[Rice Rice]

Frances’ Outline
What I learned doing this assignment is an effective technique for creating an outline with engaging layers that deliver on my concept.
Here is my complete outline.
Title: Mistletoe and Whisky
Genre: Fantasy, Drama
Logline: When a cynical distiller with cancer gets snowed in his mountaintop retreat with mysterious troubadours who sing ancient Druid lyrics and whose leader is a charming pharmaceutical executive who touts the healing power of mistletoe, he finds himself brewing a toxic mix of mistletoe and his signature whisky blend that could heal or kill him.
INT. DISTILLERY MAIN ROOM — NIGHT
Jack Mulligan, 40s, the persona of a gruff, pragmatic, skeptic, grimaces and grips his side, as if he’s just felt a jolt of severe pain. Taking a deep breath, he checks the temperature of his copper vat that is embossed with his family’s crest and nods his satisfaction.
The distillery is devoid of Christmas décor, except for a lone sprig of mistletoe that sits on a bookshelf next to the photo of a woman and two boys, all smiles.
He looks up and sees through the window thick snow swirling outside.
He turns on the radio and hears a report that all local roads are closed.
When a commercial for toys plays, accompanied by ”Jingle Bells” comes on, Jack frowns and turns off the radio, demonstrating his bitterness toward the holiday and being emotionally closed off, a sentiment that’s fueling his resistance to joy and connection.
He is startled and annoyed by a knock on the door.
When he opens the door, he finds on the doorstep, his old friend and physician, Dylan “Doc” O’Shea, 40s, with deep wrinkles around his eyes and the demeanor of a Jaded wise man who’s not afraid of being sarcastic.
Doc inquires about Jack’s health and Jack dismisses his intermittent pain with a wave of his hand.
Doc jokes that maybe the cancer doesn’t want to kill him, just play with him as if he were a Christmas toy.
Jack displays his displeasure about Doc’s dark humor, making clear his hostility toward anyone trying to connect with him emotionally, especially around Christmas.
Doc shrugs off Jack’s thinly veiled criticism and responds to Jack’s inquiry about why he’s out in the snowstorm at that hour of the night by stepping aside, pointing to the two people exiting the snow-covered car, and asking Jack to shelter them until the storm passes.
Showing he is innately magnanimous, Jack agrees and waves for everyone to come inside.
Jack pours four glasses of his signature band of whisky from the copper vat and hands one to each of his guests seated on benches around the room. Clad in jeans and a plaid shirt, he sprawls on a chair and eyes the two strangers who are dressed in flowing white robes while Doc wears an ill-fitting dark suit.
Doc explains that, as the town’s Christmas festivities organizer, he found an online advertisement about singers of ancient carols and arranged for these two troubadours to perform as wandering carolers tomorrow, Christmas Eve, and picked them up at the airport this evening, just before the storm worsened.
Jack seems especially intrigued by the woman troubadour, Ellie Collins, 35, who has the aura of a charming nurturer that masks an ambitious inner core that drives her professional decisions.
Ellie reveals that left out of the advertisement is the fact that their repertoire of “ancient carols” includes ancient Druid lyrics, and they are aficionados of the healing power of mistletoe as promised in those lyrics.
She confesses, also, that the troubadour gig is part-time during the Christmas season. Her “day job” is that of a pharmaceutical executive and her interest is discovering nature-based cancer cure by experimenting with mistletoe that was used in ancient times to cure all manner of ailments.
She chatters about her belief that modern science and ancient herbal remedies—like mistletoe—can be combined to create breakthroughs in healthcare, especially in cancer treatment.
Her analysis demonstrates how she’s driven by a personal desire to make a difference and legitimize her mistletoe-based treatments but is also determined to prove her company’s products are more than just unproven folk medicine.
Jack shifts his attention to the male troubadour, Gareth O’Neill, 40s, who’s nodding his agreement with Ellie, a demonstration that he embraces eccentric, spiritual beliefs with the fervor of a charismatic but impractical street corner preacher.
Garth points to the sprig of mistletoe on the bookshelf and asks Jack if he would be interested in doing an experiment that might sound crazy. He suggests mixing the mistletoe with his signature whiskey blend, making an experimental cancer cure as touted in one ancient Druid lyric. The only other thing that would be needed is a human Guinea pig.
Jack and Doc scoff but Ellie perks up.
She rises, walks to the bookshelf, and examines the mistletoe twig while acknowledging the mistletoe’s toxicity and the lack of healing proof.
She gets distracted by the array of antiquarian books, extracts one, flips through it, and finds a folded ancient parchment in the back. She unfolds the parchment, reads and says it is an ancient Druid poem.
Excited, she starts singing the words a cappella with her soprano voice being so high-pitched that it causes the entire bookshelf to tremble and shift.
The bookshelf swings open like a door, exposing a concealed entrance to a passageway, shocking her, Jack, Gareth and Doc.
INT. PASSAGEWAY — DAY
Jack, Doc, Ellie and Gareth traverse the passageway.
INT. INNER CHAMBER — DAY
They emerge in an ancient monastery’s Abby with a mysterious poem on a wall that features mistletoe imagery.
Ellie and Gareth study the poem and interpret it.
Excited, Ellie announces that it exceeds their wildest dreams.
It is an ancient formula with the ingredients being a fermented grain and mistletoe that promises to cure all ills, body and spirit.
Ellie and Gareth encourage Jack to brew the formula in his distillery to see if it could cure his cancer.
Jack hesitates and displays a Jack experiences a flicker of curiosity about the meaning of the poem and the possibility of healing.
What, he asks, if this “cure” is just a trap that worsens his condition or hastens his death?
Doc indicates he shares Jack’s concerns, pointing out that there is no scientific evidence that such a concoction is an effective cure for any aliment, and it seems more like medical quackery.
Ellie, using her charm, overcomes Jack’s resistance and convinces him that there is really no home in brewing a small amount of the view for a taste test.
What’s the harm?
INT. DISTILLERY MAIN ROOM — DAY
Jack takes a small sample from the sprig of mistletoe resting on the bookcase.
As he mixes it with a glass of his special blend of whisky extracted from a wooden barrel, he explains to the others that his whisky consists of water, malted barley and yeast.
Brushing aside his concerns, Jack drinks the brew.
With all eyes focused on him, Jack announces that he feels nothing—no change in his physical or emotional condition.
Jack lets on that he feels validated in his skepticism.
Ellie laments that, as the CEO of her pharmaceutical company, this is the end of her dream of finding a lucrative cancer cure.
Gareth wonders if he has been misguided in having faith in the ancient Druid beliefs.
Doc pushes Jack toward emotional closure, telling him he needs to let go of the bitterness he feels over the accidental deaths of his wife and two sons that is holding him back from finding peace in his final days.
Not wanting to give up on his faith, Gareth encourages everyone to return to the inner chamber to see if they missed any clues.
With nothing to lose and maybe something to gain, they agree and head back down the passageway toward the inner chamber.
INT. INNER CHAMBER — DAY
When they enter the inner chamber and walk around, searching for more clues, they find nothing and are disappointed.
Just before leaving the inner chamber, they pause to admire the sundial in the middle of the room that Ellie declares is a work of art.
