipatory dialogue: direct prediction, countdown, imply consequences (over what happened to Alex and Saoirse’s parents), warnings, Shane’s villain reputation, Alex “confronts” Saoirse and Shane, awkward silence as Alex chugs the drink.

[Erin Ziccarelli]

Erin Ziccarelli loves Anticipatory Dialogue

Vision: I am creating profound scripts that leave audiences remembering my movies and leave me excited to keep writing and moving up in the industry.

What I learned from doing this assignment is: Eleven ways to create anticipatory dialogue. I’ve been looking forward to this part of the module because I like to create intrigue with my dialogue. Step 9 (confront someone hiding from a future consequence) is my most-used technique because my three lead characters are hiding from their pasts.

2. Skim each scene and ask these two questions:

A. Do I have any anticipatory
dialogue here?
B. Can I add a line that
creates anticipation for some future event?

3. For any scenes that don’t have anticipatory dialogue, use one of these methods to rewrite or add a line.

1. Direct prediction: Alex and Kitty’s
love scene – foreshadowing to Ted’s death.
2. Indirect prediction: opening
poker scene, Demi and Will’s conversation about the families coming
together.
3. Countdown: Richard and Nathanial’s
feuding scene.
4. Imply consequences: Ted and Alex’s
tense dialogue when they meet 20 years later.
5. Imply hopelessness: Kitty watches
as Alex is arrested.
6. Shield from consequences in
advance: Alex telling Collin, Darren, and Patrick to get out “before it’s
too late” – it will be too late for him.
7. Warnings: Roger’s warning to Alex
about his life choices.
8. Create reputation for the villain:
we’re eager to see what Richard’s next move will be.
9. Confront someone hiding from a
future consequence.
10. A challenge issued: testing each
other’s poker-playing skills
11. Silence at a strange time: Alex
and Roger’s silence in the interrogation room.

4. Continue through the entire script, adding anticipatory dialogue to any scenes you can.

[Erin Ziccarelli]

Erin Ziccarelli loves Attack/Counterattack Dialogue

Vision: I am creating profound scripts that leave audiences remembering my movies and leave me excited to keep writing and moving up in the industry.

What I learned from doing this assignment is: Best practices for finding attack/counterattack in movie scenes. The scene from a Few Good Men is one of my favorites from the film, and I have a new understanding of the scene after learning about banter! This lesson helped me elevate a scene that I’ve had flagged since the first draft. It’s less expositional and more engaging now because of the characters’ attacks and counterattacks.

2. Look through your scenes and find some that have very little dialogue.

· Cocaine sale to Mr. Dunbar

· Will and Demi tour the Caden estate and debate why Nathanial left the estate to Alex

· Ted’s last words to Alex

· Biofeedback therapy session

3. Give the characters opposing viewpoints.

Different perspectives
Different objectives
Different realities
Different emotional states
Different philosophies
Different issues

4. From those differences, create conversations with back-and-forth banter in your scenes.

5. Give us one scene where you did Attack/Counterattack dialogue well.

EXT. CADEN ESTATE – DAY

First responders shut down the street and take over the estate. WILL LAWSON (35) pushes through the crowds and stands before the house’s ornate gates. A buzz sounds. The gates part, revealing a splendid mansion and expansive grounds. Far more beautiful than twenty years ago. He marvels at the neatly manicured lawn, stone walkways, and exotic plants. DEMI GOTWICK (33) clutches the Last Will and Testimony file. She shakes Fr. Sullivan’s hand and walks up to Will. He starts to page through the document. Surprise takes over his face.

Will: We want a better future for him.

She returns a befuddled look. Looks out at the estate. All business.

Demi: I expected a fight from his children over the estate.

Will: If he had any surviving. Ryan and Gotwick PC has social service’s full cooperation.

As EMTs wheel the gurney out of the house, wind blows the sheet off Nathanial’s face. Demi and Will both look sick.

Will: But a high-profile case like this is a first for me.

The sirens and noise from the medical professionals and police officers take over. Will and Demi walk amongst the sprawling grounds. Heading for a high point.

Will: I’m disappointed Nathaniel Caden’s exploits paid off in the last twenty years.

Demi: They follow a code.

Will: Black marketeering?

Demi: He broke that code. What would compel you to leave millions to a man you never knew?

Will: Coercion. Tax evasion.

Demi: Nathaniel was too powerful to be coerced. Not even by the IRS.

They arrive at the hill. From their vantage point, they can make out the Charles River snaking through the city. Neighborhoods lie beyond.

Will: Maybe he saw the futility of their crime family feud.

Demi: He fed it all those years.

Will: They’re all Irish, all Catholic, all Bostonians. They can come together.

Demi: To face off and kill each other.

Will: Would you rather they kill themselves?

Demi: (smirks) The beneficiary must come forward to receive his inheritance. Where can we find him?

Will: I’m disappointed to say he was a black marketeer too. Now he atones.

Demi: In purgatory?

Will: Augusta. I’ll request he be transferred to Riverside Prison here in Boston.

Will shakes his head at the will. He still can’t believe his eyes.

Will: Lucky man.

[Erin Ziccarelli]

Erin Ziccarelli’s Dialogue Structure

Vision: I am creating profound scripts that leave audiences remembering my movies and leave me excited to keep writing and moving up in the industry.

What I learned from doing this assignment is: different ways to build dialogue structure. Right now I have a lot of the “deeper layer opposes dialogue” structure, but not many of the other types, so I am working on adding those in to elevate the whole script.

2. Identify all the scenes in your script that could be driven by the dialogue.

3. Use the Dialogue Structures and rewrite at least one scene each to have a major impact through this structure.

A. Setup / Major Twist: Ted’s death – he starts
the scene telling Alex about Kitty and then reveals the truth about Scarlett.

B. Opposite Meanings in
Dialogue:
Dr. Reynolds and Alex discuss the old car.
C. Subtext Drives the Meaning: opening and
climax scenes with the poker games – incorporate winning/losing poker
moves to the shifting power dynamics.
D. Deeper Layer Opposes
Dialogue:
Scarlett and Alex’s confessions to their families – Richard’s disdain and
Patrick/Collin/Darrel’s anger over the truth.

[Erin Ziccarelli]

Erin Ziccarelli’s Elevated Dialogue

Vision: I am creating profound scripts that leave audiences remembering my movies and leave me excited to keep writing and moving up in the industry.

What I learned from doing this assignment is: the importance of singling out a character’s dialogue. This process is helpful to give a character their own unique voice. For example, my lead is very bitter in the first act, so I went through all that dialogue and put a cynical/sarcastic spin on it to convey that emotion and subtext. This took a while but is definitely worth it!

2. Follow these steps to rewrite any generic lines from your lead characters.

Select a lead character.
Pull out their character profile and
read it.
Go to the first dialogue line for
this character. Read it.
Ask, “Could that line be said by
anyone else?”
If so, using that character’s
profile, brainstorm other possible ways to say the line.
Rewrite it, then move to the next
line by this character.

3. Tell us how many lines you rewrote for each character and give us three of your favorites just for fun.

· Alex: about 30 lines

o Because we’ve stuck together. No one stands alone.

o Which one of mine turned you in?

o I don’t know who you are, and I don’t know why you’re here. But you don’t speak of this. I didn’t know Nathanial Caden, I never had anything to do with Nathanial Caden. He was never one of mine.

· Scarlett: about 15 lines

o Richard – what will we do with him? What will we do without him?

o So hiring me is just another round in your game.

o I’m in your game for the money. You don’t tell me what to do outside of 8-5. It’s a family affair. I stick to my business, stand by my people, and I don’t talk to scum on the other side.

· Roger: about 20 lines

o It’s how I measure a man’s resilience.

o You could leave the old life behind. Start over. Call your bet.

o You want to go back? To everything you were before?

[Erin Ziccarelli]

Erin Ziccarelli’s Elevated Interest

Vision: I am creating profound scripts that leave audiences remembering my movies and leave me excited to keep writing and moving up in the industry.

What I learned from doing this assignment is: the importance of having more than three or four interest techniques in your scenes. Building in more interest techniques will make my film more engaging and more attractive to producers. The possibilities are surprisingly endless, even with only 10 interest techniques. I enjoy this exercise because it is a chance to build on the Module 4 assignment and keep elevating!

2. With the above set of interest techniques, go to the most important scenes in your script and brainstorm ways to build in more interest techniques.

Structure – opening, inciting
incident, turning point 1, etc..
Lead character introductions.
Reveals – both plot and character
reveals.
Key setups.
Important payoffs.
Most dramatic moments.

3. Select the best ideas and rewrite those key scenes to double or triple their level of engagement!

5. Post a list of the changes you made to the forums.

Scene 1: Opening

External Dilemma:
Alex can either chose the family business or reject – either other people
will get hurt or he will get hurt
Internal Dilemma:
Alex can either chose his family or his true love – both choices will hurt
someone
Character changes
radically: we thought Alex was completely loyal to his family – turns out,
he is in a secret relationship with Kitty
Uncomfortable
moment: Saoirse and Shane are both suspicious of him
Major twist: Alex
looked like he was on board with Shane, and in reality he’s in love with someone
from the “wrong side” of Boston!
Surprise: Alex looks
like he may not win the poker game. Then, he does.
Mislead/reveal: take
the viewer in the wrong direction (thinking that Alex is as ruthless as
the rest, and then reveal that he’s seeing Kitty)
Cliffhanger: Alex
leaves with the bottle of champagne. Who’s it for?
Intrigue: Alex hiding
something from Shane and Saoirse
Suspense: Poker
game suspense
Uncertainty: is
this group going to make it? Will they turn on each other?

Scene 2: Nathanial and Richard’s argument

More interesting
setting: setting moved from Nathanial’s office to a party scene, putting
their goals of secrecy in jeopardy
Superior
position: We know the South End is planning the North End’s downfall the
next night. Now we know that the North End has the upper hand.
Character changes
radically: Nathanial goes from congratulating Richard to pulling a gun on
him.
Betrayal: Richard
betrays Nathanial’s authority
Internal dilemma:
Kitty struggling with her loyalty to Nathanial v. loyalty to Ted
Uncomfortable
moment: Nathanial shows Richard who’s boss….and he doesn’t like it
Major twist: the people
we think are going to be defeated are actually ahead of the game
Intrigue: Kitty
was listening in on their argument
Mystery: How are
Nathanial and Richard going to take the Donovans out of the picture?
Suspense:
something is going to happen between Richard and Nathanial
Uncertainty: we’re
afraid for Alex and his family

Scene 3: Alex and Kitty’s first scene
together

Superior
position: We know more about the sale that’s happening tomorrow night
than Kitty and Alex do
Internal dilemma:
they’re struggling with their feelings for each other and struggling with
how to reveal it to Richard and Nathanial
Misinterpretation:
Kitty pushes Alex – he doesn’t feel it’s her place. Kitty reveals that
Richard may become her father in law.
External dilemma:
the family politics have taken over their lives
Character changes
radically: Kitty is alright with their carefree relationship, but she
wants Alex to commit and admit the truth to Shane. Alex goes from not
wanting to say anything but then wanting to reveal the truth.
Suspense: something
is going to come from this night.
Uncertainty: we’re
hopeful for their relationship and then afraid for it – they don’t have
much hope for their relationship lasting.

Scene 4: Richard’s basement w/
Nathanial and Kitty

More interesting
setting: from outside the Caden estate to Kitty burning the last of the
counterfeit dollars in Richard’s basement (the same place where Scarlett
will confront Richard in 25 years)
Superior
position: Nathanial knows more about Richard’s plot than Kitty. She’s furious
when she finds out.
Misinterpretation:
Kitty runs out – Nathanial thinks it’s because she’s annoyed at him, but
it’s actually to try to warn Alex
External dilemma:
Kitty will lose with both Ted and Alex – marrying Ted would give her the standing
within the family, while staying with Alex would make her happy
Character changes
radically: Kitty goes from remaining silent on her relationship with Alex
to running out to try to warn him.
Betrayal:
Nathanial betrays the system
Uncomfortable
moment: Kitty is in a very awkward place with Nathanial
Mislead/reveal:
Kitty thinks Richard’s feud with Nathanial is pretty harmless until she
learns the truth and is horrified
Surprise:
Nathanial is behind Richard. Kitty is horrified.
Intrigue: the
sirens in the background – they’re coming for Alex.
Suspense: we know
that Alex is going to be caught tonight – when/how is it going to happen.

Uncertainty: we’re
afraid for Kitty and Alex’s future – they don’t look like they’re going
to have one together

Scene 5: 22 years later, Will and
Demi meet over Nathanial Caden’s will

Interesting setting:
there’s a crowd outside the house, trying to see inside. Nathanial’s
death is a big deal for the locals.
Character changes
radically: Will goes from confused to hopeful for the families’ future.
Uncomfortable
moment: Demi and Will see Nathanial’s body.
Major twist: Will
is shocked that the inheritance isn’t going to a member of the Caden
family.
Cliffhanger: Who
inherited the estate?
Intrigue: Nathanial
has no surviving children – what has happened to Kitty? What became of
Alex in the last 25 years?
Mislead/reveal:
Nathanial didn’t leave money to a family member. Then it’s revealed that
he left money to someone he never knew.

Scene 6: Roger and Alex’s first
conversation

More interesting
setting: instead of simply staying in the interrogation room, Alex and
Roger move through the hallways, into the courtyard, and into another
building
Superior
position: we know that Alex is the trustee before Alex does.
Character changes
radically: Alex goes from indifferent to Roger to angry at him.
Internal dilemma:
It’s difficult for Roger to help Alex. We just think it’s Alex’s past as
a counterfeiter making Roger uncomfortable.
Uncomfortable
moment: Alex is going into withdrawal and vomiting in front of Roger.
Intrigue: Who is
Roger, and why is he there? What is he hiding? Why did Nathanial leave
the money to Alex?
Suspense: Will
Alex accept it? Or will his pride as a Donovan prevent him from taking it?

Uncertainty: Alex’s
future – he’s changed so much in the last 20 years, and we’re afraid he
may not recover.

Scene 7: Alex visits Ted as he’s
dying

Misinterpretation:
Alex thinks Ted wants to see him to rub it in about Kitty. Ted really
wants to see him to tell him about Scarlett.
Character changes
radically: Alex goes from shock over Scarlett to denial.
Betrayal: Alex
learns that Ted was involved in Kitty’s death
Major twist: Scarlett
is Alex’s daughter
Cliffhanger: Alex
states that he has no friends in the North – what does this mean for his
future with Scarlett?
Intrigue: Ted
keeps talking around the reason he wanted to see Alex.
Mystery: What has
Scarlett been doing all these years?
Suspense: We know
Ted called Alex in for a reason – we’re just not sure why
Uncertainty: We’re
concerned about how Alex might react – and afraid of what this means for
his future and for Scarlett

Scene 8: Group therapy session with
Jack and Shaun

More interesting
location: therapy held in the garden rather than a conference room.
Uncomfortable
moment: Alex admits he is not a “white collar criminal” – Jack and Shaun
look down on him for this
Intrigue: the
Jack and Shaun debate/back and forth about fate and destiny
Surprise: we
think Alex is going to feel improved after this group session, but he
only ends up feeling worse about Scarlett
Misinterpretation:
Jack and Shaun misinterpret Alex’s past. He doesn’t try to defend himself.

External dilemma:
Alex’s views on his life – if he turns from it, he’s losing his support
structure, if he embraces it, they’ll determine his fate.
Character changes
radically: Alex goes from somewhat eager to be in the session to
downright depressed.
Betrayal: Alex
feeling betrayed by his old life.
Major twist: Alex
reveals some of what he did.

Scene 9: Alex’s acceptance of the
journey

Superior
position: we know about Scarlett, Dr. Reynolds and Anderson do not
Misinterpretation:
Alex views rehab as a prison, not a stepping stone to something better
External dilemma:
Alex can either get better/go out in the real world or stay sick and remain
in the “prison”
Betrayal: Alex
will always want to get high – rehab hasn’t lived up to his expectations.

Internal dilemma:
Alex struggling with “seeing” Scarlett and remembering his own family
Uncomfortable
moment: Alex trying to leave but he is hooked up to everything.
Surprise: Jack
and Shaun are going to be Alex’s “support”

Scene 10: Volleyball game

More interesting
setting: volleyball court, with Jack, Alex, and Shaun on the same team –
symbolizing the “team spirit” that Alex will try to cultivate in the next
act
Superior
position: we know what Alex did, but Jack and Shaun have no idea. They’re
forced to trust him.
Misinterpretation:
Jack and Shaun remain suspicious of Alex and his past. They’re still a
little leery of him.
Character changes
radically: Alex goes from thinking negatively to thinking somewhat
positively of Jack and Shaun.
Internal dilemma:
Alex needs to get along with them to get out. He also doesn’t like them
very much, but he’s willing to go along with it.
Uncomfortable moment:
they’re not good at volleyball and the other team is winning.
Cliffhanger: Jack
is still suspicious of Alex. He’s not going to let it go.
Uncertainty: will
these three be able to form a team – and make it?

Scene 11: Alex leaving the admin
office

Superior
position: we know something about Alex that Joe doesn’t
Misinterpretation:
the warden judges Alex and views him as a failure because he took almost
a year to get through rehab.
Betrayal: the
warden and Randall betray Alex’s confidence.
Character changes
radically: Alex goes from confident to threatened.
Uncomfortable
moment: Alex has to see Randall Byrne before he leaves – one of Ted
Brennan’s best friends.
External dilemma:
Alex’s life is in danger both in Riverside and in Boston.
Intrigue: Randall’s
son is out there. Will we meet him soon?
Mystery: The
warden wonders about Alex’s inheritance.
Uncertainty: just
when we think Alex has a clean break from prison, Randall shows up to
threaten him. We’re afraid for Alex.

Scene 12: Alex learns of the
conservatorship condition

Superior
position: Alex and Demi know something Roger doesn’t. It’s driving him
crazy.
Misinterpretation:
Alex misinterprets Roger’s actions as trying to trick him.
External dilemma:
Alex has to either take a loan or talk to Scarlett.
Character changes
radically: Alex goes from feeling somewhat hopeful and positive about the
inheritance to negative.
Betrayal: Roger
betrays Alex by leaving the part about the clause out, Nathanial betrays
Alex by requiring 20% of the money go to Scarlett.
Internal dilemma:
Alex is either going to have to talk to Scarlett or forge her signature
to get the money.
Uncomfortable
moment: Alex shuts down Roger’s “spying” on him
Major twist:
Scarlett is the conservatee
Surprise: Alex is
shocked to learn that 20% of the money must go to Scarlett.
Mislead/reveal: Nathanial
left money to someone….in the last moment of the scene, it’s revealed to
be Scarlett.
Intrigue: Something
about the conservatorship clause is triggering Alex.
Suspense: We don’t
find out the truth until the end.
Uncertainty: Will
Alex get his money? We know he doesn’t want to talk to Scarlett

Scene 13/14: Alex searching for
Scarlett at the DMV

Interesting
setting: Alex doesn’t find Scarlett in the DMV – he finds her in the back
alley. She goes back in before he can walk up to her.
Superior position:
We know what Scarlett doesn’t.
Misinterpretation:
Alex has a misconstrued perception of family, and he just wants his
inheritance money.
External dilemma:
Alex can either walk up to her and have to explain himself, or he can
just hang back – which doesn’t put him any closer to getting his money.
Character changes
radically: Alex is ready to get her signature. When he sees her for the
first time, he just can’t bring himself to talk to her.
Internal dilemma:
What is the right thing for Alex to do – admit the truth and cause them
both pain, or keep hiding the truth…and keep causing them both pain.
Uncomfortable moment:
Scarlett vomiting (her eating disorder exposed) and Alex wanting to talk
to her but not able to.
Mislead/reveal:
Ted could have been wrong – Scarlett may not work there. Then, we see her
in the alley.
Suspense: Will
Alex talk to her?
Uncertainty: It
looks like he’s going to talk to her – then he can’t find her. He sees
her, gets out of the car, and then can’t bring himself to speak to her.

Scene 15: Roger and Alex have their
first one-on-one in over a year

Superior
position: Roger knows something that Alex doesn’t know Roger knows.
Character changes
radically: Roger goes from very closed off to revealing something about
his past in this scene.
Betrayal: Roger
betrays Alex’s trust and sees Scarlett’s name in the paperwork.
Internal dilemma:
Roger struggling with whether or not to reveal his past to Alex.
Uncomfortable
moment: Alex can tell Roger used to be in prison. Roger didn’t think Alex
knew.
Major twist:
Roger spent time in Riverside.
Surprise: Alex “wins”
in that scene – it started out with Roger holding the cards and ended with
Alex getting him to reveal something.
Intrigue: intrigue
surrounding Roger’s past – why did he go to jail?
Mystery: What did
Roger do in Boston 30 years ago?
Suspense: We know
that Roger is going to have to come clean to Alex, and Alex is going to
have to admit the truth to Roger…both of them are holding something back.

Uncertainty: the “power
dynamic” of the scene shifts back and forth between Roger and Alex. We’re
not sure who’s going to “win.”

Scene 16: Scarlett and Joe are a
couple and involved in the family counterfeit business

More interesting
setting: Scarlett and Joe in his car – it’s a small, enclosed
environment, and filled with cigarette smoke. Stifling/suffocating to
Scarlett.
Misinterpretation:
these two characters have very messed up lives and definitions of love. Their
relationship is purely transactional.
External dilemma:
Scarlett needs to stay with Joe for the next counterfeit sale, but she’s not
happy with him. She could break up with him, but then she’d lose her
influence with Richard.
Character changes
radically: Scarlett and Joe go from drunken/high jokers to scheming and conniving
in an instant.
Surprise: Scarlett
is dating Randall Byrne’s son.
Mislead/reveal:
Scarlett’s need for Richard, but also her mistrust of him.
Cliffhanger: is
Scarlett going to let Joe keep treating her like this?
Intrigue:
Scarlett and Joe’s scheming and involvement in the business is left
partly unexplored. There’s more to their story.
Mystery: Which
one of them does Richard trust more?
Suspense: Something
bad could very well happen the night of the sale.
Uncertainty: Their
toxic relationship instills fear in the audience.

Scene 17: Alex talks to Scarlett for
the first time

Superior
position: Scarlett has no idea that she’s talking to her father. Alex is
just another DMV customer to her.
Betrayal: Alex is
doing this for her signature.
Uncomfortable
moment: Alex has no idea what to say to Scarlett.
Mislead/reveal:
Scarlett gets super quiet and leans in – only to tell him that he’s
holding up the line.
Cliffhanger: Scarlett
signs on the paper. What is Alex going to do next?
Intrigue: Alex is
being incredibly underhanded/scheming against Scarlett.
Suspense: Does
Scarlett know him? Will she find out who he is, based on his last name?
Will Alex just come out and say it?
Uncertainty: Alex
is hopeful and then afraid that she might know who she is. We’re hoping
she finds out, but we also don’t want her to know.

Scene 18: Roger and Demi meet up
with Judge Wilson

Superior
position: We know the truth behind Scarlett, Alex, and Kitty’s stories
that Roger is desperately trying to find out.
Misinterpretation:
Demi thinks Roger is overstepping. She doesn’t realize that his actions stem
from a desire to make peace with his past.
Uncomfortable
moment: Roger sees the judge that sentenced him 30 years ago. It’s
awkward.
Major twist:
Roger learns more about Kitty’s death. He’s shocked.
Surprise: Judge
Wilson and Roger have a history.
Mislead/reveal:
We think we’re going to find out the truth behind Kitty’s death. The case
went cold, and Judge Wilson genuinely doesn’t know.
Cliffhanger: Who
killed Kitty Caden?
Intrigue: Roger
is still keeping secrets.
Mystery: We know
Kitty has died, we know it was by a “stray bullet,” but we don’t know who
did it.
Suspense: Judge
Wilson is withholding information, making Roger more interested.

[Erin Ziccarelli]

Erin Ziccarelli’s Profound Map

TITLE: Blind Bet
WRITTEN BY: Erin Ziccarelli

What is Your Profound Truth?

Family is more than DNA. You determine your own fate. You need loyalty and hope to move forward. The audience experiences a shift on the definition of family ties and impact of our environment and personal destiny moves us forward.

What is the Transformational Journey?
Old Ways: family is only about last name, cocaine addiction, feeling abandoned, fails to stand up for his family, doesn’t make his own choices, desperate for family and friends’ approval, needs support structures.
Journey: From prison to rehab to becoming an entrepreneur – through his interactions with Roger, Will, and Scarlett, Alex learns that he’s capable of living an honest life and becoming self-sufficient. There’s no need for him to stay hostage to his drug habits or to “the system.”
New Ways: becoming self-sufficient, empowered, learning to stand up for Scarlett, learning how to make choices rather than letting others chose for him, taking control of his future.
Transformational Logline: When a former black marketeer inherits a rival crime family member’s estate, he struggles with new revelations and severing ties to his old life.
1. Transformable Character with an issue: Former black marketeer
2. …takes a journey that challenges them deeply: inherits an estate and struggles with new revelations
3. ..and concludes with the transformation: he must break his ties to his old life

Who are Your Lead Characters?
Change
Agent (the one causing the change): Roger Tate
Transformable Character(s) (the one who makes the change): Alex Donovan,
Scarlett Brennan
Betraying Character (if you have one): Jack Archer, Shaun King
Oppression: Richard Brennan

How Do You Connect With Your
Audience in the Beginning of the Movie?

· Relatability: Alex experiencing some discord with his family and friends. They don’t all have the same goals. His uncle is very domineering towards him.

· Intrigue: the poker game is intriguing. Will Alex win with his ace card? What does that ace represent? Why are they counterfeiting? How will the Dunbar sale go down?

· Empathy: Alex and Kitty love each other but their relationship is doomed. They are from rival families. Family politics will tear them apart.

· Likability: Alex is popular amongst the other poker players, he entertains us with his card tricks. He encourages unity amongst the group. He doesn’t want to destroy every member of the rival families.

What is the Gradient of the Change?

What steps do the Transformational Characters go through as they are changing?

Gradient 1. The Emotional Gradient

A. The “Forced Change” Emotional Gradient: Denial, Anger, Bargaining, Depression, and Acceptance.

Gradient I

A. Emotion: denial

B. Action: spends time alone, acts rudely towards Roger, Demi, and Will (even though they’re trying to help him), angry at his family for abandoning him, angry at the Cadens and the Brennans, beats up Ted once they cross paths, threatens to kill Ted even as he’s dying.

Gradient I

A. Emotion: anger, bargaining, depression, acceptance

B. Action: Alex reeling from finding out about Scarlett. He is transferred from prison to rehab. He hasn’t been out for 24 years. He’s in a completely new environment, hiding a massive secret. Everyone around him seems to know what they’re doing and know what they want. Alex struggling with the past – did Kitty love him? Was she ashamed of their time together? Why didn’t she tell him about Scarlett?

B. The “Desired Change” Emotional Gradient: Excitement, Doubt, Hope, Discouragement, Courage, Triumph…or Loss.

Gradient I

A. Emotion: hope

B. Action: meets Scarlett, brings her on, visits the old neighborhood, tells Patrick and the rest of the guys he’s not coming back, and goes to work on the first used car shipment.

Gradient I

A. Emotion: discouragement

B. Action: Patrick and Alex’s old friends burn the business. Alex’s identity is revealed to Scarlett, leaving her resentful and angry with him. He’s abandoned by Sean and Jack. Feeling guilty for Will’s death.

Gradient I

A. Emotion: courage

B. Action: Musters up the courage to face Scarlett. He and Roger start to understand each other. Closes the deal with his buyer – the first time he’s accomplished something on his own and honestly.

Gradient I

A. Emotion: triumph

B. Action: Alex returns to the South End to face the Donovans. The Cadens and the Brennans show up. The final showdown. He rejects his old ways. Avenges Kitty. Burns the cocaine. Walks away, intending to leave Boston for good.

Gradient 2. The Action Gradient

Setup:

· Alex is hostage to an addiction and living in a daze in prison

· Nathanial Caden leaves Alex everything, and Ted Brennan dies

· Alex decides he must go to rehab and enter the program to change his life

Journey:

· Alex starts the business and tries to build a support structure with/for his employees, Will, and Roger

· He can’t do it without Nathanial Caden’s money – he needs Scarlett to get his inheritance, so he brings her in for that reason only

· Alex starts to see Scarlett isn’t so different from him. His business starts to take off.

· Alex resists the temptation to join Patrick and go back to his old ways – implying that he has started to like and embrace his new ways

· Patrick makes it impossible for him to stay out after he burns Alex’s business and kills Will Lawson. Jack and Shaun flee. Scarlett turns on him after she finds out the truth. Alex accepts the offer and goes back, but he doesn’t fit with them anymore.

· Alex makes it impossible for them not to take him back. They need him more than he needs them. His placement back in the family is “guaranteed.”

Payoff

· Roger reveals to Alex that he comes from the Walsh crime family – one of Alex’s nemesis crime families. Alex is shocked at how Roger has changed.

· Alex confronts Richard over Kitty’s death and Scarlett. He stands up to the whole group – both his own family and the Brennans.

· Alex burns the cocaine. He’s kicked his addiction.

· Alex visits Scarlett in the hospital and waits for her to wake up. When she does, they are at peace.

· Alex and Scarlett will leave Boston and join Roger in Chicago!

Gradient 3. The Challenge / Weakness Gradient

· Challenge: Inheriting a former nemesis’ money. To accept or not to accept. If he accepts, he feels disloyal. If he doesn’t accept, nothing will change – he’ll never get back to his old life.

· Weakness: Alex hates being alone and without family support. He’s been suffering in that environment for years.

· Challenge: Navigating rehab. Trying to be cured. Abandoning his cocaine addiction – the crutch that he leaned upon for the last few years.

· Weaknesses: Lacking coping mechanisms. Struggling to make sense of Kitty’s secret.

· Challenges: Trying to connect with Scarlett. Finding the will to be honest with her. Building a team spirit with Scarlett, Jack, Sean, and Will.

· Weaknesses: Fear of losing the team and family he’s created – it’s his support structure. Fear of losing Scarlett as soon as he’s honest about his identity.

· Challenge: Everything that represented his “self-made man” identity is lost. He’s confronted with facing his past but can’t do it. Has to rebuild the business and broken relationships.

· Weakness: Alex remains ashamed of his past. He writes off the success he experienced as temporary.

· Challenge: Reconciling the past and the present – how can he and Scarlett mend their relationship? Can he keep her from making the same mistakes he did?

· Weakness: Feeling overly empowered by Rejected by Scarlett. He slips back into his old ways.

· Challenge: Rejecting the old ways. He is faced with both family dynasties and must reject both sides. Must forgive Scarlett for what she did to him.

· Weaknesses: Meets with the dealer and buys the cocaine. Still feeling a bitterness over Kitty’s death. Unwilling to let it go. He and Scarlett still have a long way to go before they completely trust each other.

What is the Transformational
Structure of Your Story?

A. Mini-Movie 1: status quo and call to adventure

1. Alex’s ordinary world and status quo: prison, cocaine addiction, feeling alone/abandoned

2. Turning point – call to adventure: Alex finds out he has a daughter. Scarlett is in her early twenties and strongly allied with a rival family.

3. Introduces the story’s main tension – the North/South family feud, it’s personal for Alex because he has a family member on the other side.

· Change agent: Roger Tate, Kitty Caden

· Transformational characters: Alex Donovan

· Old ways: Alex is alone. He’s lost hope. He’s rude to Roger and Demi and Will – even though they are trying to help him. He harbors anger towards the Cadens and Brennans. Beats up Ted Brennan.

· The vision: Alex will leave prison, learn to “stand alone,” and separate himself from the family politics. He and his daughter will meet and learn to trust each other despite being from opposite sides of Boston.

· Challenge: Inheriting a former nemesis’ money. To accept or not to accept. If he accepts, he feels disloyal. If he doesn’t accept, nothing will change – he’ll never get back to his old life.

· Weaknesses: Alex hates being alone and without family support. He’s been suffering in that environment for years.

B. Mini-Movie 2: locked into conflict

1. Alex’s denial of the call: he can’t believe it, he investigates by looking through the prison records, Ted was telling the truth

2. Turning point – Alex “locked into” the conflict brought on by this call: he decides to take Nathanial Caden’s money, it will be his way back home, enters rehab and is let out on supervised release

· Change agent: Roger Tate, Scarlett Brennan

· Transformational characters: Alex Donovan

· Old ways: Alex struggling to overcome the cocaine addiction. Struggling to understand why Kitty never told him about Scarlett. Questioning his past.

· The vision: Alex will be cured of his addiction. He will be sober and stay sober. He will come to terms with Kitty’s secret.

· Challenges: Navigating rehab. Trying to be cured. Abandoning his cocaine addiction – the crutch that he leaned upon for the last few years.

· Weaknesses: Lacking coping mechanisms. Struggling to make sense of Kitty’s secret.

