[Kimbal Thompson]

CREATIVE MASTERY Assignment 1: 05.06.2025
Kimbal Thompson Finds the Essence
What I learned is that there is more depth to great writing and it all starts with getting to the essence of what you want to write.
Script I: “REVENGE”
Scene 1 Location: EXT. ATLANTIC OCEAN Logline: Emily and Daniel are apart walking the beach. Essence: They should be together
Scene 2 Location: INT. GRAYSON MANOR – NIGHT
Logline: A major party is happening at the Mansion Essence: The party is to congratulate Daniel and Emily
Scene 3 Location: INT. GRAYSON MANOR – NIGHT
Logline: two party goers decide instead to go skinny-dipping in the ocean Essence: To put them away from the party and where something else is about to occur
Scene 4 Location: INT. GRAYSON MANOR – HOME OFFICE – NIGHT Logline: Trouble is brewing beyond the Manor home office Essence: An investigation is underway involving the owners of the Manor.
Scene 5 Location: EXT. BEACH – NIGHT Logline: Ben drags a body from the surf as his cell rings. Essence: The body, person dragging body and others in the above scenes set the intrigue.
My selection for most profound essence: (Post scene here without worrying about formatting and then also post the essence and why you believe that is the essence).
INT. GRAYSON MANOR – HOME OFFICE – NIGHT 3
CONRAD GRAYSON, 50s, a virile alpha fox in his prime, barking
into the phone in his bedroom-adjacent office. He’s wearing a
slick white tuxedo, shirt open, black bow tie undone.
CONRAD GRAYSON:
Screw the subpoena. Get your ass
down there and do what you have to
do to protect me–
He slams the phone down. After a beat, WE HEAR a KNOCK–
WOMAN’S VOICE (O.S.)
Conrad, what’s keeping you?
THE OFFICE DOORS leading to the bedroom open and in steps VICTORIA
GRAYSON, a spectacular woman in her mid 40s, dressed in a
sophisticated scarlet gown. She quickly assesses her husband.
VICTORIA
People are beginning to ask
questions I don’t have answers for.
CONRAD
Do they work for Homeland Security?
(off her)
Federal authorities just confiscated
my Madison Avenue archives.
VICTORIA
(beat, then, unrattled)
Looking for what?
CONRAD
What do you think?
VICTORIA
Did you call Judge Barnes?
CONRAD
He’s not answering.
VICTORIA
What can I do?
CONRAD
You’ve done enough. I need to think.
Victoria turns, cool as they come, exits by way of the
terrace, shuts the glass doors behind her. Conrad SHOVES his
computer and files OFF his desk. They SLAM into the wall
beside him. Victoria doesn’t turn back.
Essence: Conrad and Victoria are involved in a cover-up; somethings bad between them

[Kimbal Thompson]

Aloha, I am Kimbal Thompson
have written 5+ scripts & look forward to
increasing creative mastery from this class.
I enjoy early morning ocean canoe paddles.

[Kimbal Thompson]

Kimbal Thompson: Lesson 9: Emotions of Love – Part 2 ASSIGNMENT:
What I learned doing this assignment is how betrayal can spark anger, over-ridden by passion, obsession and love.
1. Look through your outline and find places you can build these emotions in scenes:
Betrayal: Act 1: Keaton sees Margo with her “college professor” friend. Act 2 Margo arrives at Keaton’s house to find
out he already has a date. Margo returns to Keaton’s house and is told “Nobody home.”
Anger: Act 2: Margo returns to Keaton’s house and is told “Nobody home.”
Passion: Act 1: Keaton’s former high school girlfriend sees Keaton. Act 2: His date climbs in though Keaton’s window.
Act 3: Keaton sees Margo pole dancing.
Obsession: Act 2: Margo misses Honolulu and, also Keaton, and returns to the Islands.
Love: ACT 3: They are finally together.
2. For each emotion, tell us what the scene is about and how you build the emotion into it.
Betrayal: Act 1: Margo needed to depart the class to meet the person she had accompanied to Hawaii. Keaton thinks
they are an item. Keaton’s high school girlfriend arrives, and his current girlfriend is suspicious. Act 2:
Returning to the Islands and accepting Keaton’s offer to stay at his home, as they enter his house, set
down her luggage, he realizes he has a date that evening and she is on her way over. She arrives, sees
Margo and her suitcase. Keaton makes hasty introductions, then suggests they all go out to dinner
together. It does not go well. Margo arriving sometime later at Keaton’s house one evening and a
female voice saying “Nobody home.”
Anger: Act 2: Keaton’s date, on seeing Margo’s suitcase. Margo arriving sometime later at Keaton’s house one evening
knocking at the door and hearing a female voice call out “Nobody home.”
Passion: Act 2: Keaton’s date sneaking through Keaton’s bedroom window later that night. Act 3: Keaton seeing Margo
pole dancing
Obsession: Act 2: Back in Boston, Margo realizes how much she misses Hawaii and decides to return to the Islands
upon graduating. Both Keaton and Margo individually want to see one another again. Keaton invites Margo
to accompany him on the maiden sail of an experimental sailboat of which he has been involved with the
design. While she accepts,
Love: Act 3: Margo seeing the commotion at the club and keeps on dancing. Finishing her set, approaching Keaton
and the bouncer and saying “Care to get out of here?”

[Kimbal Thompson]

Kimbal Thompson: Lesson 8: Emotions of Love – Part 1 ASSIGNMENT:
What I learned doing this assignment is the life situations and how they can alter emotions..
1. Look through your outline and find places you can build these emotions in scenes:
• Attraction: Initial scene at new summer school class
• Desire: In summer school class, when arriving back from Boston, Approaching house after
• Yearning: Arriving at house, arriving back at house following dinner
• Doubt: his date arriving, his date arriving back at house late at night, “Nobody home”
• Jealousy: Dinner scene with girlfriend and former high school girlfriend, Dinner scene following arrival from Boston and date. Pole dancing scene.
2. For each emotion, tell us what the scene is about and how you build the emotion into it.

• Attraction: On the first morning of summer college studio class, Margo’s eyes met Keaton’s as she approached the studio entrance. Inside the studio, seated back-to-back she asked Keaton for his astrological sign. He responded by tossing his Pisces key fob over his shoulder just as a similar one landed on his desk. Turning to face each other they both simultaneously said “March Fourth.”
• Desire: Back in Boston, she realizes how much she misses Hawaii and, also thinks of Keaton and decides to return.
• Yearning: Arriving in Hawaii, she takes a cab to downtown Honolulu. Just as she exits the cab with only her purse and large design portfolio, Keaton’s coincidently exiting his office building and sees Margo. He takes the rest of the day off , they pick up her luggage from the airport, have lunch, and he offers to let her stay at his house for the night. She accepts his offer.
• Doubt: As they enter his house, set down her luggage, he realizes he has a date that evening and she is on her way over. She arrives, sees Margo and her suitcase. Keaton makes introductions, then suggests they all go out to dinner together. It does not go well. Following dinner, his date leaves. Margo and Keaton stay up talking, he says she doesn’t have to stay in the extra bedroom . Margo opts for the guest bedroom.
• Jealousy: Keaton’s date returns later that night crawling in his window. Margo decides to leave Keaton’s the next morning.

[Kimbal Thompson]

Kimbal Thompson Lesson 7: Comedy: Incongruent Situations ASSIGNMENT:
What I learned doing this assignment is
1. Use this list to brainstorm Incongruent Situations for your Rom Com.
 1. Misinterpretation:
A. Male protagonist not knowing who was calling on telephone call & wrong name.
B. Asking visiting former high school girlfriend to meet on a specific beach
C. Male protagonist mistaking female protagonist’s professor for her boyfriend.
 2. Comedic Surprise:
A. Toss up of astrological sign key fobs.
B. Who was calling male protagonist on telephone.
C. Visiting former high school girlfriend meeting on gay beach.
D. Female protagonist swimsuit selection and unveiling.
E. Female protagonist pole dancing.
 3. Wildly Inappropriate Response:
A. Current date, sneaking into window of male protagonist
B. Sounds of waterbed.
C. Reaction to female protagonist night tapping on male protagonist’s door at night.
D. Reaction of bouncer toward male protagonist.
E. Reaction of male protagonist’s friend toward bouncer.
F. Initial reaction of female protagonist while pole dancing.
 4. Forced union of incompatibles:
A. Inviting a former girlfriend from high school to dinner with current girlfriend.
B. Inviting female friend to dinner with a current girlfriend.
C. The morning following female friend to dinner with a current girlfriend.
D. Female protagonists and audience at club where she danced.
E. Male protagonist and bouncer.
 5. Embarrassment:
A. Male protagonist not knowing who was calling on telephone call & wrong name.
B. Reaction of male protagonist meeting former high school girlfriend on gay beach.
C. Female protagonist swimsuit selection and unveiling.
D. Male protagonist at morning following his date sneaking into window.
E. Male protagonist over-reacting to female protagonist’s pole dance.
 6. Comedic tragedy:
A. Inviting a former girlfriend from high school to dinner with current girlfriend.
B. Inviting female friend to dinner with a current girlfriend.
C. The morning following female friend to dinner with a current girlfriend.
D. Reaction to female protagonist night tapping on male protagonist’s door at night.
2. With each one, brainstorm possible toppers by asking, “What could make this situation worse
for the character?”
 1. Misinterpretation:
A. Male protagonist saying other girls’ names on telephone call from his girlfriend’s
parents.
B. Asking visiting former high school girlfriend to meet on a specific beach.
C. Male protagonist mistaking female protagonist’s professor for her girlfriend.
 2. Comedic Surprise:
A. Toss up of astrological sign key fob being incompatible signs.
B. Present girlfriend parents who were calling male protagonist on telephone.
C. Visiting now gay former high school girlfriend meeting on male gay beach.
D. Female protagonist wearing no swimsuit on unveiling.
E. Female protagonist refusing to pole dance.
 3. Wildly Inappropriate Response:
A. Current date, sneaking into wrong window of male protagonist.
B. Sounds of waterbed exploding.
C. Female protagonist walking in on male protagonist and date at night.
D. Reaction of male protagonist bouncing bouncer.
E. Reaction of male protagonist’s friend toward pole dancer.
F. Initial reaction of other pole dancers toward male protagonist while pole dancing.
 4. Forced union of incompatibles:
A. Not inviting a former girlfriend from high school to dinner with current girlfriend.
B. Not inviting female friend to dinner with a current girlfriend.
C. The morning alone following inviting female friend to dinner with a current
girlfriend.
D. All male audience at club where she danced.
E. Male protagonist and other pole dancers.
 5. Embarrassment:
A. Male protagonist knowing who was calling on telephone call & wrong name.
B. Reaction of male protagonist meeting former high school girlfriend on nudist
beach.
C. Female protagonist not wearing a swimsuit upon unveiling.
D. Male protagonist at morning following both his date and female friend leaving
together.
E. Male protagonist ignoring female protagonist’s pole dance.
 6. Comedic tragedy:
A. Inviting a former girlfriend from high school to dinner with current girlfriend’s
mom.
B. Inviting female friend to dinner with a current girlfriend and resultant food fight.
C. The morning following neither female friend to dinner with a current girlfriend.
D. Female protagonist not tapping on male protagonist’s door at nigh

[Kimbal Thompson]

Kimbal Thompson Lesson 6: Bring Together the Full Plot ASSIGNMENT:
What I learned doing this assignment is never say never.
Act 1: Opening: Her Initial State: Raised in a quite staid Boston household in
Dorchester, Margo accompanied one of her college professors teaching at the
University of Hawaii summer session. A creative Pisces studying design, she
enrolled in a design studio. His Initial state: Keaton is a student at the
University taking a summer session design studio. A Pisces, he has a girlfriend..
 Inciting Incident: (Meet/Cute, Attraction/ Flirting) On the first morning of the
studio, Margo’s eyes met Keaton’s as she approached the studio entrance.
Inside the studio, seated back- to-back she asked Keaton for his astrological
sign. He responded by tossing his Pisces key fob over his shoulder just as a
similar one landed on his desk. Turning to face each other they both
simultaneously said “March Fourth.”
 Turning Point: (Denial, Separation, Working through Issues, differences)
Intrigued by this, Margo needed to depart to meet the person she had
accompanied to Hawaii. Yet, her new classmate seems like a soulmate, and she
is empathetic in discussing a dilemma in which he has found himself. She also
questions why he gets himself in such an ambivalent situation. Then, with the
summer session over, she must return to Boston.
Act 2:
New plan: (Major conflict, Self-reflection) Back in Boston, she realizes how
much she misses Hawaii and (Acceptance and Growth) decides to return there
upon graduating.
Plan in action: (Demonstrate the change) Arriving in Hawaii, she takes a cab to
downtown Honolulu. Just as she exits the cab with only her purse and large
design portfolio, (Reunion 1) Keaton’s coincidently exiting his office building and
sees Margo. He takes the rest of the day off , they pick up her luggage from the
airport, have lunch, and offers to let her stay at his house for the night. She
accepts his offer.
 Midpoint Turning Point: as they enter his house, set down her luggage, (His
Initial Challenge) he realizes he has a date that evening and she is on her way
over. She arrives, sees Margo and her suitcase. Keaton makes introductions,
then suggests they all go out to dinner together. It does not go well. Following
dinner, his date leaves. Margo and Keaton stay up talking, he says she doesn’t
have to stay in the extra bedroom . (Her Initial Challenge) Margo ops for the
guest bedroom and Keaton’s date returns. (Denial) Margo decides to leave
Keaton’s the next morning.
Act 3:
 Rethink everything: (Self-reflection, Acceptance and Growth)Both Keaton and
Margo individually want to see one another again. Keaton invites Margo to
accompany him on the maiden sail of an experimental sailboat of which he has
been involved with the design. While she accepts, she needs to purchase a
swimsuit. Somewhat modest, she purchases one with a swim skirt and arrives at
the boat to find an all-male crew. Finally removing her long cover-up T-shirt, the
crew notices her swim skirt as distracting to her shapely presence. Keaton
cannot believe her choice or ’false’ modesty. Embarrassed, her ultimate reaction
is to put back on her T-shirt.
 New plan: (Self-reflection)A few nights later, Margo decides to surprise Keaton
by stopping by his house one evening.
 Turning Point: Huge failure / Major shift: Arriving after dusk with a female friend,
they find the lights are off, and she hears soft music. Tapping on his door, the
female voiced response is “nobody home.” (Hate /Betrayal/All hope is lost)
Margo rethinks all and returns to Boston.
Act 4:
 Climax/Ultimate expression of the conflict: (Self-reflection, Working through
issues, Acceptance and Growth) Margo believes she needs to overcome her
modesty and. to keep in shape, she enrolls in a pole dancing class at her fitness
center. Keaton goes through self-reflection and wants a more than his date-dejour lifestyle. (Demonstrate the Change) A dance class partner of Margo tells
her of an opening at a club. Margo investigates it and decides it could help her
overcome her prudish attitude. The club owner approved of her keeping on a
bikini and appointed a bouncer to protect her. Now a successful professional,
Keaton decides to attend a summer session at the Graduate School of Design in
Boston. Following a Friday class, an old Massachusetts acquaintance invites
Keaton to a strip club that evening.
 Resolution: (Love happens) Seated at the club following a drink, Keaton’s friend
excuses himself for the restroom. New music started and a new bikini-clad pole
dancer appeared. In disbelief, (Demonstrate the Change, Love Happens)
Keaton stood up waving his hands sideways. The grizzly-sized Stallone-voiced
bouncer appeared gesturing Keaton toward the exit. “But I know her” exclaimed
Keaton. “That’s wot day all sez” exclaimed the bouncer. Keaton’s also Stallone-voiced friend re-appeared, saying to the bouncer what the F-k?”
(Demonstrate the Change)The music did not stop and Margo, noticing the commotion, kept on dancing.
(Reunion, Love Happens) As the music subsided, she approached Keaton.”
Care to get out of here?”

[Kimbal Thompson]

Agreed,
Kimbal Thompson

[Kimbal Thompson]

Aloha, I’m Kimbal from Oahu, Hawaii.