At that moment when the sundial shows it is three o’clock, a beam of sunlight flashes through a stained-glass window, creating a triangle pattern on the floor with the sundial at one point and the images of a candelabra and challis at the other two points.
After studying the images, Jack looks around and spots the candelabra and challis on a shelf.
Curious, he aligns the objects with this pattern.
The sundial slides aside, revealing the entrance to an underground crypt with a set of stairs descending into it.
Ellie grows excited and exclaims that she thinks they’re on the verge of a breakthrough that will save Jack’s life.
Jack displays high anxiety and expresses his fear that uncontrollable mystical elements are at play.
Even so, he follows the others down the stairs and into the crypt.
INT. CRYPT — DAY
Once inside, they gather around and inspect the wooden coffin in the middle that’s etched with ancient text and mistletoe images.
Ellie translates the inscription, identifying the deceased as Ruith Divitiacus.
She interprets the brief obituary inscribed on the top of the coffin.
Ruith is an ancient high Druid priest who lived to be 1,000 years old and passed away 500 years ago.
Gareth spots a family crest etched on the sides of the coffin.
Jack is shocked to see that it is his family’s crest.
When Jack lifts the coffin’s lid, they see that Ruith’s skeleton is clad in a brown robe. On his chest rests a folded white robe with an object wrapped in parchment nestled on top.
Jack extracts the object from the robe’s top and unwraps it.
Inside the parchment that’s etched with ancient Druid text is a small vial filled with a golden liquid.
Ellie translates the parchment’s text, revealing it is the same formula as that contained in the poem on the wall of the inner chamber.
Gareth opines that what Jack brewed may have different ingredient percentages and Ruith’s ancient formula might be just what will cure Jack.
Gareth conveys that he feels his belief in his faith is vindicated.
Ellie expresses her complete agreement with Gareth, saying she thinks they have now found the magical brew that will change everything.
Doc, while still skeptical, says Ellie and Gareth may be right, showing that he is experiencing a growing sense of optimism.
Jack tells the group that he might be willing to drink the brew, hoping it will heal, not kill him.
He shudders as if he is feeling that death is too close.
Jack says he wants to think more about the brew before deciding what to do.
He leads the group out of the crypt.
INT. DISTILLERY MAIN ROOM — DAY
Jack, Ellie, Gareth and Doc confer, debating whether it would be wise for Jack to consume the mysterious brew.
Jack’s assessment of the situation includes his expressing how he still sees Ellie’s efforts as naive, Gareth’s beliefs as fantasy, and Doc’s pragmatism as dismissive of his inner pain.
While Ellie confesses that she would have once advocated this human experimentation, she reveals her concern for Jack’s safety and survival, acknowledging her feelings for Jack have deepened.
She reflects on how she lost her mother to cancer when she was young.
She reveals how her mother had been a believer in alternative medicine.
Ellie confesses that she spent her life trying to prove that mistletoe extracts, like the ones her mother believed in, can make a real difference.
Sometimes, she laments with a hit of regret, that her past drives her to blur ethical lines in her quest to help people.
Jack expresses ambivalence and demonstrates growing affection for Ellie, while wondering if taking the risk with the brew might free him to love again.
He admits that the last time he hoped for something–saving his family on Christmas Eve–he was devastated by the loss of his wife and two sons when they left home during a snowstorm after an argument about the true meaning of Christmas.
His confession touches Ellie and she displays sympathy by embracing him and they share a tender moment.
Jack’s conveying his feelings causes Garreth to open up and share how he became estranged from his own family, who see his Druidic beliefs as delusional.
With sadness, Gareth recalls how their rejection of his spiritual path made him feel isolated, and his sense of self-worth became tied to proving that his beliefs have real meaning and power.
Gareth looks around and admits that he sees Jack’s distillery as a sacred place that could validate his life’s purpose.
Gareth focuses on the vial of golden brew in Jack’s hand and expresses his view if that mistletoe-infused whisky proves to have healing power, then his beliefs would have to be taken seriously and not dismissed as fantasy.
Doc takes in the scene of Ellie and Jack growing closer together and shows with his commentary his continued desire to push Jack toward accepting his terminal condition or support the possibility that something other than science could heal him.
Doc surprises everyone when he grows quiet and reveals how when he first began his practice years ago, he lost a close patient to cancer and blames himself for not doing enough.
Since that tragedy, he confesses, he has leaned on his medical training as a guide for accepting that some things are beyond his control but emotionally, he’s still haunted by the loss and fears that Jack is on the same path.
INT. DISTILLERY MAIN ROOM — DAY — LATER
With everyone being reflective and quiet, Jacke announces that he has made his decision.
He lifts the vile with the golden liquid and takes a sip while his face reflects hope that it might work.
As soon as he swallows, Jack convulses, vomits, falls to the floor, and appears to be dead.
In that tense moment, fear grips everyone, as they face the potential that they’ve pushed him too far and it’s too late.
Doc administers Cardiopulmonary resuscitation (CPR) and revives Jack.
Revived, Jack acknowledges that the decision was his alone to make and he now realizes he made a mistake that could have been fatal.
The emergency causes Ellie to confess her love for Jack is more important than success as a pharmaceutical executive.
Gareth expresses just how conflicted he is over whether to cling to his need for mystical validation or accept that emotional healing might be the true magic he has sought all along.
Gareth expresses what appears to the others to be a move that would be like grasping at straws.
He pushes the idea that maybe the brew vial only works to heal when it is consumed during an ancient Druid ritual.
With renewed optimism, he leads the others back through the passageway.
INT. CRYPT — DAY
Ellie reads the parchment again and says that it contains not only the formula for the brew but also the chant for the ritual to be performed by the druid priest wearing the robe nestled atop Ruith’s skeleton.
Doc expresses his sentiment that everything is a flight of fancy.
Jack nods his agreement.
While gazing at his family’s crest, Jack, with reluctance, acknowledges it connects him to something ancient and meaningful. He confesses that he is accepting the possibility of legacy and purpose.
He laces that confession with an expression of his fear that embracing this newfound lineage will come with consequences. He laments that he may not be worthy of such power or knowledge.
Doc agrees with Jack when Jack says that the ritual might awaken something dark or uncontrollable.
Ellie attempts to ease Jack’s fears by saying that she believes Jack is destined to inherit ancient knowledge and power by conducting the ritual dressed in the robe and drinking the rest of the golden liquid.
Gareth’s enthusiasm and belief in the ritual is infectious.
Jack observes Gareth’s optimism and expresses his increasing belief that maybe magic could save him.
INT. CRYPT — DAY — LATER
Now, embracing his heritage, Jack removes the robe from atop his ancestor’s skeletal remains and puts it on.
Jack performs the ritual, saying that it might not be magic that makes the ritual work but his growing acceptance of life and love.
He takes in the worried look on Doc’s face and tries to reassure him, but makes things a bit worse by saying, also, that he knows his full participation in the ritual might open old wounds and make it impossible for him to let go of his grief, and that terrifies him.