C. Mini-Movie 3: hero tries to solve problem – but fails

1. Alex’s first attempts to solve his problem: he focuses on building the business, sees Scarlett for the first time, but does not talk to her or get the signature, reject’s Roger’s advice

2. Turning point – standard ways fail: the business is stagnant, liquidation can’t move forward until Alex has the conservatee’s (Scarlett’s) signature

· Change agent: Roger Tate, Will Lawson

· Transformational characters: Alex Donovan

· Betraying character: Joe Byrne

· Old ways: Alex trying to launch the business, doubting his ability to stand alone and be successful. Struggling with if/how he should meet Scarlett.

· New ways: Alex doing honest work, trying to make a “family” out of his new team, trying to adjust to regular life

· Vision: Alex will build a successful business. He will meet Scarlett.

· Challenge: Starting up the business. Needs money to begin but liquidation can’t move forward without Scarlett’s signature.

· Weaknesses: Tempted by his old ways – his old friends find him. He can’t face the past or bring himself to talk to Scarlett.

D. Mini-Movie 4: hero forms a new plan

1. Alex has a plan to bring Scarlett in to work at the business (to get her signature), gets a buyer (commits himself to the business)

2. Plan goes wrong: storming phase for the team, Roger hounding him for his lack of measurable output, Scarlett isn’t very committed to him or the business – she’s much more invested in her illegal activities

3. Turning point – plan backfires: Alex is still very much alone. His Uncle dies, naming him “heir” to the family business. He rejects the offer, making an enemy of his old friends.

· Change agent: Roger Tate

· Transformational characters: Alex Donovan, Scarlett Brennan

· Old ways: Alex can’t bring his team together. They’re not selling anything. The clock is ticking. There’s a lack of a shared vision with the team. Alex hasn’t been honest with Scarlett.

· New ways: Alex rejects the offer to come back to the South End after his uncle dies. He’s determined to make it on his own.

· Vision: Alex commits himself to the business. His identity is in his own work.

· Challenges: Trying to connect with Scarlett. Finding the will to be honest with her. Building a team spirit with Scarlett, Jack, Sean, and Will.

· Weaknesses: Fear of losing the team and family he’s created – it’s his support structure. Fear of losing Scarlett if he’s honest about his identity.

E. Mini-Movie 5: hero retreats & antagonism prevails

1. Alex is confronted by his need to change: he needs to keep building his work ethic if he’s to stand on his own – he orders an all-nighter. He and Scarlett enjoy a card game. She’s just as good at cards as he is.

2. Eyes open to his weaknesses: when the business is destroyed and everyone leaves him, Alex realizes the Donovans aren’t going to give up. He can’t ignore the problem, he has to face it. He retreats to rebuild.

3. Turning point – the decision to change: Alex rebuilds out of his own will. This time – no one told him what to do. He’s not going to give up now.

· Change agent: Roger Tate

· Transformational characters: Alex Donovan, Scarlett Brennan

· Old ways: Alex running from the problem. Hasn’t “rejected” the Donovans yet. Hasn’t confronted Richard over Kitty’s death.

· New ways: Alex rebuilds. He can’t move on from what happens – he remains tempted by the old life. Entertains the idea of returning.

· Vision: Alex tells Scarlett the truth. He rejects the South End families’ attempt to get him to come back.

· Challenges: Everything that represented his “self-made man” identity is lost. He’s confronted with facing his past but can’t do it. Has to rebuild the business and broken relationships.

· Weaknesses: Alex remains ashamed of his past. He writes off the success he experienced as temporary.

F. Mini-Movie 6: hero’s bigger, better plan

1. Alex spawns a new plan: he and Roger talk again and he realizes how far he’s come. Roger encourages him to make peace with Scarlett and with the past. Alex accepts the plan

2. Alex puts the plan into action and is nearly destroyed by it: Scarlett is angrier than ever – she knows everything. Alex seems to have lost hope again. He relapses.

3. The revelation: Alex has to rejoin the family. It’s his only chance for surviving.

4. Turning point – the ultimate failure: Alex reveals Scarlett’s identity to his old friends. They’re out for revenge now.

· Change agent: Roger Tate

· Transformational characters: Alex Donovan

· Old ways: Alex running from his past.

· New ways: Alex facing his past – in the wrong way. He accepts their offer to return, to take up his place as leader.

· Vision: Alex is just trying to survive now. He believes he can’t overcome his past (his ultimate failure).

· Challenges: Reconciling the past and the present – how can he and Scarlett mend their relationship? Can he keep her from making the same mistakes he did?

· Weaknesses: Feeling overly empowered by then rejected by Scarlett. He slips back into his old ways.

G. Mini-Movie 7: crisis and climax

1. Alex sees victory: he closes the deal with the buyer – the first honest thing he’s done. Tells Roger to leave. He’s going back home.

2. Turns the tables on his antagonist: Alex is nearly killed. He runs and busy the cocaine for the South End.

3. The tables turn one more time: Alex realizes Roger is from the North. This whole time, he’s been helping Alex – someone from the other side. Alex realizes that change is possible.

4. Turning point – apparent victory: Gives him a new understanding of the family feud. It’s not worth it.

· Change agent: Alex Donovan, Roger Tate

· Transformational characters: Alex Donovan, Roger Tate, Scarlett Brennan

· Betraying character: Joe Byrne

· Old ways: Alex trying to get “back in” with his family. Back to the counterfeiting grin. Temporary relapse.

· New ways: Alex realizes he can never go back. Scarlett is his family.

· Challenge: Rejecting the old ways. He is faced with both family dynasties and must reject both sides. Must forgive Scarlett for what she did to him

· Weaknesses: Meets with the dealer and buys the cocaine. Still feeling a bitterness over Kitty’s death. Unwilling to let it go. He and Scarlett still have a long way to go before they completely trust each other.

H. Mini-Movie 8: new status quo

1. Alex puts down Richard’s last attempt to defeat him: Everyone gathers at the casino. In the showdown scene, Richard kills himself.

2. Wrapping up his story: Alex and Scarlett make their peace.

3. Alex’s new world: Alex and Scarlett will leave Boston and join Roger in Chicago.

· New ways: Alex “stands on his own.” He and Scarlett have each other – they will join Roger in Chicago. Leaving behind Boston for good. He has learned about leaving the past behind. He has overcome his addiction. He has done something honest in his life and learned that family is more than last name.

· Profound truth: Family is more than last name – it’s people who care about and are loyal to one another. We can overcome previous mistakes and start over. Redemption is possible.

How are the “Old Ways” Challenged?

What beliefs are challenged that cause a main character to shift their perspective…and make the change?

5 Question Challenges to an Old Way.

Alex questions if
the old life was good for him at the car auction – he’s in the middle of
starting to live his new ways and expresses a counterexample about his
old way of life
Alex rejects
Patrick’s offer to come back – he says he’s on his own now, and doesn’t
need the family to make it
Alex tells Roger
that Nathanial was “never one of his” – therefore, he cannot accept the
money.
The first 10 mins
of the film show Alex’s illegal activities, all of which are challenged
by Will, the one character who has never been to prison
When Roger
reminds Alex that he’s sold nothing, Alex turns the conversation on
Roger, asking him what he did to land in prison

5 Counterexamples to an Old Way.

The whole
car-buying montage shows the problems with dishonesty when doing business
– Alex, Jack, and Sean are now on the receiving end of the scamming and
meet honest and dishonest sellers. The honest sellers are counterexamples
to their old selves while the dishonest sellers are counterexamples to
their current personas.
Patrick is still
held hostage to the old system. He still believes in it and expects Alex
to leave everything behind for it.
Alex accepts
Nathanial’s money. He begins to use it to build his business and invites
Scarlett to work for him. He wants to get to know her. He treats her as a
friend and colleague, despite her being from the other side of Boston.
Alex engages in
legal activity – the car resale business is entirely legal and Alex’s
most productive venture. It’s a new feeling for him.
Alex opens up to
Roger, entrusting him with his conflicted feelings about Kitty, Scarlett,
and his old life – the first moment of trust in their relationship.

“Should work, but doesn’t challenges”

· Alex accepting the money: Alex accepts the Caden money because he believes it’s something Kitty would’ve wanted him to do. She once told him that “what’s mine is yours,” so he views the money as no different. The challenge is getting Scarlett’s signature to begin liquidation. The new way is viewing the money as something that will lead him to Scarlett and ultimately bring them together.

· Alex completing rehab: Alex goes through the five stages of grief while in rehab. He views it as something he must “check off” to gain his freedom. During the nine months, he’s away from the prison, overcomes his cocaine withdrawal, and gets some direction for his next step. He does it on his own and learns about the value of self-sufficiency.

· Alex launching his business: Alex is feeling alone in his mission and wants to treat Jack, Sean, Scarlett, and Will as a “work family.” He wants them to have the same loyalty that he had to the Donovans – his work family is his new support system. The new way is realizing that just because they’re working together doesn’t automatically make them loyal to him.

· Alex inviting Scarlett to work for him: Alex dislikes the idea of Scarlett – he views her as a “mistake” and something he should have to cover up. After bringing her on, getting to know her, and starting to liquidate, Alex realizes how similar they are. His new ways are trying to connect with her and viewing her as family.

· Alex’s loyal relationship to Patrick and the family business: Alex starts off as someone who will do anything for his friends and family. He goes to prison for them. However, his preconceived notions of loyalty and family are challenged when he starts to be successful on his own. He firmly rejects Doyle’s offer to return at the midpoint, and then clearly states his intentions in the final scenes. He is no longer loyal to the Donovan family and cause.

Living Metaphor challenges

· Poker games: Alex winning or losing is a sign of his success or failure in completing his character arc

· Scarlett’s successes and failures: Scarlett represents Alex’s old life – her “making it” and learning to trust Alex is a sign that they’re going to be alright, and their new ways will prevail

· The business: Alex’s car resale business represents his “self-made man” image – he’s built it on his own and without help from his family

· Drug use and eating disorder: Alex’s drug use and Scarlett’s eating disorder represent their old “unhealthy” ways of life – by treating these behaviors, they’ve fixed the underlying problems

· Card analogies: Alex as the ace and Scarlett as the queen – these cards are highlights of the card games and represent Alex and Scarlett’s states of being (ex: the queen card is ripped in half, showing Scarlett’s brokenness)

How are You Presenting Insights
through Profound Moments?
A. Action delivers insight

· Poker games: Alex winning or losing is a sign of his success or failure in completing his character arc

· Scarlett’s successes and failures: Scarlett represents Alex’s old life – her “making it” and learning to trust Alex is a sign that they’re going to be alright, and their new ways will prevail

· The business: Alex’s car resale business represents his “self-made man” image – he’s built it on his own and without help from his family

· Drug use and eating disorder: Alex’s drug use and Scarlett’s eating disorder represent their old “unhealthy” ways of life – by treating these behaviors, they’ve fixed the underlying problems

· Card analogies: Alex as the ace and Scarlett as the queen – these cards are highlights of the card games and represent Alex and Scarlett’s states of being (ex: the queen card is ripped in half, showing Scarlett’s brokenness)
B. Conflict delivers insight

· Argument provokes someone to tell the truth: Roger + Scarlett’s argument about Alex provokes Roger to reveal the truth about the inheritance (Nathanial is the benefactor)

· Conflict brings out true nature: Alex + Scarlett’s heated discussion over Alex’s “new ways” – she proves to him that he hasn’t yet changed…he still can’t admit the truth to her or own up to what happened with Kitty

· Conflict covers an emotional issue: Alex is terrified of being abandoned – when Jack and Shaun leave, he freaks out and pulls a gun on them. He realizes he’s powerless and must let them go.

· Conflict uncovers a secret: Ted and Alex’s feuding (even 20 years later) uncovers the truth about Scarlett.

· Loss: Alex’s constant struggle with loss and feeling alone/abandoned result in his need to have a support structure and others around him.

C. Irony delivers insight

· Opening poker game: Alex and the family are all telling each other how united they are while playing a poker game against each other.

· Inheritance: Alex receives Nathanial’s money and estate, but in order to collect it he must get Scarlett’s signature. What he viewed as a loss (receiving dishonest money) becomes a win (he and Scarlett will leave the old ways behind).

· Shane is determined to make Alex the next heir of the family. His pressure ends up alienating Alex, resulting in his untimely death.

· Alex and Roger’s first meeting: Alex resolutely states that no man from the North would ever help a man from the South End. Roger is from the North End. He helps Alex and Scarlett time and time again. Alex realizes how wrong he was in their final meeting.

· Ending poker game: The two sides play poker against each other. They give the appearance of being united, but their loyalties are crumbling. The North End ends up turning on themselves, and the South End will fizzle because their leadership is gone. The poker game ends with Richard’s suicide instead of Alex’s death.

What are the Most Profound Lines of
the Movie?
Pattern A: Height of the Emotion

Ted has just told Alex that he has a daughter on the Brennan and Caden side. He speaks his last words and then passes, leaving Alex shocked and in denial: Your daughter lives, your daughter is alive, your daughter is waiting for you (spoken by Ted and then later on, Alex)

Alex is feeling triggered by his relationship with Kitty. He keeps remembering back to their time together and struggling to make sense of why he didn’t act or stand up for her. He ends up “apologizing” to her as he breaks down: I can’t go back, forgive me, help me (spoken by Alex in both dream scenes and then later on when Scarlett is asleep)

Alex’s business has just been burned and he’s at an “all is lost moment.” Scarlett responds to him quite favorably, as she doesn’t know the truth yet and thinks he is just someone who has helped her without a reason. She encourages him: From the ashes (spoken by Scarlett as she tells him that he can rebuild – this doesn’t have to be the end for him, and by Alex later on when he burns the cocaine shipment and rejects his old ways for good.)

Roger has just revealed he’s from the North End, leaving no more secrets between him and Alex. Roger has threatened to turn Alex in by “making the call,” but Alex assures him there’s no need. He has changed for the better: I’ve made the call (said by Roger when he first meets Alex and then repeated by Alex during their last meeting.)

Scarlett is in critical condition. Alex speaks to her, hoping she can hear him. He answers some of her questions before about his choices and what the point of their lives is: I chose (spoken by Roger, Scarlett, and Alex at some point or another during the script – first Roger, then Scarlett, and finally Alex.)
Pattern B: Build Meaning Over Multiple Scenes

Making the call (Roger and Alex’s four one-on-one scenes where they each reveal something in each scene) – a call in poker refers to the amount that other players have staked in bets or raises.

1. Beginning meaning: betting against each other

2. Ending meaning: betting on each other (positively)

The life I live v. the life I chose (having a choice is seen as negative and a betrayal of the system, and then becomes something the transformable characters strive for by the end)

3. Beginning meaning: Alex’ choices make sense for him, and he’s content with following along. He feels satisfied with them.

4. Ending meaning: Alex has regret over his choices. He knows they weren’t the right ones and he’s taken on new ways.

Ace in the hole (slang for Alex at the top in the old system, proudly spoken by Shane, Patrick, and Alex meaning that is “one of them”)

5. Beginning meaning: Shane is proud that Alex is his “ace in the hole,” Alex willingly gives himself up, telling Patrick and Collin that he is Shane’s “ace in the hole.”

6. Ending meaning: Alex is no longer content to be that – in the climax scene, he tells Saoirse that the ace in the hole is dead.

How Do You Leave Us With A Profound
Ending?
A. Deliver The Profound Truth Profoundly

· Alex burns the cocaine shipment – he’s rejected his drug habit

· Alex doesn’t kill Richard – he’s done with his lawless way of life

· The poker game ends in a standoff and with Alex leaving

· Alex’s monologue and apology to Scarlett at the end

B. Lead Characters Ending Represents The Change

· Alex is leaving Boston – he’s left behind his old home/family

· Alex’s poker moves in the final poker game when he tries to unite rather than divide

· Alex choses to walk out rather than kill Richard

· His decision to leave Boston means that he’s rejected his old ways

C. Payoff Key Setups

· Who killed Kitty Caden? Final reveal that it was Richard Brennan.

· Alex and Roger’s constant feuding is put to rest with Roger’s admission that his real last name is Walsh

· Scarlett sees that Alex was right and rejects Richard

D. Surprising, But Inevitable

· Alex was going to need to confront Richard, but he did it in a nonviolent way

· Roger and Alex were going to need to get through to each other, but Roger was the one with the bigger secret

· Scarlett was going to need to reject her old ways, and she did it by directly confronting Richard and telling him that Alex chose the right path

· Alex was going to need to collect the inheritance, but the money took on a new meaning for him

E. Leave Us with a Profound Parting Image/Line

· Alex’s last line in the poker game: this is my life, this is my future

· The final scene is Scarlett and Alex in an embrace – we never thought we’d see a Brennan and Donovan at peace

[Erin Ziccarelli]

Erin Ziccarelli’s Elevated Emotion!

Vision: I am creating profound scripts that leave audiences remembering my movies and leave me excited to keep writing and moving up in the industry.

What I learned from doing this assignment is: the importance of making scenes more emotional, and a process for brainstorming new emotions. A new type of trigger is emotional prompts which results in a strong reaction.

2. With each of the Emotional Lists above, look at EACH SCENE in your script to see which would benefit from these techniques to make them more emotional.

Strategy A: Intensify an emotion
that is already present in the scene.
Strategy B: Brainstorm other ways to
create emotion in the scene.

Scene 1 Essence: Shane needs to know Alex is on board with the family business.

· Multiply impact on others

· Add more hope/fear

· Experiencing distress

Scene 2 Essence: Nathanial and Richard argue over their strategy.

· Negative relationship – trust/betrayal, expectations not met, goals violated

Scene 3 Essence: Kitty and Alex are secretly carrying on.

· Characters experiencing struggle

· Relationships: love received, needs fulfilled

· Opposites: Alex lets Kitty down

Scene 4 Essence: Ted, Richard, and other Brennans spy on Alex, Patrick, Collin, and Darren.

· Escalate conflict

· Raise the stakes

· Experiencing distress

Scene 5 Essence: Kitty and Nathaniel argue over Nathaniel’s methods.

· Relationships: expectations not met

· Raise the stakes

· Characters experiencing distress

Scene 6 Essence: The counterfeit sale goes wrong. Alex gives himself up. Kitty is devastated.

· Puts Kitty in a worse situation

· Escalates conflict

· More painful

Scene 7 Essence: Nathanial Caden’s death.

· Make it more painful

Scene 8 Essence: Will and Demi discuss Nathanial’s will.

· Forced to do something against their values

· Raise the stakes

· Add more hope

Scene 9 Essence: Alex’s transfer to Riverside prison. He’s changed.

· Make it more painful

· Character experiencing distress, disappointments

· Put in a worse situation

Scene 10 Essence: Alex and Ted cross paths again – they haven’t forgotten.

· Escalate conflict

· Character experiencing loss

· Triggers a wound

Scene 11 Essence: Roger arrives in Boston.

· Make it more painful

Scene 12 Essence: Alex beats the crap out of Ted.

· Escalate conflict

· In groups: humiliation

· Raise the stakes

Scene 13 Essence: Roger meets Will and Demi, they all speak to Alex.

· Redemption

· Increase opposition (between Alex and Roger)

· Negative relationships: lack of trust

Scene 14 Essence: Roger takes control of the case.

· Multiply impact on others

· Raise the stakes

· Opposing demands

Scene 15 Essence: Alex learns about his inheritance from Roger.

· Make it more painful

· Triggers a wound

· Forced to do something against their values (for Roger)

Scene 16 Essence: Alex shooting up, he’s lost hope.

· Add more fear

· Character experiencing distress

Scene 17 Essence: Alex watches Ted die and learns of Scarlett’s existence.

· Make it more painful

· Put Alex in a worse situation

· Character values/goals violated

Scene 18 Essence: Alex remembers back to his time with Kitty, accepts the money.

· Character experiencing emotional distress

· Add more fear

· Alex has let somebody down

Scene 19 Essence: Alex’s arrival at Riverside.

Scene 20 Essence: Dr. Anderson questions Alex about his past with Roger watching.

· Put in a “worse” situation

· Experiencing redemption

· Forced to do something against his values

Scene 21 Essence: Dr. Reynolds tries to help Alex see the need for recovery.

· Make it more painful

· Irony: To get better, he must go through this painful phase

· Character experiencing distress

Scene 22 Essence: Alex imagines a meeting with Kitty.

· Relationships: goals violated, expectations not met, trust/betrayal

Scene 23 Essence: Alex breaks down, says he can’t go back.

· Multiply impact on others

· Add more fear

· Character experiencing loss/disappointments

Scene 24 Essence: Alex starting to improve.

Scene 25 Essence: Group therapy with Jack and Shaun and discussion of fate v. destiny.

· Character experiencing disappointments

· Triggers a wound

· Irony: forbidden desire

Scene 26 Essence: Scarlett “saves” Alex when he tries to commit suicide.

· Raise the stakes

· Character experiencing struggle

· Feeling abandoned

Scene 27 Essence: Dr. Anderson and Dr. Reynolds try again to inspire Alex’s hope.

· Irony: Doing everything he can but it’s not working

· Character experiencing struggle

· Loss/disappointments

Scene 28 Essence: Alex presenting his business model to the consultant.

· Triggers a wound

· In group: humiliation

· Dilemma – work alone v. trust these two strangers

Scene 29 Essence: Jack, Shaun, and Alex form a team.

· Multiply impact on others

· In group: mistrust

· Dilemma – work alone v. trust these two strangers

Scene 30 Essence: Alex leaves rehab.

· Puts him in a worse situation – he’s out on his own now

· Character experiencing distress

· Success/proving himself

Scene 31 Essence: Randall Byrne threatens Alex – he’ll kill him if he returns.

· Escalate conflict

· Put in a worse situation

· Values violated

Scene 32 Essence: Roger starts to question Demi about the trust.

Scene 33 Essence: Alex is released from prison under supervision.

Scene 34 Essence: Alex drives past the South End.

Scene 35 Essence: Alex, Jack, and Shaun move the business into the old warehouse.

Scene 36 Essence: Demi informs Alex of the conservatorship.

· Opposites: goes against Alex’s values

· Character experiencing distress

· Expectations not met

Scene 27 Essence: Alex alone in the garage, on his own for the first time.

· Add more hope – Alex feeling optimistic for the first time in a while

· Positive relationships: proving himself

· Needs/values/goal fulfilled

Scene 28 Essence: Alex trying to get Jack and Shaun on board with helping him run the business.

· Jack/Shaun not meeting Alex’s expectations

· Alex forced to do something against his values (find Scarlett)

· Raise the stakes – Alex needs money

Scene 30 Essence: Alex searching for Scarlett in the DMV.

· Add hope

· Character experiencing anticipation

· Irony: Against his values

Scene 31 Essence: Alex sees Scarlett for the first time.

· Make it more painful

· Escalate conflict

· Raise the stakes

Scene 32 Essence: Alex, Jack, and Shaun bid on cars.

Scene 33 Essence: Scarlett’s eating disorder introduced.

Scene 34 Essence: Scarlett’s poker playing skills introduced.

· Add more fear – fear for Scarlett’s future

· Character experiencing disappointments

· Success mixed w/ tragedy

Scene 35 Essence: Roger reveals some of his past when Alex presses him.

· Raise the stakes

· Humiliating Roger, triggers Roger’s wounds

· Opposing demands

Scene 36 Essence: Scarlett is a desperate, lost person.

Scene 37 Essence: Alex seeing an old drunken man as his future self, tempted by his past.

· Increase opposition

· Multiply impact on others

· Character experiencing struggle

Scene 38 Essence: Alex watching Scarlett making a fool of herself.

Scene 39 Essence: Scarlett’s needy attitude in her relationship with Joe.

· Relationships: expectations not met

· Needs violated

· Forbidden desires

Scene 40 Essence: Alex deeply in dept. Needs money, so he goes to talk to Scarlett.

Scene 41 Essence: Alex gets Scarlett’s signature.

· Triggers an old wound (memory of Kitty)

· Alex’s values are violated

· Sacrifice

Scene 42 Essence: Alex forges Scarlett’s signature. Feels like he’s getting somewhere.

· Raise the stakes

· Add more hope

· Doing the wrong thing is the right thing for him

Scene 43 Essence: Roger further investigates Ted and Alex’s connection.

· Triggers an old wound for Roger

· Proving himself and his newfound success

· Doing everything he can to find the truth but it’s not working

Scene 44 Essence: Patrick, Collin, and Darren want Alex back. He’s still bitter.

· Triggers many old wounds

· Alex feeling abandoned

· Opposing demands – they’ve let Alex down

[Erin Ziccarelli]

Erin Ziccarelli’s Height of Emotion

What I learned from doing this assignment is: How dialogue is a tool to show height of emotion and display a character arc. I think this second pattern is super interesting and I’ve never looked at Casablanca’s “Play it Sam” line in this way! I’m very excited to add this to my script.

Make a list of the 5 most emotional
moments in your screenplay.

· Ted’s last words and Alex finding out about Scarlett

· Alex’s regret over his underappreciation of Kitty

· Alex in the ruins of his business, Scarlett’s surprising support of him

· Scarlett’s rejection of Alex’s help, he slips back into his old ways

· Roger and Alex connect and shake hands

· Alex and Scarlett’s reunion

With each of those scenes, go to the
height of the emotion and brainstorm lines that can deliver the deeper
meaning of the scene. Give us a quick explanation of the emotion and
meaning of the scene, then the new line that you are going to place there.

· Ted has just told Alex that he has a daughter on the Brennan and Caden side. He speaks his last words and then passes, leaving Alex shocked and in denial: Your daughter lives, your daughter is alive, your daughter is waiting for you (spoken by Ted and then later on, Alex)

· Alex is feeling triggered by his relationship with Kitty. He keeps remembering back to their time together and struggling to make sense of why he didn’t act or stand up for her. He ends up “apologizing” to her as he breaks down: I can’t go back, forgive me, help me (spoken by Alex in both dream scenes and then later on when Scarlett is asleep)

· Alex’s business has just been burned and he’s at an “all is lost moment.” Scarlett responds to him quite favorably, as she doesn’t know the truth yet and thinks he is just someone who has helped her without a reason. She encourages him: From the ashes (spoken by Scarlett as she tells him that he can rebuild – this doesn’t have to be the end for him, and by Alex later on when he burns the cocaine shipment and rejects his old ways for good.)

· Roger has just revealed he’s from the North End, leaving no more secrets between him and Alex. Roger has threatened to turn Alex in by “making the call,” but Alex assures him there’s no need. He has changed for the better: I’ve made the call (said by Roger when he first meets Alex and then repeated by Alex during their last meeting.)

· Scarlett is in critical condition. Alex speaks to her, hoping she can hear him. He answers some of her questions before about his choices and what the point of their lives is: I chose (spoken by Roger, Scarlett, and Alex at some point or another during the script – first Roger, then Scarlett, and finally Alex.)

Erin Ziccarelli Builds Meaning with Dialogue

Select three (3) lines (from your
script or lines you make up) that you want to build deep meaning around.

· Making the call

· The life I live v. the life I chose

· Ace in the hole

Create an arc for each line —
Beginning meaning to ending meaning. With each line, look through your
script to find opportunities to build the line into at least three scenes
that work for the arc. For each one, tell us the line, the arc, and the
different meaning you gave the line in the scenes it appeared.

· Making the call (Roger and Alex’s four one-on-one scenes where they each reveal something in each scene) – a call in poker refers to the amount that other players have staked in bets or raises.

o Beginning meaning: betting against each other

o Ending meaning: betting on each other (positively)

· The life I live v. the life I chose (having a choice is seen as negative and a betrayal of the system, and then becomes something the transformable characters strive for by the end)

o Beginning meaning: Alex’ choices make sense for him, and he’s content with following along. He feels satisfied with them.

o Ending meaning: Alex has regret over his choices. He knows they weren’t the right ones and he’s taken on new ways.

· Ace in the hole (slang for Alex at the top in the old system, proudly spoken by Shane, Patrick, and Alex meaning that is “one of them”)

o Beginning meaning: Shane is proud that Alex is his “ace in the hole,” Alex willingly gives himself up, telling Patrick and Collin that he is Shane’s “ace in the hole.”

o Ending meaning: Alex is no longer content to be that – in the climax scene, he tells Saoirse that the ace in the hole is dead.

[Erin Ziccarelli]

Erin Ziccarelli’s Dramatic Reveals!

Vision: I am creating profound scripts that leave audiences remembering my movies and leave me excited to keep writing and moving up in the industry.

What I learned from doing this assignment is: three breakdowns of a great reveal. This lesson greatly elevated my final act because I took something that I was going to reveal in the first act and moved it to the fourth act. I think this added a lot of intrigue to the final scene and made the climax extra suspenseful!

2. Make a list of all the reveals in your script.

· Alex and Kitty are in a secret/forbidden relationship:

o Demand: Alex lowers his glass – not on board with destroying every member of the families.

o Revealed: Alex is in a romantic relationship with a member of the rival family!

o Presented dramatically: Alex moving towards the Caden estate. Kitty in the Caden estate. Next, they’re together. She’s the “girl that Alex knows”

· The North End plotted to have the South End arrested that night.

o Demand: Richard and Nathanial’s argument. Kitty’s concern.

o Revealed: Kitty thinks the sale will go as planned. It’s not going to – Alex is going to be caught that night.

o Presented dramatically: Nathanial staring kitty down, he’s named her his heir.

· Nathanial’s inheritance was left to Alex

o Demand: Nathanial’s death, Demi and Will’s confusion over the trustee

o Revealed: Alex is the trustee. He’s still in prison.

o Presented dramatically: Roger reveals to Alex as he’s going through withdrawal.

· Scarlett Brennan is Alex’s daughter

o Demand: Kitty and Alex’s forbidden love, Ted’s hatred of Alex

o Revealed: Alex’s daughter is allied with the opposite side!

o Presented dramatically: Ted Brennan is dying after Alex beat him up. His last words.

· There was a conservatorship condition attached to the will

o Demand: Demi and Roger discuss the conservatorship. Roger is intrigued. Demi tells Alex and he flips out. Roger still wants to know.

o Revealed: Scarlett is the conservatee.

o Presented dramatically: Demi gives Alex the news without Roger knowing.

· Collin, Darrel, and Patrick set the fire

o Demand: Alex’s business is burned. He goes to the North End. Plays a round of blackjack with some Walshes.

o Revealed: Alex’s old friends burned his place to the ground because they want him back.

o Presented dramatically: Alex and Deirdre in a shady room at the roulette wheel. He has a gun to her. Refuses to allow her to look at him.

· Patrick was responsible for Shane’s death

o Demand: Patrick has wanted Alex back because he’s the best. He warned him about Shane’s “sickness,” said it was an “accident” that he died.

o Revealed: Alex knows it wasn’t an accident – Patrick killed Shane.

o Presented dramatically: poker room, Alex trying to get the upper hand.

· Roger’s real last name is Walsh

o Demand: Roger shows up and confronts Alex about his business that night. This whole time, Roger has been overly invested in the case.

o Revealed: Roger is from the Walsh family!

o Presented dramatically: Roger catches Alex in the act. Alex threatens him until he reveals his secret. They finally shake hands.

· Richard killed Kitty

o Demand: The case went cold. Alex has been wanting to know for twenty years. Ted didn’t tell him, Patrick doesn’t know, Roger couldn’t find out.

o Revealed: Richard killed Kitty Caden.

o Presented dramatically: Alex traps Richard into telling the truth in front of everyone.

3. With each one, answer these questions:

A. What is the DEMAND?
B. What is being REVEALED?
C. How is it presented
DRAMATICALLY?

4. For any that don’t have strong answers to the above, brainstorm ways to create more demand or reveal dramatically and rewrite the scene.

5. Tell us how you improved each scene – demand, reveal, and/or written dramatically

[Erin Ziccarelli]

Erin Ziccarelli Loves Character Depth!

Vision: I am creating profound scripts that leave audiences remembering my movies and leave me excited to keep writing and moving up in the industry.

What I learned from doing this assignment is: This is one of my favorite assignments so far! Mapping out the beats of my lead and two supporting leads is helping me to “zoom out” on their storylines and identify places where I can add more depth. Strengthening the triggers and reactions is a straightforward way to give the audience that emotional roller coaster ride they’re looking for!

2. Use each of the Character Depth Tools to discover what you can.

Depth Tool 1: Lay out your character
storylines and elevate.
Depth Tool 2: What are they hiding
from me?
Depth Tool 3: How can this story
trigger the character?

3. Make any changes that will elevate your characters or the expression of those characters.

4. Tell us the changes you made using these tools.

I came up with eleven character gradient “landmarks” for my lead, and then six for each of my supporting characters. For each one, I wrote out the trigger, reaction, and what they are hiding. This helped me spell it out and see the progression separately for each character. From there, I added stronger reactions (since they were weaker than the triggers), such as physical movement and emotional outbursts.

[Erin Ziccarelli]

Erin Ziccarelli Delivers Irony!

What I learned from doing this assignment is: How easy yet insightful delivering irony is. All it requires is to opposite situations put together.

With your list of the New Ways /
Insights you want audiences to experience, go through these steps:
Step 1. What is the New Way / Insight you want to
deliver?
Step 2. How could you deliver that
insight through opposite experiences?
OR.
Step 1. Where could you build opposite
experiences into your screenplay?
Step 2. What is the New Way / Insight you
want to deliver through them?