[Kimbal Thompson]

Kimbal Thompson Lesson 5 ASSIGNMENT : Her Journey / His Journey
What I learned doing this assignment is to not expect the unexpected.
1. Create the individual Transformational Journey for each lead character.
Each character’s Transformational Journey contains:
Her Journey:
 1. Initial state: Raised in a quite staid Boston household in Dorchester, Margo
accompanied one of her college professors teaching at the University of Hawaii
summer session. A creative Pisces studying design, she enrolled in a design
studio.
 2. Meet-Cute moment: On the first morning of the studio, Margo’s eyes met
Keaton’s as she approached the studio entrance. Inside the studio, seated backto-back she asked Keaton for his astrological sign. He responded by tossing his
Pisces key fob over his shoulder just as a similar one landed on his desk. Turning
to face each other they both simultaneously said “March Fourth.”
 3. Initial challenges: Intrigued by this, Margo needed to depart to meet the
person she had accompanied to Hawaii.
 4. Major conflict / Obstacle: Margo has accompanied someone to Hawaii for the
summer session. Never-the-less, her new classmate seems a soulmate, and she
is empathetic in discussing a dilemma he has found himself in. Then, she must
return to Boston.
 5. Self-Reflection: Back in Boston, she realizes how much she misses Hawaii and
decides to return there upon graduating.
 6. Acceptance and Growth: Arriving in Hawaii, she takes a cab to downtown
Honolulu. Just as she exits the cab with only her purse and large design portfolio,
Keaton’s coincidently exiting his office building and sees Margo. He takes the rest
of the day off , they pick up her luggage from the airport, have lunch, and offers to
let her stay at his house for the night. She accepts and as they enter his house,
sets down her luggage, he realizes he has a date that evening and she is on her
way over. She arrives, sees Margo and her suitcase. Keaton makes introductions,
then suggests they all go out to dinner together. It does not go well. Following
dinner, Margo ops for the guest bedroom and Keaton’s date returns.
 7. Demonstrate the change: Margo decides to leave Keaton’s the next morning
although comes back unannounced one evening several weeks later. As she
approaches his front door, the lights are off, and she hears soft music. Tapping on
his door, the female voiced response is “nobody home.” Margo rethinks all and
returns to Boston.
 8. Reunion: Back in Boston, Margo, wanting to keep in shape, discovers pole
dancing. While still pursuing her design talents, she is offered a night position at a
strip club. Thinking it might loosen up her attitude she accepts. Keaton, in Boston
for a summer class at the Graduate School of Design, is taken to the club by an
old friend.
His journey:
 1. Initial state: A design student at the University of Hawaii, Keaton enrolls in a
summer session studio.
 2. Meet-Cute moment: On the first morning of the studio, Keaton’s eyes met
Margo’s as she approached the studio entrance. Inside the studio, seated backto-back she asked Keaton his astrological sign. He responded by tossing his
Pisces key fob over his shoulder just as a similar one landed on his desk. Turning
to face each other they both simultaneously said “March Fourth.”
 3. Initial challenges: Intrigued by this, Keaton needed to depart to meet his livein girlfriend.
 4. Major conflict / Obstacle: While at home with his girlfriend that evening Keaton
receives a phone call from a female caller asking; “guess who this is?” As out of
earshot as possible, he responds with “Margo?”. The response asks: “who’s
Margo?”” The caller turns out to be his visiting former high school girlfriend,
wanting to get together. Keaton invites his former girlfriend to have dinner
together with his present girlfriend. It does not go well.
 5. Self-Reflection: I probably should not have done this.
 6. Acceptance and Growth: Margo misses Hawaii and the thought of Keaton.
Arriving in Hawaii, she takes a cab to downtown Honolulu. Just as she exits the
cab with only her purse and large design portfolio, Keaton’s coincidently exiting
his office building. Their eyes meet. Margo. He takes the rest of the day off , they
pick up her luggage from the airport, have lunch, and Keaton offers to let her stay
at his house for the night. She accepts and as they enter his house, set down her
luggage, Keaton forgot he has a date that evening and she is on her way over.
She arrives, sees Margo and her suitcase. Keaton makes introductions, then
suggests they all go out to dinner together.
 7. Demonstrate the change: Keaton has not changed. It does not go well.
following dinner, Margo ops for the guest bedroom and Keaton’s date returns.
 8. Reunion: Keaton, now a practicing professional, is invited to take a summer
course at the Graduate School of Design. He calls an old friend living in
Massachusetts so they can see one another. His friend offers to fix him up, while
in town. That does not work out and they decide to go to a strip club

[Kimbal Thompson]

Kimbal Thompson ROMCOM Lesson 4: Plot Track 2: The 7 Stages of Love Assignment
What I learned doing this assignment is that Margo has loosened up.
1. Create the 7 Stages of Love for your two lead characters.
The 7 Stages of Love:
 1. Meet-Cute: A male (Keaton) and a female student (Margot) find themselves in the
same small summer session university design studio. They are mutually attracted to one
another at first sight,
 2. Attraction/Flirting: then discover they have the same birthdate.
 3. Denial: : As the new classmates become “soulmates” he expresses his relationship
dilemma, and Margot tells Keaton that she is at the summer school session because
she’s here with a visiting professor. As the studio ends, they depart i
 4. Separation/Forced Together: Two years later Keaton decides to take a break and go
outside of his high-rise office. Just as he exits his building, Margot is walking toward him
carrying a large deign portfolio. She has just flown in from the east coast, leaving her
luggage at the airport. He takes the day off, they pick up her luggage, have lunch, and
he invites her to stay at his house on the beach. They arrive and are standing just inside
the entrance door when his male housemate tries signaling him that a present girlfriend
is on her way over. She arrives, seeing his Margot and her suitcase. New plan: He
invites both out to dinner. It’s a disaster. The former classmate opts for the extra
bedroom, and later, the dinner mate sneaks in through his window to stay and be
present the next morning. Margo decides to leave.
 5. Working through Issues/Differences: Keaton invites Margo to go on a sail, they get
along well.
 6. Hate/Betrayal/All Hope is Lost One evening several weeks later, Margo decides to
stop by Keaton’s house unannounced. The house is dark although with romantic music
on low volume, her tapping on the door is met by a voice saying: “Nobody home!”
 7. Love Happens: Keaton, now a practicing professional, is invited to take a summer
course at the Graduate School of Design. On the first day of class, Margo enters just
after the class starts. After class, they reconnect, and Keaton asks her out for that
evening. She declines citing that she has to work. He calls an old friend living in
Massachusetts so they can see one another. His friend offers to fix him up, while in
town. That does not work out and they decide to go to a strip club. There he encounters
Margo pole dancing. Together they leave on her break.

[Kimbal Thompson]

Kimbal Thompson ROM COM Lesson 3: Track 1: The Bigger Story: Assignment
What I learned doing this assignment is the possibilities of combining genres.
1. Brainstorm at least 5 ideas for each of these and select the one or combination you like best
for your bigger story.
 A. What interesting world could this movie/show be set in?
1. Life
2. Following a career
3. Where to settle geographically
4. Espionage
5. Dealing in rare stag beetles
 B. What major conflict could be happening?
1. Trying to determine their next step in life
2. Following a career; licit or illicit.
3. Where to settle geographically.
4. Espionage; spy vs. spy.
5. Where best to deal in rare stag beetles
 . What intriguing situation could these characters be engaged in?
1. Life
2. Following a career
3. Where to settle geographically
4. The middle east situation.
5. Setting the market price for rare stag beetles.
2. Turn that bigger story into a 3‐Act or 4‐Act structure.
Act 1:
 A male (Keaton) and a female student (Margot) find themselves in the same small
summer session university design studio. They are mutually attracted to one another at
first sight, then discover they have the same birthdate just before each having to depart
until the next class on Monday.
 Inciting Incident: While with his girlfriend, Keaton receives a phone call from a female
caller asking; “guess who this is?” As out of earshot as possible, he responds with the
name of his new classmate. The response asks: “who’s she?” The caller turns out to be
his visiting former high school girlfriend, wanting to get together.

 Turning Point: He suggests meeting at a beach, not realizing it to be a gay beach.
Act 2:
 New plan: Keaton invites his former girlfriend to have dinner together with his present
girlfriend.
 Plan in action: It’s a disaster and life becomes complicated.
 Midpoint Turning Point: As the new classmates become “soulmates” he expresses his
dilemma, and Margot tells Keaton that she is here because of the visiting professor. As
the studio ends, they depart i
Act 3:
 Rethink everything: Two years later Keaton decides to take a break and go outside of his
high‐rise office. Just as he exits his building, Margot is walking toward him carrying a
large deign portfolio. She has just flown in from the east coast, leaving her luggage at
the airport. He takes the day off, they pick up her luggage, have lunch, and he invites
her to stay at his house on the beach. They arrive and are standing just inside the
entrance door when his male housemate tries signaling him that a present girlfriend is
on her way over. She arrives, seeing his Margot and her suitcase.
 New plan: He invites both out to dinner. It’s a disaster. The former classmate opts for
the extra bedroom, and later, the dinner mate sneaks in through his window to stay and
be present the next morning. Margo decides to exit stage left.
 Turning Point: Huge failure / Major shift: One evening several weeks later, Margo
decides to stop by Keaton’s house. unannounced. The house is dark although with music
on low volume, her tapping on the door is met by a voice saying: “Nobody home!”
 Act 4:
 Keaton, now a practicing professional, is invited to take a summer course at the
Graduate School of Design. He calls an old friend living in Massachusetts so they can see
one another. His friend offers to fix him up, while in town. That does not work out and
they decide to go to:
A. Go to a beach on the Cape.
B. Go to a night club
C. Go to a strip club
 Climax/Ultimate expression of the conflict: In Boston Keaton and Margo meet again.
 Resolution; Keaton and Margo are reconnected

[Kimbal Thompson]

Kimbal Thompson ROM COM Assignment 2: Key Decisions for Characters
What I learned doing this assignment is taking the time to review where this story is going.
1. Starting with your concept and conventions, fill in as many blanks as you can for each of
your lead characters.
 Who is She? Margot Shehan, a design student from New York in Hawaii for the summer
and taking a studio course at the University summer session. She needs to immediately
depart just following meeting Keaton to rendezvous with a New York professor teaching
a summer course at the University and why she is there. This is not known by Keaton.
 Who is He? Keaton Karson, A University of Hawaii design student taking a studio
course at the University summer session and, unknown to Margo. in another existing
relationship,
 What makes them lovable? The persona of each and their immediate mutual attraction
and compatibility with one another plus enrollment interest in the same small design
studio.
 What attracts them to each other? Initially, physical attraction, both in the same design
studio, then discovering they have the same birthdate.
 What needs does each fulfill for the other? An attractive, bright, compatible person of the
opposite sex with similar interests in the same place at the same time.
2. Then work with what you have to improve the answers. Included above.
3. Take a break to process, then return and compare both characters to each other to find any
other ways these two might create the best relationship for this movie or TV series. Included

[Kimbal Thompson]

Aloha Cheryl,
I’m up to date although not seeming to load my assignments; please assist.

Mahalo,

Kimbal
kimbal@akta-ltd.com

[Kimbal Thompson]

Aloha all, I’m Kimbal Thompson, written 5 scripts, An architect and enjoy Hawaiian Canoe paddling, Sailing and F-1 racing.

[Kimbal Thompson]

Agree

[Kimbal Thompson]

Aloha, I’m Kimbal Thompson, Completed Bingeworthy and BWAI, Action, 30-Day, Rewrite and Pro Series. 2 TV pilots, 2 series episodes and 2 film scripts. Live in Hawaii, I am an architect +enjoy sailing, Hawaiian canoe paddling and motor sports.

[Kimbal Thompson]

I would like to exchange for feedback: INDIA SLATE adventure drama
kimbal@akta-ltd.com

Kimbal Thompson

[Kimbal Thompson]

Exchange Feedback:

Kimbal

INDIA SLATE

Adventure Drama

[Kimbal Thompson]

Kimbal Thompson BWTV-AI Mod 3 – Lesson 4: Character Story Lines ASSIGNMENT
What I learned doing this assignment is how to enrich the character development in the
ensuing story development and how confused it may become in AI.
1. Start with a main character and your source material: BW Framework and TV Pitch
Bible.
2. Create a beginning, middle, and end of the character’s story for the pilot.
Architect Kai:
Beginning: Architect making presentation for a significant project, on arrival at his home
that evening, a neighborhood jogger (Slate, a DEA agent) thinks Kai to be a drug dealer.
Midpoint: Kai is successful in winning the project, specifies an Indian stone for the
project and meets stone merchant Bo, who invites him to India to oversee stone quality.
End: Kai decides to accept the invitation to India.
3. Add the rest of the structure to the characters for the Pilot.
 Beginning:
 Turning Point:
 Midpoint:
 Turning Point 2: Kai receives a call from a wealthy art collector asking information
regarding a known work of art stolen from an Asian museum.
 Major Conflict: Despite his new architectural client’s concern regarding the trip to
India, should he take this trip as a reason to find out more about the stolen art.
 Ending:
 (Dilemma) Unknown to Kai, the DEA agent has received permission to tail him to
tail him on his trip to India. (Dilemma is optional.)
4. Return to another main character and repeat the process.
Stone Merchant Bo Bosely:
 Beginning: Architect Kai contacts him to see Indian stone samples for a new project.

Midpoint: Bo’s company financial backers ask Bo to invite Kai to India to oversee
quality control of the stone.
 Turning Point 2: Kai is uncertain about accepting Bo’s invitation.
 Major Conflict: Bo needs to entice Kai to go to India.
 Ending: Kai accepts Bo’s invitation, and they are off to India.
 (Dilemma) Unknown to Bo, his financial backers are, in fact, drug smugglers using
his company to smuggle in drugs.
DEA agent Slate Johnson:
 Beginning: Slate is a minor DEA agent that while jogging one evening, met a well-heeled young architect. suspected him instead of being a drug dealer.
 Turning Point: He suspects Kai, him instead of being a drug dealer.
 Midpoint: Slate ask DEA permission to tail Kai and is turned down.
 Turning Point 2: The DEA in D.C. is contacted by the White House and asked to
cover for a secret arms deal.
 Major Conflict: They have no one to perform such and recruit Slate.
 Ending: Slate receives permission to tail Kai to India.
 (Dilemma) Unknown to Slate, the DEA agent has received permission to tail Kai to
India only as cover for Slates participation in a covert arms deal. 5. Create the first
version of your outline by adding the character story lines to the structure from
Lesson 3. (OZARK Example Below)
6. Go to AI and use Prompt 1 to create another version of the structure for your
Character Story Lines.
Kimbal Thompson BWAI M3 LA4
I’m going to give you my [Format/Genre] TV Series [5 Act Structure] and
[character profiles] for [Pilot Logline]. Please create a [Character Story Line] for
each character that will fit into the 5 Act Structure. Character Story Line =
Beginning: Where does the character start in this episode? Midpoint: A twist
that causes everything to change. Dilemma: A difficult choice the character
must make where they lose something whichever decision they make. Ending:
Something about their life has changed. Improvement: How can we make this
character’s story more interesting, intriguing, or mysterious? Format/Genre =
Format/Genre = Bing- worth TV drama Pilot Logline = Requirements = Bo’s
backers have asked Bo to invite Kai to India to oversee the quality of the
stone. Bo is not aware that his stone import backers are really drug smugglers.

ChatGPT
Character Story Lines:
Kai Kendall (Architect):
 Beginning: Kai returns home after a successful presentation, unaware
that his rivals are envious. The jogger incident leaves him puzzled but he
dismisses it.
 Midpoint: Kai is surprised to learn he got the project. Excited, he
decides to use Indian slate and contacts Bo Bosley for quality control.
Slate gets authorization to tail Kai, thinking he’s involved in drugs.
 Dilemma: Kai receives a call about a missing painting from a wealthy
collector. Despite the India trip invitation, he decides to take on the art
investigation, sensing something is amiss.
 Ending: Kai informs Bo about the trip, unaware of Slate tailing him.
Their friendship starts forming as they meet several times to discuss the
project.
 Improvement: Introduce a personal connection to the missing painting,
perhaps tied to Kai’s past, making it more emotionally gripping. This
could add depth to Kai’s character and motivation.
Bo Bosley (Stone Merchant):
 Beginning: Bo, a nervous stuttering giant, is approached by Kai for
Indian slate. He is anxious but agrees to supply. His stone import
backers, unknown to him, are drug smugglers.
 Midpoint: Bo invites Kai to India for quality control, unaware of the
dangerous game involved. Slate, the DEA agent, is getting ready to tail
them.
 Dilemma: Bo, unknowingly involved in a criminal scheme, grapples with nervousness and guilt. When he offers Kai drugs, Kai refuses, a moment
that starts to build trust.
 Ending: Bo’s stone business takes an unexpected turn due to the secret
arms consignment, and he starts feeling the repercussions of being
entangled in criminal activities.
 Improvement: Add a personal reason for Bo’s stuttering or an event
from his past that connects to the criminal activities, making his
character more complex and sympathetic.
Slate Smith (DEA Agent):
 Beginning: Slate, mistakenly thinking Kai is a drug dealer, seeks
permission to tail him. His request is denied, leaving him frustrated.
 Midpoint: Slate’s request is unexpectedly reversed by the DEA, who
plan to use him as a patsy for an illegal arms deal. He is oblivious to this
and starts tailing Kai.
 Dilemma: Slate, now unwittingly part of a dangerous operation,
struggles with the moral implications. As he disguises himself at the
airport, he’s unaware of the impending danger.
 Ending: Slate, now tailing Kai, realizes the stakes are much higher than
he thought, setting the stage for a complex cat-and-mouse game.
 Improvement: Give Slate a personal reason to be involved in law
enforcement, like a past failure or loss that drives him. This will add This will add
depth and motivation to his character.