Taking a deep breath, Jack slips on the robe and chants the ancient lyrics, creating the moment where he surrenders to hope. His action demonstrates that he is choosing to embrace the mystical process, allowing himself to believe in something bigger than himself
Ellie shows her certainty is faltering, saying that she fears that if Jack completes the ritual and it fails, there will be no other recourse to save him from his illness.
Doc surprises everyone by participating in the ancient Druid ritual while Jack chants the lyrics with Ellie and Gareth singing the words a cappella in harmony.
INT. CRYPT — DAY — LATER
The rendition of the ritual ends with a call for kissing a maiden under a mistletoe before consuming the golden liquid.
Gareth holds a mistletoe over Ellie’s head and Jack and Ellie Share a tender kiss.
Everyone expresses how they agree that the kiss under the mistletoe feels like a breakthrough, a moment of genuine emotional connection between Jack and Ellie, showing Jack that love still holds power in his life.
A moment later, Jack’s frown and words of doubt communicate that he fears that embracing love again will only lead to more loss and pain, repeating the trauma of his past.
INT. CRYPT — DAY — LATER
Jack completes the ritual by drinking the remaining golden liquid in the vial.
To the astonishment and delight of everyone, Jack announces that his cancer pain is fading.
The possibility that this ritual has worked is exhilarating and Jack expresses his hope for a future free of suffering.
Jack laments that he harbors the nagging fear that this relief is temporary, illusory and that his pain will return, making the miracle be just a fleeting dream.
Buoyed by feeling no pain, Jack rallies and fully embraces his newfound emotional and physical healing, expressing to everyone that it is a demonstration of the power of embracing life and love.
Ellie conveys her joy over how her dream of a mistletoe cancer cure has become a reality and not at the expense of human suffering but on the wings of love.
Gareth does a jig, showing his happiness over having witnessed Jack’s transformation and saying he realizes that while the ritual and golden brew play a role, the true power lies in human connection and emotional healing. He acknowledges that his beliefs need to be more flexible, and how the validation he seeks comes not from the external world but from within.
Doc shows uncharacteristic elation over Jack’s emotional transformation and expresses how he now accepts the possibility that the ancient brew of mistletoe and whisky consumed in an environment of mutual love could provide a form of healing that defies medical logic.
Jack says that it might prove beneficial for him to analyze the formula on the parchment to see if he can replicate it in his distillery since the world would benefit from having an effective cancer cure.
Everyone agrees and they head back to the distillery.
INT. DISTILLERY MAIN ROOM — DAY
Jack perks up as Ellie reads again what the script on the parchment and notices that the word for grain in the formula is plural.
Excited, Jack surmises that it is unusual to use more than one grain in a whisky formula, other than a barley malt as a starter.
Jack collects ingredients: water, yeast, barley, rye, corn, and a bit of the mistletoe sprig.
Just as he begins to brew the mixture, Garth takes the parchment from Ellie and scrutinizes it more closely.
He looks somber and says that he had a nagging suspicion that the mistletoe used in the formula was the real key to its effectiveness as a cure when coupled with a ritual done in an atmosphere of love.
Gareth announces with sadness that the text shows his suspicion is correct.
The words in the ancient text amount to an admonition that the mistletoe for the healing brew must come from a particular tree planted during a ritual and harvested by Ruith–a tree that no longer exists after 500 years.
Spurred by Gareth’s new revelation, Jack acknowledges that he may never be able to replicate the ancient brew.
Even so, Jack voices how he has come to fully embrace the fact that it is not just the physical healing but the emotional healing of letting go of his past grief that is turning his life around.
He imparts to everyone that he has hope that, even if his time is limited, he can live the rest of his life with a sense of peace and connection.
He says wistfully that he may never be able to shake off his fear about whether he can truly maintain this new outlook or whether his old bitterness and guilt will come creeping back to haunt him.
Ellie laments that she realizes that her mission was not just about proving mistletoe’s medicinal power but about helping Jack heal emotionally.
She conveys that this revelation has transformed her from a determined professional into someone who believes in the power of love and emotional vulnerability.
Gareth, having witnessed Jack’s transformation, says he now realizes that while rituals and mistletoe play a role, the true power lies in human connection and emotional healing.
He informs the other that he has come to accept that his beliefs need to be more flexible, and he now knows that the validation he seeks comes not from the external world but from within.
Doc takes in all the revelations and says that he views Jack’s emotional transformation as a success. This achievement causes Doc to announce that he has reconsidered his previously jaded view on the limits of healing.
Jack expresses his need to go back to the crypt and return Ruith’s spirit to his state of eternal rest.
Jack leads a procession of Ellie, Gareth, and Doc out of the distillery and into the passageway.
INT. CRYPT — DAY
Jack takes the robe off, folds it, places it on top of Ruith’s skeleton, and closes the coffin’s lid.
INT. INNER CHAMBER — DAY
They step outside of the crypt into the inner chamber and put the objects they had arranged on the floor in the pattern revealed by the stained glass back in their places.
The wall slides shut, concealing the crypt.
Ellie nestles against Jack and says that she is also embracing a more balanced view of her work and beliefs.
She tells everyone that she no longer sees the mistletoe-whisky brew and ancient rituals as the sole solution to healing but as part of a larger journey of emotional and physical wellness.
She confides in everyone that her self-image as both an herbalist and a corporate CEO has shifted and she sees the value of balancing idealism with ethical business practices.
She acknowledges that her new-found relationship with Jack as she helps him heal emotionally has become a catalyst for her own growth, representing a new chapter where she blends love, healing, and ethics in both her personal and professional life.
Gareth, showing a sense of serenity that he has not displayed before now, says that he is fully accepting that while his Druidic practices have value and hold profound truths, they are not the only path to healing.
Doc expresses how he has found peace with himself, letting go of his need for external validation, and embracing a more balanced approach to spirituality.
Doc’s smile is tentative, and he opines that, while he accepts that not all healing is within the realm of medical science, he can’t help but remain skeptical of the mystical elements, however witnessing Jack’s emotional and physical transformation has softened him.
Doc reveals that he has a renewed sense of belief in the power of human connection and physical healing isn’t the only kind that matters.
With this impromptu ritual, Jack’s demeanor shows signs of shifting from his being a misanthropic, cynical man and someone who is opening to the idea of joy, human connection, and, ultimately, personal healing, paralleling the Druidic theme of renewal.
Jack professes that he has now let go of his past grief and guilt, ready to face his mortality with peace and a sense of connection to those around him, something that would not have happened had it not been for that magical ancient brew of mistletoe and whisky.