· New understanding of family and the role of family in his life

o Opening flashback (1970’s) to help us understand Alex’s old understanding of family – purely transactional, business-like, toxic, and cult-like. Shane’s manipulation of Alex and Saoirse.

· Becomes self-affirming, trusting of himself, independent, and cooperative – he determines his own future

· Responsible, reliable, and trustworthy

Come up with at least five (5)
different ways you can create IRONY in your screenplay and deliver an
insight.

· Opening poker game: Alex and the family are all telling each other how united they are while playing a poker game against each other.

· Inheritance: Alex receives Nathanial’s money and estate, but in order to collect it he must get Scarlett’s signature. What he viewed as a loss (receiving dishonest money) becomes a win (he and Scarlett will leave the old ways behind).

· Shane is determined to make Alex the next heir of the family. His pressure ends up alienating Alex, resulting in his untimely death.

· Alex and Roger’s first meeting: Alex resolutely states that no man from the North would ever help a man from the South End. Roger is from the North End. He helps Alex and Scarlett time and time again. Alex realizes how wrong he was in their final meeting.

· Ending poker game: The two sides play poker against each other. They give the appearance of being united, but their loyalties are crumbling. The North End ends up turning on themselves, and the South End will fizzle because their leadership is gone. The poker game ends with Richard’s suicide instead of Alex’s death.

[Erin Ziccarelli]

Erin Ziccarelli Delivers Insights Through Conflict

What I learned from doing this assignment is: the four types of conflicts and how they reveal deeper insights through arguments, uncovered secrets, true nature, and emotional issues. These are powerful ways to explore my characters and help the audience connect with their journeys.

With your list of the New Ways /
Insights you want audiences to experience, go through these steps:
Step 1. What is the New Way / Insight you want to
deliver?
Step 2. What kind of conflict could that
insight show up in?
Step 3. Brainstorm ways you might deliver
the insight through the conflict.

Alex’s new ways: optimistic, self-reliant, new understanding of family and the role of family in his life. Becomes self-affirming, trusting of himself, independent, and cooperative. Responsible, reliable, and trustworthy.

· Alex starting the business and running it on his own (himself v. his own doubts, Alex v. warden, Alex v. Roger and the money being held back)

· Rejection of the McCarthys and their ways (Alex v. Patrick, Alex v. Richard, final poker game)

· Staying sober (Alex during rehab, resisting the urge to use outside the bar)

· Admitting his relationship with Kitty and taking responsibility for Scarlett (telling Patrick the truth, final monologue)

· Taking responsibility for Will’s death, giving the last of the money to Scarlett

Come up with at least five (5)
different ways you can use conflict to express an insight.

· Argument provokes someone to tell the truth: Roger + Scarlett’s argument about Alex provokes Roger to reveal the truth about the inheritance (Nathanial is the benefactor)

· Conflict brings out true nature: Alex + Scarlett’s heated discussion over Alex’s “new ways” – she proves to him that he hasn’t yet changed…he still can’t admit the truth to her or own up to what happened with Kitty

· Conflict covers an emotional issue: Alex is terrified of being abandoned – when Jack and Shaun leave, he freaks out and pulls a gun on them. He realizes he’s powerless and must let them go.

· Conflict uncovers a secret: Ted and Alex’s feuding (even 20 years later) uncovers the truth about Scarlett.

· Loss: Alex’s constant struggle with loss and feeling alone/abandoned result in his need to have a support structure and others around him.

[Erin Ziccarelli]

Lesson 9: Keeping it Low Budget

What I learned from doing this assignment is: the different factors that affect budget.

1. Run through this list and tell us how many ways you might be able to decrease the budget for your project if that was required. Then go through the list and tell us what you might add if your budget was quadrupled.

MAIN VARIABLES

Number of Locations: add the ship
set, hire an actor rather than just a V.O. for Capt.
Expensive locations: lighthouse
scouting for EXT. shots, three sets (staircase, basement room, radio room)

Number of characters: three – could
cut Christopher (just V.O.), could add the banker and Capt. as actors
Special effects: final scene w/ ship
coming in
Number of pages: from 120 to 90, vv.

Crowd scenes: none needed
Stunts, Chase scenes, and Fight
scenes: no stunts/chases/fights
Special sets: lighthouse set, top
room of lighthouse

SECONDARY VARIABLES

Rights to music, brands, books, etc.:
none needed
Explosions and Firearm: no
explosions needed
Kids — shorter work days, tutor on
the set: no kids needed
Animals – need a wrangler, more time
to shoot, Humane Society: no animals needed
Weather — Rain, snow, wind,
tornados.: rain and thunderstorms needed for the plot
Water and underwater scenes: water
dripping into the lighthouse (leaky roof, etc.)
Night scenes: mostly night
Helicopters, aircraft, drone shots:
no aircraft needed
Green screen work: potential green
screen at the end?
Extensive Make-up: Gabe’s bullet
wound
Archival Footage: ship at the end?
Anything else dangerous that
increases preparation time and/or Insurance: nothing dangerous? I don’t
think so.

[Erin Ziccarelli]

Lesson 8: Infinite Possibilities

What I learned from doing this assignment is: categories to represent hope and fear for the protagonist. The hope and fear questions will help create an emotional roller coaster for the characters and keep the audience engaged.

2. Using the list of Infinite Possibilities above, brainstorm 5 or more Hope/Fear moments that can occur in each Act.

Environment:

Trapped / Prisoner: Claire is
trapped in her lighthouse. Prisoner to her mindset.
Claustrophobic: Wants out of the
lighthouse but can’t go.
Dangerous: Storm, Gabe, structurally
unsound lighthouse.
Restricting: Claire’s monetary
problems
Not livable: Lighthouse is broken down,
leaking. Claire’s grief is unbearable.
Hiding out: Claire hiding from life.
Afraid to go out.

Incompatibility:

Forced to deal with each other: Gabe
stumbles into her life. Can’t leave because of the storm. Captain Marris
is forced to accept her help.
Opposing needs/desires: Claire wants
Gabe out. Gabe wants to stay, wants to help her. Captain Marris needs her
help. Claire wants nothing to do with either of them.
Mind games: Gabe’s mind games on
Claire. Trying to trap her into admitting the truth about her husband.
Psychological issues: Claire’s
grief. Anxiety, depression, seeing things, overactive imagination, being
depressed.
Triggering each other: Claire’s
wound/guilt gets triggered over and over.

Unpredictability:

Not sure who or what the real threat
is: what is Gabe’s threat to her?
Person on the edge! Claire on edge
as Gabe is in her home, dealing with the Captain, the storm, and the
banker.
Could attack at any moment: Gabe is
dangerous. She doesn’t know if he’ll harm her.
Out of control situation: the storm,
the ship, her emotions, her imagination.

Isolation:

Psychological Issues: Claire’s
grief. Anxiety, depression, seeing things, overactive imagination, being
depressed.
Loss of a companion: Her husband’s
untimely death.
Left Alone: Alone in the lighthouse,
isolated for nearly a year.
Helpless: Financially struggling,
unable to cope with her hardships.

Increasing tension:

Ticking clock: Clock in the radio
room, alarm set every half hour to ensure the light stays lit.
Impending doom: Gabe discovering her
secret. Gabe finding out that she knows.
What’s the worst that could happen?
The light goes out. The ship sinks. Gabe harms her. Never being able to
set foot outside the house. Losing her lighthouse.
What is this character afraid of?
Repeating her same mistake. The ship sinking. Gabe’s presence. Going
broke. Losing the last memory of her husband.
How many things could go wrong?
Many, many things.

Danger:

Threat: Captain Marris’ threats.
Gabe’s threats, requiring her to stay silent.
Attack: The storm attacking the
lighthouse.
Injury: Gabe’s injuries (on the
outside), Claire’s injuries (on the inside).
Destruction: Destruction of her
lighthouse. Destruction of the ship.
Death: Her husband’s death. Gabe’s
potential death.

3. Sequence those Hope/Fear moments to fit the emotional journey you want your audience to have.

[Erin Ziccarelli]

Lesson 7: Structure for Containment

What I learned from doing this assignment is: the structure for each act and the need for the overall conflict to penetrate every moment of the script. Conflict does not have to be unique, it just has to be strong.

1. Tell us the following:

High concept: How do you guide a
ship through a storm, trapped in a lighthouse with a dangerous stranger?
Conflict: The perpetual storm,
everlasting grief, and endless threats Claire endures, threatening to
destroy her livelihood.
Reason for containment: The storm
leaves Claire stranded and Captain Marris in an uncertain place, forcing
her to help him and face her wounds.
Concept: A grieving young widow’s outlook on her
monotonous life shifts after a mysterious stranger enters her life for one
fateful night.

2. Fill in each of these with the answers you have right now.

Act 1:

Opening: Depressed Claire,
Captain Marris’ V.O. about the ship en route to the lighthouse zone,
Claire is about to lose her lighthouse because of financial problems.

Beginning: Claire is
scared, alone, and depressed. Hiding from her grief rather than facing
it.

o Beginning: Gabe arrives with a bullet in his back.

o Beginning: Capt. is calm, in control. Doesn’t think much of the storm.

Inciting Incident: the lighthouse
loses power. Claire must now stay by the oil lamp. She goes to sleep.
Turning Point: Gabe’s arrival.
He’s wounded and will have to spend the night with her. Captain Marris is
in distress and will need her help. She can’t get a hold of anyone. She is
alone, with a (probably) dangerous stranger, and completely terrified.

o Turning Point: Gabe’s arrival. They question each other.

o Turning Point: Gabe wakes up, questions her about her life, she evades him.

o Turning Point: Storm gets worse, he starts to worry. Asks Claire to get him help.

Act 2:

New plan: Claire tolerates
Gabe. Evades his questions about her husband. Finds out about the bank robbery.

o Claire’s Dilemma: Claire finds out about Gabe – she can either turn him in or let him help her

Plan in action: Claire questions
Gabe. Tries to pry his secret out of him to get him to leave.

Tries to destroy
the radio. Starts to cut the cord, but doesn’t finish the job.

Midpoint Turning Point: Claire is the
only one to be able to help Captain Marris. She must let Gabe help her.

o Midpoint: Claire is forced to guide Captain Marris’ ship through the storm while afraid of Gabe.

o Midpoint: Gabe offers to help Claire during the night.

o Midpoint: Claire hasn’t been able to secure help. He demands it of her.

Act 3:

Rethink everything: Gabe knows that
she knows about the bank robbery. It’s now very tense and very awkward
between them. Gabe questions her again.

o Gabe’s Dilemma: To leave or not – that will cause her distress but will ensure he gets away.

Turning
Point 2: Gabe knows she knows about the bank robbery. He starts to chip
away at her façade. Claire cooperates.

o Turning Point 2: Gabe finds out that Claire knows about the bank robbery.

New plan: Captain Marris
demands more of her. She’s going to have to accept Gabe’s help and let him
in.

o Turning Point 2: He questions her competence. Demands more of her.

Turning Point: Huge failure /
Major shift – Captain Marris is going to have to abandon ship. Claire is
emotionally torn apart. Gabe is pushing her farther and farther into the
past, into her grief. She’s petrified.

o 3rd Act Climax: Gabe pushes Claire into working through her grief. It’s painful for them.

o Captain Marris’ Dilemma: The ship is damaged. To abandon ship or not? He decides not to.

o 3rd Act Climax: Claire’s radio sparks and dies, believes that she can no longer help Captain Marris and the ship will go down. Claire reveals in her distress the truth behind her husband’s death.

o 3rd Act Climax: He’s struggling to recover. He’s almost out of her zone. Her battery dies.

Act 4:

Final plan: Claire’s last and
risky suggestion to the Captain to save him and his ship, just as the
radio goes down. She doesn’t know if he made it.
Climax/Ultimate expression of the
conflict:
Claire reveals how her husband died. She’s wrecked.
Resolution: Gabe stands over
her as he tells her that she was enough for her husband.

o Ending: She did help the ship, and it was able to pass through her zone. She’s been able to “pass through” her grief.

o Ending: Claire admits it. He tells her not to worry. Then, he disappears.

3. Once you have created the 4-Act Structure for your Protagonist, go back over it to see if there are any big picture points you need to add to represent your Antagonist.

[Erin Ziccarelli]

Lesson 6: Erin Ziccarelli’s Delivering Multiple Layers

What I learned from doing this assignment is: The importance of layers – the three types of layers, and the way they have been worked into other contained movies.

<b style=”font-family: inherit; font-size: inherit;”>1. Brainstorm potential plot layers.

Major scheme revealed
Mystery revealed
Thought it was one thing, but it is
another: we think it’s a story about Claire guiding a ship through a
storm. It’s actually a story about Claire letting her husband go.
Major shift in Meaning: the
lighthouse goes from her least favorite to favorite thing
Hidden history:

Claire’s role in
the shipwreck

Hidden plan

Gabe: help Claire
work through her grief

2. Brainstorm potential character layers.

Secret identity

Gabe: spirit of
Claire’s husband

Intrigue layers
Hidden relationships and conspiracies
Hidden Character history: Claire’s
past

3. Brainstorm potential location layers.

Hidden operation
Deeper meaning
Trap to draw prey

Living area
(bottom of the lighthouse): hell
Radio area
(halfway up the stairs): purgatory
Lamp area (top of
the lighthouse): heaven

Unique sub-world

4. Tell us about the layers you’ve chosen. Use this format with each of them:

Surface Layer: Claire trying to guide
a ship through the storm
Beneath That: Claire struggling to
move on from her husband’s death

How Revealed: Gabe’s presence and their
conversations and interactions. Personified through gold

[Erin Ziccarelli]

Lesson 5: Erin Ziccarelli’s Character Journeys!

What I learned from doing this assignment is: the importance of mapping out each character’s journey. This is helping me plot my story. Each character has a turning point and a dilemma to content with, making them all interesting and engaging.

Claire Drystan 3-Act Structure

Beginning: Claire is scared, alone, and depressed. Hiding from her grief rather than facing it.

Turning Point: Gabe’s arrival. They question each other.

Dilemma: Claire finds out about Gabe – she can either turn him in or let him help her

Midpoint: Claire is forced to guide Captain Marris’ ship through the storm while afraid of Gabe.

Turning Point 2: Gabe knows she knows about the bank robbery. He starts to chip away at her façade. Claire cooperates.

3rd Act Climax: The radio battery dies, Claire believes that she can no longer help Captain Marris and the ship will go down. Claire reveals in her distress the truth behind her husband’s death.

Ending: She did help the ship, and it was able to pass through her zone. She’s been able to “pass through” her grief.

Gabe 3-Act Structure

Beginning: Gabe arrives with a bullet in his back.

Turning Point: Gabe wakes up, questions her about her life, she evades him.

Midpoint: Gabe offers to help Claire during the night.

Dilemma: To destroy the radio or not – that will cause her distress but will ensure he gets away.

Turning Point 2: Gabe finds out that Claire knows about the bank robbery.

3rd Act Climax: Gabe pushes Claire into working through her grief. It’s painful for them.

Ending: Claire admits it. He tells her not to worry. Then, he disappears.

Captain Marris 3-Act Structure

Beginning: Calm, in control. Doesn’t think much of the storm.

Turning Point: Storm gets worse, he starts to worry. Asks Claire to get him help.

Midpoint: Claire hasn’t been able to secure help. He demands it of her.

Turning Point 2: He questions her competence. Demands more of her.

Dilemma: The ship is damaged. To abandon ship or not? He decides not to.

3rd Act Climax: He’s struggling to recover. He’s almost out of her zone. Her battery dies.

Ending: The next morning, the ship did pass through her zone and make it.

[Erin Ziccarelli]

Lesson 4: Erin Ziccarelli’s Character Depth!

What I learned from doing this assignment is: the breakdown of internal character depth, character-to-character depth, and character situation. All three must conflict with each other to create a compelling story.

Character: Claire is a lighthouse keeper who must guide a ship through rocky seas.

Internal Character Depth

Motivation:

Want: to leave
(external goal)
Need: stay and be
successful at the job (internal unfulfilled drive)

Secret: Claire was responsible for
the shipwreck that killed her husband and lost her the gold that was going
to help them.
Wound: Every opportunity she had to
leave and passed up since her husband’s death. She grew up in an exciting
life and is bored/trapped.
Subtext: Claire hides her husband’s
death by talking about all the great things they were going to do.
Layers:

Financial
problems/need for money to update and keep the lighthouse
Claire’s
beginning and end conversation with the Coast Guard officer (about the
ship) and mention of the bank robbery
Gabe’s arrival
and mysteriousness, pushing Claire to reveal her husband’s death, his
cause of death, her involvement in his death, and work through her grief
Claire’s
communication with the Captain, helping her to become less afraid
What you see v.
what it is – the imagined aspects of the story

Character to character

Conflict: Claire v. Ship Captain
(her inadequacies), Claire v. Gabe/her husband (Claire’s reveals and
guilt), Claire v. Banker (financial problems)
Hidden Agenda: Claire wanting to get
out and ready to leave
Conspiracy: between Claire and the
Coast Guard officer helping her to leave on that ship (the thing that
Claire has been wanting all this time)
Intrigue: Gabe helping Claire – why?
He’s the spirit of her husband.

Character Situation

Dilemma:

Turning in Gabe
(punishing the bank robber) v. letting him stay (helping her guide the
ship)
Leaving the
lighthouse (getting to finally live) v. staying with the lighthouse (no
one else will do this job – they’ll have to shut it down)
Guiding the ship
(she feels like she’ll cause a shipwreck) v. not guiding the ship (the
ship will most certainly go down, at least she won’t be responsible)
Facing her grief
(painful) v. not facing her grief (leaves her as an island)

Secret Identity: Claire as a
competent lighthouse keeper v. Claire as an incompetent, out of control,
scared, and grieving excuse of a lighthouse keeper

[Erin Ziccarelli]

Lesson 3: Erin Ziccarelli’s Right Characters!

What I learned from doing this assignment is: the three questions needed to make sure your

characters deliver on the hook, bring unique conflict that fits the hook, and cause problems for

other characters

Think about your Concept Hook and Contained
Setting.

Concept Hook: How do you guide a ship to safety in the middle of the storm and with a dangerous stranger in your lighthouse?

Contained setting: lighthouse

With each of your main characters,
how can they uniquely fit with the Hook?

Claire: she’s a “lighthouse” – isolated, depressed, scared, and grief-ridden. Struggles to keep up with her demanding job. Deathly afraid of another shipwreck after what happened to her husband’s ship. In desperate need of money to modernize her lighthouse.

Gabe: stranger with a gunshot wound. Claire gets a radio message that the bank was robbed. There was a shootout. Gabe enters and exits her life mysteriously. He’s secretive, helpful, and oddly similar to her husband. She needs his help to accept her husband’s death.

Captain Brendan Maris: (V.O.) demanding, needy, desperate for Claire’s help.

Christopher: coast guard officer staying in town.

Thinking about the conflict that
hook creates, how does each main character enhance or cause that conflict?

Claire: could turn Gabe in at any time via radio.

Gabe: could harm Claire at any point. Presses her about her husband. Forces her to confront her guilt and grief.

Captain Brendan Maris: demanding Claire’s help. Triggers her grief. Pushes her to her breaking point.

Tell us what makes these characters
the “right ones” for this story?

Claire is isolated and depressed. Her previous wound makes her the right one to have to guide the ship to safety.

Gabe is the spirit of Claire’s husband, helping to empower her and help her move on.

Captain Maris is desperate for help, pushing Claire towards redemption.

[Erin Ziccarelli]

Lesson 2: Erin Ziccarelli’s Great Hook

How did this process work for you? This process is helping me to narrow my story and answer some questions. The five key components of a hook are helping me create a more intriguing story!

What did you learn doing this assignment? Breaking down the five strategies for creating high concepts. The impossible goal/unsolvable problem will help me to keep my audience in suspense.

1. Taking your 5 ideas from the Pre-Lesson, use the techniques below to brainstorm possible major hooks.

A. Intriguing Contained Setting:
remote lighthouse in the middle of a sea storm
B. Unique Device: ship in danger of
being shipwrecked – needs Claire to guide it to shore
C. Unique Monster/Villain:
Christopher – the mysterious stranger who is likely a bank robber and a
murderer
D. Mystery:

How did Claire’s
husband die? About six months ago, on a shipwreck.
Why can’t Claire
move on? She feels guilty for the shipwreck, feels inadequate in her
position as a lighthouse keeper.
How did
Christopher get shot? Sometime that night, in town.

E. Impossible goal/Unsolvable
problem: Claire must guide the ship to safety in the midst of the storm,
Claire has a dangerous man trapped in her house
F. Unique layers:

Claire’s grief
over her husband’s death – her guilt over not guiding the ship in
Christopher’s
mysterious arrival and departure – was he really there or did she imagine
him? Christopher as the “messenger” and the person who brings the gold
The gold – the
gold that was on the ship that sank, the gold that Christopher has on his
person and is left with her at the end
Claire’s mourning
and perspective on her life and her work – can she learn to love this
lighthouse, call it her own, be good at what she does?

2. Ask the High Concept Question.

Having to do with lighthouses, what
haven’t we seen before?
Having to do with grieving, what
haven’t we seen before?

3. Pick one and do the Exchanging Components process.

List the components of your current
concept: grieving widow, remote lighthouse, arrival of a mysterious
stranger, haunted guilt over her husband’s shipwreck
Brainstorm many alternatives for
each component.
Pick the most interesting and
engaging.

4. From doing those steps, make a list of all the possible concepts and select the one that you believe will make the best contained story AND will be a strong hook when you market this script.

Hook: How do you guide a ship through a treacherous storm while in fear of a bank robber taking shelter in your lighthouse?

5. Make your selection, but don’t tell us your High Concept. Keep that to yourself until you are ready to exchange feedback on the project. (On future lessons, you can post about details – characters, intrigue, scene ideas, etc., but keep your High Concept to yourself.)

[Erin Ziccarelli]

Erin Ziccarelli’s Guidelines for Silhouette of a Woman

What I learned from doing this assignment is: Ways to make a movie “covid friendly.” The importance of the three business decisions – high concept hook, great characters, and compelling journey. These will help increase the chances my film will be shot at the conclusion of the pandemic.

Part 1: Select Your Project

Silhouette of a Woman…

· Can be done as a contained story: yes – radio room, stairwell, basement room/living area, lighthouse exterior

· You can write a pitch in one or two sentences: see PP notes

· There is something unique about it: young widow. Unique setting.

Part 2: Adjust a Produced Movie to Covid Guidelines

Pick a movie outside the Covid Guidelines and give us your thoughts on how they could make it in the current production environment.

Casablanca as they did it:

· People: ensemble cast

· Stunts: shooting, nighttime chase

· Extras: extras in town/Rick’s/Blue Parrot Saloon, the whole German/Vichy armies

· Wardrobe: Ilsa and Yvonne’s outfits, army uniforms, dinner/fancy dress

· Hair and Make Up: unique hair and makeup for different cultures

· Kids and Animals: animals in the market scene, no kids

Casablanca w/ Covid Guideline version:

· People: Ilsa, Rick, Victor, Yvonne, Major Strasse, Captain Renault, all in different combinations in the various rooms of Rick’s.

· Extras: cut the outdoor market, street scenes, and limit the number of guests in Rick’s.

· Wardrobe: the movie takes place over the course of a night, everyone wears the same outfits for that night.

· Hair and Make Up: Fine as-is.

· Kids and Animals: None needed.

· Quarantine: The whole film takes place in Rick’s office, the central area, and the poker room. Guests are in the film for the first half, and then leave by the midpoint.

[Erin Ziccarelli]

Erin Ziccarelli Solved Scene Problems!

Vision: I am creating profound scripts that leave audiences remembering my movies and leave me excited to keep writing and moving up in the industry.

What I learned from doing this assignment is: the process of going through each scene and looking for ways to up the challenge in the scene, add interest techniques, combine scenes, and replace exposition with action/reveals.

I noticed quite a few “talking heads” scenes and replaced them with the character taking action based on their profile. I set an intention of having at least two interest techniques per scene, which makes each scene more engaging and gives the audience that “emotional roller coaster ride.”

[Erin Ziccarelli]

Erin Ziccarelli is Cliché Busting!

Vision: I am going to create profound scripts that leave audiences remembering my movies and leave me excited to keep writing and moving up in the industry.

<b style=”font-family: inherit; font-size: inherit;”>What I learned from doing this assignment is: the process of finding cliches and brainstorming new ideas. Uniqueness is key and can help your script sell!

Give us a list of the changes you made to your script. But don’t post the actual script.

Cliché: Character drunkenly singing in a bar.

New Version: Character promises her gambling winnings to her friends if she doesn’t

make it through the song. She doesn’t…and loses all of the money she won in poker that night. She’s still drunkenly singing, but with the purpose of keeping her winnings.

Cliché: Protagonist and Antagonist play poker.

New Version: Protagonist and antagonist play poker surrounded by backup. Protagonist interrupts the poker game to leave and say his final piece. The game is never “finished.” Scene ends with the antagonist’s suicide.

[Erin Ziccarelli]

Erin Ziccarelli’s Solved Character Problems!

Vision: I am going to create profound scripts that leave audiences remembering my movies and leave me excited to keep writing and moving up in the industry.

What I learned from doing this assignment is: the different early draft problems. Something I’m noticing in my first draft is I have two very similar leads and a few “talking heads” scenes. These are the areas I’m going to be targeting for this assignment.

Check your lead characters to see if they have any of the problems listed in this lesson. For any character problems you find, make the prescribed improvements.

A. Generic Lead Characters.

B. Weak protagonist or antagonist.

C. Protagonist Too Good or
Antagonist Too Bad.

I’ve given Richard
some more likeable qualities and will it clearer as to why he does what
he does (i.e. he turns Alex in because he’s loyal to his own side, he looks
out for Scarlett because he considers her family)

D. Weak character intros.

Alex is now more
savvy/more intriguing in his opening scene – he’s playing poker and wins
the game in front of everyone

E. Characters not in action.

Adding action to
Alex’s scenes – he breaks things when he’s angry and messes up things
when he’s flustered

F. Protagonist journey not strong.

G. All the characters seem the same.

Alex and Scarlett’s
characters are very similar – the main difference between them is their
relationships (Alex and Kitty v. Scarlett and Joe)

H. Lead characters not present.

[Erin Ziccarelli]

Erin Ziccarelli’s Structure Solutions!

Vision: I am going to create profound scripts that leave audiences remembering my movies and leave me excited to keep writing and moving up in the industry.

What I learned from doing this assignment is: Targeting specific areas of the script is helping me to elevate my writing quality. I’ve received feedback from coverage services that said, “structural problems,” but never understood what structural problems to fix. I am working the most on strengthening my turning points, but I feel like assignments for earlier modules put me on the right path for a solid structure.

Give us a list of the changes you made to your script. But don’t post the actual script.

· Script doesn’t match the pitch: my script still matches the pitch.

· Missed the outline in some places: I stuck to my outline while writing my first draft – I’m cutting a few scenes that now seem redundant after a second read through.

· Weak conflict (big picture):

o Huge opposing goals with high end stakes: each crime family wants their family on top. Stakes include wealth from the counterfeit money, cocaine, and staying out of prison.

o High stakes goals challenged by “outsiders” like Will, Roger, and Jack/Sean.

o Characters’ opposing goals/missions/traits/agendas: every character wants themselves on top – they all have different methods on how to get there.

o Forced characters into terrifying risks/high stakes: Alex thrust into rehab and then the real world after 20 years in prison. Must face Scarlett, his old friends, and eventually Richard.

o Ticking clock: change must be accomplished before the big sale.

· Structure: do my acts work?

o Opening: beginning poker game

o Act 1: Alex’s ordinary world – prison, cocaine addiction, animosity to the North End families and even his old friends

o Act 2: begins creating the business – he can’t go back to prison and face Randall Byrne. Tries the ordinary solutions (trying to get at his inheritance money, avoiding honesty with Scarlett, evading Roger), but it doesn’t work.

o Midpoint: reveals the real world/conflict – Alex’s uncle has died, naming him heir. It’s easier than ever for him to come back, but he resists…for now.

o Act 3: reeling from his Uncle’s death, Patrick’s attack on his new life, and everyone abandoning him, Alex decides to take Patrick up on his offer.

o Act 4: Alex confronts Richard, declares that it is his life to live.

· Weak turning points: at the end of each act, I’ve highlighted where in my script the turning point happens. This has helped me see redundancy and isolate shallow turning points. I can use one of the turning point types to elevate those scenes and create intrigue.

· Weak transformational journey: Alex goes from hating the Brennans and Cadens to accepting Scarlett as family. He goes from cocaine-hooked to sober. He goes from unlawful to lawful.

· Weak layers beneath the surface: build more suspense into Kitty Caden’s death – instead of revealing it in Act 1, it will now be revealed in Act 4.

· Weak opening scene: poker game takes us into the interesting sub-world of the family politics, gives us an intriguing glimpse into Alex and the family dynamic, sets up the compelling conflict of North v. South, interesting action of the poker game, and ends with a twist of Alex leaving to go see Kitty.

· Stronger midpoint: Shane seemed so invincible, and now he’s dead – Alex never thought that he would be the next in line, but Shane has named him. Alex finds out that Ted ordered Kitty’s death. Patrick knew more than he let on all this time. Alex is furious with his old friend and alienates him. This makes Patrick dangerous to him and his new ways.

· Weak ending: Roger’s reveal, poker game, Alex burning the cocaine, and reuniting with Scarlett make for a profound ending and show us that Alex has embraced his new ways.

o Fitting ending: poker game

o Surprising, yet inevitable: Richard and Alex were going to have to be in the same room at some point – instead of Alex killing him, Richard kills himself (something we did not expect)

• This reply was modified 2 years, 3 months ago by  Erin Ziccarelli.

[Erin Ziccarelli]

Erin Ziccarelli Has Finished Act 4!

Vision: I am going to create profound scripts that leave audiences remembering my movies and leave me excited to keep writing and moving up in the industry.

What I learned from doing this assignment is: My outline was very detailed and took a long time, so writing the script was much less intimidating. I stalled the most while working on my outline, but went much faster while writing the script because I had everything planned out. Writing “FADE OUT” was so exciting and I can’t wait to move onto the next draft!

[Erin Ziccarelli]

Erin Ziccarelli Continues Act 4

Vision: I am going to create profound scripts that leave audiences remembering my movies and leave me excited to keep writing and moving up in the industry.

<b style=”font-family: inherit; font-size: inherit;”>What I learned from doing this assignment is: I am now finished with my fourth act, which is Sequence G of my script. All I have left is Sequence H, and then I will be finished! Finishing up this part of the fourth act brought my protagonist and antagonist together, which is the most exciting part of the script for me. I’m looking forward to writing the resolution tomorrow.

[Erin Ziccarelli]

Erin Ziccarelli Starting Act 4

Vision: I am going to create profound scripts that leave audiences remembering my movies and leave me excited to keep writing and moving up in the industry.

What I learned from doing this assignment is: It’s very exciting for me to get to Act 4, since the whole script has been a build-up to the climax scene. Right now, I feel this act is a little too long, but I’m excited to write the next scene where the protagonist and antagonist “fight it out” face-to-face. Writing the whole script is also helping me to solve the “unknowns” that were still in Act 4 – I am sticking to my outline, but keeping some notes for draft 2.

[Erin Ziccarelli]

Erin Ziccarelli Finishing Act 3

Vision: I am going to create profound scripts that leave audiences remembering my movies and leave me excited to keep writing and moving up in the industry.

What I learned from doing this assignment is: this is my first time trying out the 5-15 min chunk method. I am used to writing for long periods, but I’ve noticed I usually start losing focus after about 45 minutes. Breaking down my brainstorming/scene writing time into 5-15 minute chunks is much more effective when I’m not feeling as creative. However, if I’m “in the zone,” I like to write without stopping and let the ideas flow. Both of these techniques are very useful for me and helping me to move forward in the writing process!

[Erin Ziccarelli]

Erin Ziccarelli Continuing Act 3

Vision: I am going to create profound scripts that leave audiences remembering my movies and leave me excited to keep writing and moving up in the industry.

What I learned from doing this assignment is: I really like the quote at the beginning of lesson 10. I feel that the pacing of my script is finally increasing as all the setup is able to take off and make for a more interesting and deep second half.

[Erin Ziccarelli]

Erin Ziccarelli Began Act 3

Vision: I am going to create profound scripts that leave audiences remembering my movies and leave me excited to keep writing and moving up in the industry.

What I learned from doing this assignment is: Revisiting the high-speed writing strategies and combining them with the creative processes from the mastery session is helping me to improve my speed.

[Erin Ziccarelli]

Erin Ziccarelli Completed Act 2

Vision: I am going to create profound scripts that leave audiences remembering my movies and leave me excited to keep writing and moving up in the industry.