ChatGPT
Enhanced 5 Act Structure:
Act 1: Envious Shadows
 Essence: Kai returns home after a successful presentation, unaware of
the envy surrounding him among rival architects. The mysterious jogger
(Slate) hints at danger.
 Turning Point: Kai, excited to learn he got the project, decides on
Indian slate. Bo Bosley, a nervous stone merchant, agrees, unknowingly
involving himself in drug smuggling.
Act 2: Unseen Threads Unravel
 Essence: Bo invites Kai to India for quality control. Kai, caught in an art
mystery, decides to take on the investigation, intertwining his fate with a
dangerous web.
 Turning Point/Midpoint: Slate, frustrated by his denied request, gets
authorization to tail Kai. Bo, under pressure from unseen backers, starts
feeling the weight of his choices.
Act 3: A Tapestry of Secrets
 Essence: Kai, now involved in the art investigation, meets Bo several
times, starting to trust him. Slate, tailing them, is unaware of the secret
arms consignment.
 Turning Point: Bo, nervous and guilt-ridden, offers Kai drugs, a
moment of tension and choice. Kai rejects, setting a foundation for their
complex relationship.
Act 4: The Weaving Unravels
 Essence: Slate, initially turned down for cause, gets the reversed
authorization. Tensions rise as the characters’ paths cross, and the DEA
is approached for assistance in the arms consignment.

Turning Point: Bo’s stone business takes an unexpected turn due to the
secret arms consignment. Kai and Bo’s friendship deepens, leading to a
joint venture that intertwines their fates further.
Act 5: Threads Converge at the Crossroads
 Essence: In D.C., a confidential project is launched, setting the stage for
a complex cat-and-mouse game. Unaware, Slate sits in disguise,
sweating at the airport, waiting for Kai.
 Lock In/Cliffhanger: As Kai and Bo board the plane to India, Slate
realizes the stakes are higher than he thought. The convergence of their
fates leaves the audience in suspense, eager for the next episode to
unravel the intricate threads of deception, friendship, and danger.

[Kimbal Thompson]

Kimbal Thompson BWTV-AI Mod 3 – Lesson 3: Creating Your Pilot Structure
What I learned doing this assignment is the many alternate twists and turns this makes
possible.

1. Present the first draft of your pilot Acts.

Teaser:
 Essence: As architect Kai approaches his new home at dusk, he is surprised by a
jogger in front of his driveway. The jogger (DEA agent Slate) avoids Kai and says,
noting Kai’s new BMW and home “you must have quite an income.” I’m an
architect, Kai responds. “Or a drug dealer”, the jogger to himself responds.
 Turning Point: Several are unpacking packages of drugs from a shipping
container in the dark of night.

Act 1:
 Essence: Several larger established architectural firms were envious that thirtyish
architect Kai is considered among them for their mutual client’s new showcase
project. Kai must make a winning presentation. He makes what he considers a
great presentation and heads home for some needed rest.
 Turning point: As he approaches his new home at dusk, Kai is surprised by a
jogger in front of his driveway. The jogger (DEA agent Slate) approaches Kai and
says, noting Kai’s new BMW and home, “you must have quite an income. “I’m an
architect, Kai responds. “Or, a drug dealer,” the jogger thinks to himself.

Act 2:
 Essence: Several days pass and Kai, assuming his firm was not chosen, receives a
call to meet the client. Only to learn, he was chosen for the project. He decides to
use stone paving in the project and contacts Bo Bosely, a resource for Indian
stone.
 Turning Point/Midpoint: Quite unexpectedly, Bo invites Kai to India to oversee
quality control of the specified stone. Learning of this, Slate contacts his DEA
superiors for permission to tail him on the trip.

Act 3:
 Essence: At home, Kai, also an authority on twentieth century art, receives a call
from a wealthy art collector requesting research on a missing painting.
 Turning Point: The next morning Kai tells Bo that he will make the trip.

Act 4:
 Essence: Slate is turned down for cause.
 Turning Point: . Kai and Bo meet several times and begin to know one another
better. At Bo’s office, Bo offers Kai a joint and a snorted stimulant. Kai rejects
both.

Act 5:
 Essence: In D.C., a confidential project is launched within the White House. The
DEA is approached for assistance in arrangements in Asia for a secret arms
consignment.
 Lock In: Slates, request is reversed, he can tail Kai. Slate, unaware of why his
request was reversed, sits in disguise, sweating while looking for Kai at the
airport.
2

2. Use AI to generate a version of your 5-Act Structure. For this prompt, the word
“Requirements” means the things that you are completely committed to and need as
part of the Pilot structure. For example, I knew my Teaser scene and the final Cliffhanger.
Those two were requirements for my Pilot.
Please create the beats of a TV series Pilot 5-Act Structure, including turning points, for with the pilot
being {Pilot Logline} with {Characters}. The pilot’s purpose is to set up the journey and engage
audiences to watch the entire series. It must deliver an engaging “Inciting Incident” of the entire TV
series. Definition of Turning Point: A surprising or shocking major twist at the end of an Act. It will
change things for one or more characters and/or the plot. And please honor the (Requirements) that
I need for this pilot. 5-Act Structure = Teaser: What opening scene presents a compelling and
dramatic hook that sets the tone, introduces a character doing something intriguing, ends with a
twist, and compels us to watch the episode? 1ST ACT: Introduce the world and main characters as it
looks on the surface. Turning Point: 2ND ACT: How is the conflict introduced that leads to the
Midpoint? Turning Point: What Midpoint twist will reveal the intriguing future of this show? 3RD ACT:
With the Midpoint twist, the characters are reeling. How does this uncertainty reveal deeper layers of
the characters? Turning Point: 4TH ACT: What major complications come from the character’s efforts
to resolve the uncertainty and how does that make things worse? Turning Point: 5TH ACT: How does
this final act lock the characters into the journey of this show so that there is no going back?
Cliffhanger: What completely unexpected twist or major reveal will shock us to the core and create a
major need to watch the next episode?
Format/Genre = Bing- worth TV drama
Pilot Logline = an architect and stone merchant are asked to fly to India from Hawaii to oversee the
production quality control of slate flooring sold by the stone merchant that the architect has
specified for a large project in Hawaii. A DEA agent mistakenly tails them on the trip thinking that
they are drug smugglers.
Requirements = Bo’s backers have asked Bo to invite Kai to India to oversee the quality of the stone.
Bo is not aware that his stone import backers are really drug smugglers.
Kai has agreed to the trip to oversee stone quality only after he is asked by a wealthy collector to
find a stolen art treasure.
Slate, a bumbling DEA agent, had initially requested authorization to tail Kai to India and was turned
down by the DEA. This was reversed by the DEA and he has no idea that the decision was reversed
for him to be patsy for setting up an illegal arms deal for the government.
Characters:
Architect Kat Kendal is a successful late 30’s architect. He has specified a large amount of Slate from
India for paving of his project’s exterior walks and interior flooring. He is athletic and well spoken.
Stone Merchant: Bo Bosley is the exclusive purveyor of the Indian slate specified. He is in his midfifties, six-foot five inches tall, weighs two-hundred sixty pounds and stutters when nervous.
DEA agent Slate Smith, mid-forties, average build, mistakenly believes that Kai Kendall to be a drug
smuggler on a trip to arrange a major shipment of stone from Asia into Hawaii.
Teaser: Kat Kendal stands on the construction site of his ambitious project,
overseeing the details of the design. Bo Bosley anxiously receives a call from his
stone import backers instructing him to invite Kai Kendall to India, unaware of
the ulterior motives. Unbeknownst to them, Slate Smith is shown fumbling with
his DEA credentials, determined to tail Kai.
1ST ACT: Kat, immersed in his architectural vision, introduces us to the
glamorous surface of his world. Bo struggles with his nervous stutter but
maintains the appearance of a confident stone merchant. Kai, approached by a
wealthy collector, reluctantly agrees to the India trip.
Turning Point: Bo receives a call from his backers, instructing him to include
Kai in the trip. The unsuspecting trio boards the flight to India.
2ND ACT: Conflict arises as Slate, having his initial request to tail Kai rejected,
learns the decision has been reversed without his knowledge. He tailors his
investigation, convinced of drug smuggling. The journey to India becomes a web
of conflicting motives and misunderstandings.
Turning Point: Slate, convinced of an impending drug deal, contacts his
superiors and escalates the investigation. Unbeknownst to everyone, the DEA
authorizes Slate to follow the trio to India, unknowingly setting the stage for a
much larger conspiracy.
3RD ACT: In the aftermath of the Midpoint twist, the characters are reeling
from the escalating tension. Bo is conflicted about his stone import backers, Kat
senses the mounting pressure, and Kai grapples with the dual missions of
overseeing stone quality and searching for a stolen art treasure.
Turning Point: Kat discovers Bo’s anxious conversations and questions the true
nature of the trip. Bo, torn between loyalty and fear, reveals the involvement of
his backers in illegal activities. Slate, arriving in India, stumbles upon clues that
hint at a larger conspiracy.
4TH ACT: Complications arise as Kat and Bo attempt to resolve the uncertainty.
The stone quality control becomes a secondary concern as the DEA’s
investigation intensifies. Kai, delving into the art theft mystery, unwittingly gets
entangled in the arms deal.
Turning Point: Slate, inadvertently, discovers the arms deal connection while
tailing the trio. The DEA, realizing the potential international incident, decides to
let the events unfold, making the situation more perilous.
5TH ACT: As the final act unfolds, the characters are locked into a dangerous
journey with no turning back. The stone deal, art theft, and arms deal converge
into a complex web, threatening their lives and the success of Kat’s project.
Cliffhanger: In a shocking reveal, the true orchestrator behind the illegal
activities is unmasked – a high-ranking government official. The trio is now not
only up against criminal elements but also a powerful adversary. The stakes are
higher than ever, setting the stage for an intense and unpredictable series,
leaving the audience desperate for the next episode

[Kimbal Thompson]

Kimbal Thompson BWAI M3 L1 Pilot Big Picture Components
What I learned from doing this assignment is the necessity in bringing together all of the Binge‐Worthy
framework into a unique and conducive way.
INDIA SLATE OUTLINE
SERIES INFO:
 World: Legitimate Business vs. International Smuggling
 Main mystery: The suspicion of architect Kai as a drug dealer by a DEA agent.
 Impossible Goal: Prove Kai as a drug smuggler.
 Main Conflict: Other crimes under the nose of the DEA agent.
 Second Mystery: What will happen to the DEA agent?
 Season 1 Arc: How DEA agent can tail Kai from Hawaii to India through Asia.
 Season 1 Protagonist Internal Journey: From well-intentioned architect to
discovery of a less well-intentioned world.
PILOT INFO:
 Pilot Conflict: DEA agent Slate believes architect Kai to be a drug dealer and
requests agency permission to tail him.
 Main Characters Introduced: Architect Kai Kindall, Stone dealer Bo Bosely and
DEA agent Slate Johnson.
 Inciting Incident of Season 1: Bo invites Kai to India, Slates is initially turned down
on his request to tail Kai, then allowed to follow Kai to India for reasons he is

[Kimbal Thompson]

Kimbal Thompson BWAI M2 L2 Assignment Pilot As Incredible Inciting Incident
What I learned doing this assignment is the necessity for the Pilot to act as the exciting
incident for Season One and the entire series.
1. What is the “Inciting Incident” of your series that this pilot needs to deliver
powerfully? There is a lot more than the DEA agent pursuing Kai as a suspected drug
dealer.
2. Give us the main beats of that Inciting Incident:
 Intriguing Concept: DEA agent Slate believes architect Kai to be a drug dealer and
requests agency permission to tail him.
 Act 1: Architect makes presentation for a prize commission and on his arrival to
the driveway into his home, a DEA agent suspects him of being a drug dealer.
 Midpoint: The architect is invited to India. The DEA agent requests permission to
tail the architect and is turned down
 Lock In: Something occurs in DC and the DEA agent is given permission.

[Kimbal Thompson]

Kimbal Thompson Creating Irony BWIA M1 A12

What I learned doing this assignment is the breakthroughs that will occur and considerably enhance all elements of the concept.

ASSIGNMENT 1: Example Show

Watch the next episode of your Example Show and notice where irony shows up in this show — both in this episode and throughout the episodes you’ve already seen.

· Hal is seasoned Ambassador, yet Kate is asked to be Ambassador to U.K. in a time of crisis.

· US Secretary of State and President not in communication

· Kate and Hal in a Love/Hate relationship.

· British Prime Minister and Foreign Secretary

· Lack of security around UK Prime Minister

· Dennison’s dislike of DC and offering to go back to DC if Kate becomes VP.

· Kate’s dislike of orating and the position of VP.

ASSIGNMENT 2: Your Show

1. Look back through your previous
   assignments and find at least 10 different situations or character
   components that you could go opposite to create irony.
2. With each, brainstorm ideas for
   ways it could go opposite.

Main Character Circles:

Protagonists:

1. Kai is an athletic and well-spoken successful mid-30’s architect that has specified a large amount of Slate from India for paving of his project. VS above + likes to party heavily and is knowledgeable of twentieth Century art.

2. Stone Merchant: Bo Bosley is an honest exclusive purveyor of the Indian slate specified. He is in his mid-fifties, six-foot five inches tall, weighs two-hundred sixty pounds and stutters when nervous. VS. above + He has a shady background and is indebted to someone financing his stone operation.

Antagonist:

3. Seth Johnson, a determined and relentless agent DEA, mid-forties, average build

mistakenly believes Kai to be drug smuggling and on a trip to arrange a major shipment from Asia into Hawaii. VS above + Seth screwed up previously and expendable to the DEA.

Connected Circle:

4. Colbert Reeve: client of the Architect VS does not like and would and would like to quash project

5. Sunil: Purveyor of Sone in India. VS Indian travel agent

6. Mr. Tako: Suspected European drug smuggler. VS international arms purveyor

7. Marguerita: Hong Kong Disco patron. VS Hong Kong drug smuggling connection

8. Dean Ellison: Art’s former architectural Dean, living in Bangkok. VS owner of bar and

brothel in Bangkok.

9. Swiss flight attendant at Tokyo airport VS. costumed emissary indicating by dress, contact for a missing Degas painting.

10. Mr. Tang Chinese Developer visiting Singapore. VS. representative of a criminal organization sent to front an arms shipment.

Environmental Circle:

11. Mr. and Mrs. Chang: Singapore developer and his wife VS. terrorist agent provocateurs

Environmental Circle:

12. Sunil’s family Bankers Bartender

13. Sunil’s driver Taxi Drivers Airport Customs Agents

14. Airline attendants Hotel Staff Village people

15. Old Man in Village

I’m going to give you the [lead characters], and [main conflict] for my TV Series in [Format/Genre] and I’d like you to brainstorm forms of [irony] that could show up in the show.

I’m writing a TV Series that is a drama about an architect and stone merchant are asked to fly to India from Hawaii to oversee the production quality control of slate flooring sold by the stone merchant that the architect has specified for a large project in Hawaii. A DEA agent mistakenly tails them on the trip thinking that they are drug smugglers, and these Lead Characters:

IRONY = Put two opposites put together in a meaningful way. Those opposites could be on any of these levels: Plot, character, relationships, situations, cover-ups, layers, actions, dialogue, or dramatic irony where the audience knows something one or more of the characters don’t or other forms of irony that meet the definition.

Main Character Circles:

Protagonists:

Kai is an athletic and well-spoken successful mid-30’s architect that has specified a large amount of Slate from India for paving of his project. VS above + likes to party heavily and is knowledgeable of twentieth Century art.

Stone Merchant: Bo Bosley is an honest exclusive purveyor of the Indian slate specified. He is in his mid-fifties, six-foot five inches tall, weighs two-hundred sixty pounds and stutters when nervous. VS. above + He has a shady background and is indebted to someone financing his stone operation.

Antagonist:

3. eth Johnson, a determined and relentless agent DEA, mid-forties, average build

mistakenly believes Kai to be drug smuggling and on a trip to arrange a major shipment from Asia into Hawaii. VS above + Seth screwed up previously and expendable to the DEA.

Connected Circle:

4. Colbert Reeve: client of the Architect VS does not like and would and would like to quash project

5. Suniel: Purveyor of Sone in India. VS Indian travel agent

6. Mr. Tako: Suspected European drug smuggler. VS international arms purveyor

7. Marguerita: Hong Kong Disco patron. VS Hong Kong drug smuggling connection

8. Dean Ellison: Art’s former architectural Dean, living in Bangkok. VS owner of bar and

brothel in Bangkok.