[Rice Rice]

Frances’ Title, Genre and Logline

Title: Mistletoe and Whisky
Genre: Fantasy
Logline: When a cynical distiller with cancer gets snowed in his mountaintop retreat with mysterious troubadours who sing ancient Druid lyrics and whose leader is a charming pharmaceutical executive who touts the healing power of mistletoe, he finds himself brewing a toxic mix of mistletoe and his signature whisky blend that could heal or kill him.

[Rice Rice]

Frances’ Budget
What I learned doing this assignment is a great way to take budgetary considerations into account while either writing my script or working with a producer.
Here are the ways I could decrease the budget of my project if it is required:
MAIN VARIABLES
Number of characters
Special effects
Number of pages
SECONDARY VARIABLES
Weather — Rain, snow, wind
Night scenes
Extensive Make-up
Here are the ways I could increase the budget of my project if it is required to quadruple my budget:
MAIN VARIABLES
Number of Locations
Expensive locations
Number of characters
Special effects
Number of pages
Special sets
SECONDARY VARIABLES
Rights to music, brands, books, etc.
Weather — Rain, snow, wind
Night scenes
Extensive Make-up
Helicopters, aircraft, drone shots
Extensive Make-up
Archival Footage

[Rice Rice]

Frances’ Writes Great Hope/Fear!

What I learned doing this assignment is a demonstration of how interjecting Hope/Fear instances into my outline made my story more engaging.

Here are the Hope/Fear moments that I interjected into each Act:

Act 1

1. Hope: Jack is intrigued when Ellie and the troubadours speak of mistletoe’s healing properties. For a fleeting moment, he hopes their remedy might provide some relief for his cancer.

Fear: Jack recoils, afraid to believe in a cure, feeling that hope is dangerous and irrational. His skepticism deepens, fearing he might be manipulated by people selling false hope.

2. Hope: As Ellie sings the Druid song and the secret passage is revealed, Jack sees a glimmer of something extraordinary. Maybe there’s more to life than the bitterness he’s clung to.

Fear: The shifting bookshelf and concealed entrance evoke dread. Jack fears he’s losing control over his environment and perhaps his sanity.

3. Hope: The idea of an ancient, secret Druidic knowledge excites Gareth, and Jack feels a subtle pull toward discovering more, a spark of curiosity overcoming his usual apathy.

Fear: Jack’s fear of the unknown surges as he considers what they might find in the hidden room. He fears that digging into the past will only unearth more pain or danger.

4. Hope: Ellie’s charm begins to break through Jack’s gruff exterior, and Jack contemplates the possibility that these strangers might have entered his life for a reason.

Fear: Jack fears emotional vulnerability, his instincts urging him to push everyone away before they can hurt him like the loss of his family did.

5. Hope: Jack, seeing the mystical elements aligning in the cabin, briefly wonders if something beyond the material world could intervene in his life.

Fear: He fears letting his guard down, scared that accepting such ideas would mean facing his unresolved grief and guilt.

Act 2

1. Hope: Jack, with reluctant optimism, helps Ellie prepare the mistletoe-whisky concoction, hoping that it might relieve some of his physical pain, if not cure him.

Fear: He fears that even if it works, he’ll owe something to Ellie, and worse, be forced to confront his mortality sooner than he’s ready.

2. Hope: The discovery of the Druid poem and its ancient knowledge gives Ellie and Gareth hope that they’re on the cusp of something powerful—perhaps a cure for Jack.

Fear: Jack grows increasingly anxious, fearing that this “cure” might be a trap that worsens his condition or hastens his death.

3. Hope: Jack momentarily lets his guard down and confesses his doubts to Ellie. For a moment, he allows himself to feel supported and not completely alone.

Fear: Immediately after, Jack fears this connection, instinctively pushing Ellie away with a harsh remark, afraid of the intimacy he’s allowed.

4. Hope: When they find the sundial and hidden crypt, Ellie grows excited, feeling that they’re on the verge of a breakthrough that will save Jack’s life.

Fear: Jack’s fear spikes as they uncover the crypt. He fears the mystical elements at play and what drinking from the vial could do to him—death feels too close.

5. Hope: Ellie believes they’ve found a solution, and Jack, while skeptical, allows himself to entertain the idea that he could be saved.

Fear: Jack fears the disappointment that will come when the concoction doesn’t work, further fueling his sense of hopelessness and loss.

Act 3

1. Hope: Ellie tells Jack that the liquid in the vial will change everything, and Jack feels a faint hope flickering again—maybe he can still be saved.

Fear: He fears trusting her. The last time he hoped for something (saving his family on Christmas Eve), he was devastated by loss.

2. Hope: The family crest on the coffin connects Jack to something ancient and meaningful. He briefly contemplates the possibility of legacy and purpose.

Fear: Jack is afraid that embracing this newfound lineage will come with consequences. He fears he is not worthy of such power or knowledge.

3. Hope: Gareth’s enthusiasm and belief in the ritual are infectious, and for a moment, Jack allows himself to believe that maybe magic could save him.

Fear: Jack’s fear of the unknown kicks in. He panics that whatever this ritual might awaken could be something dark or uncontrollable.

4. Hope: As Jack takes a sip of the golden liquid, there’s a moment of hope where he believes it might actually work.
Fear: His immediate physical reaction—convulsing and vomiting—brings overwhelming fear, making him think he’s made a fatal mistake.

5. Hope: Ellie’s efforts to revive Jack give her hope that he’s not gone, that they haven’t lost the chance to heal him.
Fear: In that tense moment when Jack seems to be dead, fear grips everyone, as they face the potential that they’ve pushed him too far and it’s too late.

Act 4

1. Hope: After Ellie successfully revives Jack, the possibility of a true healing becomes real. They believe that following the proper Druid ritual will be the key to Jack’s salvation.

Fear: There’s fear that if Jack completes the ritual and it fails, there will be no other recourse to save him from his illness.

2. Hope: Jack’s willingness to wear the robe and chant the ancient lyrics represents a moment of surrender to hope. He is choosing to embrace the mystical process, allowing himself to believe in something bigger than himself.

Fear: Jack fears that fully committing to the ritual will open up old wounds. His emotional healing is tied to letting go of his grief, and that terrifies him.