What I learned from doing this assignment is: I very much enjoyed the last mastery session. Trying out some new creative processes (such as rethinking and exploring) will help me become a more imaginative writer. The first half of my script is a little longer than I’d like (about 66 pages instead of 60), but this is something I can work on in the next module. I’m looking forward to moving on – for the first half of the script, I was building up to the midpoint, and now for the second half, I’m excited to build up to the grand finale.

[Erin Ziccarelli]

Erin Ziccarelli<b style=”font-family: inherit; font-size: inherit;”> Continuing Act 2

Vision: I am going to create profound scripts that leave audiences remembering my movies and leave me excited to keep writing and moving up in the industry.

What I learned from doing this assignment is: this has been the most difficult part of the script to write, because a lot of it is setup for the long scene of my midpoint. I’m going to keep sticking to my outline.

[Erin Ziccarelli]

Erin Ziccarelli Beginning Act 2

Vision: I am going to create profound scripts that leave audiences remembering my movies and leave me excited to keep writing and moving up in the industry.

What I learned from doing this assignment is: this process requires a ton of concentration. It’s difficult for me to write without editing, but setting and sticking to the timer leaves no time for going back and changing my words. I eagerly await the next modules to improve this draft!

[Erin Ziccarelli]

Erin Ziccarelli’s Finished Act 1

Vision: I am going to create profound scripts that leave audiences remembering my movies and leave me excited to keep writing and moving up in the industry.

What I learned from doing this assignment is: I didn’t have everything for the first act figured out in my outline, but I’m still sticking to that outline as I move forward in the writing process. If I’m having trouble coming up with dialogue and descriptions, I always go back to my outline as a blueprint for the script.

[Erin Ziccarelli]

Erin Ziccarelli Next Act I Scenes

Vision: I am going to create profound scripts that leave audiences remembering my movies and leave me excited to keep writing and moving up in the industry.

<b style=”font-family: inherit; font-size: inherit;”>What I learned from doing this assignment is: the last mastery session helped me to understand more about speed writing. The writing process is easier now that I have such a detailed outline to guide me. I always struggled with speed writing, so this module is helping me become a faster writer!

[Erin Ziccarelli]

Erin Ziccarelli Act I First Draft I

Vision: I am going to create profound scripts that leave audiences remembering my movies and leave me excited to keep writing and moving up in the industry.

<b style=”font-family: inherit; font-size: inherit;”>What I learned from doing this assignment is: the purpose of Act 1. The most important thing is to keep the audience reading until Act 2 by enticing them to go on this journey with the protagonist. Writing quickly is easier with such a detailed outline. I’m finding that mapping out the scene beats and adding insights is an excellent guide for me and makes me want to stick to my outline, which is the goal for this first draft.

[Erin Ziccarelli]

Erin Ziccarelli High Speed Writing Rules

Vision: I am going to create profound scripts that leave audiences remembering my movies and leave me excited to keep writing and moving up in the industry.

What I learned from doing this assignment is: the breakdown of draft levels is useful to understand the writing process. I used the timer method – setting a timer for five minutes and trying to write as much as possible in that time. I was able to transform the next two scenes from outline form into dialogue/description form.

[Erin Ziccarelli]

Erin Ziccarelli turns Insights into Action

What I learned from doing this assignment is: the profound moments of the movie Seabiscuit. This is my first time seeing the film.

Assignment 1: Profound moments of Seabiscuit:

· Red in the horse race for the first time: his passion for the craft is ignited. He sees the competitive/cutthroat side of it. It’s harder than he thought, but he’s going to stick with it.

· Red’s eye injury: instead of giving up and accepting defeat, he decides to keep going.

· Tom and Charles’ scene together by the fire: not giving up on anyone, no matter the circumstances. Everyone has a gift, or something unique to offer.

· Smith’s first encounter with Seabiscuit: the horse is spirited. Has great potential.

· Red and Seabiscuit’s first win as a team: the crowd is ignited. They inspire and unite people – the movement begins, people “find their voice.”

· Red’s eye injury is exposed: Tom is encouraged not to give up on Red and Seabiscuit, simply because of his injury.

· Red and Seabiscuit’s injuries: both are on the mend, but their spirits are not crushed. They are happily reunited, showing their bond is about more than winning. They’ve built a deep connection.

· Lap around the tree: it’s their first time trying to race since being injured. There’s hope for their future as a team.

· Final race: everyone who’s been a part of their journey is there to witness the victory. Everyone’s cheering for Red and Seabiscuit. With some encouragement, they win. Seabiscuit has helped each character, and they’ve all helped each other. This is profound, especially for the setting – the Great Depression.

Assignment 2: Create a list of the New Ways and Insights you’d like audiences to experience when they watch your movie. With that list, brainstorm ways to turn the New Ways / Insights into Action. Come up with at least five (5) New Ways and the Action that will express them.

· Learning to control your own fate

o Alex in rehab – he makes the decision to get better.

o Roger has made a choice to leave the old life behind. That was his decision.

o Alex’s business journey – when he’s dependent on Nathanial’s money, he’s less successful. He feels more confident when he’s in control.

o Alex’s rejection of the family at the end. His final lines to them are, “This is my life. This is my future.”

o Alex burning the cocaine. He’s done with the old life and his old vices.

· Living a life v. moving through life

o Kitty’s rebellious nature – she challenges Nathanial’s ways. He’s miserable moving through life beholden to the family rules, while she’s happily carrying on with Alex.

o When in prison, Alex is numb to his world. He’s barely living. As he starts to interact with others and enjoy his day-to-day life, he’s a happier person.

o Scarlett is moving through life. She spends most of her days at a job she doesn’t like and drinks and gambles by night. Her relationships are shallow.

o Alex sees Scarlett’s life and tries to help her see the truth.

o Alex’s references to the “life he led,” back when he was young. He was going through his days dependent on the Donovan family for his livelihood.

· Family is more than last name

o Jack, Shaun, Alex, Scarlett, and Will become an odd sort of “family” – they are a team working to make the business possible. They have a shared sense of responsibility for their work until the fire.

o Alex and Kitty’s relationship – they came from opposite families, yet still understood each other better than their own families.

o Scarlett and Alex’s relationship – by the end, they are finally on the path to trusting each other despite being from rival families.

o Nathanial’s gift to Alex – Nathanial Caden left Alex money, despite Alex being from the other side of Boston. He was the first to “see the light.”

o Roger, Alex, and Scarlett’s dynamic – Roger is constantly checking up on Alex and Scarlett and making sure that they’re alright. Roger displays the same amount of commitment to both of them, despite Alex being a “rival” and Scarlett being “one of his.”

· Redemption and forgiveness are possible

o Alex’s journey through rehab

o Scarlett and Alex’s journey – their forgiveness of each other’s past mistakes and betrayals

o Roger’s journey – he’s redeemed himself from his previous life

o Alex’s forgiveness of Kitty and Ted’s marriage, despite their relationship

o Roger and Alex’s slow journey to trust each other

· Confronting the past is the only way to move forward

o Roger’s journey of coming back to Boston. He must go back to the North End to help Scarlett.

o Alex returns to the prison later in the story. It looks different to him. He realizes how much his outlook has changed.

o References to Kitty – Alex won’t let her mysterious death be forgotten. He confronts Richard at the end, and the mystery is solved.

o Alex’s return to the South End after Scarlett rejects his help. It takes him a while to work through his past, but he realizes he must return to his old ways to leave them behind.

o Alex’s counterfeiting skills are not as sharp as they once were. He can never be his old self again.

[Erin Ziccarelli]

Erin Ziccarelli First Scene

Vision: I am going to create profound scripts that leave audiences remembering my movies and leave me excited to keep writing and moving up in the industry.

What I learned from doing this assignment is: breaking the scenes down into beginning, middle, and end, and then assigning an interest technique to each one is helping me focus my scene. The formatting guide is also very helpful and something I wish I’d had for earlier scripts!

This is a very exciting process for me – my first scene involves intrigue, superior position, and an uncomfortable moment. I’m looking forward to writing more scenes, guided by the interest techniques!

[Erin Ziccarelli]

Erin Ziccarelli’s Fascinating Scenes

Vision: I am going to create profound scripts that leave audiences remembering my movies and leave me excited to keep writing and moving up in the industry.

What I learned from doing this assignment is: Breaking down the interest techniques into these four categories (big picture, character, twist, anticipation) is helping me to vary each scene to make sure the interest techniques aren’t repetitive. I’m hoping this will keep my reader captivated!

Alex winning the poker game to Alex leaving the room –
intrigue, uncomfortable moment, mystery (INT. SOUTH END CASINO – NIGHT)

Essence: introducing Alex is a young, invincible, and
promising member of the Donovan family to exposing some cracks in the
surface of his loyalty
Conflict: the South End families want every member of
the North End families destroyed. Alex is not completely on board –
opposition to the popular opinion.
Subtext: introducing Alex as the “winner” – he’s the
ace card, and the ace always wins. He wins the game, hinting that he will
be the winner of the “games” that the North End and South End play. He
will come out on top.
Hope/fear: we are hoping that Alex will be successful
in his endeavor. Fearing that he may fail or fall out of favor with the
South End families.

Nathanial Caden and Richard Brennan arguing over their
family dynasties to Nathanial pulling a gun on Richard and demanding he
leave – uncertainty – betrayal – suspense (INT. NATHANIAL’S OFFICE – NIGHT)

Essence: introducing the rivalry between leader of the
North End families and the want-to-be leader of the North End families
Conflict: struggle for power within the North End
families. They are divided. Richard challenges Nathanial’s leadership.
Subtext: the Boston rivalry runs deep. The vitriol
between the families is real, and dangerous. The North End is far less
united than the South End.
Hope/fear: we hope that Nathanial Caden (the gentler
of the two) will maintain his influence. We fear Richard Brennan taking
over and doing harm to the Donovans (especially Alex).

Alex and Kitty go from flirting with each other to
developing a sincere connection and realize they’re more similar than they
thought – surprise – uncertainty – character changes radically (INT.
KITTY’S BEDROOM – NIGHT)

Essence: introducing Alex and Kitty’s secret and
forbidden relationship (Romeo and Juliet love story) and Alex’s honest
view of the family feud.
Conflict: Alex and Kitty may love each other but are
still on “opposite sides” of the family feud. They’re trying to overcome
these differences. See each other in a different light.
Subtext: They’re from different sides and yet so
similar. Metaphor for the families – they’re all more similar than they’d
like to admit.
Hope/fear: we hope Alex and Kitty will make it. We
fear they will not overcome their differences. We fear the families
tearing them apart.

Kitty arrives at the porch and then runs to try to save
Alex – uncertainty – uncomfortable moment – reveal (EXT. CADEN HOUSE –
NIGHT)

Essence: Nathanial reveals that Richard Brennan will
earn his trust tonight, much to Kitty’s dismay.
Conflict: controversy between Kitty and her father.
She no longer believes in him or his mission. He’s starting to trust
Richard. She despises Richard.
Subtext: Kitty and Nathanial are both Cadens, but they
have different goals, desires, and plans for their futures. Shared last
name/family does not guarantee compatibility.
Hope/fear: Hope that Kitty will stand up to Nathanial.
Fear that he will find out about her and Alex.

Sequence of the Dunbar Operation, from Alex meeting
with the seller to getting arrested with Kitty watching – external dilemma
– suspense – cliffhanger (INT. BOAT CABIN – NIGHT, INT. BOAT DECK –
CONTINUOUS, EXT. BOSTON HARBOR – NIGHT)

Essence: Alex’s counterfeit deal gone wrong. He gives
himself up for the other members of the South End. Goes to prison
Conflict: North End v. South End. Alex v. himself.
Subtext: Alex is willing to go to prison for the
cause. He wants Patrick, Darren, and Collin to save themselves so the
whole South End won’t fall into ruin.
Hope/fear: We hope that they will all escape. We fear
Alex getting caught. When he does, we fear the aftermath. What will
happen to him?

Twenty years later, Nathanial Caden is on his deathbed.
He passes, leaving his estate to Alex Donovan – uncertainty – mystery –
surprise (INT. NATHANIAL’S BEDROOM – DAY, EXT. CADEN ESTATE – DAY)

Essence: Nathanial Caden’s death. Will and Demi’s
entrance into the story, as the social worker and Nathanial’s lawyer.
They are both stunned to learn that Nathanial has left his estate to
Alex.
Conflict: Confusion – why would a Caden leave money to
a Donovan? Was he coerced? Alex is in prison now. Will they be able to
get him the money?
Subtext: The North and South End feud is known to
Boston’s lawyers and social workers. The feud runs deep, and Demi and
Will are shocked to learn of the beneficiary.
Hope/fear: We hope that Alex and Nathanial’s
connection will be explored. We fear Alex being in prison.

Alex unpacking to injecting himself with cocaine –
character changes radically – intrigue – surprise (INT. PRISON CELL – DAY)

Essence: introduce 40-year old Alex. He’s aged, tense,
and has developed a cocaine addiction. While the teenage Alex from the
opening scene was young, vibrant, and hopeful, the “new Alex” is the
opposite.
Conflict: Alex v. cocaine addiction, aloneness.
Subtext: Alex has not followed Shane’s advice – he is
beholden to his addiction. He has given up and lost hope. There is
nothing for him to live for.
Hope/fear: we fear the consequences of Alex’s
addiction. We hope the money will help him.

Alex arriving in the common area to being hauled out of
the common area after beating Ted up – uncomfortable moment – intrigue –
suspense (INT. COMMON AREA – DAY)

Essence: the feud between Alex and Ted has not died
down. They remember Dunbar like it was yesterday.
Conflict: Who will “win” the fight?
Subtext: The North and South End feud is alive and
well. Nothing’s changed in the past twenty years
Hope/fear: We hope Alex beats up Ted and doesn’t get
in trouble for it. He’s seriously injured Ted, and we’re afraid he’ll be
charged for it.

Roger arrives and meets Demi and Will, Roger gets rid
of them so he can talk to Alex alone – superior position – intrigue –
suspense (INT. INTERROGATION ROOM – DAY, INT. OBSERVATION ROOM – DAY)

Essence: introduce the dynamic between Demi, Will, and
Roger, and the beginning of Roger’s mysterious connection to this case
Conflict: Alex v. Roger – can they “outwit” each
other?
Subtext: there’s something about this case for Roger.
He’s from Boston. Why is he so invested?
Hope/fear: We hope Roger will help Alex. We’re afraid
Alex may not get the money.

Roger and Alex start out staring at each other, not
speaking – Roger’s waiting for him to go into withdrawal. The sequence
ends with Alex rejecting the offer and walking off. Suspense – uncertainty
– internal dilemma (INT. INTERROGATION ROOM – DAY, EXT. PRISON COURTYARD –
DAY, INT. PRISON HALLWAY – DAY)

Essence: Roger reveals the inheritance to Alex. Alex
angrily rejects the money and repeatedly states that he never knew
Nathanial Caden. The thought of being associated with a Caden is
repulsive to Alex.
Conflict: Alex v. his old ways – he refuses to leave
behind the life he’s chosen. Discord between Roger and Alex.
Subtext: the family feud – Roger is from the North,
trying to help Alex, from the South. If he knew, Alex would not be able
to accept that.
Hope/fear: We want Alex to take the money. He rejected
it. We fear him staying in his old ways.

Alex enters Ted Brennan’s room and witnesses his death –
superior position – mystery – reveal (INT. PATIENT ROOM – NIGHT)

Essence: Richard killed Kitty. Ted knew that Scarlett
is Alex’s daughter.
Conflict: ongoing feud between Ted and Alex – Alex
struggles to believe Ted even though Ted has no reason to lie in his last
moments.
Subtext: Kitty’s legacy lives on. Alex can’t believe
what Ted’s saying.
Hope/fear: We hope that Ted is telling the truth.
We’re afraid that Alex won’t act on this news. We want Alex to be
encouraged by the news.

Alex flipping through the Brennan file, then accepting
the money internal dilemma – uncertainty – character changes radically
(INT. PRISON ADMINISTRATIVE OFFICE – DAY)

Essence: Alex realizes Ted was telling the truth
Conflict: emotional – Alex struggling with his
feelings about this news. After recalling an old memory from his time
with Kitty, he decides to take the money.
Subtext: Alex is crossing the line for the first time
– he’s accepting help from a Caden.
Hope/fear: We hope that Alex will get to meet Scarlett
and turn over a new leaf. We fear him being disappointed.

Denial stage: Alex meeting Dr. Anderson to telling her
more about his life, while Roger and Dr. Reynolds watch – uncomfortable moment
– misinterpretation – internal dilemma (INT. THERAPY ROOM – DAY, INT.
FOYER – DAY)

Essence: Alex’s first steps of rehab, establish
emotional ethos (why Alex chose his life even when it’s caused him
problems/pain)
Conflict: Alex v. Dr. Anderson – they struggle to
understand each other. Roger v. Alex – Roger is confused as to why Alex
suddenly accepted the money.
Subtext: Roger knows Alex is hiding something. Alex’s
first step towards getting help, trying to do it alone.
Hope/fear: We want Alex to get better. We’re afraid
the doctors will expose his secret.

Anger stage: Alex’s biofeedback session, entering the
sixth hour to him going into convulsions – external dilemma – uncertainty –
cliffhanger (INT. BIOFEEDBACK ROOM – DAY)

Essence: Alex’s addiction treatment. He’s struggling with
cocaine withdrawal.
Conflict: Alex v. his addiction. He grows antagonistic
with Dr. Reynolds.
Subtext: He struggles with his past, his identity, and
his future. His twisted flashbacks show the confusion he’s experiencing.
Hope/fear: We’re afraid Alex will die at the end of
the scene. He’s in a great deal of physical, mental, and emotional pain.

Alex remembering an imagined conversation with Kitty to
him tearing up the room, declaring that he will get better for her – uncertainty
– character changes radically – major twist (EXT. CHARLES RIVER BRIDGE –
NIGHT, INT. HOSPITAL ROOM – NIGHT)

Essence: Alex realizing that Kitty wanted him more
than he wanted her – he feels guilty for abandoning her.
Conflict: emotional – Alex v. the system, he was not
able to commit himself to her because of the family.
Subtext: Alex feels he has let Kitty down. He doesn’t
want to do the same to Scarlett.
Hope/fear: We are hoping Alex and Kitty will have a
happy ending (even though it’s impossible). We fear Alex turning on her.

[Erin Ziccarelli]

Erin Ziccarelli Scene Requirements

Vision: I am going to create profound scripts that leave audiences remembering my movies and leave me excited to keep writing and moving up in the industry.

What I learned from doing this assignment is: this is my favorite exercise so far – breaking down the scene requirements is helping me to focus my outline by eliminating some scenes and combining others. This has taken a long time but I’m enjoying the process!

Alex winning the poker game to Alex leaving the room (INT.
SOUTH END CASINO – NIGHT)

Essence: introducing Alex is a young, invincible, and
promising member of the Donovan family to exposing some cracks in the
surface of his loyalty
Conflict: the South End families want every member of
the North End families destroyed. Alex is not completely on board – opposition
to the popular opinion.
Subtext: introducing Alex as the “winner” – he’s the
ace card, and the ace always wins. He wins the game, hinting that he will
be the winner of the “games” that the North End and South End play. He will
come out on top.
Hope/fear: we are hoping that Alex will be successful
in his endeavor. Fearing that he may fail or fall out of favor with the South
End families.

Nathanial Caden and Richard Brennan arguing over their
family dynasties to Nathanial pulling a gun on Richard and demanding he
leave (INT. NATHANIAL’S OFFICE – NIGHT)

Essence: introducing the rivalry between leader of the
North End families and the want-to-be leader of the North End families
Conflict: struggle for power within the North End
families. They are divided. Richard challenges Nathanial’s leadership.
Subtext: the Boston rivalry runs deep. The vitriol
between the families is real, and dangerous. The North End is far less
united than the South End.
Hope/fear: we hope that Nathanial Caden (the gentler of
the two) will maintain his influence. We fear Richard Brennan taking over
and doing harm to the Donovans (especially Alex).

Alex and Kitty go from flirting with each other to
developing a sincere connection and realize they’re more similar than they
thought (INT. KITTY’S BEDROOM – NIGHT)

Essence: introducing Alex and Kitty’s secret and forbidden
relationship (Romeo and Juliet love story) and Alex’s honest view of the
family feud.
Conflict: Alex and Kitty may love each other but are
still on “opposite sides” of the family feud. They’re trying to overcome
these differences. See each other in a different light.
Subtext: They’re from different sides and yet so
similar. Metaphor for the families – they’re all more similar than they’d
like to admit.
Hope/fear: we hope Alex and Kitty will make it. We
fear they will not overcome their differences. We fear the families
tearing them apart.

Kitty arrives at the porch and then runs to try to save
Alex (EXT. CADEN HOUSE – NIGHT)

Essence: Nathanial reveals that Richard Brennan will
earn his trust tonight, much to Kitty’s dismay.
Conflict: controversy between Kitty and her father. She
no longer believes in him or his mission. He’s starting to trust Richard.
She despises Richard.
Subtext: Kitty and Nathanial are both Cadens, but they
have different goals, desires, and plans for their futures. Shared last
name/family does not guarantee compatibility.
Hope/fear: Hope that Kitty will stand up to Nathanial.
Fear that he will find out about her and Alex.

Sequence of the Dunbar Operation – from Alex meeting with
the seller to getting arrested with Kitty watching (INT. BOAT CABIN –
NIGHT, INT. BOAT DECK – CONTINUOUS, EXT. BOSTON HARBOR – NIGHT)

Essence: Alex’s counterfeit deal gone wrong. He gives
himself up for the other members of the South End. Goes to prison
Conflict: North End v. South End. Alex v. himself.
Subtext: Alex is willing to go to prison for the
cause. He wants Patrick, Darren, and Collin to save themselves so the
whole South End won’t fall into ruin.
Hope/fear: We hope that they will all escape. We fear
Alex getting caught. When he does, we fear the aftermath. What will
happen to him?

Twenty years later, Nathanial Caden is on his deathbed.
He passes, leaving his estate to Alex Donovan. (INT. NATHANIAL’S BEDROOM –
DAY, EXT. CADEN ESTATE – DAY)

Essence: Nathanial Caden’s death. Will and Demi’s
entrance into the story, as the social worker and Nathanial’s lawyer. They
are both stunned to learn that Nathanial has left his estate to Alex.
Conflict: Confusion – why would a Caden leave money to
a Donovan? Was he coerced? Alex is in prison now. Will they be able to
get him the money?
Subtext: The North and South End feud is known to
Boston’s lawyers and social workers. The feud runs deep, and Demi and
Will are shocked to learn of the beneficiary.
Hope/fear: We hope that Alex and Nathanial’s
connection will be explored. We fear Alex being in prison.

Alex unpacking to injecting himself with cocaine (INT.
PRISON CELL – DAY)

Essence: introduce 40-year old Alex. He’s aged, tense,
and has developed a cocaine addiction. While the teenage Alex from the
opening scene was young, vibrant, and hopeful, the “new Alex” is the
opposite.
Conflict: Alex v. cocaine addiction, aloneness.
Subtext: Alex has not followed Shane’s advice – he is
beholden to his addiction. He has given up and lost hope. There is
nothing for him to live for.
Hope/fear: we fear the consequences of Alex’s addiction.
We hope the money will help him.

Alex arriving in the common area to being hauled out of
the common area after beating Ted up (INT. COMMON AREA – DAY)

Essence: the feud between Alex and Ted has not died
down. They remember Dunbar like it was yesterday.
Conflict: Who will “win” the fight?
Subtext: The North and South End feud is alive and
well. Nothing’s changed in the past twenty years
Hope/fear: We hope Alex beats up Ted and doesn’t get
in trouble for it. He’s seriously injured Ted, and we’re afraid he’ll be
charged for it.

Roger arrives and meets Demi and Will, Roger gets rid
of them so he can talk to Alex alone (INT. INTERROGATION ROOM – DAY, INT.
OBSERVATION ROOM – DAY)

Essence: introduce the dynamic between Demi, Will, and
Roger, and the beginning of Roger’s mysterious connection to this case
Conflict: Alex v. Roger – can they “outwit” each
other?
Subtext: there’s something about this case for Roger.
He’s from Boston. Why is he so invested?
Hope/fear: We hope Roger will help Alex. We’re afraid Alex
may not get the money.

Roger and Alex start out staring at each other, not
speaking – Roger’s waiting for him to go into withdrawal. The sequence
ends with Alex rejecting the offer and walking off. (INT. INTERROGATION
ROOM – DAY, EXT. PRISON COURTYARD – DAY, INT. PRISON HALLWAY – DAY)

Essence: Roger reveals the inheritance to Alex. Alex
angrily rejects the money and repeatedly states that he never knew Nathanial
Caden. The thought of being associated with a Caden is repulsive to Alex.

Conflict: Alex v. his old ways – he refuses to leave behind
the life he’s chosen. Discord between Roger and Alex.
Subtext: the family feud – Roger is from the North, trying
to help Alex, from the South. If he knew, Alex would not be able to
accept that.
Hope/fear: We want Alex to take the money. He rejected
it. We fear him staying in his old ways.

Alex enters Ted Brennan’s room and witnesses his death
(INT. PATIENT ROOM – NIGHT)

Essence: Richard killed Kitty. Ted knew that Scarlett is
Alex’s daughter.
Conflict: ongoing feud between Ted and Alex – Alex struggles
to believe Ted even though Ted has no reason to lie in his last moments.
Subtext: Kitty’s legacy lives on. Alex can’t believe
what Ted’s saying.
Hope/fear: We hope that Ted is telling the truth. We’re
afraid that Alex won’t act on this news. We want Alex to be encouraged by
the news.

Alex flipping through the Brennan file, then accepting
the money

Essence: Alex realizes Ted was telling the truth
Conflict: emotional – Alex struggling with his
feelings about this news. After recalling an old memory from his time
with Kitty, he decides to take the money.
Subtext: Alex is crossing the line for the first time –
he’s accepting help from a Caden.
Hope/fear: We hope that Alex will get to meet Scarlett
and turn over a new leaf. We fear him being disappointed.

Denial stage: Alex meeting Dr. Anderson to telling her
more about his life, while Roger and Dr. Reynolds watch (INT. THERAPY ROOM
– DAY, INT. FOYER – DAY)

Essence: Alex’s first steps of rehab, establish
emotional ethos (why Alex chose his life even when it’s caused him
problems/pain)
Conflict: Alex v. Dr. Anderson – they struggle to
understand each other. Roger v. Alex – Roger is confused as to why Alex
suddenly accepted the money.
Subtext: Roger knows Alex is hiding something. Alex’s
first step towards getting help, trying to do it alone.
Hope/fear: We want Alex to get better. We’re afraid the
doctors will expose his secret.

Anger stage: Alex’s biofeedback session, entering the
sixth hour to him going into convulsions (INT. BIOFEEDBACK ROOM – DAY)

Essence: Alex’s addiction treatment. He’s struggling with
cocaine withdrawal.
Conflict: Alex v. his addiction. He grows antagonistic
with Dr. Reynolds.
Subtext: He struggles with his past, his identity, and
his future. His twisted flashbacks show the confusion he’s experiencing.
Hope/fear: We’re afraid Alex will die at the end of
the scene. He’s in a great deal of physical, mental, and emotional pain.

Alex remembering an imagined conversation with Kitty to
him tearing up the room, declaring that he will get better for her (EXT.
CHARLES RIVER BRIDGE – NIGHT, INT. REHABILITATION CENTER SUITE – NIGHT)

Essence: Alex realizing that Kitty wanted him more
than he wanted her – he feels guilty for abandoning her.
Conflict: emotional – Alex v. the system, he was not
able to commit himself to her because of the family.
Subtext: Alex feels he has let Kitty down. He doesn’t
want to do the same to Scarlett.
Hope/fear: We are hoping Alex and Kitty will have a
happy ending (even though it’s impossible). We fear Alex turning on her.

Bargaining stage: Group therapy session with the participants
sharing to Alex feeling closed off and alone (EXT. GARDENS – DAY)

Essence: Jack and Shaun introduced. They learn about
each other’s pasts. Alex doesn’t share much about himself.
Conflict: controversy – Alex v. the past. Do we
determine our own fate?
Subtext: Alex feels he has never had control over his
life. He’s been on the outside looking in.
Hope/fear: We fear that Alex will never determine his
own fate. We hope that he and Jack and Shaun will connect.

Depression stage: Alex feeling lost, alone, out of
control and hopeless. Kicking a can. Contemplates suicide. “Sees” Scarlett
and stops. (EXT. REHAB CENTER – NIGHT)

Essence: Alex has given up. Whatever hope he found, he
has once again lost.
Conflict: Alex v. himself – he’s feeling trapped. His
suicide is interrupted by his imagination of Scarlett, who then disappears,
leaving him alone.
Subtext: Alex’s first “conversation” with Scarlett. He’s
asking her for help, but she disappears. Only he can help himself.
Hope/fear: We fear that Alex will never leave rehab. He
will never recover.

Alex getting his vitals taken to walking out of the room
(INT. CLINIC ROOM – DAY)

Essence: Dr. Reynolds and Dr. Anderson try to
encourage Alex to keep going. He’s giving up.
Conflict: Alex’s struggle against the future. He’s not
sure he wants one.
Subtext: Alex feels abandoned. He doesn’t think he can
ever move on. Kitty and Scarlett have both left him.
Hope/fear: We hope that the next stage of the program
will help Alex move forward. We fear that he may not want to work with
Jack and Shaun.

Acceptance stage: Alex presenting his business plan,
confident in his ability to do it alone. His plan is questioned – he must
have Jack and Shaun by his side as he’s released (INT. PRESENTATION ROOM –
DAY)

Essence: Alex’s model. He can’t do it alone – he’s told
he must have support from Jack and Shaun.
Conflict: Alex v. Consultant – they’re both convinced
of their methods.
Subtext: Alex has a fear of being hung out to dry
again. He wants the support structure, but doesn’t think he will find it
with Jack and Sean.
Hope/fear: Alex, Jack, and Shaun will learn to trust
each other. Alex’s business will be successful.

Volleyball game with Alex’s team losing to winning
(INT. GYM – DAY)

Essence: Jack, Alex, and Shaun take the first step to
trusting each other. It’s not going to be easy. Alex leaves the rehab
center, sober and ready to go.
Conflict: the two teams playing volleyball. Alex and
his own team are not working together yet.
Subtext: their progress or setbacks in the volleyball game
show their lack of group cohesion or their coming together.
Hope/fear: we hope that Alex will be able to trust Jack
and Shaun.

Alex getting his items returned to him to getting
threatened by Randall Byrne (INT. PRISON ADMINISTRATIVE OFFICE – DAY)

Essence: Alex has moved forward. He is leaving the
sheltered world of rehab, only to be thrown back into the snake pit,
shown by a brush in with an old friend of Ted’s.
Conflict: Alex v. Warden. The warden doesn’t believe
in him. Alex v. Randall, who says he’ll kill Alex if he ever returns.
Subtext: Alex is not yet free of the old ways. He’ll
have to work a lot harder to move on from his old life.
Hope/fear: We’re afraid that Alex will slip back into
his old addictions. Be harmed by any of his old enemies.

Roger and Demi learn of the trust, and Alex is released
(INT. COURTHOUSE – DAY, INT. COURTROOM – DAY)

Essence: Demi notifies Roger of the conservatorship
condition. Roger is suspicious. Alex is released.
Conflict: Alex is entering an uncertain time in his
life. He will need to meet it to the best of his ability.
Subtext: He’s kept his secret. We know that Demi knows
something about a conservatee, but Roger can’t know.
Hope/fear: We are afraid Alex’s secret will be exposed
to Roger. We are hopeful for his future – he is finally being released.

Alex and his team enter their new office space, Alex
finds out about the conservatorship clause of the will (INT. GARAGE – DAY,
EXT. GARAGE – DAY, INT. GARAGE – NIGHT)

Essence: Alex and his team have some office space. 20%
of the estate must go to the conservatee – Scarlett Brennan. Alex keeps
the news from Roger.
Conflict: struggle between Alex and deliberation over
what to do about Scarlett.
Subtext: Alex is pushed to find her. He now needs her
signature to get Nathanial’s money. He’s still struggling over his past
with Kitty.
Hope/fear: We hope Alex’s business will be successful.
We fear him delaying meeting Scarlett and not getting the money on time.

Alex trying to launch the business and then goes back
to playing cards – something he’s good at (INT. GARAGE – DAY)

Essence: Alex, Jack, and Shaun are struggling to find
trustworthy buyers. They have Will constantly looking over their shoulder,
evaluating them.
Conflict: Alex is struggling to launch. He’s
conflicted over whether to see Scarlett or not. It’s been a week and he
still hasn’t been to the DMV.
Subtext: Alex needs money – without the inheritance,
it’s difficult for him to buy. He needs Scarlett to get to the money.
Hope/fear: We are afraid Alex’s business will flop or
that Will won’t write him a good review. We’re hoping he visits Scarlett.