9. Swiss flight attendant at Tokyo airport VS. costumed emissary indicating by dress, contact for a missing Degas painting.

10. Mr. Tang Chinese Developer visiting Singapore. VS. representative of a criminal organization sent to front an arms shipment.

Environmental Circle:

11. Mr. and Mrs. Chang: Singapore developer and his wife VS. terrorist agent provocateurs

12. Sunil’s family Bankers Bartender

13. Sunil’s driver Taxi Drivers Airport Customs Agents

14. Airline attendants Hotel Staff Village people

15. Old Man in Village

Title: Shadows of Slate

Format/Genre: Drama/Thriller

Main Conflict: Architect Kai and Stone Merchant Bo are sent to India to oversee the production quality control of slate flooring for a large project in Hawaii. A DEA agent, Seth, mistakenly believes they are drug smugglers and follows them, triggering a series of events that unveil the hidden layers of the characters’ lives and entangle them in a web of crime, deception, and international intrigue.

Forms of Irony:

1. Situational Irony:

<ul type=”disc”>
1. Situation:
   Bo Bosley, the stone merchant with a shady background, is responsible for
   providing slate for a prestigious architectural project.
2. Irony: The
   architect, Kai, who values precision and excellence, is unknowingly tied
   to a supplier with a dubious past.

2. Character Irony:

<ul type=”disc”>
2. Character:
   DEA agent Seth, determined and relentless, mistakenly tails Kai and Bo.
3. Irony: Seth,
   who is meant to protect against criminal activities, becomes the
   unintentional antagonist due to his misguided suspicions.

3. Plot Irony:

<ul type=”disc”>
3. Plot: Kai,
   the successful architect, is unknowingly connected to a drug smuggling
   investigation.
4. Irony: The
   pursuit of artistic and architectural excellence becomes entangled with
   the criminal underworld.

4. Dramatic Irony:

<ul type=”disc”>
4. Knowledge:
   The audience knows about Bo’s shady background.
5. Irony: Kai,
   unaware of Bo’s past, trusts him completely, creating tension as the
   audience fears the potential fallout.

5. Relationship Irony:

<ul type=”disc”>
5. Relationship:
   Kai and Bo’s professional relationship as architect and stone merchant.
6. Irony: Despite
   their collaboration, they are worlds apart in their personal lives and
   secrets, adding complexity to their partnership.

6. Dialogue Irony:

<ul type=”disc”>
6. Dialogue:
   Bo stutters when nervous.
7. Irony: Bo’s
   physical manifestation of nervousness contrasts with his profession that
   requires negotiation and deal-making.

7. Cover-up Irony:

<ul type=”disc”>
7. Cover-up:
   Seth is expendable to the DEA.
8. Irony: Seth,
   desperate to prove himself, inadvertently stumbles upon a larger
   conspiracy, making him more crucial than the DEA realizes.

8. Layered Irony:

<ul type=”disc”>
8. Layers:
   Marguerita in Hong Kong, seemingly just a disco patron.
9. Irony:
   Marguerita is involved in drug smuggling, adding layers to her character
   and unexpected connections to the plot.

9. Action Irony:

<ul type=”disc”>
9. Action: Kai’s
   love for partying clashes with his professional success.
10. Irony: While
    Kai is skilled in his career, his personal choices might jeopardize his
    reputation and the success of the architectural project.

10. Relationship Irony:

<ul type=”disc”>
10. Relationship:
    Colbert Reeve wants to quash the project.
11. Irony: His
    attempts to sabotage the project might unintentionally aid the criminals
    involved, creating a paradoxical situation.

These forms of irony can add depth, suspense, and unexpected twists to the narrative, keeping the audience engaged as the characters navigate through a complex and ironic web of events.

[Kimbal Thompson]

Kimbal Thompson BWTV-AI Module 1 – Lesson 10: Creating Intriguing Layers

What I learned doing this assignment is the alternative Plot and Character Layers that can accelerate intrigue.

ASSIGNMENT 1: Example Show

Watch the next episode of your Example Show and notice how layers show up in this show — both in this episode and throughout the episodes you’ve already seen.

Tell us the layers you have discovered in the Example Show.

Publicity shoot for Kate.

Who are Hal’s abductors

Naming of Hal’s potential enemies.

What’s up with Hal’s Iranian contact’s (Shaheen) stomach?

Planned retaliation of US General.

Will Kate be safe the next day?

Why Stuart and Eidra enter separately the next morning.

Why security was lax.

Continuation of why Gannon does not like Hal.

Who is Margaret and her relationship with Hal?

Trowbridge’s” Reign Hellfire” statement.

What is the truth about Hal Wyler’s background?

Why is the President really coming to England?

Can Kate talk with the President before he is with the Prime Minister?

If so, will he listen?

How did Hal know about the vice-presidency for Kate?

Will Hal and Kater really divorce?

ASSIGNMENT 2: Your Show

Discover the layers that could exist for your show.

1. Brainstorm a list of possible PLOT layers.

PLOT LAYERS – Story beneath the story.

<ul type=”disc”>

[Kimbal Thompson]

Kimbal Thompson BWTV-AI Module 1 – Lesson 8: Inviting Obsession Through Mystery

What I learned from this assignment is how the initial mysteries and information withheld at the beginning of a show combined with changing and/or additional mysteries later on, such as mid-season, can continue excitement for the viewer.

ASSIGNMENT 1:

Watch the next episode of your Example Show and focus on the mysteries that have been created in that show. Also, notice the difference between the big picture mysteries that are a big part of the plot across the entire season versus the smaller mysteries.

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[Kimbal Thompson]

Kimbal Thompson BWAI Module 1/Lesson 7

What I learned from this assignment is the extent to which distress and empathy can motivate the audience through the characters.

ASSIGNMENT 1:

1. Watch the next episode of your Example Show and focus on the Empathy/Distress that shows up in this episode and throughout the season so far.

Big Picture:

Stay married or Divorce.

Who is responsible for the attack on the aircraft carrier.

Decision on retaliation agreement between England and US.

Vice Presidency for Kate

Detail Oriented

Sudden change in interview with the Russian Ambassador, where would this lead, blinking yellow light on way to destination, information RE Lenkov.

Whether or not ruse by Russian Ambassador would avoid interruption of meeting.

Hal’s opportunity for Secretary of State

Meeting at the Oval Office

PM’s reaction to Kate

2. Notice the difference between Big Picture Empathy/Distress and detail-oriented Empathy/Distress. Big Picture will have an impact across multiple episodes.

Both, per No. 1, above.

Deadline: 24 hours

ASSIGNMENT 2:

1. Make a list of BIG PICTURE difficult situations and decisions your characters could make because of the main conflict of this series:

Making the trip successful.

Not being arrested as Drug dealers

Just ask yourself: “Knowing the concept, what are the big picture Empathy/Distress situations that could occur?”

Distress:

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[Kimbal Thompson]

Kimbal Thompson BWAI Module 1, Lesson 6 Assignment

What I learned from this assignment is the potentially changing complexity of interactions between characters.

Assignment 1:

Watch the next episode of your Example Show and focus on ONE of the main characters and how they interact with others. Notice how much you discover that could go into their Relationship Map.

Create a Relationship Map for one lead character and their relationship with three others.

KATE HAL STUART EIDRA

SURFACE: Married – Husband Handler/Groomer Embassy staff/Advisor

COMMON GROUND: Diplomatically savvy Initially, then go to VP accurate intelligence.

CONFLICT: married/pending divorce Kate’s future conflict w/ Stuarts future

HISTORY: Ambassador to her No. 2 Hated D.C. Stuart nixed her Sta. change

SUBTEXT: major competitiob.in love Distrust of Kate’s trust Committing to Stuart

RELATIONSHIP ARC: her wanting divorce, he not His wanting out of DC Secret to not secret

to return to D.C. with Kate.

Assignment 2:

1. Create a Relationship Map for THREE lead characters from YOUR SHOW IDEA.

2. Using the Relationship map, pick a main character (place in upper left hand corner), and with each character he or she is in relationship with, give us the 6 relationship experiences listed below:

ART BOE STETH MR. TORTEA

SURFACE: Professional=Merchant Suspected Drug Smuggler Dinner mate

COMMON GROUND: Indian stone crony of Art Southern India region

CONFLICT: difficult to travel with didn’t know he was suspect didn’t want travel to SI

HISTORY: As stone supplier none none

SUBTEXT: cautious Distrust Distrust

RELATIONSHIP ARC: Prof. to travel to from suspecting him, From dinner to Interpol

co-conspirators to tailing him to rescuing him

BOE ART SETH MR. TORTE

SURFACE: Professional – Client none Dinner

COMMON GROUND: Travel to India none Region of southern India.

CONFLICT: had distractions questioned who he was travel to southern India.

HISTORY: As potential client none none

SUBTEXT: treat with “kid gloves” evasion Distrust

RELATIONSHIP ARC: Prof. to travel to from suspect to tail from dinner to attempting

Co-conspirators to better know him

BOE ART SETH MR. TORTE

SURFACE: Married – Husband Handler/Groomer Embassy staff/Advisor

COMMON GROUND: Diplomatically savvy Initially, then go to VP accurate intelligence.

CONFLICT: married/pending divorce Kate’s future conflict w/ Stuarts future

HISTORY: Ambassador to her No. 2 Hated D.C. Stuart nixed her Sta. change

SUBTEXT: major competitiob.in love Distrust of Kate’s trust Committing to Stuart

RELATIONSHIP ARC: her wanting divorce, he not His wanting out of DC Secret to not secret

to return to D.C. with Kate.

Using this prompt, fill in your format/genre, concept, and four characters, giving a one sentence explanation of each character with their role and main form of intrigue.

Art Relationships Boe Bosley DEA Agent Seth Johnson Mr. Torte

Common Ground Both are passionate Both inadvertently involved None, initially

about quality of in Seths’s suspicion due to

Indian slate their shared travel

Conflict Art’s perfectionism frustration Art’s defiance

conflicts with Boe’s

History previously worked nondirect, by association none

Together with Art

Subtext Art see Boe as a Art regards Seth as a Art sees him as an

crucial but unreliable threat to his reputation impediment to their trip

Supplier

Arc Their dynamic evolves Art’s distrust transforms Art’s defiance grows

as Art balances into a nuanced stronger against Mr.

perfectionism with understanding of Seth Torte’s threats

pragmatism

This showcases the dynamic relationships between Architect Art and the other characters in terms of common ground, conflicts, history, subtext, and how their relationships progress throughout the series.

[Kimbal Thompson]

Kimbal Thompson BWTV-AI Module 1 – Lesson 5: Depth of Emotions

What I learned from this lesson is depth of emotions can change and significantly affect the emotional interaction between characters.

ASSIGNMENT 1 The Diplomat

Watch the next episode of your Example Show and create an Emotional Profile for two or three main characters in this show.

KATE PROFILE

• A.
  Hope: To succeed as Ambassador / Fear: to not.
• B.
  Want: To be successful as Ambassador. / Need: To prove herself despite
  Hal.
• C.
  Base Negative Emotion: Anger and frustration pride / Public Mask: Confidant
• D.
  Weaknesses: succumbs to Hal, other men.
• E.
  Triggers: Hal going behind her back, having to conform to feminine image.
• F.
  Coping Mechanism: Proving herself despite her initial doubts.

HAL PROFILE

• A.
  Hope: become an ambassador on her own without Hal. / Fear: Hal will
  prevent it behind the scenes.
• B.
  Want: To be in charge. / Need: Control.
• C.
  Base Negative Emotion: Weak or inadequate / Public Mask: In control
• D.
  Weaknesses: lack of discretion / need to control.
• E.
  Triggers: Losing control.
• F.
  Coping Mechanism: Manipulation.

STUART HAYFORD PROFILE

• A.
  Hope: Having a comfortable life outside DC. / Fear: losing position
• B.
  Want: responsibility / Need: Love and validation.
• C.
  Base Negative Emotion: not important / Public Mask: Remains in background.
• D.
  Weaknesses: keeps secrets.
• E.
  Triggers: Being disrespected.
• F.
  Coping Mechanism: putting himself first from relationships.

ASSIGNMENT 2: Your Show

1. For each of your main characters, brainstorm an Emotional Profile, filling in the following:

Art:

• A.
  Situational: Hope: Have a successful trip / Fear: Something might go
  wrong.
• B.
  Motivation: Want: to assure successful material is found and brought to
  Hawaii / Need: Success
• C.
  Mask: Base Negative Emotion / Public Mask: Confidant of trip
• D.
  Weaknesses: lack of sleep, running late.
• E.
  Triggers: Having to keep moving.
• F.
  Coping Mechanism: congenial

Boe:

• A.
  Situational: Hope: Have a successful trip / Fear: Something might go
  wrong.
• B.
  Motivation: Want: to impress Indian source / Need: Success
• C.
  Mask: Base Negative Emotion: lack of confidence / Public Mask: physique
• D.
  Weaknesses: stuttering .
• E.
  Triggers: anything .that questions him; authority.
• F.
  Coping Mechanism: smiling.

Seth Johnson

• A.
  Situational: Hope: apprehend the drug smugglers / Fear: They may get away.
• B.
  Motivation: Want: to assure successful bust / Need: Success
• C.
  Mask: Base Negative Emotion: He may be missing the bigger picture / Public
  Mask: Disguises
• D.
  Weaknesses: jumps to conclusions, overreacts.
• E.
  Triggers: Seeing what he believes are signs of unjust enrichment.
• F.
  Coping Mechanism: congenial reticence

2. Once you have a version that you created, go to AI and have it create a version of the Emotional Profile for your characters. Use this prompt:

For each of the [main characters] for this [genre] about this [concept], please brainstorm the [Internal Struggles] of that character that have the fit this TV series well.

Internal Struggles = Drama

A. Situational: Hope / Fear

B. Motivation: Want / Need

C. Mask: Base Negative Emotion / Public Mask

D. Weaknesses

E. Triggers

F. Coping Mechanism

Genre = Drama

Concept = Concept: An architect and stone merchant are asked to fly to India from Hawaii to oversee the production quality control of slate flooring sold by the stone merchant that the architect has specified for a large project in Hawaii. A DEA agent mistakenly tails them on the trip thinking that they are drug smugglers.

Sub Worlds: Asian Travel, Indian Stone, Drug smuggling

Main Character Circles:

Protagonists:

Architect Art is a successful late 30’s architect. He has specified a large amount of Slate from India for paving of his project’s exterior walks and interior flooring. He is athletic and well spoken.

Stone Merchant: Boe Bosley is the exclusive purveyor of the Indian slate specified. He is in his mid-fifties, six-foot five inches tall, weighs two-hundred sixty pounds and stutters when nervous.

Antagonist:

DEA agent Seth Johnson, mid-forties, average build mistakenly believes the protagonists to be drug smugglers on a trip to arrange a major shipment from Asia into Hawaii.

1. Architect Art: A. Situational: Hope – Art hopes the slate from India will meet the high standards he set for his project, but he fears that it might not live up to his expectations, jeopardizing his career. B. Motivation: Want – Art wants the slate to be perfect for his project, but he needs to balance this with the practical limitations and budget constraints. C. Mask: Base Negative Emotion – He struggles with a fear of failure, but he maintains a public image of confidence and expertise in front of his clients and team. D. Weaknesses: Art’s weakness is his perfectionism, which could lead to an obsession with the slate’s quality. E. Triggers: Seeing any imperfections or deviations in the quality of the slate may trigger Art’s anxieties. F. Coping Mechanism: Art copes by micromanaging and obsessively inspecting the slate, which may strain his relationship with Boe.

2. Stone Merchant Boe Bosley: A. Situational: Fear – Boe fears that the slate might not meet Art’s high expectations, jeopardizing their business relationship. B. Motivation: Need – Boe needs this deal to go smoothly to sustain his business and provide for his family, but he wants Art’s approval and trust. C. Mask: Public Mask – He hides his nervous stutter with a confident and composed facade when dealing with clients like Art. D. Weaknesses: Boe’s weakness is his nervous stutter, which may make him seem less reliable to others. E. Triggers: Pressure from Art or Seth’s suspicion may trigger Boe’s stutter and anxiety. F. Coping Mechanism: Boe copes by rehearsing what he wants to say, avoiding eye contact, and taking deep breaths to control his stutter.