3. Hope: The kiss under the mistletoe feels like a breakthrough, a moment of genuine emotional connection between Jack and Ellie, showing Jack that love still holds power in his life.

Fear: Jack fears that embracing love again will only lead to more loss and pain, repeating the trauma of his past.

4. Hope: After drinking the final vial, Jack feels the sensation of his cancer pain fading. The possibility that this ritual has worked is exhilarating and fills him with hope for a future free of suffering.

Fear: He fears that this relief is temporary or illusory, that his pain will return and the miracle was just a fleeting dream.

5. Hope: In the resolution, Jack embraces not just the physical healing but the emotional healing of letting go of his past grief. He hopes that, even if his time is limited, he can live the rest of his life with a sense of peace and connection.

Fear: Jack’s final fear is whether he can truly maintain this new outlook or whether his old bitterness and guilt will come creeping back to haunt him.

[Rice Rice]

Frances’s 4 Act Structure
What I learned doing this assignment is the value of having created my 4 Act structure that helps me with visualizing my story from beginning to end.
Here is my 4 Act structure:
Title: Mistletoe & Whisky
Genre: Fantasy, Drama
Concept: When a cynical distiller with cancer gets snowed in his mountaintop retreat with mysterious troubadours who sing ancient Druid lyrics and tout the healing power of mistletoe, he succumbs to their assurances and brews a toxic mix of mistletoe and his signature whisky blend that could heal or kill him.
Conflict: The troubadours’ leader seeks a cancer cure formula for her pharmaceutical company and encourages the risky human experimentation with the toxic mistletoe and whiskey brew.
Act 1
Opening: Jack, a reclusive, cynical distiller, is living in self-imposed isolation, embittered by the loss of his wife and son on Christmas Eve and battling terminal cancer. He refuses to acknowledge any form of emotional connection or the holiday spirit, finding solace only in his work. He believes he deserves his suffering, harboring deep guilt over the accident.
Inciting Incident: The arrival of Ellie and her fellow troubadours who sing ancient Druid lyrics and tout mistletoe’s healing power disrupts Jack’s solitude.
Turning Point: Jack’s grip on reality is shaken when Ellie removes an antiquarian book from a bookshelf, finds an ancient Druid poem in the back and sings the poem a cappella with her soprano voice being so high-pitched that it causes the entire bookshelf to tremble and shift, exposing a concealed entrance to a passageway behind it.
Act 2
New Plan: Surprised by the revelation of the hidden passageway, Jack, Ellie and the other troubadours, traverse the hallway and discover an inner chamber with the appearance of an ancient monastery with a mysterious poem on one wall that features mistletoe imagery.
Plan in Action: Using their knowledge about ancient Druid lyrics, Ellie and her cohorts determine that the poem contains a formula of fermented grain and mistletoe that promises to cure all ills, body and spirit. Back in Jack’s distillery, he produces a semblance of the formula, using freshly gathered mistletoe and his aged whiskey consisting of water, malted barley and yeast. Encouraged by Ellie, he drinks the brew, but experiences no change in his physical or emotional condition. They return to the inner chamber to search for any missed clues, but find nothing.
Midpoint Turning Point: While they are in the inner chamber, a sundial shows it is three o’clock in the afternoon and a beam of sunlight flashes through a stained-glass window, creating a pattern on the floor. When they align objects in the room with this pattern, a wall slides away, revealing a crypt that has a coffin with an inscription identifying the deceased as an ancient high Druid priest who lived to be 1,000 years old and passed away 500 years ago.
Act 3
Rethink Everything: A closer examination of the coffin reveals Jack’s family crest is etched on the sides. Jack scoffs at the idea that this “high Druid priest” could be connected to him.
New Plan: They open the coffin and find a small glass vial of golden liquid, along with a parchment inscribed with an ancient Druid text nestled atop the brown robe of the skeletal remains. Ellie tells Jack she believes he is destined to inherit ancient knowledge and power by drinking the golden liquid.
Turning Point: Huge failure / Major shift: Jack takes a sip of the golden liquid, convulses, vomits, falls to the floor, and appears to be dead.
Act 4
New Plan: Ellie administers Cardiopulmonary resuscitation (CPR) until Jack starts breathing again and his regular heartbeat returns. She surmises that the ancient brew only works to heal when the ancient ritual is performed as inscribed on the inside of the coffin’s lid by a druid priest wearing the robe on the skeletal remains.
Climax/Ultimate expression of the conflict: Urged by Ellie, Jack embraces his heritage, removes the robe from the skeletal remains, puts it on, and chants the ancient lyrics in the original language etched in the lid of the coffin, while Ellie sings the English interpretation a cappella where a verse calls for kissing a maiden under a mistletoe. Ellie puts a mistletoe sprig over her head and shares a tender kiss with Jack who then drinks the remaining liquid in the vial.
Resolution: Jack announces that his cancer pain is fading and acknowledges that this miracle is due to his recognizing the mistletoe plant is a symbol of love, and love is the real power that unlocks the physical healing the mistletoe-whisky brew promised. Jack fully embraced also his newfound emotional healing, not out of belief in magic, but as a symbol of his acceptance of life and love. He lets go of his past grief and guilt, ready to face his mortality with peace and a sense of connection to those around him.

[Rice Rice]

Frances’s Delivering Multiple Layers!
What I learned doing this assignment is a very helpful structure that makes it possible for me to create layers for my story.
Here are the layers I’ve chosen:
Potential plot layers:
Surface Layer: The diary of the deceased wife of my main character
Beneath That: The diary is revealed to be an ancient magical spell book
How Revealed: During a group therapy session, my main character succumbs to pressure and reads a passage from the book with frightening visual results.
Potential character layers:
Surface Layer: My main character is introduced as an ordinary mild-mannered cynic.
Beneath That: My main character is the descendant of an ancient sorcerer.
How Revealed: My main character brews a portion, believing it could heal sickness or kill people, then poises to drink the liquid, wanting to heal his ailment. The suspense: Will it heal him or kill him?
Potential location layers:
Surface Layer: A quiet mountaintop resort.
Beneath That: A former monastery with hidden rooms
How Revealed: My main character uses a room in the resort as a brewery and a small explosion blasts a hole in a wall, revealing a hidden chamber with a magical diagram on the floor.

[Rice Rice]

Frances’ Character Journeys!
What I learned doing this assignment is the incredible value of using the 3-Act Structure for Each Character Journey to help me create layers for my characters, making them more engaging to the audience in my contained environment.

[Rice Rice]

Frances’ Character Depth!

What I learned doing this assignment is an excellent brainstorming process for uncovering the wound and dilemma of my main character that will give my story incredible emotional depth.

[Rice Rice]

Frances’ Right Characters!