Alex sees Scarlett at the DMV but doesn’t talk to her
(INT. DMV – DAY, EXT. DMV – DAY)

Essence: Alex searches for Scarlett at the DMV. He
sees her behind the building, inducing vomiting – she has an eating disorder.
He’s struggling with what to say to her and leaves, without her
signature.
Conflict: emotional – Alex still can’t believe that
she’s his daughter. He dislikes her because she’s from the other side. He’s
at a loss for what to do.
Subtext: Alex remains put off by her association with
the Brennans. He can’t talk to her. He feels ashamed by what happened. What
could be a very happy and emotional scene is dry and unfeeling. Purely mercenary.

Hope/fear: We’re afraid Alex will never talk to her.
We can only hope that they’ll speak sooner rather than later

Alex arriving at the car auction to bidding on several
vehicles, all at a high price (EXT. CAR DEALERSHIP – DAY)

Essence: Alex arrives at the auction, ready to bid.
Jack and Shaun have a lot of questions about where his money is coming
from, but he’s not into answering.
Conflict: opposition – Alex and his team aren’t
exactly on the same page. He’s starting to spend out of control, and
liquidation hasn’t even begun.
Subtext: Alex, Jack, and Shaun don’t really trust each
other. They just need to go along to get along.
Hope/fear: We hope Alex’s investment will pay off. We
fear the team not being able to work together.

Scarlett’s life as a gambler after hours (INT. DIVE BAR
– NIGHT)

Essence: Scarlett has an eating disorder and abuses
alcohol. She’s an excellent card player.
Conflict: Scarlett v. her unhealthy vices – she’s had
an unstable life and it’s showing. Money slips through her fingers.
Subtext: Scarlett is so similar to Alex’s younger
self. She’s just as good a gambler as he is.
Hope/fear: We hope she changes, just as we hope Alex
changes. We’re afraid of her following in the family’s footsteps.

Roger arriving at the garage to remind Alex of his slow
progress to Alex getting him to admit that he was once in prison (INT.
GARAGE – NIGHT)

Essence: Roger sneaks up on Alex. They’re about ready
to kill each other. Alex questions Roger about his past. Roger reveals that
he spent eight years in prison.
Conflict: Alex v. Roger – they’re both struggling with
their pasts and secrecy.
Subtext: Roger can’t admit to Alex what he went to
jail for or who he worked with. Alex can’t admit his connection to
Scarlett.
Hope/fear: We hope Roger will reveal more about his
past. We fear he and Alex’s lack of trust and compatibility.

Scarlett drunkenly singing in the dive bar, with Alex
watching and feeling tempted back into the life he left behind (INT. DIVE
BAR – NIGHT)

Essence: Scarlett is drunk and lost in the act. Alex
arrives at the bar and finds a used needle. He’s tempted by the comforting
scene.
Conflict: Alex v. his past – he’s feeling triggered.
Subtext: Alex sees a lot of himself in Scarlett. She’s
headed for his life.
Hope/fear: We hope that Alex won’t use the needle. We’re
afraid he’ll turn into the drunk guy that stumbles out of the bar.

Scarlett and Joe discuss the upcoming shipment and
counterfeiting work (INT. JOE’S CAR – NIGHT)

Essence: Introduction to Joseph Byrne, Scarlett’s boyfriend.
Their relationship is toxic. They’re using each other to get ahead and
climb up the chain.
Conflict: Scarlett v. her role in the family. She and
Joe both need each other. Joe is not a trustworthy or a loving partner.
Subtext: Ted and Kitty’s relationship was likely very
similar to this. Scarlett and Joe’s relationship shows the cutthroat nature
of the family business.
Hope/fear: We hope that Scarlett doesn’t get caught. We’re
afraid of the consequences of their unhealthy relationship.

Alex enters the DMV and has his first conversation with
Scarlett (INT. DMV – DAY)

Essence: Scarlett and Alex finally talk. Their conversation
is strictly business. She’s not at all suspicious of who he is. He has
her signature, and liquidation can finally begin.
Conflict: emotional – Alex is still struggling with his
relationship to her. Being related to a rival family member feels
traitorous.
Subtext: Alex says it’s “just business.” At this point,
he’s using her to get his inheritance money.
Hope/fear: We hope that the truth will come out. We’re
afraid Alex will keep using her to get at the money.

Roger and Demi play pool, drink to the beginning of
liquidation. Judge Wilson, an old acquaintance of Roger’s, shows up and
lends insight (INT. PUB – NIGHT)

Essence: Roger and Demi discuss the relationship between
the conservator and conservatee. Demi is uninterested. Advises Roger to
stay out. Judge Wilson tells them more about Kitty’s murder.
Conflict: emotional – Roger is struggling with his
interest in the case. For him, it’s personal. He needs to remain professional.

Subtext: Roger knew Kitty years ago. He wants her
murder solved more than Demi and Judge Wilson.
Hope/fear: We’re afraid Roger will let this case take
over. We don’t know what he’s hiding, but we don’t want Demi to find out.

Alex playing an arcade game. He has a drink with Patrick,
Collin, and Darren (INT. ARCADE – NIGHT, INT. PUB – NIGHT)

Essence: Alex crosses paths with some old friends.
Conflict: They want him back. Alex refuses their
offer. They don’t understand how he could do such a thing.
Subtext: Alex is still bitter over Dunbar.
Hope/fear: We fear they will take revenge on Alex for
rejecting their offer. We hope Alex can continue to reject their offers
to have him back.

Alex walks into the DMV and hires Scarlett (INT. DMV –
DAY)

Essence: Alex and Scarlett talk again. He wants her to
work for him.
Conflict: They don’t know each other. Once again, Alex
is using her.
Subtext: Alex hires her out of rebellion. He knows
that Patrick, Collin, and Darren wouldn’t approve.
Hope/fear: We hope they can get to know each other. We’re
afraid of the truth being exposed.

Scarlett has respect for Will and his lawful ways. Alex
gets a confirmation from his first buyer (INT. LOFT – DAY, INT. GARAGE –
DAY)

Essence: Alex is trying to hold his team together. He wants
them to rely on each other.
Conflict: Alex is now the manager. He’s trying to cultivate
team spirit.
Subtext: He’s passed his loan limit. Needs liquidation
to move forward.
Hope/fear: We hope Alex will be successful in his
business endeavors. We fear Scarlett finding out the truth about his
funding source.

Roger questions Fr. Sullivan about Nathanial’s last rites,
and then finally learns the truth about Alex and Scarlett (INT. CEMETERY –
DAY)

Essence: Roger needs his suspicions confirmed. They
are.
Conflict: emotional – Roger v. his past. He can’t believe
what he’s hearing.
Subtext: Roger knows that Alex needs family around him
to be able to “make it.” Scarlett can be that for him – only she doesn’t
know.
Hope/fear: We’re afraid of how Roger will react. We
hope he won’t reveal what he knows in front of Scarlett.

Scarlett oversees delivery of the counterfeiting
materials. She and Alex have their first real chat, and she walks off on
him (INT. BOAT DECK – DAY, EXT. HARBOR SHOPPING STREET – DAY)

Essence: Alex’s first attempt to get to know Scarlett.

Conflict: Alex v. his struggle with Scarlett. He wants
to tell her. He can’t. He wants to know more about her past, but she won’t
talk.
Subtext: Scarlett’s discussion of her “side jobs” interests
Alex – he wants her to stay out of them, but Scarlett won’t. She won’t
take his advice.
Hope/fear: We hope that they’ll connect. We fear Scarlett’s
future in this life.

Patrick arrives, offering to make peace with Alex. He
leaves, threatening him (INT. GARAGE – NIGHT)

Essence: Patrick returns to apologize. Alex doesn’t
accept. Shane is dying. Alex still won’t come back to the South End.
Conflict: Alex and Patrick fight. He’s angry about
Patrick’s disregard for Kitty, and for his own future. He wants to live
his own life.
Subtext: Alex is standing alone. He’s resisting his
old ways, even when a better offer comes along.
Hope/fear: We’re afraid that Patrick will kill Alex.
We’re afraid he’ll find out about Scarlett.

Shane Donovan’s funeral ends, and Saoirse tells Alex’s
old friends to bring him back (INT. CHURCH – DAY)

Essence: Saoirse’s plot for revenge. She won’t take no
for an answer.
Conflict: fight between the old ways and Alex’s new ways.
He wants to stick with his new ways.
Subtext: Saoirse will not take no for an answer –
family comes first.
Hope/fear: We’re afraid of what they will do to Alex.

Roger offers advice to Scarlett. He gives Alex the
first of the liquidated money and leaves (INT. GARAGE – DAY, INT. LOFT –
DAY)

Essence: Scarlett’s eating disorder is getting worse.
Alex is disappointed in the amount of money he’s received.
Conflict: discord between Roger and Scarlett – she doesn’t
want to take his advice either.
Subtext: Roger is trying to help Scarlett too, even
though she has nothing to do with his assignment.
Hope/fear: We’re afraid Roger will reveal the truth.
We hope Scarlett will find out soon.

Alex and Scarlett start their poker game. End in a draw
(EXT. GARAGE – EVENING)

Essence: Scarlett and Alex put their poker skills to
the test.
Conflict: Neither one of them want to say too much.
Alex starts to tell her. Gets interrupted.
Subtext: They’re both excellent card players, and both
hiding a big secret.
Hope/fear: We hope they will “show all their cards.”

Jack, Alex, Shaun, and Scarlett feel some team spirit.
Alex’s old friends set fire to the place (INT. GARAGE – NIGHT, INT. LOFT,
NIGHT, EXT. GARAGE, CONTINUOUS)

Essence: Patrick, Collin, and Darrell burn Alex’s
business to the ground. Will is caught in the crossfire. Shaun and Jack
abandon Alex. Scarlett surprisingly gives him some hope.
Conflict: Alex’s past comes back to harm him. He feels
responsible for his team and for Will’s death.
Subtext: Jack and Shaun suspect that Alex’s past is
responsible. Alex knows, but he can’t tell anyone.
Hope/fear: We hope they all live through the ordeal.
We’re afraid of Alex going back to square one.

Alex at the Walsh casino, from the Blackjack room to
the Roulette table (INT. BLACKJACK ROOM – NIGHT, INT. ROULETTE ROOM –
NIGHT)

Essence: Alex needs to find out who burnt his place
down. He visits the Walsh casino in the North End. Plays blackjack with
some Walshes and then sees a cousin of his at the roulette table.
Conflict: Alex v. the North Enders. Alex v. his own
cousin, who can’t seem to understand that he’s out for good.
Subtext: Alex is pretending to be a newcomer. No one
knows who he is – not even his own cousin.
Hope/fear: we to find out the truth along with Alex.
We’re afraid someone may recognize him.

Scarlett and Joe printing money in unison to doing
drugs and suspecting Alex may not be who he says he is (INT. PENTHOUSE
SUITE – NIGHT)

Essence: Joe wants Scarlett completely in on the next
sale. Scarlett still cares about Alex’s business. Joe doesn’t want her to
go back to Alex.
Conflict: Scarlett v. her old ways – Joe spikes her
drink. He wants them both to stay drunk/high together. Doesn’t want her
to move forward.
Subtext: Scarlett is so close to figuring it out. She
almost does figure it out, but is far too high to remember what they
talked about.
Hope/fear: We’re afraid of what’s coming for Scarlett
and Joe. We’re afraid she’ll find out this way.

Roger arrives to find Alex sorting through the rubble,
he presses Alex, but Alex won’t admit anything to him (EXT. GARAGE RUBBLE –
DAY)

Essence: Roger wants to know more about Jack and Shaun’s
sudden disappearance. He presses Alex for details about the night of the
fire, and Scarlett’s absence. Alex says nothing.
Conflict: Roger v. Alex’s secrecy – there’s discord between
what they’re both letting on.
Subtext: Roger knows about Scarlett. Alex knows about
Jack and Shaun. They talk around the issue and argue over the money.
Hope/fear: We hope that Alex gets his money in time to
rebuild. We’re afraid this could be the end of his business and independence.

Forensic scientists uncover the DNA match. Bring
Scarlett in to notify her (INT. FORENSIC LAB – DAY)

Essence: The crime scene DNA analysis gives Alex’s
secret away. Scarlett finds out – in a way that he didn’t want her to.
Conflict: Scarlett v. Alex – she once believed in him,
but now can’t trust him.
Subtext: Scarlett feels lied to. Whatever connection she
had with Alex is gone. She goes back to the old ways, and worse.
Hope/fear: We hope Alex will find out soon. We’re
afraid of what may happen in their next conversation.

Scarlett cooking cocaine, drinking at a bar, and waking
up the next morning to find Roger on her doorstep, trying to help. She
rejects it (INT. CLUB – NIGHT, EXT. BACKYARD – DAY)

Essence: Scarlett has suffered a complete loss of
identity. She’s broken, on the inside and out. Roger tries to help her
see that it’s not the end, but he accidentally gives away the truth behind
Alex’s funding source. She’s only more horrified.
Conflict: Scarlett v. her past, her present “job,” and
her future within the Brennan and Caden circles. She knows she’s an
illegitimate child.
Subtext: Everything Scarlett believed about herself was
wrong, and she can’t handle it. She pushes Roger away, even though he’s
trying to help.
Hope/fear: We’re hoping Alex will do the right thing –
talk to Scarlett. We’re afraid of her next step since she’s acting
irrationally.

Alex moves into his new office space and revisits Riverside
to see Jack and Shaun return (INT. GARAGE OFFICE – DAY, EXT. PRISON
COURTYARD – DAY)

Essence: Jack and Shaun were caught trying to escape
(the oppression). Alex watches them return. Roger finally confronts him
about Scarlett. They have their most honest conversation yet.
Conflict: Alex v. his past – he’s seeing Riverside in
a whole new light. He can never return after what he’s been through. Roger
forces Alex to admit the truth.
Subtext: Alex wants Scarlett by his side but is unsure
of how to move forward. He and Roger discuss family and its challenges.
Hope/fear: We hope that Alex will stay out forever. We
fear him becoming like Jack and Shaun – we know he won’t get a second
chance.

Alex arrives to apologize to Scarlett and finds out that
Roger told her about the conservatorship. She shakes his faith in himself,
and he leaves, dejected (INT. FOYER – NIGHT, INT. LIVING ROOM – NIGHT)

Essence: Alex wants to make peace with Scarlett. She blames
him for Will’s death. Reveals that she knows about the conservatorship. Feels
used by him. Tells him that she wants him out of her life.
Conflict: Alex v. Scarlett – they’re both forced to
confront the truth. Alex is struggling to talk. She feels lied to. They’re
both hurt by the past and wounded.
Subtext: the family politics are alive and well. Alex
thinks he’s free of them, but Scarlett reminds him time and time again
that he’s a Donovan. He tries to talk her out of carrying on in the
family business because he knows where it leads.
Hope/fear: We hope that Alex can apologize to her and
they can move forward. We’re afraid what he will do after she rejects his
weak apology.

Alex walks into a junkyard and finds a syringe. He uses
for the first time since rehab, slipping back to his old ways (EXT.
JUNKYARD – NIGHT)

Essence: Alex has completely lost hope after Scarlett
tells him to go back to the South End. He tries to resist the urge to
use, but he has no other way to numb the pain. He “lets her go.”
Conflict: emotional – Alex has become emotionally
invested in Scarlett and her well-being. Her rejection of him is
devastating.
Subtext: Alex realizes how much she meant to him – she
helped him get through rehab, stay out of trouble, and keep moving
forward with the business. Now that she’s “gone,” he has no reason to go
on.
Hope/fear: we’re afraid Alex will go back
to prison – one of his conditions was staying clean.

Demi and Roger pack Will’s office. Demi leaves, angered
by the city and all the unnecessary destruction caused by the family
dynasties (INT. WILL’S OFFICE – DAY)

Essence: Demi is leaving Boston. She’s fed up with him
and everything that’s happened. Roger tries to encourage her, but she
doesn’t want to hear it from him.
Conflict: discord – Roger believes there’s still hope
for the city. Demi disagrees.
Subtext: Roger was once part of the problem. She knows
it, and blames him for everything, even Will’s death.
Hope/fear: We hope that the unnecessary destruction
stops. We’re afraid people like Demi will continue to be discouraged.

Sequence of Alex and Scarlett going back to their families
and ready to take up their positions as leaders. They both make some confessions,
bargain, and blackmail to gain control of the next sale (INT. PUB BACK
ROOM, INT. RICHARD’S BASEMENT)

Essence: Alex feels his work is in vain. He returns to
the South End to see his old friends and take control of the next sale.
Scarlett goes to talk to Richard, ready to take control of their role in
the sale.
Conflict: the past – there’s history for these
families. They’re both mistrustful of Alex and Scarlett’s motives.
Subtext: Both parties offer to take Alex and Scarlett
back. They have a hidden motivation to ruin/kill them.
Hope/fear: We fear Alex and Scarlett slipping back to
their old ways. We’re hoping that they don’t go back to prison after
their dealings.

Alex sells the cars to his buyer and calls Roger,
telling him he can leave (EXT. BOSTON HARBOR – DAY, INT. GARAGE OFFICE –
NIGHT)

Essence: Alex has fulfilled all the terms of his release.
He wants Roger to go so that he can return to the South End without disappointing
him.
Conflict: Alex v. his new ways – Alex completes the
job and does something honest. It’s a new feeling for him. He’s
struggling with that feeling of fulfillment.
Subtext: Alex wants Roger to leave. Tells him he’s
been away from his family for too long – Alex feels the same way. He
feels he must go back to the Donovans.
Hope/fear: We hope that Roger will stop Alex. We fear
Alex being trapped by his old ways and old friends.

Alex is nearly shot by members of the Caden and Brennan
family. He sees Scarlett and knows she was in on it. He runs out of the office
to meet the cocaine dealer (INT. GARAGE OFFICE – NIGHT, EXT. GARAGE OFFICE
– NIGHT)

Essence: Alex is now a target for both sides. He flees
to meet the dealer and be the first one to buy the cocaine.
Conflict: Alex v. the North End. They’re trying to kill
him and he’s forced to run.
Subtext: Scarlett was behind the plot. Alex doesn’t
know what she ordered.
Hope/fear: We’re afraid for Alex’s life. We hope he
makes it to the dealer first.

Scarlett confronts Richard over trying to kill Alex. He
tries to kill her (INT. RICHARD’S BASEMENT – NIGHT)

Essence: Scarlett is furious with Richard for not
following her orders. He and Joe turn on her, confirming Alex’s worst
fears. They wound her and leave her to die.
Conflict: Scarlett v. her own people – the people that
she’s trusted and worked with all her life have now betrayed her.
Subtext: Alex was right. She couldn’t depend on them
because the relationship was purely mercenary.
Hope/fear: We hope that Alex is still alive. We’re
afraid that they will kill Scarlett.

Alex meets with the dealer to discuss the sale. The
dealer recalls Dunbar, giving Alex a new outlook on his old self (INT.
RIVERBOAT – NIGHT)

Essence: Alex is ready to sell to the dealer. The dealer
tells him about a “man who went to prison for his family” the night
before Dunbar. How he was forgotten and died in prison. Alex knows he’s
talking about him.
Conflict: Alex v. his old self – he’s finally on the inside
looking out.
Subtext: the dealer is speaking of Alex’s old self.
Alex knows that his old ways “died” when he was in prison.
Hope/fear: We hope that Alex is convinced that he can’t
continue this way. We’re afraid that he’ll go through with the deal.

Roger arrives in Richard’s basement. He finds Scarlett
close to death and saves her (INT. RICHARD’S BASEMENT – NIGHT)

Essence: Roger finds the basement. He finds Scarlett
about to bleed to death. He saves her.
Conflict: Roger v. his past – we are starting to
wonder why he went after Scarlett.
Subtext: The scene is all too familiar to Roger. We
are about to find out why.
Hope/fear: We hope that Roger can get to Alex in time.
We’re afraid Scarlett may not survive her injuries.

Roger finds Alex in the safehouse. He reveals that he is
from the North End and left many years ago (INT. SAFEHOUSE – NIGHT)

Essence: Roger confronts Alex about buying the cocaine.
He’s disappointed, and realizes that the only way he can change Alex’s mind
about the family dynasties is telling him the truth about his own past.
Conflict: Alex v. Roger – Roger has changed. He wants
Alex to do the same.
Subtext: This whole time, Roger knew everything about
the family politics Alex described. He’s helped.
Hope/fear: We are hopeful for Alex’s future. If Roger
has changed, Alex can too.

Alex finally returns to the South End Casino for the first
time in over twenty years. Both sides are there. Alex confronts them about
their feud (INT. CASINO – NIGHT)

Essence: Alex reunites with old friends and enemies.
Finally comes face to face with Richard. Acknowledges Scarlett as his daughter
in front of the whole group. Walks out without killing anyone.
Conflict: the family feud. Finally being called into
question.
Subtext: Everything is brought up. The details of
Kitty’s death are finally revealed.
Hope/fear: We’re afraid of Alex getting killed. We
hope he can confront them and leave, unscathed.

Alex arrives at the hospital to wait for Scarlett to
wake up. She does, and they are finally at peace. (INT. HOSPITAL ROOM –
NIGHT)

Essence: Alex is the only one there when Scarlett is
in a coma. He speaks to her about his choices, his regrets, and his hopes
for her future. The scene ends on a hopeful and uplifting note.
Conflict: Alex finally denounces his past and
apologizes.
Subtext: Alex’s cards are on the table. He admits his
regrets. Tells her he wants to do better, for good. He will embrace his
new ways for good.
Hope/fear: We’re hopeful for their future.

[Erin Ziccarelli]

Erin Ziccarelli’s Living Metaphors

What I learned from doing this assignment is: the “should work but doesn’t” method is especially apparent in Casablanca. I’m noticing that Rick’s new ways don’t seem to appear until the last five minutes of the film, but I think the ending still works because his transition to the new ways was set up well. Once he puts Lazslo’s name on the letters of transit, helps them escape, and leaves with Captain Renault, we can easily imagine how his new ways will continue to play out.

Brainstorm at least five of each of today’s challenges that you can put in your screenplay.

Go through your story outline or
script and brainstorm the following: –
5 Should Work, But Doesn’t challenges – 5 Living Metaphor challenges. With
each, tell us the Old Way and the Challenge, and how you think it might
play out in your story.

“Should work, but doesn’t challenges”

· Alex accepting the money: Alex accepts the Caden money because he believes it’s something Kitty would’ve wanted him to do. She once told him that “what’s mine is yours,” so he views the money as no different. The challenge is getting Scarlett’s signature to begin liquidation. The new way is viewing the money as something that will lead him to Scarlett and ultimately bring them together.

· Alex completing rehab: Alex goes through the five stages of grief while in rehab. He views it as something he must “check off” to gain his freedom. During the nine months, he’s away from the prison, overcomes his cocaine withdrawal, and gets some direction for his next step. He does it on his own and learns about the value of self-sufficiency.

· Alex launching his business: Alex is feeling alone in his mission and wants to treat Jack, Sean, Scarlett, and Will as a “work family.” He wants them to have the same loyalty that he had to the Donovans – his work family is his new support system. The new way is realizing that just because they’re working together doesn’t automatically make them loyal to him.

· Alex inviting Scarlett to work for him: Alex dislikes the idea of Scarlett – he views her as a “mistake” and something he should have to cover up. After bringing her on, getting to know her, and starting to liquidate, Alex realizes how similar they are. His new ways are trying to connect with her and viewing her as family.

· Alex’s loyal relationship to Patrick and the family business: Alex starts off as someone who will do anything for his friends and family. He goes to prison for them. However, his preconceived notions of loyalty and family are challenged when he starts to be successful on his own. He firmly rejects Doyle’s offer to return at the midpoint, and then clearly states his intentions in the final scenes. He is no longer loyal to the Donovan family and cause.

Living Metaphor challenges

· Poker games: Alex winning or losing is a sign of his success or failure in completing his character arc

· Scarlett’s successes and failures: Scarlett represents Alex’s old life – her “making it” and learning to trust Alex is a sign that they’re going to be alright, and their new ways will prevail

· The business: Alex’s car resale business represents his “self-made man” image – he’s built it on his own and without help from his family

· Drug use and eating disorder: Alex’s drug use and Scarlett’s eating disorder represent their old “unhealthy” ways of life – by treating these behaviors, they’ve fixed the underlying problems

· Card analogies: Alex as the ace and Scarlett as the queen – these cards are highlights of the card games and represent Alex and Scarlett’s states of being (ex: the queen card is ripped in half, showing Scarlett’s brokenness)

[Erin Ziccarelli]

Erin Ziccarelli Intriguing Moments

Vision: I am going to create profound scripts that leave audiences remembering my movies and leave me excited to keep writing and moving up in the industry.

What I learned from doing this assignment is: the interest techniques help me break down the intrigue already in my outline and find new areas for adding intrigue. This reminds me of Lesson 4 from Module 3. I also had no idea how much intrigue is in Good Will Hunting!

Give us a one sentence explanation of the intriguing moments in each Act of your project. Like the example above. For any Acts that don’t have at least two intriguing moments, brainstorm how you could create more for that Act. Use Process 2 above to turn drama into intrigue.

Act I:

· Intrigue: Why did Nathanial Caden leave Alex Donovan his estate? We know they are from rival families and Alex has been in prison since 1973 – what could be their connection?

· Hidden identity: Roger lies about his past – he lets on that he was in jail once but not why he went to jail or where he’s from

· Secret: Alex beats Ted up. In his last moments, Ted Brennan reveal to Alex that she is Kitty and Alex’s daughter.

· Cover up: Alex conceals his true reason for accepting the inheritance and for going to rehab.

Act II:

· Cover-up: Alex keeping the details on his beneficiary a secret from Jack, Sean, and Roger. The only two people that know are Demi and Will.

· Superior position: the audience knows of Alex and Scarlett’s connection. Scarlett has no idea. We know that Alex knows.

· Scheme: Roger secretly and illegally finds out who the conservatee is. He begins his own investigation into the will. Contacts the judge that sentenced him over 30 years ago for more information.

· Mystery: What is Scarlett’s role in the whole counterfeiting scheme? Are she and Joe the future of the Brennans? Will the Cadens maintain their influence?

· Covert agenda: Alex hires Scarlett. Looks like he’s simply offering her a better job and higher pay. He’s just using her for the money – he needs her signature and a reason to start distributing her share of the money.

· Mystery: Why does Alex reject the offer to return? Is he committed to his new way of life? Why is Patrick so intent on him returning?

Act III:

· Conspiracy: Patrick can’t get Alex back. Saoirse Donovan will be their next leader. She’s not willing to take on the responsibility and wants Alex back.

· Superior position: Roger now knows something that Scarlett doesn’t and Alex doesn’t know that he knows. It’s getting harder and harder to keep it all from Scarlett.

· Cover up: The business is burned. Alex has a good idea of who’s behind it. He doesn’t tell Scarlett anything. The next morning, he covers for Jack and Sean even when pressed by Roger.

· Covert agenda: Roger wants for Scarlett to return to the business. It’s not because he cares about Scarlett finishing the job, it’s because he wants to bring Scarlett and Alex together – for him, it’s reason to believe that there is hope for ending the family feud.

· Mystery: Why does Roger care so much about Scarlett? Why is he helping her, even when she has nothing to do with his case?

· Conspiracy: Scarlett and Alex both make agreements with their own people to move forward on the counterfeiting deals.

· Intrigue: The deal is going to move forward. Both sides think they have it. Who will claim the deal? Who will be the next leader of the families? Will anyone get caught?

Act IV:

· Intrigue: Will the dealer trust Alex? Will he be able to buy the cocaine for his counterfeit bills?

· Mystery: Roger’s identity is finally revealed. He was a Walsh once upon a time. He has left behind the life of counterfeiting and crime. He’s helped Alex, and Alex trusts him.

· Scheme: Alex subverts the counterfeit deal. He’s ready to confront both sides and reject their way of life. He’s not going to be a part of it.

· Intrigue: Will they let Alex go? Will Scarlett accept him and want to leave?

[Erin Ziccarelli]

Erin Ziccarelli Emotional Moments

Vision: I am going to create profound scripts that leave audiences remembering my movies and leave me excited to keep writing and moving up in the industry.

What I learned from doing this assignment is: the range of emotional moments is a lot more than I thought – it’s not limited to a character doing something like crying. Emotions can be positive or negative!

Act I:

· Excitement: the Dunbar operation of 1973. Both sides are eager to make their families proud.

· Love: Alex seeing a woman from the Caden family. Their love is genuine.

· Distress: Alex has lost hope and has given up on life. Twenty years ago, he had a bright future – now, he’s in jail, hooked on cocaine, alone, and bitter.

· Surprise: Alex was left money by Nathanial Caden. Scarlett Brennan is his daughter.

· Wound: Alex is forced to remember back to the days before Dunbar. His insecurities and bitterness over being abandoned by his family show. Reluctance to accept Scarlett.

· Moral issue: To accept the money or not – if he accepts, Alex is turning on his family. If he declines, he’s rejecting his love for Kitty.

· Hidden weakness: Alex in rehab. He’s struggling to talk and bring up his past. Failing to trust the doctors.

· Distress: Lots of things coming up for Alex. Having “out of body” experiences during rehab. Twisted flashbacks. Confusion. Identity crisis.

· Excitement: Alex is released for the first time in over twenty years.

Act II:

· Excitement: Alex meets Scarlett for the first time. She reminds him of himself.

· Distress: Scarlett’s life. She appears to be headed down the same path as Alex and Ted.

· Betrayal: Roger is still trying to earn Alex’s trust and even friendship. Alex isn’t having it – he doesn’t want to tell Roger anything about Nathanial Caden’s will.

· Wound: Alex struggling with what to do with Scarlett. Should he tell her the truth? Nathanial Caden’s money is at stake.

· Bonding: Alex, Jack, Sean, and Will overcome their storming phase. They’re trying to get to know each other and work well together.

· Hidden weakness: Alex sees his old friends. They didn’t know he was out. They invite him back. He rejects, but it’s difficult for him to do so.

· Courage: Roger’s investigation into Alex finally pays off. He knows the truth.

· Distress: Alex’s uncle has died, naming him heir. Alex can either go back to his old life, or stay with his new life and with Scarlett. He picks the latter.

Act III:

· Bonding: Alex’s card game with Scarlett. The two of them have a good time together. She thanks him for offering her a place at his business.

· Success/winning: Alex’s business is doing better – Jack and Sean are working overtime. Scarlett and Will are getting along. Alex is feeling successful for the first time in his life.

· Betrayal: Alex’s sister orders the fire – his business is burned to the ground. Jack and Sean run. Scarlett is distressed over Will’s death.

· Hidden weakness: Alex is alone once again. He has no support structure. Will is gone. Roger is skeptical and barely gives him enough money to rebuild.

· Bonding: Roger reveals that he knows the truth about Scarlett. Alex asks his advice for the first time. Their most genuine moment yet.

· Wound: Scarlett rejects Alex’s apology. Alex uses for the first time since rehab. He’s slipping back into everything he once was.

· Courage: Alex repairs his business.

· Emotional dilemma: Alex’s self-made future doesn’t look as attractive now – he can either return to his comfort zone (the family black marketeering business) or keep pushing forward. He chooses comfort.

· Sacrifice: Alex gives up his newly discovered sense of self to go back.

· Distress: Both sides are out to kill Alex. Scarlett has turned on him. His own people have turned on him.

Act IV:

· Success/winning: Alex successfully buys the cocaine from the dealer.

· Sacrifice: Roger returns to save Scarlett. Sees Alex. Reveals the truth to him – he was once a Walsh. He has to return to his old identity to be honest with Alex.

· Emotional dilemma: Alex has seen that there are other ways of life besides his own. He’s torn between the change agent (Roger) and the oppression (the Donovans and the Brennans). He chooses change.

· Love: Alex waits for Scarlett to wake up. The beginning of their relationship and them trusting each other.

[Erin Ziccarelli]

Erin Ziccarelli’s Reveals!

Vision: I am going to create profound scripts that leave audiences remembering my movies and leave me excited to keep writing and moving up in the industry.

What I learned from doing this assignment is: in addition to the two parts of a reveal (setup and reveal), there are ways to show the reveal – either shock the audience, surprise the audience, or gradually give hints so that the reveal makes sense. Incorporating a blend of these into my outline and scenes will make it more dramatic and engage/connect with the audience.

Pull out the current version of your outline and the answers from the lessons listed here.

Module 2:

Lesson 4: What’s beneath the
surface?
Lesson 5: 4-Act Structure –
Turning Points

Module 3:

Lesson 3: Characters for
Subtext
Lesson 4: Character Intrigue
Lesson 6: Character Profiles

Using that info, make a list of your answers to these four questions:

Question 1: What will you
reveal?
Question 2: When will the
reveal show up in the story?
Question 3: What setups need
to be in place to have each reveal work?
Question 4: Where in the story
do those setups belong?