Antagonist: 3. DEA Agent Seth Johnson: A. Situational: Fear – Seth fears that the drug smugglers will evade him and bring illegal substances into Hawaii, leading to potential danger and embarrassment. B. Motivation: Want – He wants to apprehend the drug smugglers and prove himself to his superiors, but he needs concrete evidence to do so. C. Mask: Public Mask – Seth hides his fear and obsession with the case behind a facade of being a diligent and competent agent. D. Weaknesses: Seth’s weakness is his tunnel vision and overzealous pursuit, which may lead to him wrongly targeting innocent people. E. Triggers: Any suspicious behavior or perceived connections between Art and Boe and drug smuggling may trigger Seth’s obsession. F. Coping Mechanism: Seth copes by working tirelessly and obsessively following Art and Boe, often ignoring other aspects of his life and health.

These internal struggles should create compelling drama in your TV series as the characters navigate their individual challenges within the broader context of the Asian travel, Indian stone, and drug smuggling sub-worlds.

• This reply was modified 1 year, 5 months ago by  websystems.
• This reply was modified 1 year, 5 months ago by  websystems.

[Kimbal Thompson]

Kimbal Thompson Engaging Main Characters

What I learned from this assignment is

Lesson 3 Assignment 1:

Tell us the name and Engaging Profile answers for at least one character from your example show. The Diplomat”

Kate Wyler

A. Role in the show: a State
Department career diplomat, previous assignment as Embassy No. 2 to Ambassador
Hal Wyland, her husband, she expected to be named as an Ambassador to
Kabul Embassy, instead assigned as Ambassador to England at the time of an
attack on an English Navy ship and for observation as a Vice Presidential
candidate..
B. Unique Purpose /”Expertise:
Per A, above.
C. Intrigue: What is secret
beneath the surface? Her relationship with Hal and her personal goals.
D. Moral Issue: What moral
boundaries are they crossing? Divorce/Honesty
E. Unpredictable: What will
they do next? Good Question.
F. Empathetic: Why do we care? For
each of Kate and Hal, separately and/or together and to see where she ends
up.

Hal Wyler

A. Former Ambassador married to
Kate Wyler, also a State Department career diplomat, previously assigned as
Embassy No. 2 to Ambassador Hal Wyland. She believes she is about to be
assigned as Ambassador to Kabul Embassy.
B. Unique Purpose To guide and
challenge Kate. / Expertise: Former Ambassador who “knows the ropes
C. Intrigue: What is secret
beneath the surface? What are each of the Wylers’ objectives?
D. Moral Issue: What moral
boundaries are they crossing? Honesty.
E. Unpredictable: What will
they do next?
F. Empathetic: Why do we care?
For each of Kate and Hal, separately and/or together.

Lesson 3 Assignment 2:

1. Tell us the journey of your show:

An architect and stone merchant are asked to fly to India from Hawaii to oversee the production quality control of slate flooring sold by the stone merchant that the architect has specified for a large project in Hawaii. A DEA agent mistakenly tails them on the trip thinking that Kendal must be a drug smuggler. .

2. Who are the main characters that will sell your show?

Architect Art Kendal is a successful late 30’s architect. He has specified a large amount of Slate from India for paving of his project’s exterior walks and interior flooring. He is athletic and well spoken.

Stone Merchant: Boe Bosley is the exclusive purveyor of the Indian slate specified. He is in his mid-fifties, six-foot five inches tall, weighs two-hundred sixty pounds and stutters when nervous.

DEA agent Seth Johnson, mid-forties, average build – mistakenly believes the protagonists to be drug smugglers on a trip to arrange a major shipment from Asia into Hawaii.

3. Answer these questions for each of those characters.

Architect Art Kendal:

A. Role in the show:
Protagonist; has specified a stone for a large project, reason for trip.:
B. Unique Purpose: To assure stone he has specified will
please his client./ Expertise: Only he knows what quality of stone is needed
and how it will look,
C. Intrigue: What is secret
beneath the surface? The trip, which the client is apt to believe a
boondoggle.
D. Moral Issue: What moral
boundaries are they crossing? Is the trip a boondoggle? Protocol for situations
in different countries and cultures.
E. Unpredictable: What will
they do next? With each new situation, especially when traveling with an unpredictable
stuttering travel mate who is footing the trip.
F. Empathetic: Why do we care?
We want him to succeed and remain innocent.

Stone Merchant Boe Bosley:

A. Role in the show:
Protagonist; merchant whose stone is specified for a large project, and he
needs it to be successful as a reason for hosting the trip.:
B. Unique Purpose: To assure stone specified will please his
client./ Expertise: Only he represents this stone, this is the first
project for which it has been specified.
C. Intrigue: What is secret
beneath the surface? Is the stone his only purpose for this trip?
D. Moral Issue: What moral
boundaries are they crossing? Is there more to this trip than just
assuring the quality control of the stone ?.
E. Unpredictable: What will
they do next? With each new situation, especially traveling as an unpredictable
stuttering person in a foreign culture.
F. Empathetic: Why do we care?
We want to discover what may really be going on.

DEA Agent Seth Johnson:

A. Role in the show: Antagonist;
suspects that architect is a drug smuggler.
B. Unique Purpose: To catch the protagonist in the act.
C. Intrigue: What is secret
beneath the surface? He is mistaken tin his assumption.
D. Moral Issue: What moral
boundaries are they crossing? Having the DEA fund his trip should he not
be successful in proving his assumption.
E. Unpredictable: What will
they do next? With each new situation, especially traveling in disguises
so not to be suspected.
F. Empathetic: Why do we care?
We want to discover what may really be going on.

4. Go to AI and use this prompt to generate another version of your characters

PROMPT: For each of the [main characters] for this [genre] about this [concept], please brainstorm the [Character Basics] of that character that fits this TV series well.

Character Basics =

A. Role in the show:

B. Unique Purpose / Expertise:
C. Intrigue: What is secret beneath the surface?
D. Moral Issue: What moral boundaries are they crossing?
E. Unpredictable: What will they do next?

F. Empathetic: Why do we care?

Genre = Drama

Concept: An architect and stone merchant are asked to fly to India from Hawaii to oversee the production quality control of slate flooring sold by the stone merchant that the architect has specified for a large project in Hawaii. A DEA agent mistakenly tails them on the trip thinking that they are drug smugglers.

Sub Worlds: Asian Travel, Indian Stone, Drug smuggling

Main Character Circles:

Protagonists:

Architect Art is a successful late 30’s architect. He has specified a large amount of Slate from India for paving of his project’s exterior walks and interior flooring. He is athletic and well spoken.

Stone Merchant: Boe Bosley is the exclusive purveyor of the Indian slate specified. He is in his mid-fifties, six-foot five inches tall, weighs two-hundred sixty pounds and stutters when nervous.

Antagonist:

DEA agent Seth Johnson, mid-forties, average build mistakenly believes the protagonists to be drug smugglers on a trip to arrange a major shipment from Asia into Hawaii.

[Kimbal Thompson]

Three Circles of Characters

BWAI Assignment 2 Kimbal Thompson 10.18.23

What I learned from this assignment is the unlimited possibilities of character combinations and interactions.

Assignment 1

Watch the next episode of The Diplomat to see how the characters fit into these three circles: Give us a quick list for each circle.

A. Main Characters Circle:

Kate Wyler

Hal Wyler

B. Connected Circle:

Stuart Hayford

Elda Graham, CIACOS

Foreign Secretary

Trobridge, PM

Billie Appiah, WH COS

Rayburn, POTUS

Gannon, SOS

C. Environment Circle:

Ambassador’s Residence Staff

Embassy Staff

Assignment 2

A. Main Characters Circle:

Kate Wyler Career US Diplomat married to Ambassador Hal Wyler, posted as Ambassador to England

Hal Wyler, posted as Ambassador to England married to Kate Wyler, not reposted as an ambassador.

B. Connected Circle:

Stuart Hayford SCM of US Embassy, London tasked with evaluating Newly appointed Ambassador Kate.

Elda Graham, CIACOS Chief of Station, US Embassy, England in romantic relation with Sturt Hayford.

Foreign Secretary Officious England Foreign Secretary that cuts through protocol.

Trobridge, PM England PM susceptible to overreacting and issuing slanderous statements.

Billie Appiah, WH COS White House Chief of Staff who pulls political strings.

Rayburn, POTUS Aging President of US lacking international political sensitivity.

Gannon, SOS US Secretary of State unaware of all White House appointments.

C. Environment Circle:

Ambassador’s Residence Staff: Full Staff of Mansion including Managers, Housekeeping, Security, etc. Embassy Staff: large Embassy office staff

3. PROMPT: Please create three groups of characters for my TV Series that is a Drama about two married diplomats where the wife is appointed an Ambassador to England and her husband is banned form future such appointments that is set in the US Embassy and Ambassador’s Residence in London and are unique to this story.

A. Main Characters: 3 – 5 key characters that the journey is about. Tell us the following:

Unique Role:

Kate Wyler Career US Diplomat married to Ambassador Hal Wyler, posted as Ambassador to England

Hal Wyler, posted as Ambassador to England married to Kate Wyler, not reposted as an ambassador.

Secret or Intrigue: She is being groomed for VP, she wants a divorce

B. Connected Characters: These are characters that the main characters interact with during the season. They play a part in the journey in some way and sometimes affect the main character’s actions:

Stuart Hayford SCM of US Embassy, London tasked with evaluating Newly appointed Ambassador Kate.

Elda Graham, CIACOS Chief of Station, US Embassy, England in romantic relation with Sturt Hayford.

Foreign Secretary Officious England Foreign Secretary that cuts through protocol.

Trobridge, PM England PM susceptible to overreacting and issuing slanderous statements.

Billie Appiah, WH COS White House Chief of Staff who pulls political strings.

Rayburn, POTUS Aging President of US lacking international political sensitivity.

Gannon, SOS US Secretary of State unaware of all White House appointments.

C. Environment Characters: These are background characters that are necessary to fulfill the “standard roles” for your kind of story, but usually don’t do anything significant. List them by their jobs only:

Ambassador’s Residence Staff: Full Staff of Mansion including Managers, Housekeeping, Security, etc. Embassy Staff: large Embassy office staff

PROMPT: Please create three groups of characters for my TV Series that is a Drama about two married diplomats where the wife is appointed an Ambassador to England and her husband is banned form future such appointments that is set in the US Embassy and Ambassador’s Residence in London and are unique to this story. A. Main Characters: 3 – 5 key characters that the journey is about. Tell us the following: Unique Role: B. Connected Characters: These are characters that the main characters interact with during the season. They play a part in the journey in some way and sometimes affect the main character’s actions:

ChatGPT

A. Main Characters:

Kate Wyler

Unique Role: Career US Diplomat who is appointed as
the Ambassador to England. Kate is a highly skilled diplomat navigating
the complexities of her new position and the challenges it brings.
Secret or Intrigue: She is being groomed for the role
of Vice President of the United States, but she harbors a secret desire
for a divorce from her husband.

Hal Wyler

Unique Role: Hal is the husband of Kate Wyler and was
not reappointed as an ambassador. He faces the struggle of adjusting to
life in London without the diplomatic career he once had.
Secret or Intrigue: Hal is unaware of Kate’s desire
for a divorce and deals with feelings of inadequacy due to his wife’s
success.

B. Connected Characters: 3. Stuart Hayford

Unique Role: Security Chief of the US Embassy in London.
Stuart is tasked with evaluating the newly appointed Ambassador Kate
Wyler, which places him in a position of influence and responsibility.
Secret or Intrigue: Stuart is engaged in a secret
romantic relationship with Elda Graham, the Chief of Station for the
Central Intelligence Agency (CIACOS) at the US Embassy in England.

Elda Graham

Unique Role: Elda is the Chief of Station for CIACOS
at the US Embassy in England. She manages intelligence operations and
works closely with other embassy personnel.
Secret or Intrigue: Elda’s secret romantic involvement
with Stuart Hayford adds a layer of complexity to her character and
interactions within the embassy.

Foreign Secretary

Unique Role: The officious and influential Foreign
Secretary of England. This character is central to shaping diplomatic
relations between the US and England, often cutting through diplomatic
protocol.

Trobridge, PM

Unique Role: The Prime Minister of England, known for tending
to overreact and issue slanderous statements in the international arena.
The character’s actions can significantly impact the embassy’s affairs
and relations between the two nations.

Billie Appiah

Unique Role: White House Chief of Staff who wields
significant political influence and pulls strings in Washington, D.C.
Billie’s decisions and actions can have a direct impact on the main
characters’ journey and diplomatic operations.

Rayburn

Unique Role: The aging President of the United States,
who lacks international political sensitivity. The President’s decisions
and policies influence the embassy’s operations and the challenges faced
by Kate and Hal Wyler.

Gannon

Unique Role: The United States Secretary of
State, responsible for handling the nation’s foreign policy. Gannon’s
interactions with the White House and diplomatic missions are vital to the
story’s political

[Kimbal Thompson]

BWAI Assignment 1 10.15.23

Kimbal Thompson

What I learned doing this assignment is the Diplomat is a great BW production with pot6ential layers in Hooks to be unraveled, amazing and intriguing characters and moments of empathy and distress provided by the script.

“The Diplomat.”

Outline:

Opening scene of calm sea, then aircraft carrier, then explosion on ship; sirens.

Jump cut to night scene of Washinton Monument and DC

Segue to domestic scene of squabble between Kate and Hal Wyler, who we gather are both with the US State Dept., interrupted by the receipt of 2 phone calls; one of which summons her to the White House. It becomes apparent that she believed she would be assigned as Ambassador to Kabul

At White House she is introduced by the WH Chief of Staff to the President as “she was No. 2 in Beirut.”

and asked to become Ambassador to England.(and Hal had insulted the Secretary of State, thus not further appointed as an ambassador).

Overwhelmed she accepts and next scene is

of Kate and Hal on private plane to England (as she is frustrated by his advice)

Jump cut to aerial scene of London and US Embassy

Segue to TV screen w/ White House Chief of Staff conversation with DCM of US Embassy London, saying the VP will resign & Kate being groomed for VP her appointment as Ambassador is test.

New scene of plane arrival at airport & reception by DCM. Upon meeting, Kate responds this must be like meeting at an arranged marriage. DCM cordial to Hal.

Scene of their arrival at Ambassador’s Residence. And staff introductions.

Meeting w/ staff RE rehearsal for official ceremony & request for her to attend briefing at the Embassy. She nixes Hal’s intent to attend, explaining to the DCM

that Hal was a longtime diplomat and has trouble adjusting to his new role.

In quarters squabble with differences in opinion between Hal and Kate for handling her new duties.

Arrival at US Embassy, briefing by CIA Chief of Station on the incident: takes call from President and Prime Minister, President refers to the situation as a fucking horror show; segue to Hal requesting car from Residency personnel. Katee find out that US Sec of State Gannon, who seems unaware of her appointment, and has not yet called the British Foreign Secretary. She is introduced to her Embassy staff and takes call from Hal in her office (photo of Churchill behind her). She meets the Foreign Secretary, they brief the Prime Minister (Trowbridge), they go to talk privately.

Hal coaxes a ride from embassy guard. Kate has a video conference with the Secretary of State and discuss President’s prior phone reaction, Scene at memorial with wreath, Hal shows up, converses with female British Pol; Kate is suddenly escorted away from Memorial site. and Hal introduces himself as Ambassador following her departure.

Back at Embassy, photo evidence of Iranian ship potential involvement; CIA COS tells DCM that she has been asked to slow Kate’s clearance (likely by Gannon)

COS and DCM (handler, asked not to inform COS of things) are in a relationship.

Video conf between DCM and WHCOS: confirming Gannon wants to get rid of Kate.

Scene with DCM and Kate, he refers to Hal, by name, confirms SS wants her fired. Kate states you know who you cannot fire: “Cinderella/”

Segue to Kate & Hal getting dressed for Rehearsal; she emerges for photo shoot, in conversation with DCM, Kate informs him the Hal will be gone soon.

Conversation about separate beds. Change shoes from white to black “power”

DCM/Hal conversation RE divorce: metaphor: frog in pot of water. .

Carriage ride

Abduction of Hal

.

. From that, make a list of the 5 Star Points for that show.

Big Picture Hooks
Ask this: What is the big hook of this show? That Kate is to become the
Ambassador as a test for VP and Kate and Hals relationship.
Amazing and Intriguing
Character: Kate;
from being both wife and No. 2 at prior postings and putting up with Hal.
Hal being in his situation and using prior knowledge to interfere with
Kate.
Ask this: What makes these main characters intriguing and interesting?
Empathy / Distress: same
answers per 2 above.
Ask this: What situations causes us to feel both empathy and distress for
these characters?
Layers / Open Loops
Ask this: What questions are created by this first episode that can only
be answered by watching the entire season? What will be reaction of both England
and US to ship’s attack, who will become Ambassador, will they remain married?
What has happened to Hal and who is behind it. Will she succeed and become
VP. Politics/Dysfunction in DC vs .dealing with an international atrocity.

Inviting Obsession
Ask this: How does this pilot create the need to see every single episode?
Per the responses to 1-4 , above.