Here is how my four characters fit in with the Hook of my story centered on a conflict between realism and idealism:

One character is a disillusioned cynic.
One character is a hopeless optimist.
One character is a grounded realist.
One character is a believer in magic.

[Rice Rice]

Frances’ Great Hook!

I was amazed and pleased with how well this process worked for me, helping me evaluate my ideas and come up with ay great hook when I thought I could not do it at the beginning of the lesson.

[Rice Rice]

Frances Rice’s Contained Version of (Movie Title)

What I learned doing this assignment is the ability to view movies from a contained project perspective.

Here are my thoughts on how they could have made the below move into a contained movie.

TITLE: Indiana Jones and the Dial of Destiny

AS THEY DID IT:

A. Locations: A tense chase through the streets of Sicily on a motorcycle; a pivotal fight scene on a moving train; the discovery of the “Dial of Destiny” artifact; and a climactic confrontation with the villain on a submarine

B. People: 122 (It Took 100+ VFX Industrial Light and Magic Artists to De-Age Harrison Ford)

C. Stunts: 181

D. Extras: 120

E. Wardrobe: 116

CONTAINED VERSION:

A. Locations: Eliminate the chase through the streets of Sicily on a motorcycle (even though there was a reliance on AI computer-generation, requiring the employment of AI experts)

B. People: 22 (Hire a young look-alike actor to play the part of young Harrison Ford)

C. Stunts: Eliminate the hangar chase and the fistfight with the ants, most of the jungle chase, and all of the motorbike chase.

D. Extras: None

E. Wardrobe: 16

[Rice Rice]

Hi everyone, my name is Frances Presley Rice. I have written 26 scripts. From this course, I wish to gain the knowledge and skills needed to create a contained script that is marketable. Something that is unusual about me is the fact that I have independently produced 16 of my scripts.

[Rice Rice]

Frances Presley Rice
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.
This completes the Group Release Form for the class.

[Rice Rice]

Hi everyone, I’m Frances Rice.

I have written 25 scripts of various genres, including black history documentaries, some of which I have produced, and a TV series pilot that I wish to elevate to a higher level in this class, using AI.

Currently, I am marketing a science fiction feature-length screenplay that features a black woman superhero and an all-black cast set in a futuristic world with space-age technology.

What is unusual about me is how in my screenwriting, I focus on what inspires me, the black experience.

I have taken multiple ScreenwritingU classes, including the ProSeries, the BWTV and the AI class.

[Rice Rice]

1. Frances Presley Rice

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.

[Rice Rice]

What I learned rewriting my scene is the entertainment value of including a totally unexpected twist that surprises and captivates the audience. I call it the “wow” factor.

[Rice Rice]

What I learned in adjusting a scene that advances the relationship between my two characters is the benefit of injecting a bit more of an ignoble trait in my protagonist and a strain of nobility in my antagonist as they pursue their opposing goals.

[Rice Rice]

I watched the video at this link:

https://www.youtube.com/watch?v=JO4dQ1bt6eE&list=PL5XnQwqrwrqHMGXjd8e3xgNM3DvxZwCPa&index=5

But since I’m not sure this is a good substitute for the one in the assignment that is no longer available on YouTube, I have not completed this lesson.

[Rice Rice]

What I learned rewriting my scene is what features are needed to make the scene all visual with the key being showing the character or characters engaged in action in a situation that needed no dialogue for the viewer to understand what is happening and why. In my rewritten scene, I noticed that I had given the main characters unnecessary dialogue because I thought previously that it was better to have characters speak in all of the scenes.

[Rice Rice]

The scene is great because it depicts the desperation of the character as he careens down a deserted road, stops and jumps out of the vehicle in a high state of anxiety and takes action that shows the viewer that he’s been driving recklessly with dead people in the back of the vehicle.

The 9 pieces of new info are revealed during the erratic behavior of the character as he rips off his gas mask and nearly throws up, then searches for his clothing and recorder.

Some reveals answer questions and create questions at the same time, for example, when the character emerges and gasps for air, it is revealed why he was wearing a gas mask ( to protect him from gas in the vehicle), but it raises the question of why was there gas in the vehicle in the first place?

The reveals are all visual and are made believable and expected since no other live characters are in the scene and the situation does not need dialogue for the viewer to understand what is happening.

[Rice Rice]

What I learned rewriting my scene is the entertainment value of injecting an element that is unexpected and out of normality for the situation, then escalating that extraordinary element to a level of even greater abnormality and surprise, something that is truly extreme.

• This reply was modified 2 years ago by  Rice Rice.

[Rice Rice]

The greatness of the Bridesmaids Food Poisoning Scene is that it begins with a setting that is common and easily identifiable by the audience, one that gives viewers a sense of comfort, secure in the knowledge that they know what’s going to transpire as they watch a group of well-off women on the hunt for suitable wedding attire.

The escalation from normal to the extreme is gradual and starts with the unexpected injection of the women beginning to suffer from food poisoning that takes viewers by surprise, since they showed no sign of being ill when they entered the showroom.

The normal unavailability of sufficient facilities to accommodate a large number of people gripped with the immediate need to throw up or respond to being poisoned by defecating adds to putting the characters on edge.

Watching each character’s creative actions to deal with her immediate needs provides entertainment value.

The dialogue of the characters, coupled with their actions, adds to the sense of urgency and distress that viewers are witnessing, including the jaw-dropping situation where the bride ends up crapping in the middle of the street in a replica of her wedding dress.

[Rice Rice]

What I learned rewriting my scene is the entertainment value of including a totally unexpected twist that surprises and captivates the audience. I call it the “wow” factor.

[Rice Rice]

The key element that makes this scene great is how, in the face of the threat of ruination by the antagonist authority that has the protagonist in captivity, the protagonist refuses to cooperate, even when cooperating could achieve a greater good–the capture of a notorious terrorist–and expunge the protagonist own criminal activity.

The setup for the twist is the point when the protagonist gives the antagonist the finger and demands his right to make a phone call.

After the twist where the protagonist is rendered unable to speak and the electronic scorpion is inserted into his stomach through his belly button, it is revealed that the protagonist was having a nightmare.

The twist goes from what appears to be a routine interrogation into a hellish other-worldly experience for the protagonist that could upend his life, turning it into a nightmarish existence from which he might never recover.

The interesting action and dialogue occur when the antagonist, speaking in a chilling monotone voice, alternates from intimidating (signaled by having his sunglasses on) to supportive (signaled by having his sunglasses off), then back to intimidating (signaled by having his sunglasses on).

It was horrifying to watch the scene that was masterfully written and executed by the director.

[Rice Rice]

What I learned rewriting my scene is how the technique of introducing and increasing suspense adds more intrigue and spice to the scene where my two main characters are locked in mortal combat.