Act I

Setup: Poker game amongst the Donovan
family. Alex’s relationship with Kitty. Operation Dunbar goes wrong, and
Alex gives himself up.
Reveal: Alex is in prison 20 years
later. He receives some news of his inheritance.
Setup: Alex speaks badly of
Nathanial Caden. Insults Roger. Has lost hope.
Reveal: Scarlett Brennan is his daughter.
He will claim his inheritance because she is “family.” She’s his first step
in leaving the past behind.
Setup: Alex in rehab. It takes him
almost a year to get out, but he’s finally clean and ready to move on.
Reveal: Back at the prison, Alex is
preparing to leave. He has an altercation with the North End family members.
They know what he did to Ted. If he returns, they will kill him.
Setup: Alex wants desperately to get
his hands on the money. Roger wants nothing more than to know why the
money was not left directly to Scarlett.
Reveal: Alex will not see the money until
he approves the conservatorship. He will not tell Roger anything about his
“ties” to Scarlett, leaving Roger to open an informal investigation. Roger
won’t stop until he learns the truth.

Act II

Setup: Alex, Jack, and Sean prepare
to launch their business. Alex visits the DMV.
Reveal: Scarlett has no idea about
the conservatorship. She does not know Alex when she sees him.
Setup: Scarlett’s life – her lack of
ambition and her struggles to feel safe and secure. She is everything Alex
once was.
Reveal: Scarlett is a good card
player and even better counterfeiter. She and Joe have finally earned
Richard’s trust – enough to put them in charge of this next operation.
Setup: Alex forges Scarlett’s signature.
Roger continues his investigation, with little success. He is forced to confront
some of his fears about coming home.
Reveal: Liquidation begins.
Setup: Alex sees his old friends.
They want him back. His uncle is sick.
Reveal: Alex’s uncle dies, naming
him “heir” to the family business. He rejects Patrick’s offer. Not wanting
to go back. This turns the family against him.

Act III

Setup: Alex moving forward with the
business, Roger gives him a small fraction of the money, and the business
starts to work.
Reveal: Saoirse is working to
destroy Alex’s self-made success. She orders his business burned to the
ground.
Setup: The forensic scientists collect
DNA from the crime scene. Call Scarlett in.
Reveal: Scarlett finds the truth
out. She’s furious. Rejects Alex and everything he stood for. Roger tries
to help her.
Setup: Alex’s business and personal
life are both falling apart. He has only one buyer left. Scarlett rejects
his ill-fated attempt to apologize. He resorts back to the old ways.
Reveal: Alex goes back to the South
End. Reconnects with his old friends. He’s ready to rejoin them in their quest
for control of the black market.

Act IV

Setup: Alex is nearly killed by the
Cadens and Brennans. He flees and buys the cocaine.
Reveal: Alex is going to live up to
his promise. Once again, he can’t abandon the Donovans.
Setup: Roger returns to the North
End. Knows exactly where to look for Alex.
Reveal: Roger is from the North End.
They brought him back because they thought he could help Alex. Alex is
shocked that someone from the “other side” would help him.
Setup: Alex returns to the South
End. Talks to Saoirse. Sits down to a final poker game with Richard.
Reveal: Alex rejects his old life.
Walks out of the room without harming anyone. Richard takes his own life,
symbolizing the death of the old family feud and a potential for peace
between the two families.

Build all of those into your outline, making sure there are setups for each reveal and that you have reveals in every Act.

[Erin Ziccarelli]

Erin Ziccarelli’s Counterexamples

What I learned from doing this assignment is: how the three types of counterexamples are manifest in scripts. From this assignment, it seems like the change agent is automatically a counterexample….since Rita and the people of Punxsutawney seem to be Phil’s change agents.

Brainstorm at least 5 Question challenged and 5 Counterexamples you can put in your screenplay.

Go through your story outline or
script and brainstorm the following. This might be 5 questions to one Old
Way or 5 questions to 5 Old Ways.

Unbreakable
alliance with the Donovans and South End families: Alex surrenders
himself up for the family

Need for family
support structures and guidance: Alex is out on his own for too long,
which is out of his comfort zone – he goes back to the South End

Reluctance to
accept a rival family member’s money: Alex refuses Nathanial Caden’s
estate

Fear of living life
honestly: Alex is best at counterfeiting and black marketeering.

Suspicion of
Roger and his motives to help: Alex questions Roger to find out why he went
to jail, refuses to trust him at first

5 Question Challenges to an Old Way.

Alex questions if
the old life was good for him at the car auction – he’s in the middle of
starting to live his new ways and expresses a counterexample about his
old way of life

Alex rejects
Patrick’s offer to come back – he says he’s on his own now, and doesn’t
need the family to make it

Alex tells Roger
that Nathanial was “never one of his” – therefore, he cannot accept the
money.
The first 10 mins
of the film show Alex’s illegal activities, all of which are challenged by
Will, the one character who has never been to prison

When Roger
reminds Alex that he’s sold nothing, Alex turns the conversation on Roger,
asking him what he did to land in prison

5 Counterexamples to an Old Way.

The whole
car-buying montage shows the problems with dishonesty when doing business
– Alex, Jack, and Sean are now on the receiving end of the scamming and meet
honest and dishonest sellers. The honest sellers are counterexamples to
their old selves while the dishonest sellers are counterexamples to their
current personas.

Patrick is still
held hostage to the old system. He still believes in it and expects Alex
to leave everything behind for it.

Alex accepts
Nathanial’s money. He begins to use it to build his business and invites
Scarlett to work for him. He wants to get to know her. He treats her as a
friend and colleague, despite her being from the other side of Boston.

Alex engages in
legal activity – the car resale business is entirely legal and Alex’s
most productive venture. It’s a new feeling for him.

Alex opens up to
Roger, entrusting him with his conflicted feelings about Kitty, Scarlett,
and his old life – the first moment of trust in their relationship.

[Erin Ziccarelli]

Erin Ziccarelli’s 12 Angry Men Analysis

What I learned from doing this assignment is: these “old ways” (habits, assumptions, filters of perception, beliefs, social values, rules) are much deeper ways of giving each character a unique voice. There’s much more opportunity than surface-level characteristics (i.e. how a character likes their coffee).

Old ways for 12 Angry Men (challenges bulleted)

Assumption of guilt: “we don’t owe him a thing,” he got a fair trial

· The odds are “a million to one” – the knife is the same as the one the boy used

· Every time they revote – one or more juror “falls”

· All jurors (except Henry Fonda) assume the boy is guilty because of their beliefs, social values, and backgrounds

Just want this over: one juror takes forever to get into the room, Juror #7 has tickets to a baseball game

· Juror changes his vote to not guilty because of the baseball game – the immigrant juror questions the man’s reasons

· They’re quick to “assume the worst” and want the debate to be done, they all think they’re right (habit)

Not caring: one of the jurors fell asleep during the trial, talking about the stock market and their other jobs, networking

· The first vote for “not guilty” made by the timid/older juror

· The immigrant juror’s speech about democracy in America

Prejudice: discussing the neighborhood where the kid is from, they’re “born liars”

· The kid “don’t even speak good English” to “doesn’t even speak good English”

· “This kids a liar – I know all about them”…”These people are dangerous” –

Not looking beneath the surface

· Henry Fonda putting himself in the kid’s place – he wants them to reevaluate the witnesses

· First vote round – one is changed

· The Swedish guy makes a list and presents his questions – why did he come back home?

· Second vote round – several more votes changed

· “How can he be possible about anything?”

· “Kill him!” “You don’t really mean that.”

· Third vote round (out loud) – more votes changed…6 to 6

· Fifth vote (raising their hands)…vote is 9 to 3

· Prejudice keeps the truth from coming out – gambling on probabilities (they have reasonable doubt – no jury can declare a man guilty unless it’s sure)

· The other jurors start to stick up for Henry Fonda, the last juror is left

· Lee Cobbs’ rant and personal bias exposed – he votes not guilty

Assuming the evidence is not questionable

· Two eyewitnesses, the knife that “fell through a hole in his pocket,” the boy went to the movies

· Discussion about the elevator train – time it takes for the train to move and how they heard his voice over the noise

· Apartment diagram – where the guy’s bedroom was located and how he got to the window fast enough to see the boy running down the stairs

· The movies and the stars in the movies that the boy saw – the one juror can’t remember a movie that he saw a few nights ago or the stars

· Switchblade – the direction of the stab wound shouldn’t have been down, it should have been up (without switching hands)

· The eyeglasses – the witness wore eyeglasses and wasn’t wearing them at the time of the killing (at night, after she was asleep)

Assuming the witnesses were accurate

· Henry Fonda saying that “people make mistakes”….the trial rides on two witnesses

· In act 3 – the woman’s unshakable testimony

Assuming the Defense Attorney did his job

· The kid’s lawyer doesn’t even believe his client….he didn’t even rip the defense attorney to pieces

Assuming the case is completely logical

· First time going around the table – the people who speak have flimsy reasonings for their vote, they’re a little arrogant

[Erin Ziccarelli]

Erin Ziccarelli’s Profound Ending

What I learned from doing this assignment is: the three ways to leave the audience with a profound parting or line. I think Casablanca delivers best on all three, especially when we see Rick “stick his neck out” for somebody.

What is your Profound Truth and how
will it be delivered powerfully in your ending?

The profound truth is that we determine the course of our own lives. That is delivered powerfully in my ending by Alex rejecting Richard, the family feud, and their black-market activities. He’s no longer going to be subject to their rules. It’s delivered in the final poker game between the two sides. Alex walks up the middle, unarmed, with everyone in the room wanting to kill him. He gets to the door, turns, and tells Richard that it’s his life to live and his choice to leave. I don’t have the exact dialogue worked out yet! The final scene is Alex’s monologue to Scarlett in the hospital. She comes out of her coma a few days later and he is the only one there for her, further showing his commitment to her despite her being from the rival family.

How do your lead characters (Change
Agent and Transformable Characters) come to an end in a way that
represents the completed change?

· Transformable characters:

o Alex: no longer going to sacrifice himself for the Donovans, he has learned the true meaning of family, he has avenged Kitty, and admitted to the whole room that Scarlett is his daughter (something that he spent most of the movie keeping secret)

o Scarlett: angry at Richard for trying to kill Alex, rejects Richard and Joseph, tells Richard that Alex was right, refuses to help deliver the counterfeit money

· Change agent (Roger): Roger faces his past by returning to the North End where he saves Scarlett and reveals to Alex why he went to prison. He and Alex have come a long way since their first meeting in Act I. They now have complete transparency and trust in each other, despite being from rival families.

What are the setup/payoffs that
complete in the end of this movie, giving it deep meaning?

· Setup: will Alex rejoin the family business, payoff: Alex rejects both sides

· Setup: Scarlett’s mistrust of Alex, payoff: Scarlett trusting Alex, they will leave Boston together

· Setup: Roger’s refusal to face his past, payoff: Roger revisiting the North End

· Setup: beginning poker game (both sides separated and hating on each other), payoff (both sides together, starting to see that their family feud is pointless)

How are you designing it to have us
see an inevitable ending and then making it surprising when it happens?

The inevitable ending is that Alex will reject his old life for good. Alex goes to the South End to confront his old friends. From this, we think Alex will tell them he’s finished with it all. We think it will not happen when we discover that the North End families have gotten their first. They’re ready to kill Alex. They all sit down to a poker game. Alex is losing. The South End is losing. Then, Alex gets the dealer chip. Things start to turn around in the game. He stands up and walks out, unscathed, telling them that he’s done with the black market. We hold our breath as Alex leaves the room – every gun is on him and the gun he’s holding isn’t loaded.

What is the Parting Image/Line that
leaves us with the Profound Truth in our minds?

Alex’s final line is to Scarlett (while she’s in a coma) – he tells her that he wants a better future for her. The last image is her waking up and reaching for him. They’re finally a family and will learn to trust each other. They’ve both rejected their old ways and have chosen a new path.

[Erin Ziccarelli]

Erin Ziccarelli’s Connection with Audience

What I learned from doing this assignment is: the importance of the audience “living their characters’ story.” It’s fascinating how these three incorporated all four connection methods into the first 15 mins of the script. I wanted to keep watching all three movies after the first 15 mins and now I know why!

Tell us which characters you are going to INTENTIONALLY create a connection with the audience. Tell us how you’ll use each of the four ways of connecting with the audience in the first 30 minutes of the movie. A. Relatability B. Intrigue C. Empathy D. Likability

Alex Donovan (transformable character)

· Relatability: Alex experiencing some discord with his family and friends. They don’t all have the same goals. His uncle is very domineering towards him.

· Intrigue: the poker game is intriguing. Will Alex win with his ace card? What does that ace represent? Why are they counterfeiting? How will operation Dunbar go down?

· Empathy: Alex and Kitty love each other but their relationship is doomed. They are from rival families. The family politics will tear them apart.

· Likability: Alex is popular amongst the other poker players, he entertains us with his card tricks. He encourages unity amongst the group.

Roger Tate (change agent)

· Relatability: Roger has a tough case to deal with, and Alex isn’t being very receptive to his help.

· Intrigue: What are Roger’s “unresolved issues” with Boston? Why does he react to Alex’s inheritance the way that he does? We wonder why he handles Alex’s case in such a unique way.

· Empathy: Roger is coming home for the first time in a long time. Some things are clearly coming up as he steps off the plane.

· Likability: Roger is calming, family-oriented, and seems to care about Alex’s wellbeing. This case is not just a paycheck to him. His first 1:1 with Alex is entertaining.

Scarlett Brennan (transformable character)

· Reliability: Scarlett is in a dead-end job. She’s a customer service rep at the DMV. She’s waiting to “break into” the family business and hoping to please “the boss” so she won’t have to keep her DMV job.

· Intrigue: Does Scarlett know about Alex? Will she find out who he is before he tells her? What is her “side business?” Do she and Richard trust each other?

· Empathy: Scarlett has grown up with no parents. She’s in an unhealthy relationship and has shallow friendships.

· Likability: not a very likeable character in her first scenes….she entertains us by getting drunk at the bar and singing for everyone

o Likability in Segment 5 when she tries to save Will from the fire

[Erin Ziccarelli]

Erin Ziccarelli’s Transformational Structure

What I learned from doing this assignment is: the turning points at the end of each sequence are helping me make the flow more dramatic. Mapping out a vision for each segment makes the movie much more manageable and makes each segment unique.

Tell us your Transformational
Logline.

When a forgotten counterfeiter inherits a rival family member’s estate, he questions his ties to his family and their black-market businesses.

Tell us who the main character will
be: Change Agent: Transformational
Character(s):

· Change Agent: Roger Tate

· Transformational character: Alex Donovan (and Scarlett Brennan)

List out your Mini-Movie structure,
(or whatever structure you’ve chosen) for your story.

A. Mini-Movie 1: status quo and call to adventure

1. Alex’s ordinary world and status quo: prison, cocaine addiction, feeling alone/abandoned

2. Turning point – call to adventure: Alex finds out he has a daughter. Scarlett is in her early twenties and strongly allied with a rival family.

3. Introduces the story’s main tension – the North/South family feud, it’s personal for Alex because he has a family member on the other side.

· Change agent: Roger Tate, Kitty Caden

· Transformational characters: Alex Donovan

· Old ways: Alex is alone. He’s lost hope. He’s rude to Roger and Demi and Will – even though they are trying to help him. He harbors anger towards the Cadens and Brennans. Beats up Ted Brennan.

· The vision: Alex will leave prison, learn to “stand alone,” and separate himself from the family politics. He and his daughter will meet and learn to trust each other despite being from opposite sides of Boston.

· Challenge: Inheriting a former nemesis’ money. To accept or not to accept. If he accepts, he feels disloyal. If he doesn’t accept, nothing will change – he’ll never get back to his old life.

· Weaknesses: Alex hates being alone and without family support. He’s been suffering in that environment for years.

B. Mini-Movie 2: locked into conflict

1. Alex’s denial of the call: he can’t believe it, he investigates by looking through the prison records, Ted was telling the truth

2. Turning point – Alex “locked into” the conflict brought on by this call: he decides to take Nathanial Caden’s money, it will be his way back home, enters rehab and is let out on supervised release

· Change agent: Roger Tate, Scarlett Brennan

· Transformational characters: Alex Donovan

· Old ways: Alex struggling to overcome the cocaine addiction. Struggling to understand why Kitty never told him about Scarlett. Questioning his past.

· The vision: Alex will be cured of his addiction. He will be sober and stay sober. He will come to terms with Kitty’s secret.

· Challenges: Navigating rehab. Trying to be cured. Abandoning his cocaine addiction – the crutch that he leaned upon for the last few years.

· Weaknesses: Lacking coping mechanisms. Struggling to make sense of Kitty’s secret.

C. Mini-Movie 3: hero tries to solve problem – but fails

1. Alex’s first attempts to solve his problem: he focuses on building the business, sees Scarlett for the first time, but does not talk to her or get the signature, reject’s Roger’s advice

2. Turning point – standard ways fail: the business is stagnant, liquidation can’t move forward until Alex has the conservatee’s (Scarlett’s) signature

· Change agent: Roger Tate, Will Lawson

· Transformational characters: Alex Donovan

· Betraying character: Joe Byrne

· Old ways: Alex trying to launch the business, doubting his ability to stand alone and be successful. Struggling with if/how he should meet Scarlett.

· New ways: Alex doing honest work, trying to make a “family” out of his new team, trying to adjust to regular life

· Vision: Alex will build a successful business. He will meet Scarlett.

· Challenge: Starting up the business. Needs money to begin but liquidation can’t move forward without Scarlett’s signature.

· Weaknesses: Tempted by his old ways – his old friends find him. He can’t face the past or bring himself to talk to Scarlett.

D. Mini-Movie 4: hero forms a new plan

1. Alex has a plan to bring Scarlett in to work at the business (to get her signature), gets a buyer (commits himself to the business)

2. Plan goes wrong: storming phase for the team, Roger hounding him for his lack of measurable output, Scarlett isn’t very committed to him or the business – she’s much more invested in her illegal activities

3. Turning point – plan backfires: Alex is still very much alone. His Uncle dies, naming him “heir” to the family business. He rejects the offer, making an enemy of his old friends.

· Change agent: Roger Tate

· Transformational characters: Alex Donovan, Scarlett Brennan

· Old ways: Alex can’t bring his team together. They’re not selling anything. The clock is ticking. There’s a lack of a shared vision with the team. Alex hasn’t been honest with Scarlett.

· New ways: Alex rejects the offer to come back to the South End after his uncle dies. He’s determined to make it on his own.

· Vision: Alex commits himself to the business. His identity is in his own work.

· Challenges: Trying to connect with Scarlett. Finding the will to be honest with her. Building a team spirit with Scarlett, Jack, Sean, and Will.

· Weaknesses: Fear of losing the team and family he’s created – it’s his support structure. Fear of losing Scarlett if he’s honest about his identity.

E. Mini-Movie 5: hero retreats & antagonism prevails

1. Alex is confronted by his need to change: he needs to keep building his work ethic if he’s to stand on his own – he orders an all-nighter. He and Scarlett enjoy a card game. She’s just as good at cards as he is.

2. Eyes open to his weaknesses: when the business is destroyed and everyone leaves him, Alex realizes the Donovans aren’t going to give up. He can’t ignore the problem, he has to face it. He retreats to rebuild.

3. Turning point – the decision to change: Alex rebuilds out of his own will. This time – no one told him what to do. He’s not going to give up now.

· Change agent: Roger Tate

· Transformational characters: Alex Donovan, Scarlett Brennan

· Old ways: Alex running from the problem. Hasn’t “rejected” the Donovans yet. Hasn’t confronted Richard over Kitty’s death.

· New ways: Alex rebuilds. He can’t move on from what happens – he remains tempted by the old life. Entertains the idea of returning.

· Vision: Alex tells Scarlett the truth. He rejects the South End families’ attempt to get him to come back.

· Challenges: Everything that represented his “self-made man” identity is lost. He’s confronted with facing his past but can’t do it. Has to rebuild the business and broken relationships.

· Weaknesses: Alex remains ashamed of his past. He writes off the success he experienced as temporary.

F. Mini-Movie 6: hero’s bigger, better plan

1. Alex spawns a new plan: he and Roger talk again and he realizes how far he’s come. Roger encourages him to make peace with Scarlett and with the past. Alex accepts the plan

2. Alex puts the plan into action and is nearly destroyed by it: Scarlett is angrier than ever – she knows everything. Alex seems to have lost hope again. He relapses.

3. The revelation: Alex has to rejoin the family. It’s his only chance for surviving.

4. Turning point – the ultimate failure: Alex reveals Scarlett’s identity to his old friends. They’re out for revenge now.

· Change agent: Roger Tate

· Transformational characters: Alex Donovan

· Old ways: Alex running from his past.

· New ways: Alex facing his past – in the wrong way. He accepts their offer to return, to take up his place as leader.

· Vision: Alex is just trying to survive now. He believes he can’t overcome his past (his ultimate failure).

· Challenges: Reconciling the past and the present – how can he and Scarlett mend their relationship? Can he keep her from making the same mistakes he did?

· Weaknesses: Feeling overly empowered by then rejected by Scarlett. He slips back into his old ways.

G. Mini-Movie 7: crisis and climax

1. Alex sees victory: he closes the deal with the buyer – the first honest thing he’s done. Tells Roger to leave. He’s going back home.

2. Turns the tables on his antagonist: Alex is nearly killed. He runs and busy the cocaine for the South End.

3. The tables turn one more time: Alex realizes Roger is from the North. This whole time, he’s been helping Alex – someone from the other side. Alex realizes that change is possible.

4. Turning point – apparent victory: Gives him a new understanding of the family feud. It’s not worth it.

· Change agent: Alex Donovan, Roger Tate

· Transformational characters: Alex Donovan, Roger Tate, Scarlett Brennan

· Betraying character: Joe Byrne

· Old ways: Alex trying to get “back in” with his family. Back to the counterfeiting grin. Temporary relapse.

· New ways: Alex realizes he can never go back. Scarlett is his family.

· Challenge: Rejecting the old ways. He is faced with both family dynasties and must reject both sides. Must forgive Scarlett for what she did to him

· Weaknesses: Meets with the dealer and buys the cocaine. Still feeling a bitterness over Kitty’s death. Unwilling to let it go. He and Scarlett still have a long way to go before they completely trust each other.

H. Mini-Movie 8: new status quo

1. Alex puts down Richard’s last attempt to defeat him: Everyone gathers at the casino. In the showdown scene, Richard kills himself.

2. Wrapping up his story: Alex and Scarlett make their peace.

3. Alex’s new world: Alex and Scarlett will leave Boston and join Roger in Chicago.

· New ways: Alex “stands on his own.” He and Scarlett have each other – they will join Roger in Chicago. Leaving behind Boston for good. He has learned about leaving the past behind. He has overcome his addiction. He has done something honest in his life and learned that family is more than last name.

· Profound truth: Family is more than last name – it’s people who care about and are loyal to one another. We can overcome previous mistakes and start over. Redemption is possible.

[Erin Ziccarelli]

Erin Ziccarelli’s Three Gradients

What I learned from doing this assignment is: this is a fascinating process. I am familiar

with the five stages of grief model, but I’ve not seen the desired change emotional gradient

model. I’m looking forward to mapping out my characters’ emotional flow in a more

organized style.

What is the Emotional Gradient
you’ll use?

I will use the desired change emotional gradient for Alex’s journey. He is taking on a new goal and doing what he can to accomplish that goal. For him, the new goal is self-sufficiency and independence from the family dynasty, and he’s going to do everything he can to try to make it.

For each emotion of that gradient,
tell us the following:

Gradient I

A. Emotion: anger

B. Action: spends time alone, acts rudely towards Roger, Demi, and Will (even though they’re trying to help him), angry at his family for abandoning him, angry at the Cadens and the Brennans, beats up Ted once they cross paths, threatens to kill Ted even as he’s dying.

C. Challenge/weakness:

1. Challenge: Inheriting a former nemesis’ money. To accept or not to accept. If he accepts, he feels disloyal. If he doesn’t accept, nothing will change – he’ll never get back to his old life.

2. Weakness: Alex hates being alone and without the family support. He’s been suffering in that environment for years.

Gradient II

A. Emotion: shock/confusion

B. Action: Alex reeling from finding out about Scarlett. He is transferred from prison to rehab. He hasn’t been out for 24 years. He’s in a completely new environment, hiding a massive secret. Everyone around him seems to know what they’re doing and know what they want. Alex struggling with the past – did Kitty love him? Was she ashamed of their time together? Why didn’t she tell him about Scarlett?

C. Challenge/weakness

1. Challenge: Navigating rehab. Trying to be cured. Abandoning his cocaine addiction – the crutch that he leaned upon for the last few years.

2. Weaknesses: Lacking coping mechanisms. Struggling to make sense of Kitty’s secret.

Gradient III

A. Emotion: doubt

B. Action: Alex “on his own” for the first time. Starting out, trying to launch the business. Doubting his ability to stand on his own two feet and do something on his own. Struggling with what to do about Scarlett.

C. Challenge/weakness

1. Challenge: Starting up the business. Needs liquidation to begin but can’t move forward without Scarlett’s signature.

2. Weaknesses: Tempted by his old ways. Can’t face the past and bring himself to talk to Scarlett.

Gradient IV

A. Emotion: hope

B. Action: meets Scarlett, brings her on, visits the old neighborhood, tells Patrick and the rest of the guys he’s not coming back, and goes to work on the first used car shipment.

C. Challenge/weakness

1. Challenges: Trying to connect with Scarlett. Finding the will to be honest with her. Building a team spirit with Scarlett, Jack, Sean, and Will.

2. Weaknesses: Fear of losing the team and family he’s created – it’s his support structure. Fear of losing Scarlett as soon as he’s honest about his identity.

Gradient V

A. Emotion: discouragement

B. Action: Patrick and Alex’s old friends burn the business. Alex’s identity is revealed to Scarlett, leaving her resentful and angry with him. He’s abandoned by Sean and Jack. Feeling guilty for Will’s death.

C. Challenge/weakness

1. Challenge: Everything that represented his “self-made man” identity is lost. He’s confronted with facing his past but can’t do it. Has to rebuild the business and broken relationships.

2. Weakness: Alex remains ashamed of his past. He writes off the success he experienced as temporary.

Gradient VI

A. Emotion: courage

B. Action: Musters up the courage to face Scarlett. He and Roger start to understand each other. Closes the deal with his buyer – the first time he’s accomplished something on his own and honestly.

C. Challenge/weakness

1. Challenge: Reconciling the past and the present – how can he and Scarlett mend their relationship? Can he keep her from making the same mistakes he did?

2. Weakness: Feeling overly empowered by Rejected by Scarlett. He slips back into his old ways.

Gradient VII

A. Emotion: triumph

B. Action: Alex returns to the South End to face the Donovans. The Cadens and the Brennans show up. The final showdown. He rejects his old ways. Avenges Kitty. Burns the cocaine. Walks away, intending to leave Boston for good.

C. Challenge/weakness

1. Challenge: Rejecting the old ways. He is faced with both family dynasties and must reject both sides. Must forgive Scarlett for what she did to him.

2. Weaknesses: Meets with the dealer and buys the cocaine. Still feeling a bitterness over Kitty’s death. Unwilling to let it go. He and Scarlett still have a long way to go before they completely trust each other.

[Erin Ziccarelli]

Erin Ziccarelli’s Lead Characters

What I learned from doing this assignment is: the breakdown of four characters. The concept of a betraying character is new to me, and I’m excited to include one in my script. I will better understand the concept once I watch Dead Poets Society.

Tell us your transformational
journey logline.

When a forgotten counterfeiter inherits a rival family member’s estate, he questions his ties to his family and their black-market businesses.

Tell us who you think might be your
Change Agent and give a few sentences about how that character fits the
role. Also, include: – Their vision:
– Their past experience that fits that vision:

Roger Tate: Roger represents and sets the vision early in the movie. We know he served time, and now he has moved on to a life of normalcy. He has a family, does an honest day’s work, and is living a more fulfilling life than Alex. He’s constantly trying to help Alex and Scarlett see that there is a better way of life. He goes through a lot to try to help them and bring them together. It’s his vision and constant belief in the philosophy that people can change that keeps him going and keeps him wanting to help them.

Vision – past experience that fits that vision: Roger is from the North neighborhood – he was once a counterfeiter and black marketeer. He has left the old ways behind and is grateful to be living a more honest life.

Tell us who you think might be your
Transformable Character(s) and give a few sentences about how that
character or characters fit the role.

Alex Donovan: Alex is feeling lost and forgotten. He is alone and has lost hope (old ways). He inherits the Caden estate, meets Roger, and goes to rehab. He has a love/hate relationship with these changes, but complies because Roger leaves him no choice. He struggles with becoming his own person and making it apart from the family, but in the end he emerges as a man standing on his own two feet. His loyalties now lie with his daughter, even though she is from a rival family.

Scarlett Brennan: Scarlett is stuck in a dead-end job and struggles with her status within the family. Her eating disorder is the result of her insecurities and need to belong, have a support system, and feel that she’s part of something important. When she’s hired by Alex, she goes along with it because of the money and because she hates her job. As she struggles with her role within the Brennan and Caden families, her relationship with Joe, and her discovery of Alex’s identity, she finally adopts new ways of abandoning the family and learning to trust Alex. At the end, her loyalties lie with him.

Tell us who or what you think might
be The Oppression and give a few sentences about how The Oppression works
in your story.

Richard Brennan: Richard is the face of the family politics. He is the “boss” of the North neighborhood and holds power over Scarlett and Joe. He will not stop until he has Scarlett under his authority and loyal to him. He feels threatened upon discovering her relationship to Alex. He lives by the belief that no one changes and that last name is everything (the opposite of the profound truth).

5. Tell us who you think might be your Betraying Character and give a few sentences about how that character fits the role.

Joseph Byrne: Scarlett’s lover and die-hard North neighborhood family member. When she voices her distrust of Richard Brennan, Joe starts to see the light on how toxic the family business is for them. He struggles with the reward Richard’s offering him and his desire to “belong” in the family. He chooses Richard over Scarlett in the fourth act, sealing his fate and almost ending her life.

[Erin Ziccarelli]

Erin Ziccarelli’s Transformational Journey

What I learned doing this assignment is: the specifics of the old and new ways. By defining

the “old ways,” I can now make changes to my protagonist’s old way of thinking and dealing

with life.

Tell us your logline for the
transformational journey.

When a forgotten counterfeiter inherits a rival family member’s estate, he questions his ties to his family and their black-market businesses.

Tell us what you see as the Old
Ways.

Cynical, forgotten, bitter, misplaced loyalty, afraid of being without support and guidance. Reliant on outside structures, beliefs, and support for guidance.

Tell us what you see as the New Ways.

Optimistic, self-reliant, new understanding of family and the role of family in his life. Becomes self-affirming, trusting of himself, independent, and cooperative. Responsible, reliable, and trustworthy.

[Erin Ziccarelli]

Erin Ziccarelli’s First Three Decisions

What I learned doing this assignment is: the “story world” is important – what sets the most

entertaining movie scenes apart is usually the setting. An example that comes to mind is Annie’s breakdown at the bridal shower in Bridesmaids. The scene would not have been as funny if it didn’t take happen in Helen’s luxury house and in front of the guests, Helen’s children, and Annie’s mom.

1. What is your profound truth? My profound truth is loyalty matters.

2. What is the change your movie will
cause with an audience? Who you are and who you align
yourself with can change your destiny.

3. What is your Entertainment Vehicle
that you will tell this story through? I have picked the world of black
markets and counterfeiting for the story world. I believe this improve the
entertainment value by raising the stakes, making the lead character more attractive
for an actor, and adding intrigue to the plot.

<div></div>

[Erin Ziccarelli]

Erin Ziccarelli’s Character Action Tracks

Vision: I am going to create meaningful scripts that leave audiences remembering my movies and leave me excited to keep writing and moving up in the industry.

What I learned from doing this assignment is: the different ways to express character actions. These traits open a lot of possibilities for my protagonist’s actions and will help make him more interesting.

Select your Protagonist and go through the process above to make sure every beat has action that comes from their Profile. Do the same with your Antagonist. If there is a Triangle character, do the process with that character.

Act I: Alex inherits, goes to rehab, and is released on the condition that he becomes productive

Alex PJ1: 1973 Alex + the South End + Alex’s Uncle
gambling. Conflict introduced.

Trait: tricky – slyly wins the card game while maintaining
a poker face. Future actions could include more gambling, hiding behind a
façade, and making calculated moves.

Alex PJ2: Alex Donovan and Kitty Caden together

Trait: vulnerable – Alex’s human side. Future actions
could include him placing an emphasis on his family – even if they’re not
from the South End.

Deeper level: Alex expressing loyalty to his family,
then having a passionate love affair with a woman from a rival crime
family
Inciting incident: Alex is arrested the night of the counterfeiting
deal. The Brennans turned him in. Alex sacrifices himself and goes to jail.
Deeper level: Alex’s loyalty still lies with his
family. He loves Kitty but still lives by the motto “family first.”
Alex PJ3: 20 years later, Alex is alone, in jail, and
has a dangerous cocaine habit. Fights Ted Brennan. Roger reveals his
inheritance of the Caden estate. Alex refuses the money.

Trait: resentful – Alex holding a grudge for over 20
years. He doesn’t forget. Future actions include him acting out because
of something that happened many years ago, that everyone has forgotten
except for him.