[Kimbal Thompson]

Aloha, I am Kimbal Thompson

& have written 3 film scripts + Pilot & episodes for BWTV series

& hope to gain a working familiarity w/ AI for BWTV

Architect in Hawaii & Hawaiian Canoe paddler

BW 2019, RW 2020, PS 2021

[Kimbal Thompson]

I agree to the terms of this release form.

Kimbal Thompson

[Kimbal Thompson]

Kimbal Thompson

[Kimbal Thompson]

Paid Writing Assignments Day 1 Assignment

Kimbal Thompson

1. Go to the forums and sign the Group Confidentiality Agreement. Done

2. Kimbal Thompson from Oahu Hawaii .

3. Tell us the two projects you’re bringing into this class and give us a budget range for each; each project must be:

a. An idea that you would like to create. “INDIAN STONED” $15-40 million

b. A finished script. “MUSTANG STALLION” $t0 $15 million

4. From the opening teleconference, we can receive paid writing assignments, provided skills and diligence.

[Kimbal Thompson]

Kimbal Thompson Thriller Day 14 Assignment: Rewrite Thriller Map

Open to feedback + would like to read others kimbal@akta-ltd.com

Opening:

A Cessna 172 makes its final approach, banking toward the runway when another larger plane cuts into its flight pattern, cutting the plane off and forcing the pilot (Richard) to re-circle for another approach to landing.

ACT ONE

EXT. SIDE OF RUNWAY, SMALL MIDWEST AIRPORT – DAY

The Cessna lands, heading to the side of the small airport runway where a flight instructor (Lou) awaits. The plane stops and the Lou, opens the door, congratulating the pilot and handing him an envelope.

Richard takes and opens the envelope reads the contents and exclaims his pilot’s license is going to have to wait. I’ve been offered a way out of here!

INCITING INCIDENT: Protagonist tells parents he is leaving home.

INT. RICHARD’S FAMILY HOME – DAY

Richard arrived home and told his mom the news. She is happy although did not expect him to leave home, perhaps permanently, so soon. She relates a message from his father that his father needs Richard to delivering a package and some envelopes across the line by early the next morning.

Richard agreed but had already planned to stop this evening by and tell his long-time girlfriend (Debbie) that he was leaving her.

EXT. MIDWESTERN RANCH-STYLE HOUSE DRIVEWAY – NIGHT

As Richard, arrives at Debbie’s, her parents are in their car and ready to leave and surprised to see him. Richard explains that he had come by at the last minute. Debbie’s mom said “you two behave now, we’ll be back just after dinner.”

Debbie’s parent’s car departs, and the front door opens.

INT. DEBBIE’S HOUSE – NIGHT

Richard learns that Debbie’s parents are gone for the night and, while formerly priggish, she wanted to ju8mp his bones tonight. As she aggressively attacked him, her father unexpectedly returned for a forgotten item and ordered Richard out.

INT. RICHARD’S CAR – NIGHT

Richard, whispering to himself Shit, that went well, what else could happen tonight? At least I’m not getting too late a start.

Top down, Richard continues driving, enjoying the starry night and distracted by the old Burma-Shave signs and painted barn roofs; the miles continuing on without too much traffic.

TURNING POINT 1: Protagonist is stopped by officer in small-town speed-trap; jailed.

Hearing a siren, he looks in his rear-view mirror to see flashing lights and pulls to the side of the road. Unexpectedly, a police car also pulls over behind him. He stops, rolling down his window, Is there a problem officer?

The officer (Jesse)replied “Goin’ kind of fast there, let me

see your license – What’s your name?

Richard, reaching for his wallet, responds “Dick Head.”

The policeman overreacts and Richard ends up in jail.

EXT. OLD STONE BUILDING WITH POLICE STATION SIGN – NIGHT

Richard tried a phone call home, that was not completed and put in a cell with what appeared to be four other prisoners. While there was an initial scuffle, the inmates accepted him and eventually led him to a fifth, severely injured inmate.

Later, Richard overhears low voice saying “Jess shouldn’t a brought that kid in here – now we need to decide what we’re going to do with the boy.” He was taken from the cell.

Footsteps, then the outer door to the cellblock opens. In a low voice, the jailer tells Richard “OK, wise ass, you need to come with us.”

INT. JAIL SMALL OFFICE – NIGHT

Richard was led to a separate small dark office, pushed into a stiff chair, and left alone to await what was next.

INT. OPEN SMALL TWO-DESKED OFFICE DOOR TO EXTERIOR -NIGHT

In the Jail office, the first jailer and Richard are met by the second jailer. They prepare to take him away.

As they approach the exterior door to their office, it opens from the outside. Quite unexpectedly, It is Richard’s father, who under great protest from Richard, bails him out.

ACT TWo

TURNING POINT 2: Protagonist out of Jail

EXT. OUTSIDE OF POLICE STATION – NIGHT

Richard thanked his father and learned that he had called

the family attorney for help. He said he would call a colleague down here, but called back saying he couldn’t do anything to help, and no reason except ‘not down there.’

Richard said it was only an hour to where he been taking flying lessons and he would go there and fly the delivery.

EXT. SMALL AIRPORT – DAWN

Just before dawn breaks, Richard drives onto the tarmac fronting the hanger and spots Lou. As he closes the door to his MG, Lou, looks up asks: “Richard, back so soon?”

Lou agreed to help Richard provided “You fly, I’ll instruct.”

INT. CESSNA 172 COCKPIT – DAY

Suddenly and silently, from behind the front seats, a gun is pointed to the back of Richard’s and Lou’s heads.

EXT. LOOKING UP OVER A LARGE FARM – DAY

The Cessna appears as a small speck in the sky heading closer into view.

INT. CESSNA COCKPIT – DAY

Richard, spots farm buildings below, how much further?

The hijacker orders Richard to Begin leveling off.

Ahead, on a short runway next to an old-appearing large barn, they see a parked open-cockpit crop duster biplane. Just beyond, as they approached, visible were corn rows.

Just as Richard lands, the corn row disappears and exposes a disguised longer runway. They land and are ordered to turn the plane and head for the old barn. Just as they approach the barn, the large barn doors slide open.

INT. LARGE BARN CONCEALING A HANGER – DAY

As they approached, the floor of the barn began to lower, much like an Aircraft Carrier elevator. As it stopped, they were in a large lower room surrounded by what appeared to be hanger-type doors and the smaller entrance to what looked to be the entrance to a cave. Parked, was a new Cadillac.

Led to a cell off a cave passage. They were released, subject to signing confidentiality, non-disclosure

agreements and agreeing to take a passenger with them in

their given their plane.

INT. CESSNA 172 COCKPIT – DAY

The passenger leaps out during takeoff and Lou realizes something is going to happen to the plane.

EXT. LARGE HAZY LITTERED GRASS FIELD – DAY

They scuttle the plane just before it explodes and once conscious, find their way back to the farm.

EXT. ALONG PERIMETER FENCE AND ROAD – DAY

As they make their way along the fence, they hear the distant sound of a vehicle and soon see dust rising as an open jeep nears. As it passes they have a brief glimpse of the burly driver and next to him, an upward facing rifle barrel. In several scenes, they manage to steal the jeep and return to the barn.

INT. LARGE WAREHOUSE WITHIN A LARGE CAVE – DIMLY LIT.

Once back into the cave following several life-or-death sequences, Richard and Lou have discovered several mysteries with the cave and become trapped with guards approaching them from below and above. They try to make a run for it up the cave shaft though are met by hostels as the hanger door is closing.

INT. SMALL TOWN POLICE CAR – DAY

Meanwhile, the town inmates escaped, headed for the farm.

ACT THREE

INT. LARGE HANGER BESIDE WHITE CADILLAC – DAY

The white Cadillac stops as the large hanger door shuts behind it; car doors open on each side as the Richard and Lou’s Jeep approaches. Sanchez and Salvatore await them, bullwhips in hands.

EXT. CROP DUSTER BIPLANE ON TARMAC BESIDE RED BARN – DAY

Their jeep just scrapes by the almost closed large Hanger door as Richard and Lou leap out and scramble aboard the parked old Crop Duster biplane. It’s engine will not turn over and they scramble away to find the jeep they had earlier abandoned in the cornfield.

As several law enforcement vehicles arrive, among much havoc Sanchez and Salvatore decide to try the old crop-duster to escape. They are able to get it started although are headed off by Richard and Lou’s Jeep.

INT. TANDEM COCKPITS OF BIPLANE CROP DUSTER – DA

Richard and Lou are headed back to Lou’s airport as the biplane engine sputters.

INT. HOSPITAL ER CONFERENCE ROOM – DAY

As the various injured are treated and others held for further investigation, the Mayor requests permission to make a phone call. Debra’s father’s news team is present and also detained for further questioning.

INT. RICHARD ON TELEPHONE AT HIS HOUSE – EVENING

Deb, I’m sorry about last night. I understand that your father wants me to come over to talk this evening.

Debbie non-chalantly I doubt it, had to go pick him up. She said they wouldn’t be back until tomorrow.

I’ll be right over!

[Kimbal Thompson]

Kimbal Thompson Thriller Day 14 Assignment: Rewrite Thriller Map

What I learned is to abbreviate the Thriller to three or four sheets.

Opening:

A Cessna 172 makes its final approach, banking toward the runway when another larger plane cuts into its flight pattern, cutting the plane off and forcing the pilot (Richard) to re-circle for another approach to landing.

ACT ONE

EXT. SIDE OF RUNWAY, SMALL MIDWEST AIRPORT – DAY

The Cessna lands, heading to the side of the small airport runway where a flight instructor (Lou) awaits. The plane stops and the Lou, opens the door, congratulating the pilot and handing him an envelope.

Richard takes and opens the envelope reads the contents and exclaims his pilot’s license is going to have to wait. I’ve been offered a way out of here!

INCITING INCIDENT: Protagonist tells parents he is leaving home.

INT. RICHARD’S FAMILY HOME – DAY

Richard arrived home and told his mom the news. She is happy although did not expect him to leave home, perhaps permanently, so soon. She relates a message from his father that his father needs Richard to delivering a package and some envelopes across the line by early the next morning.

Richard agreed but had already planned to stop this evening by and tell his long-time girlfriend (Debbie) that he was leaving her.

EXT. MIDWESTERN RANCH-STYLE HOUSE DRIVEWAY – NIGHT

As Richard, arrives at Debbie’s, her parents are in their car and ready to leave and surprised to see him. Richard explains that he had come by at the last minute. Debbie’s mom said “you two behave now, we’ll be back just after dinner.”

Debbie’s parent’s car departs, and the front door opens.

INT. DEBBIE’S HOUSE – NIGHT

Richard learns that Debbie’s parents are gone for the night and, while formerly priggish, she wanted to ju8mp his bones tonight. As she aggressively attacked him, her father unexpectedly returned for a forgotten item and ordered Richard out.

INT. RICHARD’S CAR – NIGHT

Richard, whispering to himself Shit, that went well, what else could happen tonight? At least I’m not getting too late a start.

Top down, Richard continues driving, enjoying the starry night and distracted by the old Burma-Shave signs and painted barn roofs; the miles continuing on without too much traffic.

TURNING POINT 1: Protagonist is stopped by officer in small-town speed-trap; jailed.

Hearing a siren, he looks in his rear-view mirror to see flashing lights and pulls to the side of the road. Unexpectedly, a police car also pulls over behind him. He stops, rolling down his window, Is there a problem officer?

The officer (Jesse)replied “Goin’ kind of fast there, let me

see your license – What’s your name?

Richard, reaching for his wallet, responds “Dick Head.”

The policeman overreacts and Richard ends up in jail.

EXT. OLD STONE BUILDING WITH POLICE STATION SIGN – NIGHT

Richard tried a phone call home, that was not completed and put in a cell with what appeared to be four other prisoners. While there was an initial scuffle, the inmates accepted him and eventually led him to a fifth, severely injured inmate.

Later, Richard overhears low voice saying “Jess shouldn’t a brought that kid in here – now we need to decide what we’re going to do with the boy.” He was taken from the cell.

Footsteps, then the outer door to the cellblock opens. In a low voice, the jailer tells Richard “OK, wise ass, you need to come with us.”

INT. JAIL SMALL OFFICE – NIGHT

Richard was led to a separate small dark office, pushed into a stiff chair, and left alone to await what was next.

INT. OPEN SMALL TWO-DESKED OFFICE DOOR TO EXTERIOR -NIGHT

In the Jail office, the first jailer and Richard are met by the second jailer. They prepare to take him away.

As they approach the exterior door to their office, it opens from the outside. Quite unexpectedly, It is Richard’s father, who under great protest from Richard, bails him out.

ACT TWo

TURNING POINT 2: Protagonist out of Jail

EXT. OUTSIDE OF POLICE STATION – NIGHT

Richard thanked his father and learned that he had called

the family attorney for help. He said he would call a colleague down here, but called back saying he couldn’t do anything to help, and no reason except ‘not down there.’

Richard said it was only an hour to where he been taking flying lessons and he would go there and fly the delivery.

EXT. SMALL AIRPORT – DAWN

Just before dawn breaks, Richard drives onto the tarmac fronting the hanger and spots Lou. As he closes the door to his MG, Lou, looks up asks: “Richard, back so soon?”

Lou agreed to help Richard provided “You fly, I’ll instruct.”

INT. CESSNA 172 COCKPIT – DAY

Suddenly and silently, from behind the front seats, a gun is pointed to the back of Richard’s and Lou’s heads.

EXT. LOOKING UP OVER A LARGE FARM – DAY

The Cessna appears as a small speck in the sky heading closer into view.

INT. CESSNA COCKPIT – DAY

Richard, spots farm buildings below, how much further?

The hijacker orders Richard to Begin leveling off.

Ahead, on a short runway next to an old-appearing large barn, they see a parked open-cockpit crop duster biplane. Just beyond, as they approached, visible were corn rows.

Just as Richard lands, the corn row disappears and exposes a disguised longer runway. They land and are ordered to turn the plane and head for the old barn. Just as they approach the barn, the large barn doors slide open.

INT. LARGE BARN CONCEALING A HANGER – DAY

As they approached, the floor of the barn began to lower, much like an Aircraft Carrier elevator. As it stopped, they were in a large lower room surrounded by what appeared to be hanger-type doors and the smaller entrance to what looked to be the entrance to a cave. Parked, was a new Cadillac.

Led to a cell off a cave passage. They were released, subject to signing confidentiality, non-disclosure

agreements and agreeing to take a passenger with them in

their given their plane.

INT. CESSNA 172 COCKPIT – DAY

The passenger leaps out during takeoff and Lou realizes something is going to happen to the plane.

EXT. LARGE HAZY LITTERED GRASS FIELD – DAY

They scuttle the plane just before it explodes and once conscious, find their way back to the farm.

EXT. ALONG PERIMETER FENCE AND ROAD – DAY

As they make their way along the fence, they hear the distant sound of a vehicle and soon see dust rising as an open jeep nears. As it passes they have a brief glimpse of the burly driver and next to him, an upward facing rifle barrel. In several scenes, they manage to steal the jeep and return to the barn.

INT. LARGE WAREHOUSE WITHIN A LARGE CAVE – DIMLY LIT.

Once back into the cave following several life-or-death sequences, Richard and Lou have discovered several mysteries with the cave and become trapped with guards approaching them from below and above. They try to make a run for it up the cave shaft though are met by hostels as the hanger door is closing.

INT. SMALL TOWN POLICE CAR – DAY

Meanwhile, the town inmates escaped, headed for the farm.

ACT THREE

INT. LARGE HANGER BESIDE WHITE CADILLAC – DAY

The white Cadillac stops as the large hanger door shuts behind it; car doors open on each side as the Richard and Lou’s Jeep approaches. Sanchez and Salvatore await them, bullwhips in hands.

EXT. CROP DUSTER BIPLANE ON TARMAC BESIDE RED BARN – DAY

Their jeep just scrapes by the almost closed large Hanger door as Richard and Lou leap out and scramble aboard the parked old Crop Duster biplane. It’s engine will not turn over and they scramble away to find the jeep they had earlier abandoned in the cornfield.

As several law enforcement vehicles arrive, among much havoc Sanchez and Salvatore decide to try the old crop-duster to escape. They are able to get it started although are headed off by Richard and Lou’s Jeep.

INT. TANDEM COCKPITS OF BIPLANE CROP DUSTER – DA

Richard and Lou are headed back to Lou’s airport as the biplane engine sputters.

INT. HOSPITAL ER CONFERENCE ROOM – DAY

As the various injured are treated and others held for further investigation, the Mayor requests permission to make a phone call. Debra’s father’s news team is present and also detained for further questioning.