[Rice Rice]

The noble quest to avenge the death of two people by the antagonist shark leads to the protagonist putting his own life and that of his fellow fishermen at risk.

The suspense set up is the initial and ominous appearance and rapid disappearance of the wounded shark. It causes us to worry that the 25-foot-long, two-ton shark will return in an even more dangerous fashion, killing the protagonist and his comrades whose small boat provides little protection.

The suspense is drawn out by the shark not being sighted again right away, while the protagonist and his fellow fishermen acknowledge they’ll need a bigger boat, but proceed to make hasty plans to kill and haul the shark onto their small boat.

The suspense is increased as they prepare to kill the shark and we begin to wonder how on Earth are they not only going kill that monstrous thing with their limited capabilities but also hoist the shark’s massive body onto their flimsy vessel.

The payoff at the end is when they finally launch the heavy barrel, giving us hope that they just might pull everything off after all.

[Rice Rice]

What I learned in adjusting a scene that advances the relationship between my two characters is the benefit of injecting a bit more of an ignoble trait in my protagonist and a strain of nobility in my antagonist as they pursue their opposing goals.

[Rice Rice]

This is posted in the incorrect section.

[Rice Rice]

In essence, the scene is the classic pitting of good against evil, with the twist being that the unfolding relationship between the protagonist and the antagonist demonstrates that human beings possess both good and evil qualities.

While watching THE DARK KNIGHT episode, I observed that the motivations of the two main characters are polar opposites. The protagonist wants to save the city, while the antagonist wants to destroy it.

They are similar in that they are predisposed to use violence to achieve their goals. They also want to function with the cloak of anonymity, so their real selves will not have to suffer the consequences of their violent actions.

The scene is entertaining because it shows that both the protagonist and the antagonist are, in their own ways, “Dark Knights,” one committed to doing evil and one bent on doing good.

As I crafted a rewrite of my scene that focuses on depicting the evolving relationship between my protagonist and antagonist, I noticed that my descriptions of my protagonist amplify her good qualities and my antagonist’s profile depicts the personification of evil.

By adding a bit more balance, I made my characters more interesting and established a better foundation for their evolving relationship.

[Rice Rice]

What I learned rewriting my sci-fi scene is that having the audience witness, along with my protagonist, the existence and extent of her superpowers made the scene more entertaining.

• This reply was modified 2 years, 1 month ago by  Rice Rice.

[Rice Rice]

During the entire scene, Peter has no dialogue. His facial expressions, actions and reactions to what other characters do and say serve to reveal the progression and effect of his superpower discovery.

Most of the other characters are just as amazed and pleased as Peter, but some express disgust and call Peter a freak.

The revelation of his superpowers is made through his attempts to execute ordinary behavior in the school dining room and hallway.

After he accidentally smashes the class bully with a tray of food that got stuck in his hand’s web, Peter demonstrates other parts of his super abilities as he fights off the attacks by the bully.

This method of revelation presents the audience with a unique opportunity to experience with Peter the existence of his superpowers.

Since my story is sci-fi, I had a chance to rewrite my superpower reveal scene to have my character learn about her superpowers at the same time as the audience.

[Rice Rice]

As a result of viewing the GET OUT scene and doing a rewrite of my protagonist’s subtext scene, I learned that it is better to incorporate subtext in both the action and dialogue of my characters.

[Rice Rice]

I clicked on the word “Home” on the main page, then clicked on the image for our Scene Mastery course where I found all the videos.

I viewed the When Harry Met Sally scene also at this link:

https://www.screenwritingclasses.com/courses/scene-mastery/lessons/week-2-day-2-characterization-scene-when-harry-met-sally/

[Rice Rice]

Watching GET OUT characters interact with Chris presents a feast of subtext.

Here are the characters that I observed had the most obvious subtext.

Allison feigns curiosity about whether Chris’s girlfriend has experienced Chris’s extraordinary sexual prowess, supposedly possessed by black men, but it is obvious Allison harbors that sexual fantasy.

The heavy-set male character expounds on how “black is in fashion.” However, that pronouncement is seen by the audience as an expression of his belief that being black is a negative trait.

Logan’s hesitation to agree with Chris that it’s good to see another black man in the neighborhood communicates to the audience that Logan is insincere.

Philomena tells Chris that he and his girlfriend “make a lovely couple” of equals, but she treats Logan as a subservient partner.

After viewing the GET OUT scene, I revised my protagonist’s subtext scene. My revision has my protagonist denying she is a chronic rule-breaker while the audience sees her breaking a major rule, putting her family’s business in jeopardy. The reveal comes when she proclaims that those who adhere strictly to rules are non-thinking robots.

[Rice Rice]

What I learned in this lesson is the value of elevating the nature of the relationship between the protagonist and antagonist in an entertaining way that enhances the audience’s desire to go on the journey with the protagonist.

[Rice Rice]

I watched the WHEN HARRY MET SALLY clip at this link:

https://www.youtube.com/watch?v=lNEX0fbGePg

In this scene, the antagonist displays his core characteristic, arrogance, that leads him to inject himself, self-assured, into the protagonist’s life and challenge her assumption that he is a philanderer and an unworthy romantic partner.

The protagonist accepts the challenge and demonstrates in the presence of the other characters why she knows he is an arrogant jerk, even if she wishes he were not, since she is obviously attracted to him.

After viewing this scene, I created a scene for my story where one character confronts the protagonist and questions her about an undisclosed, until that moment, relationship with the antagonist. The nature of the relationship is not disclosed at that moment, creating a mystery that will not be revealed until the final scene.

[Rice Rice]

What I learned rewriting my scene is that having my protagonist be confronted with the danger posed by the antagonist, either directly or indirectly, throughout the scene, is much more entertaining and challenging for me as a writer.

[Rice Rice]

LOST demonstrates that depicting how the protagonist reacts when thrust in the midst of chaos, destruction and death is a great way to introduce him.

With limited dialogue, the focus is on his actions that reveal his leadership ability, occupation and compassion.

Contrasted sharply are the opposite characteristics of the other passengers. Their weakness and indecision, as the extent of the tragedy unfolds, amplify his value to the survivors as a doctor who remains calm and decisive, qualities that save lives.

While re-thinking my Character Intro scene, I saw that I needed to cut out the boring scene descriptions and thrust my protagonist into a situation where she had to fight the antagonist to save her life and that of her team members, page one.

[Rice Rice]

What I learned is how entertaining it is to take the audience out of their comfort zone with a last-minute, unexpected, or expected, dramatic twist that startles the audience at the end of the story. Prior to viewing the lesson scenes, my approach was to have an ending that tied the story up in a nice, “feel good,” bow.

[Rice Rice]

The final scene of Se7en starts with a mystery and progresses dramatically until the reveal at the end of the scene. Added to the entertainment value is how the audience is never shown what is in the box, but learns its contents through the dialogue and actions of the characters.