Deeper level: Even twenty years later, Alex is still
living by the same motto. He’s been abandoned by the Donovans, yet he
still won’t give up on them.
Alex PJ4: Ted reveals Scarlett’s and dies, Alex
investigates, realizes it’s true

Trait: violent – Alex is responsible for Ted’s death.
Alex is powerful, imposing, and capable of inflicting serious harm.

Scarlett AJ1: Scarlett and Ted worked together, her
loyalties lie with the Brennans and Cadens (Alex’s nemesis).

Trait: determined – Scarlett joined forces with Ted to
get the job done. Scarlett’s emphasis is family loyalty. She will never
let her side down.

Turning point 1: Alex accepts the inheritance and will
begin to turn his life around.

Alex PJ5: Alex’s journey through rehab, transition to
becoming productive, meeting Shaun and Jack, coming up with the business
plan.

Trait: action-oriented – Alex taking control of his
destiny. Future actions include him continuing to stand on his own two
feet.

Scarlett AJ2: Scarlett’s existence is tormenting Alex –
does she know? Does everyone know that he’s accepted Caden money?

Trait: tricky – where do her loyalties lie? Could she
and Alex ever trust each other?

Alex PJ6: Alex released (on conditions) and will go to
work on the business.

Trait: successful – Alex has a taste of success and
may even be enjoying it. He’s not likely to stop now.

Deeper layer reveal: Alex’s first steps in “abandoning”
the family values – he’s accepted money from a Caden and has no intention
of going home. Is determined to make it without them.

Act II: Alex building a new support structure, separate from the Donovans

Alex PJ7: Alex starts up the business with Shaun and
Jack, learns about the conservatorship, sees Scarlett for the first time,
but doesn’t act. Instead, focuses on building camaraderie amongst his team

Trait: leader – Alex is creating camaraderie and
treating his team as a family. Wants them to support each other.

Alex PJ8: Roger presses Alex, but he refuses to
acknowledge her as his daughter

Trait: secretive – Alex can’t admit the truth to Roger
for much of the second and third acts. He will continue to deflect or
change the subject.

Scarlett AJ3: Scarlett and Joe’s involvement with
Richard introduced

Trait: hard-working – Scarlett and Joe aren’t going to
blow this. They’re future rides on them being successful in this next
operation.

Deeper level: Scarlett is a younger/female version of
Alex. A window into his younger days. They’re so alike yet on different
sides.

Alex PJ9: Alex crosses paths with his old friends, they
want him back, he refuses the offer, he hires Scarlett and gets to know
her a little better

Trait: resentful – he refuses their offer because he hasn’t
forgotten how they betrayed him. This builds tension and paves the way
for a fight or showdown in Act IV.

Deeper level: Alex’s old sense of loyalty is turned on
his head – he’s building a new kind of family, spending time with a
Brennan, and rejects his family
Scarlett AJ4: Scarlett rejects Alex’s offer for help.
This job is solely for financial gain. Her focus is moving up within the
family, not Alex’s business.

Trait: disconnected – she doesn’t want his help.

Turning Point 2: Alex’s uncle dies, naming him “heir.” Alex
refuses. Will not go back.
Deeper layer reveal: Alex is now caught in the middle. He’s
alienated his old friends and family, and is still treading on a shaky
support system with his new team. Feeling alone and without support – a
risky feeling for him.

Act III: Alex fails on his own and rejoins the family.

Alex PJ10: Alex connects with Scarlett, he wants to
explain about his past. His hard work on the business is showing some
results. The Doyles set fire to the business.

Trait: honesty – Alex trying to become a more honest
person. He’s tired of lying to Scarlett and wants to give her the truth.

Scarlett AJ5: Scarlett’s likeable side – she tries to
save Will. He was her hero. She is still unsuccessful and left completely
devastated.

Trait: vulnerable – Will’s death shows a human,
compassionate, and likeable side of her. We see emotion from her for the
first time.

Deeper layer: The belief in self-sufficiency and
success is shattered. For Alex, through the business being burned. For
Scarlett, through Will’s death.
Alex: PJ11: Alex retains only one buyer. He
investigates the fire. Finds out it was his old friends.

Trait: calculating – Alex doing everything he can to
find out what happened. When it’s revealed, he calculates his next move.

Alex PJ12: Alex in the ruins of the business. Roger
presses him about Scarlett. Alex still won’t acknowledge she’s his
daughter.

Trait: secretive – Alex can’t come clean. He’s hiding
and will continue to hide things from Roger.

Scarlett AJ6: Scarlett back to her old ways. Spending
time with Joe, helping with the counterfeiting. Finds the truth from the
DNA match. Completely reverts to the old ways. Rejects Alex.

Trait: fragile – as soon as her trust in Alex is
shattered, Scarlett returns to her old way of life.

Alex PJ13: Alex falls back into his old habits.

Trait: fragile – as soon as Scarlett turns on him,
Alex can’t handle it. He falls back into his old existence.

Deeper layer reveal: Sense of betrayal for both
Scarlett and Alex. They can’t handle it and immediately run back to what
was once safe for them – the old family support structures.

Turning point 3: Alex and Scarlett both go back to
their old families. Accept their places as “heir.” They’re both in danger
but want to take that risk.

Act IV:

Scarlett AJ7: Scarlett responsible for Alex’s near
death. She is not on his side. Is betrayed by her own people and nearly
killed.

Trait: vengeful – she is a backstabber and wants to ruin
Alex.

Alex PJ14: Alex seals the deal for the South End.
Confronted by Roger. Roger reveals his identity – he was once a North Ender.
Alex’s belief that these support systems don’t work is reaffirmed. He must
return to his family, confront both sides, and reject the old ways.

Trait: honest – the truth comes out and Alex rediscovers
the honest, productive, and caring side of himself.

Deeper layer: Scarlett and Alex have both learned that
last name isn’t everything. What makes a family is love, trust, and
support – it’s not a “working” relationship.
Alex PJ15: Final Showdown at the casino. Both sides
present. Alex confronts his worst fear and reveals Richard was responsible
for Kitty’s death.

Trait: tricky – Alex never kills anyone that night.
Still manages to make them see the futility of their fight. Richard is
responsible for his own death.

Turning point 4: Richard turns the gun on himself. Alex
walks away, having avenged his lover, acknowledged Scarlett as his
daughter (to everyone), and will leave Boston.
Alex PJ16: Alex at the hospital. Waits by Scarlett’s
side. She wakes up and they are at peace.

Trait: vulnerable – Alex admits his regrets and
delivers the apology she’s been waiting for. Tells Scarlett that the only
way they can move forward is together.

Scarlett AJ8: Scarlett realizing that Alex was the only
one there for her. The beginning of them trusting each other.

Trait: forgiving – her forgiveness of Alex will see
her through an upcoming, difficult phase of her life. She has hope.

Deeper layer: Scarlett and Alex have overcome their
ties to their old families. They will continue to be there for each other.
Finally at peace after years of feeling alone and abandoned.

[Erin Ziccarelli]

Erin Ziccarelli’s New Outline Beats!

Vision: I am going to create meaningful scripts that leave audiences remembering my movies and leave me excited to keep writing and moving up in the industry.

What I learned from doing this assignment is: Process 3 is especially interesting – I like the idea of going both ways when evaluating a major event. I will use this process for end-of-act turning points to fill plot holes. This has been a wonderful exercise for me to map out my character journeys without other details/supporting characters “getting in the way.”

Genre: Drama

Act I: Alex inherits, goes to rehab, and is released on the condition that he becomes productive

Alex PJ1: 1973 Alex + the South End + Alex’s Uncle gambling.
Conflict introduced. <div>

Alex PJ2: Alex Donovan and Kitty Caden together
Deeper level: Alex expressing loyalty to his family,
then having a passionate love affair with a woman from a rival crime
family
Inciting incident: Alex is arrested the night of the
counterfeiting deal. The Brennans turned him in. Alex sacrifices himself and
goes to jail.

Deeper level: Alex’s loyalty still lies with his
family. He loves Kitty but still lives by the motto “family first.”

Alex PJ3: 20 years later, Alex is alone, in jail, and
has a dangerous cocaine habit. Fights Ted Brennan. Roger reveals his
inheritance of the Caden estate. Alex refuses the money.

Deeper level: Even twenty years later, Alex is still
living by the same motto. He’s been abandoned by the Donovans, yet he
still won’t give up on them.

Alex PJ4: Ted reveals Scarlett’s and dies, Alex investigates,
realizes it’s true
Scarlett

AJ1: Scarlett and Ted worked together, her
loyalties lie with the Brennans and Cadens (Alex’s nemesis).

Turning point 1: Alex accepts the inheritance and will
begin to turn his life around.

Alex PJ5: Alex’s journey through rehab, transition to
becoming productive, meeting Shaun and Jack, coming up with the business
plan.

Scarlett AJ2: Scarlett’s existence is tormenting Alex –
does she know? Does everyone know that he’s accepted Caden money?

Alex PJ6: Alex released (on conditions) and will go to
work on the business.

Deeper layer reveal: Alex’s first steps in “abandoning”
the family values – he’s accepted money from a Caden and has no intention
of going home. Is determined to make it without them.

Act II: Alex building a new support structure, separate from the Donovans

Alex PJ7: Alex starts up the business with Shaun and
Jack, learns about the conservatorship, sees Scarlett for the first time,
doesn’t take action. Instead, focuses on building camaraderie amongst his
team. </div>

Alex PJ8: Roger presses Alex, but he refuses to acknowledge
her as his daughter

<div>

Scarlett AJ3: Scarlett and Joe’s involvement with Richard
introduced
Deeper level: Scarlett is a younger/female version of Alex.
A window into his younger days. They’re so alike yet on different sides.

Alex PJ9: Alex crosses paths with his old friends, they
want him back, he refuses the offer, he hires Scarlett and gets to know
her a little better

Deeper level: Alex’s old sense of loyalty is turned on
his head – he’s building a new kind of family, spending time with a
Brennan, and rejects his family

Scarlett AJ4: Scarlett rejects Alex’s offer for help. This
job is solely for financial gain. Her focus is moving up within the
family, not Alex’s business.

Turning Point 2: Alex’s uncle dies, naming him “heir.” Alex
refuses. Will not go back.
Deeper layer reveal: Alex is now caught in the middle. He’s
alienated his old friends and family, and is still treading on a shaky
support system with his new team. Feeling alone and without support – a risky
feeling for him.

Act III: Alex fails on his own and rejoins the family.0

Alex PJ10: Alex connects with Scarlett, he wants to explain
about his past. His hard work on the business is showing some results. The
Doyles set fire to the business. </div><div>

Scarlett AJ5: Scarlett’s likeable side – she tries to
save Will. He was her hero. She is still unsuccessful and left completely devastated.

Deeper layer: The belief in self-sufficiency and
success is shattered. For Alex, through the business being burned. For
Scarlett, through Will’s death.

Alex: PJ11: Alex retains only one buyer. He
investigates the fire. Finds out it was his old friends.

Alex PJ12: Alex in the ruins of the business. Roger presses
him about Scarlett. Alex still won’t acknowledge she’s his daughter.

Scarlett AJ6: Scarlett back to her old ways. Spending time
with Joe, helping with the counterfeiting. Finds the truth from the DNA
match. Completely reverts to the old ways. Rejects Alex.

Alex PJ13: Alex falls back into his old habits.
Deeper layer reveal: Sense of betrayal for both
Scarlett and Alex. They can’t handle it and immediately run back to what was
once safe for them – the old family support structures.

Turning point 3: Alex and Scarlett both go back to
their old families. Accept their places as “heir.” They’re both in danger
but want to take that risk.

Act IV:

Scarlett AJ7: Scarlett responsible for Alex’s near
death. She is not on his side. Is betrayed by her own people and nearly
killed. </div>

Alex PJ14: Alex seals the deal for the South End. Confronted
by Roger. Roger reveals his identity – he was once a North Ender. Alex’s belief
that these support systems don’t work is reaffirmed. He must return to his
family, confront both sides, and reject the old ways.

Deeper layer: Scarlett and Alex have both learned that
last name isn’t everything. What makes a family is love, trust, and
support – it’s not a “working” relationship.

Alex PJ15: Final Showdown at the casino. Both sides
present. Alex confronts his worst fear and reveals Richard was responsible
for Kitty’s death.

Turning point 4: Richard turns the gun on himself. Alex
walks away, having avenged his lover, acknowledged Scarlett as his
daughter (to everyone), and will leave Boston.

Alex PJ16: Alex at the hospital. Waits by Scarlett’s
side. She wakes up and they are at peace.

Scarlett AJ8: Scarlett realizing that Alex was the only
one there for her. The beginning of them trusting each other.

Deeper layer: Scarlett and Alex have overcome their ties
to their old families. They will continue to be there for each other.
Finally at peace after years of feeling alone and abandoned.

[Erin Ziccarelli]

Erin Ziccarelli’s Analysis of Groundhog Day

What I learned from doing this assignment: I have a new appreciation for this movie. I’ve seen it once before, but I thought it was more comedy than dramatic/profound. Mapping out the gradient of change makes the process much less intimidating and easier to understand.

What is the CHANGE this movie is
about? What is the Transformational Journey of this movie?

Getting out of a rut. From the same day everyday (literally) to making every day a new day. Going from being miserable to wanting to change things by making the day better. For the audience, the message is that we have the power to make our day better.

Lead characters:

Who is the Change
Agent (the one causing the change) and what makes this the right
character to cause the change? Rita – they both
want something more in their lives, and she won’t settle for less.

Who is the
Transformable Character (the one who makes the change) and what makes
them the right character to deliver this profound journey?

Phil – goes from
being a victim to improving his life and others’ lives.

What is the
Oppression?

Groundhog Day –
won’t “leave him alone,” no escape.

<b style=”font-family: inherit; font-size: inherit;”>How are we lured into the profound
journey? What causes us to connect with this story?

· Connection with audience: we go on this journey because we’ve all felt stuck in a rut before, or like nothing we’ve done matters, like a bad day won’t ever end. We are intrigued and wondering if he will ever get out of his groundhog day rut.

· Relatability

o Main character doesn’t love a part of his job, has been stuck in the same position for at least four years, doesn’t think he has a future

o Character is “just a weatherman,” average-looking guy

o He hates this holiday and must act enthusiastic about it for the cameras, he’s putting on a façade

o Annoying things happen on his way to work (steps in the puddle, sees an annoying person who won’t stop talking to him)

o He’s stuck in a rut – his least favorite day in his least favorite place, no one believes him

o We’ve all been or met a “glass is half empty” type

· Intrigue

o Why does Phil dislike groundhog day so much?

o Is it really groundhog day? Is someone playing a joke on him?

o Will he ever stop reliving groundhog day?

o Will Phil and Rita “make it” – make it past Groundhog day? Will there be a night where she doesn’t slap him across the face?

o What will happen if Phil ever wakes up from Groundhog day? Will everything go back to normal?

Looking at the character(s) who are
changed the most, what is the profound journey? From “old ways” to “new
way of being.”

Identify their
old way: nothing matters, Phil is stuck in a rut, slogging through life, pessimistic,
takes Rita and his job for granted, hates Puxatony
Identify their
new way at the conclusion: Phil has taken control of his life and his
relationships, he loves Puxatony, he has improved himself and become a
better person, he and Rita have a genuine connection, she believes he is “worth”
it

What is the gradient the change?
What steps did the Transformational Character go through as they were
changing?

The transformation: Phil must go from moving through life to engaging in life. Helping others and making every day mean something.

· Phil hates everything, cynical, sarcastic, doesn’t know how to have a good time

· Phil thinks he’s super important and everyone needs to cater to him

· Having an “off day,” confused by the world

· Purposefully makes every day not count – acts recklessly and does whatever he wants because tomorrow doesn’t matter

· Phil shows interest in Rita, memorizes all her “lines” so she will like him, they have a good time together, he becomes more likeable and less narcissistic

· Phil starts enjoying every day, he’s nicer to his colleagues, starts improving himself for real (not just saying the right things to get Rita to like him), takes piano lessons, creates an ice sculpture

· Phil starts trying to change each day for others – trying to make their day better rather than just his own day

· Phil has an active roll in the town, everyone loves him (highlighted through no one wanting to “buy” his colleague including his date because he’s shallow)

· Phil turns the worst day into the best day

· Gradient: pessimistic, self-centered, reckless, shallow, superficially nice, ready to end it (overdoes it), improves himself, improves life for others, best person in the town/wins Rita’s heart

How is the “old way” challenged?
What beliefs are challenged that cause a main character to shift their
perspective…and make the change?

· Phil thinks he has no future, his time in Puxatony only confirms that mindset

· He’s narcissistic – but then begins to look at every day differently after he is forced to repeat every day

· Starting mystery: what does every day mean to you?

o More powerful question: what do you want out of life? How can each day matter and help build up to a meaningful long-term?

· His world is called into question (by the days repeating themselves) – he’s forced to deal with the worst day every day

· Rita challenges his old ways – by learning what she wants in a man, he becomes more of a romantic, nicer, more admiring of Rita, always knows what to say

· Can he make each day better? Every day is a new chance to improve the day.

What are the most profound moments
of the movie?

· The first groundhog day – 6 more weeks of winter

· Phil treating his repeat days from recklessly (overeating, drunk driving, getting thrown in jail, smoking, drinking)

· Phil and Rita’s scene at the diner – he asks her what she wants from life

· Snowman scene – cute scene with the two of them having a good time, their first “romantic” encounter, their time together later that night

· Phil tries to die so he won’t have to relive groundhog day

· Rita believes Phil and they connect, then he starts trying to make every day count

· Phil helping the townspeople, being humble about it

· Rita “buys” Phil, she’s the highest bidder

· The night before he wakes up on December 3^rd – Phil is very genuine to Rita, he wants the night to last forever

· The morning after – he loves Puxatony

What are the most profound lines of
the movie?

· What if there is no tomorrow? There wasn’t one today.

· What would you do, if you were stuck in one place, and every day was exactly the same, and nothing you could say, and nothing you could do, mattered? That about sums it up for me.

· It’s the same story your whole life.

· I’m not going to live by their rules anymore! You make choices and you live with them.

· If you only had one day to live, what would you do with it?

· It’s the perfect day. You wouldn’t plan a day like this.

· I’m a god – I’m not the god, but I’m a god…I am an immortal.

· Is this what you do with eternity?

· Anything different is good.

· Today is tomorrow.

· It was the end of a very long day.

How does the ending payoff the
setups of this movie?

· Phil ends up loving Puxatony and being the most popular guy in town

· His actions include developing a connection with Rita, improving himself, helping his colleagues and saving the people of Puxatony

· He wants every day to be better – he wants every day to mean something, or for everyone else around him to have a good day

What is the Profound Truth of this
movie?

· Every day is a precious/unique experience, each day matters and is a chance to make tomorrow better

[Erin Ziccarelli]

Erin Ziccarelli’s Beat Sheet – Draft 1

Vision: I am going to create meaningful scripts that leave audiences remembering my movies and leave me excited to keep writing and moving up in the industry.

What I learned from doing this assignment is: the importance of both a protagonist and antagonist’s journey.

Starting with your 4-Act Structure, add the following components into your story to create the first draft of your Beat Sheet.

4-Act Structure

Act I: Alex in prison then rehab, released

Beginning: 1970’s, Operation Dunbar,
Alex arrested, 1990’s, Alex in prison
Inciting Incident: Nathanial Caden’s
death, leaving his money to Alex
Turning point: Alex leaves rehab with
a fresh start and the means to pursue the business

Act II: Alex starting the business, meeting Scarlett

Character’s normal response: Alex “on
his own” for the first time, trying to build a support structure
Midpoint: Alex’s uncle dies, naming
him as the new head of the family

Act III: Alex growing the business, Scarlett turns on him, he goes back to his old way of life/old friends

· Character rethinks their journey: the business falls apart and Alex goes back to what is comfortable – his old life in the South End

· Character makes a real change to solve things: Alex takes charge of the next counterfeiting operation

· Turning point before the biggest conflict: Alex tells Roger to leave, returns to the South End

Act IV: Alex rejects the old ways and makes peace with Scarlett

· Climax: showdown between the Brennans and the Donovans

· Resolution: Alex and Scarlett at peace

[Erin Ziccarelli]

Erin Ziccarelli’s Deeper Layer!

Vision: I am going to create meaningful scripts that leave audiences remembering my movies and leave me excited to keep writing and moving up in the industry.

What I learned from doing this assignment is: the places to put a deeper layer. This is something I have struggled with on previous scripts – I wasn’t sure how early/late to plant and reveal the deeper layer. This assignment takes away a lot of the confusion!

As we did above with The Sixth Sense, create each piece of this “Deeper Layer” puzzle.

Surface Layer: Alex is receiving
help from Roger. A social worker helping a former inmate to transition
back to regular life. <div>

Deeper Layer: Roger was part of a
rival family and is helping Alex.

Major Reveal: Roger’s story
comes out right before Alex is ready to take up his place as leader of the
family business.

Influences Surface Story: Alex trying
to find out what Roger did to go to prison, Scarlett’s constant suspicion
of Alex and the way he runs his shop.

Hints: Roger’s many references
to how a person’s past doesn’t determine their future, his reluctance to
talk about why he went to jail, his constant help to Scarlett.

Changes Reality: Alex’s definition
of family changes and he realizes who the real enemy is. He faces his worst
fear.

Protagonist: Alex Donovan

Beginning: Alex’s loyalty
to the Donovan family and other South Enders. He will sacrifice himself
for them. </div>

Inciting Incident:
Alex has been abandoned for quite some time. Roger visits him and tell him
about the inheritance – he is shocked that a rival family member would help
him.

Turning Point 1: Alex
accepts the money. He does so because he’s angry with his people. They
betrayed him, so he doesn’t mind betraying them.

Act 2: Alex takes it
a step further – he hires Scarlett. “Fraternizing” with the enemy.

Turning Point 2 /
Midpoint: Alex receives an offer to come home, but he turns it down.

Act 3: Alex’s old
friends burn the business to the ground. Roger still hasn’t revealed his
past. Scarlett finds out about Alex and leaves.

Turning Point 3:
Alex’s “all is lost” moment – he returns to the family. Roger can’t let it
continue – he’s finally pushed to reveal his past.

Act 4 Climax: Alex’s
belief is reaffirmed. He takes a stand before both sides. Everything comes
up. Richard’s death.
Resolution: Alex
makes his peace with Scarlett.

<div>

Antagonist: Scarlett Brennan

Beginning: Scarlett
is moving through life. Everything in her is focused on her “side business.”
In desperate need of money. </div><div>

Inciting Incident:
Scarlett meets Alex. Suspicious of his last name, but knows that if he was
one of them, she’d recognize him. He’s just another customer at the DMV.

Turning Point 1: Alex
hires her. She accepts – she has nothing to lose.

Act 2: Continues
to keep her role in the family business a secret. Alex presses her, but
she won’t tell him.

Turning Point 2 /
Midpoint: Scarlett moving forward on the side business. Feeling Joe’s
pressure to accept his proposal.

Act 3: Scarlett’s
admiration for Will comes out.

Turning Point 3: Scarlett
finds out about Alex’s identity. Makes a deal with Richard, gambling that
it will earn his trust.

Act 4 Climax: Richard
and Joe betray Scarlett. She is saved by Roger.
Resolution: Scarlett
accepts Alex.

Triangle: Roger Tate

Beginning: Roger
mysteriously shows up – we know he’s from Boston and now lives in Chicago. </div>

Inciting Incident:
Roger meets Alex. Tells him about the inheritance.

Turning Point 1: Roger
observing Alex. Learning more about him.

Act 2: Feeling
pressed by Alex to reveal his past – he won’t do it. Alex guesses that he
was once in prison. Roger doesn’t tell him why.

Turning Point 2 /
Midpoint: Roger’s “investigation” pays off – he finds out that Alex is
Scarlett’s father.

Act 3: Roger
struggles with the knowledge that Alex doesn’t know he has – when the business
is burned to the ground, he presses Alex once again. Alex won’t give in.

Turning Point 3: Roger
knows Alex has fallen back into the old ways. He decides – return to the North.
Reveals his identity to Alex.

Act 4 Climax:
Roger wants Alex and Scarlett to join him in Chicago.
Resolution: Roger leaves
the city. Finally at peace with his past.

[Erin Ziccarelli]

Erin Ziccarelli’s Character Structure

Vision: I am going to create meaningful scripts that leave audiences remembering my movies and leave me excited to keep writing and moving up in the industry.

What I learned from doing this assignment is: the breakdown of acts in a character journey – the difference between the three turning points helps breakdown the three stages of the protagonist’s journey.

Alex Donovan (protagonist)

Beginning: Alex
has been in prison for two decades. He is a cocaine user and has given up on
life. Lost hope. <div>

Inciting Incident:
Alex is visited by Roger. Learns that he has inherited millions. Even more
confusing is the inheritance comes from the head of a rival family.

Turning Point 1: Alex
is sent to rehab and begins the treatment process. If successful, he has a
chance of being released early.

Act 2: Alex starts
up the car resale business and brings Scarlett in. He wants to get to know
her better.

Turning Point 2 /
Midpoint: Alex’s uncle has died, with the last wish that Alex take his
place as head of the Donovan family and leader of their operations.

Act 3: Alex
resists the offer, continues building the business. It’s burned down, everyone
leaves him, and his time is running out.

Turning Point 3:
Alex returns to his family, saying he will fulfill his duty as head of the
family. Fallen back into the old ways.

Act 4 Climax: the
rival families are brought together. Alex must face the truth – this support
system that he’s relied on is self-destructive. He walks away from it all,
ready to leave Boston for good.

Resolution: Alex
and Scarlett make their peace. She will come with him.

Scarlett Brennan (antagonist)

Beginning:
Scarlett is desperately trying to “move up” in the family. Struggling with
an eating disorder. </div>

Inciting Incident:
Springs at the opportunity to work on the upcoming counterfeiting operation.
This will improve her status and make her some money.

Turning Point 1: Scarlett’s
growing mistrust of Richard. She and Joe work together.

Act 2: Alex hires
Scarlett – she takes the job gets to know him. Doesn’t quite know what to
make of him.

Turning Point 2 /
Midpoint: Scarlett, Richard, and Joe go in on the operation together,
despite the simmering mistrust between them. It’s a risk they must take.

Act 3: Scarlett
and Alex grow closer, she’s supportive of him and his mission

Turning Point 3:
Scarlett finds out his true identity and goes back to the old ways – she doesn’t want to forgive him

Act 4 Climax: Richard
and Joe betray Scarlett. She realizes Alex was right, and he is the
only one she can trust.

Resolution: Scarlett
accepts Alex as family.

[Erin Ziccarelli]

Erin Ziccarelli’s Supporting Characters

Vision: I am going to create meaningful scripts that leave audiences remembering my movies and leave me excited to keep writing and moving up in the industry.

What I learned from doing this assignment is: the difference between a supporting and a background character, and the importance of having a value-adding supporting character.

Tell us your supporting and background characters.

Supporting Characters:
Background Characters: members of
the rival crime families

Focusing on those supporting characters, fill in the basic profile for each.

Support 1: William Lawson

Role: Social worker <div>

Main purpose: the only main
character in the story that hasn’t spent time behind bars and has lived an
entirely honest life, victim of the conflict in Boston

Value: Scarlett’s hero, offsets the
other characters who have all been in jail at some point or another

Support 2: Kitty Caden

Role: member of the Caden family,
counterfeiter, gambler </div><div>

Main purpose: Alex’s true love, Ted’s
wife, Nathanial’s daughter, and Scarlett Brennan’s mother – shows Alex
that family is more than last name

Value: her death 20 years ago drives
a series of events that leads Alex to discover Scarlett and realize that
the family feud is pointless

Support 3: Demi Gotwick

Role: Nathanial Caden’s lawyer </div>

Main purpose: Handles his estate and
financial affairs, one of the first people to know the identity of the
conservatee

<div>

Value: leaves Boston at the end
because she’s had enough of the fight, the “outsider” looking into the
family feud and realizing what it’s doing to the city

Support 4: Patrick Doyle

Role: counterfeiter, gambler, Alex’s
old friend </div><div>

Main purpose: Scheming for control
of the South End, destroys Alex’s business and livelihood, follows orders
to “get him back”

Value: shows Alex’s old ways, shows
how the South End is not as united as it appears

Support 5: Richard Brennan

Role: leader of the North End following
Nathanial Caden’s death </div>

Main purpose: killed Kitty Caden 20
years ago, hated by Alex, Scarlett, and later on, the whole North End for
what he did to Kitty

Value: manipulates and controls
Scarlett, his death is the beginning of the end of the feud

[Erin Ziccarelli]

Erin Ziccarelli’s Character Profiles Part 2

Vision: I am going to create meaningful scripts that leave audiences remembering my movies and leave me excited to keep writing and moving up in the industry.

What I learned from doing this assignment is: the values element of the character profiles is so important to understanding the lead character – by specifying what he believes in and cares about, we can understand what drives his actions.

With each of your lead characters, first tell us the following:

Alex Donovan

A. The High Concept: Family secrets unravel a Boston crime family’s struggle for control of the Black market.

B. This character’s journey: from imprisoned counterfeiter with a cocaine addiction to used car salesman actively trying to end the family feud.

C. The Actor Attractors for this character.

What about this role would cause an
actor to want to be known for it?

A varied character with a variety of personal and professional roles. He’s wresting with his past as an inmate, counterfeiter, and drug dealer, while trying to build a new identity as a businessman and a father. He wins in every gambling scene/poker game. He even wins at roulette, a game of complete chance.

What makes this character one of the
most interesting characters in your story?

His ties to crime families, his struggle to stay sober.

What are the most interesting
actions the Lead could take in the script?

Doing drugs, counterfeiting, being around cars a lot, and final speech where he rejects his old way of life.

How can you introduce this role in a
way that could sell it to an actor?

Introduce him as intimidating/muscular/hardened, but still weak and vulnerable underneath. He’s been beaten down but he’s not dead yet.

What could be this character’s
emotional range

From angry/bitter/resentful to normal to change-maker.

What subtext can the actor play?

He knows he’s going to have to make a public stand and reject his criminal ties. Before accomplishing that mission, he tries to hide behind his new identity and play it safe.

What’s the most interesting
relationships this character can have?

Uneasy and suspicious relationship with Roger Tate, a social worker on his case. Charged relationship with his daughter, Scarlett Caden who struggles to accept him after finding out his identity. Difficult relationship with his colleagues who look down on him because of his past.

How will this character’s unique
voice be presented?

Unique voice shows hurt and resentment. Character’s loyalty comes out in his unique voice and through interactions Roger, Will, Scarlett, and his old friends. He treats people a certain way based on their family name.

What could make this character
special and unique?

His confidence, loyalty, ability to go from angry to compassionate and reasonable in a scene once he has connected with his fellow character(s).

Brainstorm these profile components for each character:

7. Character Subtext: afraid to say what happened in his life before prison, hiding his fear of being alone and without the family, withholding information from Roger

8. Character Intrigue: secrets about Scarlett, unspoken wound from his time with Kitty and feeling abandoned by Patrick and the rest of his old friends

9. Flaw: gives up easily, doesn’t want to pursue the business because nothing may come of it, cares too much about what others think of him

10. Values: family, loyalty, and love – everything he does is driven by creating a support system and having family at the center of his life

11. Character Dilemma: he wants the family system but struggles with the fact that the only remaining family member he has is from a rival family

Scarlett Caden

A. The High Concept: Family secrets unravel a Boston crime family’s struggle for control of the Black market.

B. This character’s journey: from eating-disorder stricken dependent to realizing that she doesn’t need convoluted family connections to be successful

C. The Actor Attractors for this character.

What about this role would cause an
actor to want to be known for it?

A seemingly normal DMV worker who is a witty counterfeiter and excellent card player. She knows how to get the best of anyone in a card game. Has a great poker face.

What makes this character one of the
most interesting characters in your story?

She has a complicated family history – she’s the product of an affair between star-crossed lovers.

What are the most interesting
actions the Lead could take in the script?

Her allegiances are tested after finding out her identity. She has a transformation on her definition of family.

How can you introduce this role in a
way that could sell it to an actor?

A woman with a double life – DMV customer service by day and drinker, gambler, and counterfeiter by night.

What could be this character’s
emotional range

Character spends a lot of time drunk, high, or hungover. She’s loyal, manipulative, and a product of her system. Can go from charming to backstabbing within a scene.

What subtext can the actor play?

Subtext involves hidden dislike of the head of the family, animosity towards her family members, and a well-hidden desire to even destroy Alex after his identity is revealed.

What’s the most interesting
relationships this character can have?

Interesting relationship with Will. She respects him and his law-abiding ways. She and her boyfriend have a transactional relationship.

How will this character’s unique
voice be presented?

Presented showing bitterness, animosity, frequently slurring her words because of her inebriated state.

What could make this character
special and unique?

Her hidden talents, her acts of betrayal, and her devotion to the family business.

Brainstorm these profile components for each character:

7. Character Subtext: plotting to overthrow the South End and later on, Alex. Lying to herself about her shallow relationship with Joseph.