INT. RICHARD ON TELEPHONE AT HIS HOUSE – EVENING

Deb, I’m sorry about last night. I understand that your father wants me to come over to talk this evening.

Debbie non-chalantly I doubt it, had to go pick him up. She said they wouldn’t be back until tomorrow.

I’ll be right over!

[Kimbal Thompson]

Kimbal Thompson Thriller Day 13 Assignment: Misdirects

What I learned is that some misdirection serves to further entice the Thriller.

1. Check these three to see how effectively you used misdirection

A. The Red Herring character.

Salvatore:

Brady’s pass at Richard

Assumed to be “in charge” of the caves; although why him?

Salvatore offered to set free Richard and Lou

B. The Villain’s plan: Use his position to cover-up secret uses of cave Expand this trust maintain several secret uses of the caves, not necessarily known to the others. Eliminate intruders.

. C. The cover-up for each mystery present as “Reality.” The small Midwest town. The hanger disguised as a barn. The corn rows concealing a hidden runway.

2. Look through your Thriller Map for a few opportunities to add in misdirection.

A. Clue Misdirection.

Richard’s hang-up with his name.

Jesse taking Richard to Court to resolve ticket.

Telephone message to Richard’s father incomplete before hanging up.

What cellmates might do with Richard.

Salvatore’s offer to let Richard and Lou fly away.

B. Character Misdirection

Dual roles of jail guards. Sanchez.

Trading roles between Richard and Lou about “getting out of here.”

Between Jeep driver, Jailers, Sanchez and Salvatore in Salvatore’s office.

Between Richard and Lou vs. Salvatore and Sanchez.

C. Dialogue Misdirection:

“Things gonna get colder tonight” from service station attendant
Dick saying his name to Jesse Cellmates each with story about why they are in “holding cell.”. Between Debbie, her mom and dad, Richard’s mom and dad, etc.

3. Decide on the ones that work and add them to the Thriller Map. Done..

[Kimbal Thompson]

Thriller Day 12 Assignment: Gives Great Clues

What I learned is the combination and interaction of clues and reveals can both move the story forward and keep the audience guessing.

List out the three or four
main mysteries in your story:

Create a list of clues for each of the main mysteries in your story.

1. Is there something irregular happening in this County?

2. What’s really going on in this County?

3. Who’s involved?

4. Will they get away with it?

Create a list of clues for each
of the main mysteries in your story.

1. Is there something irregular happening in this County?

A. Richard’s father has to come after Richard as the family attorney did not

want to get involved in freeing Richard.

B. What will happen to the other cellmates.

C. The critically injured cellmate.

D. The jailers plotting to get rid of Richard.

2. What’s really going on in this County?

A. The Justice-of-the -peace Kangaroo Court.

B. Conversations with cellmates.

C. Hijacking of Plane.

3. Who’s involved?

A. Jude’s comments: “If we speak out , we’ll disappear,” and “”If they make

court, a local lawyer will be assigned and …”

B. Jude’s comment ” None of us rightly know, though we think it must be

about the cave.”.

C. Bumpus comment: “they got clout!”

D. Leroy’s reference to “Hombres!”

4. Will they get away with it?

A, reference to “white Cadillac.”

B. Appearance of Jerod Nicely, County Attorney

C. Large truck with camouflage load headed to la arge guarded vault far into

depth of cave.

D. Call from Governor, reference to FBI, and holding of TV News at Hospital.

Decide which clues you want to
use and sequence those into clue trails for each mystery: In place.
Add the clue trails to your
Thriller Map; In place.

Give us the latest version of your Thriller Map. OPENING: Another airplane cuts into the landing pattern of student pilot (protagonist) attempting to land.

ACT ONE

Plane cuts into landing pattern.

Twist 1: Direction: Richard is soloing as a student pilot making a

Landing.

Twist: and is cut off by another plane.

Twist 2: Direction: his flight instructor (Lou) is waiting by the side of the

runway to congratulate him on his handling of the situation and

progress and hands Richard an envelope.

Twist: Richard opens the envelope, reads & says he must quit

flying and leave.

What is in envelope why is protagonist quitting flying and leaving?

INCITING INCIDENT: Protagonist tells parents he is leaving home.

Twist 3: Direction: His father asks him to deliver package across state-

line by morning.

Twist: Ignoring that son is leaving and directing urgent errand.

Twist 4: Direction: Richard goes by long-time, but chaste girlfriend’s.

house to break-up.

Twist: Upon his arrival, her parents are leaving, once alone,

She will not listen & wants to jump his bones. Her father a

TV investigative Reporter) unexpectedly returns and walks in

on them. Richard makes a hasty retreat and begins his

delivery trip.

TURNING POINT 1: Protagonist is stopped by officer in small-town

speed-trap and jailed in cell with several rough looking inmates.

Jailed in same cell with rough appearing inmates.

Has initial skirmish with one inmate.

Twist 5:Direction:Richard stopped in speed trap.

Twist: he is jailed in same cell with other prisoners.

Who are these inmates and why are they in jail?

Villains plan is in place that allows for corrupt County.

MIDPOINT: Protagonist shown mortally wounded prisoner in jail cell and overhears jailers plotting on what to do with protagonist.

He sees injured inmate and learns that authorities responsible.

He overhears jailers plotting on what they should do with him.

What has caused injured inmate’s injuries and why is he held in cell? .

Police are worried that he may be able to expose corruption.

Why would jailers want to do something with protagonist?

Twist 6 Direction: Richard is shown mortally wounded cellmate by

other inmates.

Twist: Why is this person in the cell without medical

assistance?

Twist 7: Direction: overhears jailers plotting on what to do with him.:

Twist: Why is he a problem, and what will they do to him?

TURNING POINT 2: Protagonist gets out of jail, completes journey on a small airplane with his flight instructor; airplane hijacked. Plane is hijacked and hijacker does not know how to fly.

Twist 8: Direction: Richard taken from cell and about to be taken from

the jailhouse.

Twist: Just as this was about to happen, his father appears

and bails Richard out.

ACT TWO

Twist 9 Direction: Once back underway, he realizes he is short on

time to make the delivery.

he was taking flying lessons.

Twist: he arrives at he airport where he was taking flying

Lessons and his former instructor agrees to let Richard fly.

Twist 10 Direction: Another plane cuts off Richard as he makes his

approach.

Twist: Someone unseen drops out of the other plane as it

briefly touched down.

Twist 11 Direction: Richard and flight instructor briefly leave their

plane.

Twist: Intruder crawls into plane storage compartment behind

cockpit.

Twist 12: Direction: Once in air, hijacks plane at gunpoint.

Twist: Hijacker (Sanchez) is not a pilot: Instructor seems to

know how to handle situation.

What is background of flight instructor?

Why are they being hijacked and to where are they being taken?

Twist 13 Direction: Hijacker directs them where to fly.

Twist: Hijacker tells them to land at old farm in County

where Richard was jailed.

Villian has sent hijacker after protagonist.

CLIMAX: Hijacked airplane landed in farm above caves in county of jail, plane taxis inside of barn which is disguised large hanger. Hanger above caves.

Twist 13 Direction: Richard and Lou taken to cell in cave below.

Twist :Jail Guard same as in town jail.

Twist 14 Direction :person running operation is large burly man

(Salvatore).

Twist: Salvatore offers to let Richard and Lou leave in their

Plane if they sign an NDA and take along Sanchez.

Twist 15 Direction: Why are the Richard and Lou let go?

Twist: Is the plane rigged to explode?

Will they really escape?

Twist 16 Direction: Sanchez bails on takeoff, the plane will explode.

Twist: Richard and Lou bail before sending the plane to

crash.

Twist 17: Direction: Can they escape this and find their way back to

the farm and caves?

Twist: They find it in a different direction.

Twist 18: Direction: An armed Guard in Jeep is patrolling the property

fence-line and stops.

Twist: to relieve himself and they take his jeep.

Twist 19: Direction: They follow the fence-line road toward the barn.

Twist: Sanchez finds them: they strip and put Sanchez in

compromising situation and continue to barn.

Twist 20: Direction: They reach barn, hide jeep and approach side.

entrance to barn.

Twist: Salvatore exits that side entrance.

Twist 21: Direction: They compromise Salvatore in similar manner as

they did Sanchez leave him bound face-

down and enter Hanger.

Twist: The new Guard shift of Jailers from town enter

Salvatore’s office as Richard and Lou disappear through a

an office ceiling tile.

Richard and Lou have climbed above Hanger Office ceiling and mad their way to the cave entrance.

What is really going on in caves.

Twist 22: Direction: They climb over what appears to be the Guards’.

Locker Room.

Twist: Guards suddenly enter Locker Room and change

clothes.

Twist 23 Direction: Richard and Lou drop into Guards’ Locker Room

and change into their uniforms and keys.

Twist: Now dressed as Guards, they enter the cave.

Twist 24: Direction: Jailers do not find Salvatore in his office and go

outside looking for him.

Twist: Jailers find Salvatore stripped and bound face down

outside barn/hanger.

Twist 25: Direction: Jailers leaning over Salvatore with knife to cut his

bindings.

Twist: Guard/Driver whose Jeep was stolen arrives and

see Jailers with knife bending over bound Salvatore,

assume they are attacking him and injure a Jailer.

Twist 26 Direction: Guard/Driver whose Jeep was stolen take

Jailers into custody in Salvatore’s office.

Twist: An assumed dead Sanchez comes in through side

entrance from outside into Salvatore’s office during

interrogation.

Meanwhile, back at Richard’s and Debbie’s houses, Debbie calls Richard’s mother to say that her father wants Richard to come over and explain what happened the night before..

Twist 27:Direction: Richard’s mother calls her husband to extend

request.to Richard.

Twist: Richard’s father had requested that Debbie’s father

to send a TV news’ crew to the County Jail where Richard

had been incarcerated.

Meanwhile, back at the County Jail

Twist 28:Direction: Jailers take remaining inmates their dinner.

Twist: Inmates lock up Jailers and two swap uniforms and request

an ambulance.

Twist 29 Direction: Inmates prepare to take mortally wounded prisoner

for medical attention.

Twist: They are met at door of Jailhouse by TV news’ crew and State

Police.

Twist 30: Direction: Prisoners convince State Police and TV crew to provide

an escort to hospital for ambulance and their County police car.

Twist: Prisoners do uey out of procession on way to hospital. State

Police car follows them.

Richard and Lou descend into cave and discover a large warehouse that appears to house State archives., then decide to look further within the depths of the caves.

Twist 31:Direction: Richard and Lou proceed further into cave .and see manned

guard booths from each side of a large vault door.

Twist: an alarm sounds and armed personnel emerge.

Twist 32 Direction; Richard and Lou hear a large convoy coming from the other

direction towards them, they can retreat to the warehouse.

: Twist: Salvatore has stationed a guard at the warehouse and is

also accompanying the jailers and guards down into the cave.

…

Caves contain activities the county is hiding, and the protagonists are

trapped in the caves with the heavily armed antagonists in pursuit

They are trapped with armed personnel coming at them from both

directions and there appear to be several layers of antagonists.

Twist 33: Direction: Richard and Lou make it to the warehouse loading dock just

in time to avoid an extremely large escorted and well-guarded semi-

trailer truck with a quite large camouflage-covered payload, the

dispatched guard awaits.

Twist: The dispatched guard lays down his radio and enters the

warehouse for a bathroom, leaving the warehouse door unlocked.

Who are these people, who is responsible and how are they getting away with it? .

Twist 34: Direction: Now Richard is intrigued and wants to find out more about

what’s going on inside the cave.

Twist: Lou just wants to escape.

Twist 35: Direction: Another guard arrives by Jeep to check on the first guard, .

Twist: Richard agees with Lou, take Jeep and head to the cave entry.

ACT THREE

Twist 36: Direction: As the jeep approaches the hanger door, it opens to admit a

white Cadillac and Salvatore and Sanchez approach the jeep with

bullwhips

Twist: The Jeep just scrapes by the closing door allowing Richard and

Lou to jump out and head toward the old crop-duster plane.

Twist 37: Direction: The clamber aboard the old crop-duster plane.

Twist: The engine will not turn over and the hanger door is opening.

Twist 38: Direction: State Police, Ambulance, and TV News car r3ach Hospital

ER and find Jesse.

Twist: Jesse confirms that the other town patrol card held escapees.

Twist 39: Direction Escapees in Town Police car approach Barn/Hanger.as white

Cadillac exits hanger.

Twist: Prisoners take over white Cadillac and escape.

Twist 40: Direction: Richard and Lou find hidden Jeep.

Twist: San and Sal are able to start old crop-duster biplane and taxi off.

Twist 41: Direction: Richard and Lou head off old crop-duster biplane on runway.

Twist: Richard and Lou take off in old crop-duster biplane.

Twist 42: Direction: State Police hold Mayor, Debbie father, Jessie, and others

at hospital ER for questioning, Mayor asks to make a phone call.

Twist: State Police receive a message from Governor to hold Debbie’s

father and release all others.

Twist 43: Direction: Old crop-duster biplane engine sputters with Dichard and Lou

Aboard.

Twist: They do land and Richard avows to leave state.

Twist 44: Direction: Richard home and calls Debbie learning that her mom has

gone overnight to pick up her father.

Twist: Richard off to Debbie’s house.

.

[Kimbal Thompson]

Kimbal Thompson Day 11 Assignment Reveals

What I learned is that can be many levels of dramatic reveals providing emotional experience for the audience.

1. Make a list of the important reveals that you want the audience to experience.

· That Richard can fly an airplane and Lou wants him to get his pilot’s license.

· Instead, Richard wants to get away, seeking adventure away from home.

· Richard has an identity problem with his name.

· Debbie’s father is a Television Investigative Reporter

· Something unexpected will occur on Richard’s delivery trip.

· Something is peculiar with the County justice system.

· The inmates are not reveling everything.

· The corruption, including the speed trap, goes much higher.

· There’s more to Lou than just a flight instructor.

· Salvatore and Sanchez ethnicity

· The deeper Richard and Lou descend the cave, the more eerie revelations.

· Arrival of the white Cadillac.

2. Sequenced already into my Thriller Map.

3. With each reveal, make sure the following are in place:

A. What is the reveal?
B. How did it get covered up? C. What M.I.S. can be used to create demand to know the truth?
D. When you reveal the truth,
it must have dramatic impact. In place.

4. Built 1. improvements into your Thriller Map.

5. Tell us about the reveals you built into your Thriller Map:

Per 1, above..

[Kimbal Thompson]

Kimbal Thompson: I Agree to the Release Form

Kimbal Thompson from Oahu Hawaii .

3. Tell us the two projects you’re bringing into this class and give us a budget range for each; each project must be:

a. An idea that you would like to create. “INDIAN STONED” $15-40 million

b. A finished script. “MUSTANG STALLION” $% t0 $15 million

4. Tell us what you learned from the opening teleconference: Essentials in working with producers for paid writing assignments.

[Kimbal Thompson]

OPENING: Another airplane cuts into the landing pattern of student pilot (protagonist) attempting to land.

ACT 1

Plane cuts into landing pattern.

Twist 1: Direction: Richard is soloing as a student pilot making a landing.

Twist: and is cut off by another plane.

Twist 2: Direction: his flight instructor (Lou) is waiting by the side of the runway to congratulate him on his handling of the situation and progress and hands Richard an envelope.

Twist: Richard opens the envelope, reads & says he must quit flying and leave.

What is in envelope why is protagonist quitting flying and leaving?

INCITING INCIDENT: Protagonist tells parents he is leaving home.

Twist 3: Direction: His father asks him to deliver package across state-line by the next morning.

Twist: Ignoring that son is leaving and directing him on an urgent errand.

Twist 4: Direction: Richard goes by long-time, but chaste girlfriend’s house to break-up.

Twist: Upon his arrival, her parents are leaving, once alone, She will not listen & wants to jump his bones. Her father (a TV investigative Reporter) unexpectedly returns and walks in on them. Richard makes a hasty retreat and begins his delivery trip.

TURNING POINT 1: Protagonist is stopped by officer in small-town speed-trap and jailed in cell with several rough looking inmates. Has initial skirmish with one inmate.

Twist 5: Direction: Richard stopped in speed trap.

Twist: he is jailed in same cell with other prisoners.

Who are these inmates and why are they in jail?

Villains plan is in place that allows for corrupt County.

MIDPOINT: Protagonist shown mortally wounded prisoner in jail cell and overhears jailers plotting on what to do with protagonist. He sees injured inmate and learns that authorities responsible. He overhears jailers plotting on what they should do with him. What has caused injured inmate’s injuries and why is he held in cell? Police are worried that he may be able to expose corruption. Why would jailers want to do something with protagonist?

Twist 6 Direction: Richard is shown mortally wounded cellmate by other inmates.

Twist: Why is this person in the cell without medical assistance?

Twist 7: Direction: overhears jailers plotting on what to do with him.