By foregoing treating the audience to the anticipated shock value of seeing the gruesome contents of the box, the scene maintains a heightened sense of drama.

Included in the scene, is the expected killing of the antagonist that evokes conflicted emotions in the audience: satisfaction that the antagonist was killed and sadness that the protagonist will have to suffer the legal consequences.

While rewriting my resolution scene, I realized that my ending was too much of a “feel good” situation with no drama that would rivet the audience. I adjusted the scene to introduce a surprise element that would leave the audience both shocked and satisfied.

[Rice Rice]

Viewing the 3rd Act Climax of A Few Good Men helped me see the value of putting the protagonist in a land-mine type situation, one fraught with grave, life-altering danger, if the protagonist is successful or fails as the ultimate conflict unfolds.

[Rice Rice]

Viewing the 3rd Act Climax of A Few Good Men helped me see the value of putting the protagonist in a land-mine type situation, one fraught with grave, life-altering danger, if the protagonist is successful or fails as the ultimate conflict unfolds. My third Act Climax scene featured my protagonist faced with the danger of battling the antagonist to wrest control of the alien spacecraft as the ultimate goal. I added the possibility that success could mean she would be killed by the technology contained in the spacecraft which added an intriguing element to my story.

• This reply was modified 2 years, 1 month ago by  Rice Rice.

[Rice Rice]

I learned that tension-filled subtly in dialogue and imagery can convey powerful turning-point messages. In rewriting my scenes, I introduced some subtly, interspersed with my dynamic action, which made my turning points more powerful.

[Rice Rice]

After viewing the scenes, I discerned what made each great. The Act 1 TP in Get Out was the spell-binding and subtle hypnosis of Chris that caused him to confront his inner demon with no possibility of returning to his carefully crafted mental safe zone. The mid-point TP was powerful in that it was an intriguing projection of the moment Chris realized he had to conform to the norms of the community and become a shell of his former self or Get Out to retain his own identity. The Act 2 TP where his girlfriend refused to give him the keys communicated in a devastating way to Chris that he was alone and had to rely upon his own resources to complete his life-saving journey to Get out.

[Rice Rice]

What I learned is that the inciting incident, whether a subtle or dramatic shift in the story narrative, serves to create an interest in the protagonist’s journey. It keeps the viewer engaged, eager to see if the protagonist succeeds or fails in the struggle to re-establish equilibrium.

Originally, in my scene, I left the audience with the impression that my protagonist had been killed by the antagonist, thinking that would cause the audience to wonder if that was really the end of my protagonist’s life. This assignment caused me to rethink my scene. I re-wrote it to show that my protagonist was seriously wounded and left the audience wondering if my protagonist would survive the encounter with the antagonist. This created a cliffhanger at the end of the scene.

• This reply was modified 2 years, 1 month ago by  Rice Rice.

[Rice Rice]

After the provocative opening, came the inciting incident, which was the one hold-out juror’s not guilty vote. This sets up the story question: will the protagonist change the minds of the other 11 jurors, or will they change his mind?

[Rice Rice]

After reviewing and analyzing the assigned scene, I gave some more thought to my script and came to realize that I needed to start my scene with intriguing action, not the current static visuals of the science fiction world where my story is set.

I need to demonstrate also my characters’ skills, as is done in the assigned scene, by having my characters showcase their skills with exciting action.

Crucial to my opening scene is including the big confrontation in the middle by characterizing the antagonist as the embodiment of evil.

Additionally, the tone of my script needs to be set with the use of futuristic weaponry, uniforms, architecture, and personal flying aircraft.

Also, as in the assigned scene, the conflict in my script needs to be enlarged with intriguing dialogue about how a dangerous shortage of an element critical to human survival is about to get worse, due to the shenanigans of the antagonist.

Rewriting my opening scene brought about great improvement, thanks to being given the opportunity to review and analyze the assigned scene.

• This reply was modified 2 years, 1 month ago by  Rice Rice.

[Rice Rice]

I learned how effective it is to start the opening scene with the characters engaging in fast-paced action that portends danger and captures the imagination. I observed how the viewers are kept engaged with the introduction of a series of mysteries that are resolved with intriguing reveals, until the final revelation that the Joker is the mastermind behind the heist where all of his cohorts are killed until he is the last one standing. Viewing and analyzing this scene as instructed by Cheryl created a major breakthrough for me.

[Rice Rice]

Hello everyone, I’m Frances Rice and I have written 25 scripts of varying lengths and genres. I’m also a producer and have garnered several film festival awards for my black history documentaries, including best documentaries and best producer. My production of a four-part mock TV news show was aired on a mid-level TV station. I hope this class will help me elevate the quality of the opening scenes for my science-fiction trilogy scripts to make them more action-oriented and engaging. Strangely enough, I am an author of a black history book, lawyer, and retired Army lieutenant colonel who developed a love of scriptwriting after being made aware of the fantastic ScreenwritingU courses offered by Hal and Cheryl, then taking several courses.

[Rice Rice]

Frances Rice

I agree to the terms of this release form.

GROUP RELEASE FORM

As a member of this group, I agree to the following:

1. That I will keep the processes, strategies, teleconferences, communications, lessons, and models of the class confidential, and that I will NOT share any of this program either privately, with a group, posting online, writing articles, through video or computer programming, or in any other way that would make those processes, teleconferences, communications, lessons, and models of the class available to anyone who is not a member of this class.

2. That each writer’s work here is copyrighted and that writer is the sole owner of that work. That includes this program which is copyrighted by Hal Croasmun. I acknowledge that submission of an idea to this group constitutes a claim of and the recognition of ownership of that idea.

I will keep the other writer’s ideas and writing confidential and will not share this information with anyone without the express written permission of the writer/owner. I will not market or even discuss this information with anyone outside this group.

3. I also understand that many stories and ideas are similar and/or have common themes and from time to time, two or more people can independently and simultaneously generate the same concept or movie idea.

4. If I have an idea that is the same as or very similar to another group member’s idea, I’ll immediately contact Hal and present proof that I had this idea prior to the beginning of the class. If Hal deems them to be the same idea or close enough to cause harm to either party, he’ll request both parties to present another concept for the class.

5. If you don’t present proof to Hal that you have the same idea as another person, you agree that all ideas presented to this group are the sole ownership of the person who presented them and you will not write or market another group member’s ideas.

6. Finally, I agree not to bring suit against anyone in this group for any reason, unless they use a substantial portion of my copyrighted work in a manner that is public and/or that prevents me from marketing my script by shopping it to production companies, agents, managers, actors, networks, studios or any other entertainment industry organizations or people.

This completes the Group Release Form for the class.

• This reply was modified 2 years, 1 month ago by  Rice Rice.