8. Character Intrigue: unspoken wound and fear of being abandoned, secrets about the family business and competition with Richard to take her place as leader of the family.

9. Flaw: bad judgement, gambles on obtaining Richard’s trust by revealing a major secret, self-sabotaging by resisting Alex’s help and advice

10. Values: family, duty, and loyalty – these drive her to want to lead the family and continue Nathanial Caden’s legacy. Can’t accept Alex as family because of her loyalty to the North End.

11. Character Dilemma: desires family and loyalty – but the only person that is loyal to her is a family member from the opposite side. She must chose between accepting Alex and abandoning the North End.

Roger Tate

A. The High Concept: Family secrets unravel a Boston crime family’s struggle for control of the Black market.

B. This character’s journey: from imprisoned counterfeiter with a cocaine addiction to used car salesman actively trying to end the family feud.

C. The Actor Attractors for this character.

What about this role would cause an
actor to want to be known for it?

The chance to play a social worker with an interesting twist at the end of the story. The one who’s constantly motivating others to be better all while facing a dark past. The “adult in the room.”

What makes this character one of the
most interesting characters in your story?

The mysterious character, his transformational journey of learning how to face his past.

What are the most interesting
actions the Lead could take in the script?

Incredible scenes with Alex and Scarlett and being the one that brings them together. Manipulating Alex, trying to help Scarlett.

How can you introduce this role in a
way that could sell it to an actor?

The character with a mission, higher purpose, and seeking a “greater good”

What could be this character’s
emotional range

From angry and fierce when facing his past to warm and caring when dealing with Scarlett and Alex. Not afraid to show them some tough love.

What subtext can the actor play?

Dialogue is filled with subtext when describing Alex’s old life. He dislikes everything Alex was and where Alex came from, but he still treats him as an equal.

What’s the most interesting
relationships this character can have?

Interesting relationships include his working relationship with Nathanial Caden’s lawyer, and his relationships with old friends and enemies. They still haven’t forgotten him.

How will this character’s unique
voice be presented?

The optimistic character – he wants to strive high to improve things, wants to pursue his mission, and wants to always seek truth

What could make this character
special and unique?

His mysterious past, his unfailing will to help anyone despite their previous allegiances, and his never-ending desire to make the city a better place

Brainstorm these profile components for each character:

7. Character Subtext: hiding his past from Alex, afraid to say he’s from the North End

8. Character Intrigue: secret identity as Roger Tate, unspoken wound from his past in Boston, hidden agenda to bring Alex and Scarlett together despite Alex only being his assignment

9. Flaw: can’t bring himself to admit to Alex or Scarlett that he’s from the North End, can’t bring himself to even revisit his old stomping grounds, too fearful of descending back into it

10. Values: values family, love, and being your best – he knows the importance of family. Mentions his wife and family multiple times despite us never meeting them.

11. Character Dilemma: wants to bring Alex and Scarlett together, must face his past in order to do so.

[Erin Ziccarelli]

Erin Ziccarelli’s Character Profiles Part 1

Vision: I am going to create meaningful scripts that leave audiences remembering my movies and leave me excited to keep writing and moving up in the industry.

What I learned from doing this assignment is: the breakdown of profile items – I find the motivation element most interesting. Creating opposing goals and internal requirements for my lead character will help me elevate his journey!

With each of your lead characters, first tell us the following:

Alex Donovan

A. The High Concept: Family secrets unravel a Boston crime family’s struggle for control of the Black market.

B. This character’s journey: from imprisoned counterfeiter with a cocaine addiction to used car salesman actively trying to end the family feud.

C. The Actor Attractors for this character.

What about this role would cause an
actor to want to be known for it?

A varied character with a variety of personal and professional roles. He’s wresting with his past as an inmate, counterfeiter, and drug dealer, while trying to build a new identity as a businessman and a father. He wins in every gambling scene/poker game. He even wins at roulette, a game of complete chance.

What makes this character one of the
most interesting characters in your story?

His ties to crime families, his struggle to stay sober.

What are the most interesting
actions the Lead could take in the script?

Doing drugs, counterfeiting, being around cars a lot, and final speech where he rejects his old way of life.

How can you introduce this role in a
way that could sell it to an actor?

Introduce him as intimidating/muscular/hardened, but still weak and vulnerable underneath. He’s been beaten down but he’s not dead yet.

What could be this character’s
emotional range

From angry/bitter/resentful to normal to change-maker.

What subtext can the actor play?

He knows he’s going to have to make a public stand and reject his criminal ties. Before accomplishing that mission, he tries to hide behind his new identity and play it safe.

What’s the most interesting
relationships this character can have?

Uneasy and suspicious relationship with Roger Tate, a social worker on his case. Charged relationship with his daughter, Scarlett Caden who struggles to accept him after finding out his identity. Difficult relationship with his colleagues who look down on him because of his past.

How will this character’s unique
voice be presented?

Unique voice shows hurt and resentment. Character’s loyalty comes out in his unique voice and through interactions Roger, Will, Scarlett, and his old friends. He treats people a certain way based on their family name.

What could make this character
special and unique?

His confidence, loyalty, ability to go from angry to compassionate and reasonable in a scene once he has connected with his fellow character(s).

Brainstorm the first 6 parts of the profile for each of your lead characters:

1. Role in the Story: protagonist, the counterfeiter who was caught twenty years ago, but is now out on a probationary program. His mission is to put an end to the family feud.

2. Age range and description: in his 40’s, aged, muscular, cold eyes

3. Core traits: haunted, brave, loyal, black-and-white

4. Motivation; wants to stand on his own two feet, needs a support system his former family ties can give him

5. Wound: he had an affair with a woman from the other side of Boston, she has been killed, and their daughter is on the other side

6. Likeability, relatability, empathy:

· Likability: he greatly cares for Kitty Caden, he gives himself up so that his friends are not caught, he’s a great card player and outsmarts the whole table

· Relatability: conflict with a nemesis who married his true love, he can’t trust anyone, he’s struggling with cocaine dependency, he’s very alone at the new jail

· Empathy: he’s fallen prey to cocaine dependency, he’s been in jail, his friends haven’t come to visit him so he’s feeling betrayed, and he’s being taunted by his nemesis

Scarlett Caden

A. The High Concept: Family secrets unravel a Boston crime family’s struggle for control of the Black market.

B. This character’s journey: from eating-disorder stricken dependent to realizing that she doesn’t need convoluted family connections to be successful

C. The Actor Attractors for this character.

What about this role would cause an
actor to want to be known for it?

A seemingly normal DMV worker who is a witty counterfeiter and excellent card player. She knows how to get the best of anyone in a card game. Has a great poker face.

What makes this character one of the
most interesting characters in your story?

She has a complicated family history – she’s the product of an affair between star-crossed lovers.

What are the most interesting
actions the Lead could take in the script?

Her allegiances are tested after finding out her identity. She has a transformation on her definition of family.

How can you introduce this role in a
way that could sell it to an actor?

A woman with a double life – DMV customer service by day and drinker, gambler, and counterfeiter by night.

What could be this character’s
emotional range

Character spends a lot of time drunk, high, or hungover. She’s loyal, manipulative, and a product of her system. Can go from charming to backstabbing within a scene.

What subtext can the actor play?

Subtext involves hidden dislike of the head of the family, animosity towards her family members, and a well-hidden desire to even destroy Alex after his identity is revealed.

What’s the most interesting
relationships this character can have?

Interesting relationship with Will. She respects him and his law-abiding ways. She and her boyfriend have a transactional relationship.

How will this character’s unique voice
be presented?

Presented showing bitterness, animosity, frequently slurring her words because of her inebriated state.

What could make this character
special and unique?

Her hidden talents, her acts of betrayal, and her devotion to the family business.

Brainstorm the first 6 parts of the profile for each of your lead characters:

1. Role in the Story: stakes character – her leaving behind the old ways and accepting Alex is a sign that he will be alright (his past and present have been healed). In the beginning she’s terrified of leaving Boston and the family behind, by the end it’s their only option.

2. Age range and description: in her early twenties, stick-thin, physical resemblance to Alex

3. Core traits: loyal, haunted, intolerant, emotionally hardened

4. Motivation; want/need: wants to move up within the family structure and earn Richard’s trust, needs to leave the North End before her secret is discovered and they turn on her

5. Wound: feelings of abandonment and low self-worth

6. Likeability, relatability, empathy:

· Likability: she tries to save Will during the fire, stands by him even after he’s killed

· Relatability: she’s in a loveless relationship, she has money problems, working a dead-end job, struggling to “move up” or be “promoted” in the family business

· Empathy: she’s had no parents her whole life, her side turns on her at the end, she’s struggling with an eating disorder

Roger Tate

A. The High Concept: Family secrets unravel a Boston crime family’s struggle for control of the Black market.

B. This character’s journey: from imprisoned counterfeiter with a cocaine addiction to used car salesman actively trying to end the family feud.

C. The Actor Attractors for this character.

What about this role would cause an
actor to want to be known for it?

The chance to play a social worker with an interesting twist at the end of the story. The one who’s constantly motivating others to be better all while facing a dark past. The “adult in the room.”

What makes this character one of the
most interesting characters in your story?

The mysterious character, his transformational journey of learning how to face his past.

What are the most interesting
actions the Lead could take in the script?

Incredible scenes with Alex and Scarlett and being the one that brings them together. Manipulating Alex, trying to help Scarlett.

How can you introduce this role in a
way that could sell it to an actor?

The character with a mission, higher purpose, and seeking a “greater good”

What could be this character’s
emotional range

From angry and fierce when facing his past to warm and caring when dealing with Scarlett and Alex. Not afraid to show them some tough love.

What subtext can the actor play?

Dialogue is filled with subtext when describing Alex’s old life. He dislikes everything Alex was and where Alex came from, but he still treats him as an equal.

What’s the most interesting
relationships this character can have?

Interesting relationships include his working relationship with Nathanial Caden’s lawyer, and his relationships with old friends and enemies. They still haven’t forgotten him.

How will this character’s unique
voice be presented?

The optimistic character – he wants to strive high to improve things, wants to pursue his mission, and wants to always seek truth

What could make this character
special and unique?

His mysterious past, his unfailing will to help anyone despite their previous allegiances, and his never-ending desire to make the city a better place

Brainstorm the first 6 parts of the profile for each of your lead characters:

1. Role in the Story: triangle, connects Alex and Scarlett, the former North Ender who has to face his past while helping Alex

2. Age range and description: middle-aged, old before his time, suppressed Boston accent

3. Core traits: mature, secretive, evasive, haunted

4. Motivation; want/need: wants to help Alex and Scarlett, being successful in this assignment means he needs to face his past

5. Wound: can’t face his past as a criminal, North Ender, and counterfeiter. Meeting Alex and being back in the rat race is such an unwelcome reminder of what he left behind

6. Likeability, relatability, empathy:

· Likability: he’s interested in helping other people, we admire that he’s left the old ways behind and worked hard to improve his life

· Relatability: he’s has a lot of regret from his past

· Empathy: he was a product of the system, we don’t blame him for what happened

[Erin Ziccarelli]

Erin Ziccarelli’s Likability/Relatability/Empathy

Vision: I am going to create meaningful scripts that leave audiences remembering my movies and leave me excited to keep writing and moving up in the industry.

What I learned from doing this assignment is: How to make an antagonist likeable and relatable. I think this can give the story more depth and makes their interactions with the protagonist more charged.

Alex Donovan (protagonist)

· Likability: he greatly cares for Kitty Caden, he gives himself up so that his friends are not caught, he’s a great card player and outsmarts the whole table

· Relatability: conflict with a nemesis who married his true love, he can’t trust anyone, he’s struggling with cocaine dependency, he’s very alone at the new jail

· Empathy: he’s fallen prey to cocaine dependency, he’s been in jail, his friends haven’t come to visit him so he’s feeling betrayed, and he’s being taunted by his nemesis

Scarlett Brennan (stakes character)

· Likability: she tries to save Will during the fire,

· Relatability: she’s in a loveless relationship, she has money problems, working a dead-end job, struggling to “move up” or be “promoted” in the family business

· Empathy: she’s had no parents her whole life, her side turns on her at the end, she’s struggling with an eating disorder

Richard Brennan (antagonist)

· Likability: he’s interested in “promoting” Scarlett in the family business

· Relatability: he feels the pressure of being a boss, he has responsibility, he’s always felt undermined by Nathanial Caden

· Empathy: his son has been killed, he knew that Kitty never wanted to be a part of the North End, the family money went to a South Ender

[Erin Ziccarelli]

Erin Ziccarelli’s Character Intrigue

Vision: I am going to create meaningful scripts that leave audiences remembering my movies and leave me excited to keep writing and moving up in the industry.

What I learned from doing this assignment is: the unspoken wound is an especially interesting intrigue item, and it will haunt my main characters and shape their coping decisions.

Alex Donovan, protagonist:

· Hidden agenda: Alex is initially out to take the inheritance for himself, not wanting to share it with Scarlett (seen in forging her signature, never telling her the truth)

· Conspiracy: Alex’s deal with his old friends to go to work on the counterfeiting operation (Alex’s return to his old life and pretend allegiance to their cause)

· Secret: Alex keeps his identity hidden from Scarlett until Sequence E (never telling Scarlett about the benefactor, refusing to acknowledge the truth around Roger)

· Unspoken wound: Alex’s love for Kitty Caden, his conflict with what she kept from him, and his desire to avenge her death, even twenty years later (keeping her commemorative coin, beating up Ted Brennan, confronting Richard about it at the end)

Scarlett Brennan, antagonist/stakes character:

· Conspiracy: Scarlett’s deal with Richard Brennan to sabotage Alex after learning the truth (dealing with Richard and working for/with him)

· Secret identity: DMV employee by day, counterfeiter/gambler by night (scenes take place during the gambling hours – evening and night)

· Unspoken wound: fear of abandonment, fear of betrayal constantly eroding her trust in others (never wanting to let Joe go despite it being an unhealthy relationship, becoming angry at Alex when his lies are revealed)

Roger Tate, protagonist:

· Secret: Roger’s identity as Roger Walsh of the North End which he’s left behind (refusal to visit the North End, constant fear of Alex’s “secret business”)

· Unspoken wound: unresolved feelings about the North and South End’s family feud and family politics, feeling betrayed by the system (trying to figure out Alex and Scarlett’s relationship)

[Erin Ziccarelli]

Erin Ziccarelli’s Subtext Characters

Vision: I am going to create meaningful scripts that leave audiences remembering my movies and leave me excited to keep writing and moving up in the industry.

What I learned from doing this assignment is: the “covert identity” part can give a character so much depth – I like the idea of giving main character and two supporting characters covert identities and then exposing their truths as the story progresses. This creates suspense and adds depth to the story and keeps the audience guessing if their conflicts will be resolved.

2. With your example movie, give us the following answers for the character with the most subtext:

Movie Title: Check in the Dark <div>

Character Name: Alex Donovan

Subtext Identity: a gambler and
recovering addict who is secretly trying to outwit his family
Subtext Trait: corrupt, shady,
evasive

Subtext Logline: a witty gambler with
a suspicion of his past and uncertain of his future. Tries to create
supporting hierarchical structures.

Possible Areas of Subtext: won’t own
up to his past in front of Scarlett or Roger. Once the support structure
he built fails, he resorts back to the old one he’d been trying to leave
behind. Shows animosity towards rival family members in the beginning.

3. For your two leads, brainstorm these answers:

Character Name: Roger Tate </div>

Subtext Identity: a social worker
who hasn’t resolved his troubled past

Subtext Trait: critical,
perfectionistic, need to be useful

Subtext Logline: Roger is critical
of Alex and Scarlett’s pasts and present lives. He looks down upon them despite
having been there himself.

Possible Areas of Subtext: Won’t
talk about why he went to jail until his last scene. Triggered every time
Alex mentions the family business. Triggered when Scarlett turns down a
chance to leave her old life behind.

Character Name: Scarlett Brennan

Subtext Identity: a DMV customer
service rep secretly engaged in illegal activity

Subtext Trait: immoral, “slow on the
job,” concealing

Subtext Logline: Scarlett has a need
to belong that she covers by staying in a loveless relationship as a move
for power

Possible Areas of Subtext: need for
belonging and for family structures, can’t deal with the Act 2 twist,
resorts back to the old/established family structure even though it won’t
work for her anymore, clings to an unhealthy relationship for a need to belong.
Triggered when Alex’s identity is revealed.

[Erin Ziccarelli]

Erin Ziccarelli’s Actor Attractors!

Vision: I am going to create meaningful scripts that leave audiences remembering my movies and leave me excited to keep writing and moving up in the industry.

What I learned from doing this assignment is: I find the emotional range element most interesting – I’m going to give my lead more emotional range to make him more attractive to a leading actor.

Role: Alex Donovan, protagonist

What about this role would cause an
actor to want to be known for it?

A varied character with a variety of personal and professional roles. He’s wresting with his past as an inmate, counterfeiter, and drug dealer, while trying to build a new identity as a businessman and a father. He wins in every gambling scene/poker game. He even wins at roulette, a game of complete chance.

What makes this character one of the
most interesting characters in your story?

His ties to crime families, his struggle to stay sober.

What are the most interesting
actions the Lead could take in the script?

Doing drugs, counterfeiting, being around cars a lot, and final speech where he rejects his old way of life.

How can you introduce this role in a
way that could sell it to an actor?

Introduce him as intimidating/muscular/hardened, but still weak and vulnerable underneath. He’s been beaten down but he’s not dead yet.

What could be this character’s
emotional range

From angry/bitter/resentful to normal to change-maker.

What subtext can the actor play?

He knows he’s going to have to make a public stand and reject his criminal ties. Before accomplishing that mission, he tries to hide behind his new identity and play it safe.

What’s the most interesting
relationships this character can have?

Uneasy and suspicious relationship with Roger Tate, a social worker on his case. Charged relationship with his daughter, Scarlett Caden who struggles to accept him after finding out his identity. Difficult relationship with his colleagues who look down on him because of his past.

How will this character’s unique
voice be presented?

Unique voice shows hurt and resentment. Character’s loyalty comes out in his unique voice and through interactions Roger, Will, Scarlett, and his old friends. He treats people a certain way based on their family name.

What could make this character
special and unique?

His confidence, loyalty, ability to go from angry to compassionate and reasonable in a scene once he has connected with his fellow character(s).

Role: Scarlett Caden, antagonist

What about this role would cause an
actor to want to be known for it?

A seemingly normal DMV worker who is a witty counterfeiter and excellent card player. She knows how to get the best of anyone in a card game. Has a great poker face.

What makes this character one of the
most interesting characters in your story?

She has a complicated family history – she’s the product of an affair between star-crossed lovers.

What are the most interesting
actions the Lead could take in the script?

Her allegiances are tested after finding out her identity. She has a transformation on her definition of family.

How can you introduce this role in a
way that could sell it to an actor?

A woman with a double life – DMV customer service by day and drinker, gambler, and counterfeiter by night.

What could be this character’s
emotional range

Character spends a lot of time drunk, high, or hungover. She’s loyal, manipulative, and a product of her system. Can go from charming to backstabbing within a scene.

What subtext can the actor play?

Subtext involves hidden dislike of the head of the family, animosity towards her family members, and a well-hidden desire to even destroy Alex after his identity is revealed.

What’s the most interesting
relationships this character can have?

Interesting relationship with Will. She respects him and his law-abiding ways. She and her boyfriend have a transactional relationship.

How will this character’s unique
voice be presented?

Presented showing bitterness, animosity, frequently slurring her words because of her inebriated state.

What could make this character
special and unique?

Her hidden talents, her acts of betrayal, and her devotion to the family business.

[Erin Ziccarelli]

Erin Ziccarelli’s Actor attractors for Beautiful Boy (2018)

Vision: I am going to create meaningful scripts that leave audiences remembering my movies and leave me excited to keep writing and moving up in the industry.

What I learned from doing this assignment is: what attracts an actor to a role. After completing this assignment, I will rewrite my character’s introduction and then further refine it in future modules. I want an actor to see themselves in that role as soon as they read the character description.

Movie Title: Beautiful Boy

Lead Character Name: David Sheff

1. Why would an actor WANT to be known for this role?

Average all-American dad dealing with a major family crisis that takes a grueling toll on his mental health and happiness. Makes his ordinary life “interesting”/unique.

2. What makes this character one of the most interesting characters in the movie?

He has a choice to make – continue to try helping Nic overcome his addiction or step back because he’s done everything he can do. He must make the decision that he doesn’t have control over Nic’s fate – it’s up to Nic if he falls prey to his addiction.

3. What are the most interesting actions the Lead takes in the movie?

Lots of disagreements/arguments/emotionally charged scenes. Light on the physical action side. Lead has the opportunity to work with several different actors playing his son at different ages, and explore the father-son dynamic.

4. How is this character introduced that could sell it to an actor?

David Sheff as a concerned father seeking help for his son. Communicates concern and urgency about his son’s addiction, keeps the audience guessing if Nic will be cured. The film cuts back to one year earlier, when David became aware of the severity of Nic’s addiction – the flashback keeps us wondering how David and Nic got to this point.

5. What is this character’s emotional range?

Fascinating emotional range for the lead character – from proud to disappointed to frantic to borderline hysteric parent. Portrays different emotions based on his son’s stage in life and the severity of Nic’s addiction. Shows the severity of Nic’s addiction on his health, his relationship with his second wife, and the happiness of their family.

6. What subtext can the actor play?

Constant love and concern for Nic coming out in every scene. This drives all of his actions – he will go anywhere, spend whatever amount of money, and use whatever resources he has to help his son. This penetrates every scene.

7. What’s the most interesting relationships this character has?

Most interesting relationships include David and Nic’s relationship, as well as David’s relationship with his ex-wife. They communicate because of their shared interest in helping their son. They must overcome their old wounds and work together to support Nic. David and Nic have the most charged relationship – David struggles to relate to and forgive Nic as his addiction worsens and takes over his life.

8. How is this character’s unique voice presented?

David is a caring person – his concern for Nic’s wellbeing, as well as his wife and other two children shows in every scene. His interactions with Nic’s doctors and mother also show this unique voice.

9. What makes this character special and unique?

David has incredible patience, determination, and ability to forgive. He never truly gives up on Nic – instead, he tells Nic that he loves him and hopes he will get his life together since he’s out of ideas on how to help. Nic’s mom and stepmom are much quicker to “give up” on Nic, but David sticks by his side through the worst of it and is back by his side in the last scene.

10. (Fill in a scene that shows the character fulfilling much of the Actor Attractor model.)

INT. BEDROOM DAVID & KAREN, SHEFF HOUSE – NIGHT

David is throwing UNDERWEAR, SHIRTS, a TOILETRIES POUCH and other items into a TRAVEL BAG. Karen enters, giving David the a ‘what’s-going-on’-look.

KAREN

How do we even know he’s in LA? I mean he could be in San Francisco. He could be in fucking Mexico for all we know.

DAVID

I need to go.

KAREN

And I need you to stay.

DAVID

I told you, Vicki can’t handle it.

KAREN

I don’t care about Vicki. This isn’t about Vicki!!

DAVID

Why don’t you just relax and try to be reasonable.

KAREN

What? You be reasonable!

DAVID

I am being reasonable.

KAREN

IS THIS REASONABLE?

DAVID

NO IT’S NOT! How can I be? My son is out there somewhere and I don’t know what he’s doing. I don’t know how to help him!

KAREN

YOU CAN’T!

David lets that sink in. It hurts but it might be true.

[Erin Ziccarelli]

Erin Ziccarelli’s Genre Conventions

Vision: I am going to create meaningful scripts that leave audiences remembering my movies and leave me excited to keep writing and moving up in the industry.

What I learned doing this assignment is: the drama genre conventions. I find the character-driven journey convention most interesting – in my previous scripts, my protagonists were very reactionary. Now, I will make my characters’ internal journey drive the plot rather than external circumstances.

Title: Check in the Dark

Concept: Conditionally released from prison, a former black marketeer must stay clean and leave his old way of life behind. Grudges, secrets, and family ties, old and new, draw him back into the familiar underground world of cocaine hustling and counterfeiting.

Genre: Drama

Act 1:

· Opening: Counterfeiting operation gone wrong – Boston, 1973. Meet the different crime families and explore their conflicts. (purpose)

· Inciting Incident: Flash forward 20 years, Alex is imprisoned, crosses paths with an old rival, reveal that he has a daughter allied with the rival crime family (emotionally resonates)

· Turning Point: Almost one year later, Alex has achieved sobriety and is ready to venture out and start his own business with support from social workers (challenging, emotionally-charged situations)

Act 2:

· New plan: Alex as a self-made entrepreneur, starts a car resale business and keeps a low profile (real-life “business” situation)

· Plan in action: Alex starts up the business, meets Scarlett and offers her a position, she accepts, the cars are delivered, they get to work (real-life situation, high stakes within as Alex tries to meet all his demands as a manager and stay away from his old ways)

· Midpoint Turning Point: word gets around that Alex is out of prison, his uncle dies, and the family wants him back to be their new leader. Alex rejects the offer but is now a target of both sides. (real-life situation that emotionally resonates, character-driven journey)

Act 3:

· Rethink everything: Alex can no longer remain under the radar – he must confront his past and take a stand against their lawlessness and pointless family feud. (challenging and emotionally-charged situation)

· New plan: Alex gets to know Scarlett better, offers her advice about turning her life around, he and his staff become a team, he’s feeling a sense of personal accomplishment for the first time in his life (real-life situation, high stakes)

· Turning Point: Huge failure / Major shift – his old buddies burn his business to the ground, Scarlett finds out she’s been lied to, his other two staff members leave him, one of the social workers is killed, and Alex is left alone/without an ally. It’s up to him to deliver on the contract and avoid going out of business, as well as face his past without any backup. (high stakes, emotionally-charged, and character-driven)

Act 4:

· Climax/Ultimate expression of the conflict: the big counterfeiting operation the story has been building up to, both sides show, Alex’s big speech on the futility of their family feud, the leader of the rival crime family turns the gun on himself, leaving both sides without a leader. Alex walks away without killing anyone, and the family feud will fizzle and eventually die. (high stakes, character-driven journey)

· Resolution: Scarlett and Alex make their peace. (emotionally charged)

[Erin Ziccarelli]

Erin Ziccarelli’s 4 Act Transformational Structure

What I learned doing this assignment is: the use of a turning point at the end of every act. This helps me zoom out and have a clearer picture of four turning points rather than seven smaller-scale turning points for the seven-sequence outline structure I’ve been using.

2. Give us the following:

Concept: Conditionally released from prison, a former black marketeer must stay clean and leave his old way of life behind. Grudges, secrets, and family ties, old and new, draw him back into the familiar underground world of cocaine hustling and counterfeiting.

Main Conflict: Former counterfeiter Alex Donovan must contend with the reveal that his daughter’s loyalties lie with a rival crime family and stop her from following in his footsteps.

Old Ways: cocaine addiction, grudges/hate against rival crime families, feeling “stuck” in life/being unmotivated, viewing change as impossible

New Ways: sobriety, independence, forgiveness, motivation to change and help others, redemption

3. Fill in each of these with the answers you have right now.

Act 1:

Opening: Counterfeiting operation gone wrong – Boston, 1973.

Inciting Incident: Flash forward 20 years, Alex is imprisoned, crosses paths with an old rival, reveal that he has a 24-yr old daughter allied with the rival crime family

Turning Point: Almost one year later, Alex has achieved sobriety and is ready to venture out and start his own business with support from social workers

Act 2:

New plan: Alex as a self-made entrepreneur, starts a car resale business and keeps a low profile

Plan in action: Alex starts up the business, meets Scarlett and offers her a position, she accepts, the cars come in

Midpoint Turning Point: word gets around that Alex is out of prison, his uncle dies and the family wants him back to be their new leader. Alex rejects the offer but is now a target of both sides.

Act 3:

Rethink everything: Alex can no longer remain under the radar – he must confront his past and take a stand against their lawlessness and pointless family feud.

New plan: Alex gets to know Scarlett better, offers her advice about turning her life around, he and his staff become a team, he’s feeling a sense of personal accomplishment for the first time in his life

Turning Point: Huge failure / Major shift – his old buddies burn his business to the ground, Scarlett finds out she’s been lied to, his other two staff members leave him, one of the social workers is killed, and Alex is left alone/without an ally. It’s up to him to deliver on the contract and avoid going out of business, as well as face his past without any backup.

Act 4:

Climax/Ultimate expression of the conflict: the big counterfeiting operation the story has been building up to, both sides show, Alex’s big speech on the futility of their family feud, the leader of the rival crime family turns the gun on himself, leaving both sides without a leader. Alex walks away without killing anyone, and the family feud will fizzle and eventually die.

Resolution: Scarlett and Alex make their peace.

[Erin Ziccarelli]

Vision: I am going to create meaningful scripts that leave audiences remembering my movies and leave me excited to keep writing and moving up in the industry.

What I learned from doing this assignment is: The definition of subtext. This is something I have heard, but never explored. The breakdown of the structures, especially the superior position structure, will be especially useful for this script.

2. Tell us your concept and your choice of one or two of these Subtext Plots.

Concept: Conditionally released from prison, a former black marketeer must stay clean and leave his old way of life behind. Grudges, deception, and family ties, old and new, draw him back into the underground world of cocaine hustling and counterfeiting.

Subtext plots: superior position, fish out of the water

3. Give us a few sentences on how your Subtext Plot will play out inside this story.

Superior position: for much of the story, the audience is aware of Scarlett and Alex’s connection. Alex and the audience find out in the first 15 minutes of the story, while Scarlett doesn’t find out until past the halfway mark. This engages the audience, keeping us wondering when and how Scarlett will come by this information, and if it will be revealed before it’s too late.

Fish out of the water: Alex has spent nearly 20 years in prison for counterfeiting. He receives a conditional release, and has to learn how to become independent and productive. Additionally, he used to rely on his extended family as a support system and for a sense of belonging. He knows that if he goes back to them, he will fall back into his old criminal ways, so he must learn to make it on his own and resist the temptation to return to that comfort zone.

[Erin Ziccarelli]

Vision: I am going to create meaningful scripts that leave audiences remembering my movies and leave me excited to keep writing and moving up in the industry.

What I learned from doing this assignment is: the cause and effect relationship between the protagonist’s internal/external journey. I haven’t separated an internal and external journey in my previous scripts, so this is very helpful!!

2. Tell us the Character Arc for your Protagonist:

Arc Beginning: drug-addled inmate <div>

Arc Ending: motivated entrepreneur

3. Give us their Internal/External Journey.

Internal Journey: angry/hate-filled to inner peace/forgiving</div><div>

External Journey: black marketeer to honest businessman

4. Tell us their Old Ways at the beginning of the movie and their New Ways at the end.

Old Ways: dangerous cocaine addiction, holding grudges, feeling hate for rival crime family members, unmotivated, change as impossible</div><div>

New Ways: sober, practicing forgiveness, motivated to help himself and those around him, realizing that people can/do change

</div>

[Erin Ziccarelli]

Erin Ziccarelli’s Intentional Lead Characters

Vision: I am going to create meaningful scripts that leave audiences remembering my movies and leave me excited to keep writing and moving up in the industry.

What I learned from doing this assignment is: How to label my characters. The importance of a triangle character and difference between a triangle character and key supporting character is not a distinction I had thought of.

2. Give us a logline (one sentence answer) for your protagonist, antagonist, and triangle character (if you have one) to the question, “What makes this character fit my concept and title powerfully?”

Character: protagonist

Logline: Alex Donovan is an entrepreneur who’s trying to put his old ways behind him.

Unique: Alex was once a black marketeer, hustling cocaine and counterfeit dollars.

Character: antagonist

Logline: Scarlett Caden is a member of a rival crime family, determined to ruin Alex’s success.

Unique: Scarlett is secretly Alex’s daughter

Character: triangle

Logline: Roger Tate is the social worker trying to bring Alex and Scarlett together and help them realize the power of forgiveness.

Unique: Roger was once a member of the rival crime family too.

[Erin Ziccarelli]

Vision: I am going to create meaningful scripts that leave audiences remembering my movies and leave me excited to keep writing and moving up in the industry.

What I learned from doing this assignment is: The differences in character structure. I’ve learned how to organize my dramatic triangle between my protagonist and two supporting characters.

2. Post your Title, and Concept to claim ownership of it.

Title: Check in the Dark

Concept: Conditionally released from prison, a former black marketeer must stay clean and become productive. As he struggles to leave behind his old way of life, his family ties, old and new, draw him back into the underground world of cocaine hustling and counterfeiting.

3. Tell us the Character Structure you’ve chosen. Dramatic triangle

[Erin Ziccarelli]

1. Erin Ziccarelli

2. I agree to the terms of this 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.

[Erin Ziccarelli]

1. Erin Ziccarelli

2. I agree to the terms of this 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.

[Erin Ziccarelli]

I, Erin Ziccarelli, agree to the terms of this release:

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.

[Erin Ziccarelli]

I, Erin Ziccarelli, agree to the terms of this 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.