Twist: Why is he a problem, and what will they do to him?

TURNING POINT 2: Protagonist gets out of jail, completes journey on a small airplane with his flight instructor; airplane hijacked. Plane is hijacked and hijacker does not know how to fly.

Twist 8: Direction: Richard taken from cell and about to be taken from the jailhouse.

Twist: Just as this was about to happen, his father appears nd bails Richard out.

Act 2

Twist 9 Direction: Once back underway, he realizes he is short on time to make the delivery.

Twist: he arrives at he airport where he was taking flying lessons and his former instructor agrees to let Richard fly.

Twist 10 Direction: Another plane cuts off Richard as he makes his approach.

Twist: Someone unseen drops out of the other plane as it briefly touched down.

Twist 11 Direction: Richard and flight instructor briefly leave their plane.

Twist: Intruder crawls into plane storage compartment behind cockpit.

Twist 12: Direction: Once in air, hijacks plane at gunpoint.

Twist: Hijacker (Sanchez) is not a pilot: Instructor seems to know how to handle situation.

What is background of flight instructor?

Why are they being hijacked and to where are they being taken?

Twist 13 Direction: Hijacker directs them where to fly.

Twist: Hijacker tells them to land at old farm in County where Richard was jailed. Villian has sent hijacker after protagonist.

CLIMAX: Hijacked airplane landed in farm above caves in county of jail, plane taxis inside of barn which is disguised large hanger. Hanger above caves.

Twist 13 Direction: Richard and Lou taken to cell in cave below.

Twist :Jail Guard same as in town jail.

Twist 14 Direction :person running operation is large burly man (Salvatore).

Twist: Salvatore offers to let Richard and Lou leave in their Plane if they sign an NDA and take along Sanchez.

Twist 15 Direction: Why are the Richard and Lou let go?

Twist: The plane is rigged to explode.

Will they really escape?

Twist 16 Direction: Sanchez bails on takeoff, the plane will explode.

Twist: Richard and Lou bail before sending the plane to crash.

Twist 17: Direction: Can they escape this and find their way back to the farm and caves?

Twist: They find it in a different direction.

Twist 18: Direction: An armed Guard in Jeep is patrolling the property fence-line and stops.

Twist: to relieve himself and they take his jeep.

Twist 19: Direction: They follow the fence-line road toward the barn.

Twist: Sanchez finds them: they strip and put Sanchez in compromising situation and continue to barn.

Twist 20: Direction: They reach barn, hide jeep and approach side entrance to barn.

Twist: Salvatore exits that side entrance.

Twist 21: Direction: They compromise Salvatore in similar manner as they did Sanchez leave him bound face-down and enter Hanger.

Twist: The new Guard shift of Jailers from town enter Salvatore’s office as Richard and Lou disappear through a an office ceiling tile.

Richard and Lou have climbed above Hanger Office ceiling and mad their way to the cave entrance. What is really going on in caves? T

Twist 22: Direction: They climb over what appears to be the Guards’ Locker Room.

Twist: Guards suddenly enter Locker Room and change clothes.

Twist 23 Direction: Richard and Lou drop into Guards’ Locker Room and change into their uniforms and take their keys.

Twist: Now dressed as Guards, they enter the cave.

Twist 24: Direction: Jailers do not find Salvatore in his office and go outside looking for him.

Twist: Jailers find Salvatore stripped and bound face down outside barn/hanger.

Twist 25: Direction: Jailers find and are leaning over Salvatore with knife to cut his bindings.

Twist: Guard/Driver whose Jeep was stolen arrives and sees Jailers with knife bending over bound Salvatore, assume they are attacking him and injure a Jailer.

Twist 26 Direction: Guard/Driver whose Jeep was stolen take Jailers into custody in Salvatore’s office.

Twist: An assumed dead Sanchez comes in through side entrance from outside into Salvatore’s office during interrogation.

Meanwhile, back at Richard’s and Debbie’s houses, Debbie calls Richard’s mother to say that her father wants Richard to come over and explain what happened the night before..

Twist 27: Direction: Richard’s mother calls her husband to extend request.to Richard.

Twist: Richard’s father had requested that Debbie’s father to send a TV news’ crew to the County Jail where Richard had been incarcerated.

Meanwhile, back at the County Jail

Twist 28: Direction: Jailers take remaining inmates their dinner.

Twist: Inmates lock up Jailers and two swap uniforms.:

Twist 29 Direction: Inmates prepare to take mortally wounded prisoner for medical attention.

Twist: They are met at door of Jailhouse by TV news’ crew:

Richard and Lou descend into cave and discover a large warehouse area that appears to house State archives., then decide to look further within the depths of the caves.

Twist 30: Direction: They proceed further into cave .and see manned guard booths on each side of a large vault door.

Twist: an alarm sounds and armed personnel emerge.

Twist 31 Direction; They hear a large convoy coming from the other direction towards them; they decide to retreat to the warehouse.

Twist: Salvatore has now dispatched to and stationed a guard at the warehouse.

Caves contain activities the county is hiding, and the protagonists are trapped in the caves with the heavily armed antagonists in pursuit. They are trapped with armed personnel coming at them from both directions and there appear to be several layers of antagonists.

Who are these people, who is responsible and how are they getting away with it? .

To be continued.

[Kimbal Thompson]

<b style=”font-family: inherit; font-size: inherit;”>OPENING: Another airplane cuts into the landing pattern of student pilot (protagonist) attempting to land.

INCITING INCIDENT: Protagonists girlfriend’s father unexpectedly walks in on them at an inopportune time, sets protagonist off on road trip.

TURNING POINT 1: Protagonist is stopped by officer in small-town speed-trap and jailed in cell with

MIDPOINT: Protagonist shown mortally wounded prisoner in jail cell and overhears jailers plotting on what to do with protagonist.

TURNING POINT 2: Protagonist gets out of jail, completes journey on small airplane with his flight instructor; airplane hijacked.

CLIMAX: Hijacked airplane landed in farm above caves in county of jail. Caves contain activities the county is hiding, and the protagonist is trapped in the caves with the heavily armed antagonists in pursuit.

RESOLUTION: Protagonist and flight instructor commandeer old crop-duster plane from antagonists in pursuit to complete some loose ends.

Inside your structure, fill in
the gaps with the Life-Threatening situations, Mysteries, and Villain’s
plan. Do this one at a time. That will keep you from getting confused.

OPENING: Another airplane cuts into the landing pattern of student pilot (protagonist) attempting to land.

Plane cuts into landing pattern.

What is in envelope why is protagonist quitting flying lessons?

INCITING INCIDENT: Protagonist tells parents he is leaving; father asks him to deliver package across state line by morning. Protagonist stops by long-time girl- friend’s house to break-up on way out of town. Girlfriend’s father unexpectedly walks in on them at an inopportune time, setting protagonist off on road trip.

Why is protagonist leaving town; will he break up with her?

Her father walks in at an inopportune time.

TURNING POINT 1: Protagonist is stopped by officer in small-town speed-trap and jailed in cell with several rough looking inmates.

Jailed in same cell with rough appearing inmates.

Has initial skirmish with one inmate.

Who are these inmates and why are they in jail?

Villains plan is in place that allows for corrupt County.

MIDPOINT: Protagonist shown mortally wounded prisoner in jail cell and overhears jailers plotting on what to do with protagonist.

He sees injured inmate and learns that authorities responsible.

He overhears jailers plotting on what they should do with him.

What has caused injured inmate’s injuries and why is he held in cell? .

Police are worried that he may be able to expose corruption.

Why would jailers want to do something with protagonist?

TURNING POINT 2: Protagonist gets out of jail, completes journey on a small

airplane with his flight instructor; airplane hijacked.

Plane is hijacked and hijacker does not know how to fly.

Villian has sent hijacker after protagonist.

What is background of flight instructor?

Why are they being hijacked and to where are they being taken?

CLIMAX: Hijacked airplane landed in farm above caves in county of jail. Caves contain activities the county is hiding, and the protagonist is trapped in the caves with the heavily armed antagonists in pursuit.

They are trapped with armed personnel coming at them from both directions.

There appear to be several layers of antagonists.

Why are the protagonist and flight instructor let go?

Is the plane rigged to explode?

Can they escape this and find their way back to the farm an caves?

What is really going on in caves.

Who is responsible and how are they getting away with it? .

RESOLUTION: Protagonist and flight instructor commandeer old crop-duster plane from antagonists in pursuit to complete some loose ends.

They must head toward plane that is taking off.

They may be out of the immediate threat and knowledgeable of the true villain.

[Kimbal Thompson]

Thriller Day 7 assignment: Life Threatening Sequence

Kimbal Thompson

What I learned is many scenes can accelerate several life-threatening sequences.

From the list of potential dangers, choose the ones
that work for this story.: All the above.

Sequence those dangers in order and make a list like the one
I did for Basic Instinct above:

1. Opens with Richard flying solo as another plane cuts in on his landing pattern causing him to make a second approach and landing. .

2. Flight Instructor (Lou) meeting plane at side of runway, complimenting Pilot and handing Richard an envelope, opened, read and pilot says he must stop his pilot training.

3. Richard arriving home and announcing to his mother that he is leaving.

4. His father returning home and requesting Richard to make a delivery across state lines by the next morning. .Richard states he had to first stop by to see his long-time girlfriend at her house (to break-up).

5..He encounters her parents that are leaving for the evening, before his formerly modest girlfriend lets Richard in and tries to jump his bones, just as her father (a television investigative reporter) returns to pick up something he forgot.

6. Richard makes a hasty retreat and heads for the highway.

7. Richard is stopped in a small-town speed trap and escorted to a late-night justice-of-the- peace trial, pronounced guilty and escorted to jail.

8. Richard tries to make a phone-call, the phone is taken away and he is pushed into a cell of an old stone jail with four onerous inmates.

9. These inmates lead Richard to a dark corner of the cell where a severely wounded inmate lays face-down unconscious on a cot.

10. From the other inmates, Richard learns that the fifth prisoner’s injuries have been in retaliation by those running the county.

11. Richard hopes to get out by morning, compete his errand for his father and send medical assistance back to the jail.

12. Through the wall separating the cells from the jailers’ Richard overhears that he should not have been brought to the jail, and what were they to do with him?

13. The jailers took Richard from the cell and placed him in a small room as they discussed taking him out to “the farm” to disappear.

14. Just as he was about to be escorted out pre-sawn, the exterior door opened and Richard’s father appeared and bailed out Richard.

15. Once away, Richard drove to the airport where he was taking flight lessons and Lou agreed to help him fly his cargo to an airport across the state line.

16. On landing a that airport, another plane cut in on their landing pattern

17. As they were briefly out of their plane, someone crawled into the now empty storage compartment behind the cockpit.

18. Upon takeoff, they were highjacked at gunpoint by Sanchez, who forced them to land at “the farm.”.

19. Landed, they taxied to an old barn, that once inside was a hanger and ordered by Salvatore (who appeared to be the boss) to be taken as prisoners to a small room in a cave below.

20. Salvatore agrees to let them go provided they sign a non-disclosure agreement and fly Sanchez to a specified destination. They agree.

21. Upon take-off, Sanchez bails out at lift-off. Lou deduces the plane is wired to explode and orders Richard to ditch the plane.

22. They bail and hit the ground as the plane explodes a football field length away. They survive and find their way back to the farm acreage.

23. As they traverse the fence-line, an armed patrol jeep approaches.

24. They trick the guard, take his weapons, the jeep, and continue towards the barn.

25. Until they are discovered by Sanchez

26. Salvatore is concerned and checks on the missing patrol jeep.

27. Salvatore exits the hanger for a smoke and Lou knocks him out with the butt of the captured rifle and bind him. Richard wants to escape. Lou wants to find out what’s really going on in the hanger and caves.

28. Lou wins.

29. They enter the hanger through Salvatore’s exterior door.

30. Inside, the jailers from town are attempting to check in with Salvatore. find him outside and begin to cut his bindings.

30. The Jeep driver finds Sanchez, together they find the jailers with a knife over Salvatore and accuse them of hijacking the jeep.

31. Richard and Lou Climb above the hanger offices lowered ceilings and work their way to the cave entrance. They find themselves above the guards’ locker room and overhear the Jailers discuss Sanchez and the exploding plane.

32. Then, Richard and Lou drop into the locker Room, change into Guards’ uniforms and proceed down the cave shaft, first coming to a large warehouse room.

33. Proceeding further down the cave shaft, they are interrupted by a piercing beeping and blinding blinking lights.

34. Looking further ahead, they see massive steel doors bi-part as heavily armed uniformed personnel emerge coming in their direction.

35. They hear the heavy cadence and smell of a diesel engine and see headlights of an extremely large vehicle coming toward them from the direction of the cave b b entrance and retreat to the large warehouse room.

36. Salvatore has sent an armed jailer to the warehouse to await further reinforcements.

37. Meanwhile, the small-town jail inmates have overtaken the few remaining jailers and escaped in one of the small-town patrol cars after taking the Jailers’ uniforms, calling for an ambulance and a state police escort.to take the injured prisoner to the hospital. They are found out while in procession, U-turn with a state police car In pursuit. They are all headed toward the farm.

38. Richard and Lou foil armed guard, steal his Jeep and head up the cave toward th Hanger.

39. Hanger door opens admitting Mayor’s white Cadillac, hanger door closing.

40. Mayor outstretches hand toward Jeep telling them to stop; Salvatore awaits, bullwhip in hand. Mayor says “they’re all yours!

41. Richard and Lou scrape through hanger door just as it closes and scramble onto old crop-duster just as small-town patrol car with escaped inmates with state police car in close pursuit.

42. Hanger doors start to reopen as crop-duster won’t start. Richard and Lou bail out and run toward cornrows in pursuit of Jeep they abandoned earlier.

43. Mayor and Salvatore pursue in White Cadillac in confusion as small-town patrol car with escaped inmates with state police car in close pursuit cut them off. Mayor stops Cadillac and Salvatore and Sanchez head for the crop-duster. Eventually, it starts.

44. Richard and Lou find and start the Jeep, heading toward the taxing crop-duster knowing Sal and San cannot shoot through their propeller and shoot tire of plane. .

45. Sanchez and Salvatore, bolo in hand, exit plane. Lou shoots the Bolo Hand, restrain Sanchez and Salvatore and trade the Jeep for the plane.

46. Lou and Richard get the old crop-duster in the air and head to Lou’s airport. .

47. Escaped Inmates commandeer Mayor’s Cadillac and head south.

48. State Policeman takes injured and Mayor to join others with injured inmate at the hospital.

49. Debbie’s dad, the TV Investigative Reporter has also gone to investigate what has happened at the hospital.

50. In the Hospital, a call is received from the Governor stating that FBI was on their way and all could be released except for the TV Investigative Reporter.

51. Richard Home and receives call from Debbie that her mom would be away overnight to go pick up her father.

52. Richard on way to Debbie’s house.

[Kimbal Thompson]

Thriller Day 6 Assignment Mystery Sequence

Kimba Thompson

What I learned from this assignment is that a small introductory mysteries can led to greater sequential mysteries. The solution of the major big mystery can in turn. Lead back to the small introductory mysteries.

Create your mystery sequence. Give us the answer to these questions.

What is the big secret that the Villain is covering up?

That he is profiting from the caves beneath his farm from the State (which turns it’s back on corruption within his County), a cartel, (which is knowledgeable of this and using the cave as their depot), and the Federal Government, (which ignores both of the previous due to the secrecy necessary for what they are hiding within the deepest caver), each without the knowledge of the other.

How many ways can they cover that secret?

One from the other and all from the outside. Those become the mysteries.

The first mystery must engage the Hero into solving it.

Sequence the mysteries so that each one leads us to the
next one.

4.1 What has caused Richard to give up his pilot’ License Training and leave

town?

4.2 Early pre-mystery: Why id Richard making the delivery across state lines for

his father, what is it and why the urgency + what’s the sudden urgency in his

wanting to break up with his unexpectedly amorous girlfriend?

4.3 Once jailed and learning of the dilemma of the other inmates and the mortally

injured cellmate, will Richard be able to escape and bring help?

4.4 Overhearing through the jailhouse walls that they should not have brought

Richard to the jail, what will they do with him?

4.5 Once he gets out of jail will he make the delivery and then what?

4.6 Who is Sanchez, why has he hijacked the plane and to where is he ordering.

them to fly?

4.7 Why are they forced to land at the farm and what’s going on in the caves?

RED HERRING = Salvatore.

4.8 Why is Salvatore letting them leave the complex on the plane with Sanchez?

4.9 Will they live once Sancez bails form the plane?

4.10 What is the background of Lou the flight instructor?

4.11 Once Richard and Lou make it back to the farm, barn/hanger, and caves,

4.12 What will they find, and will they get caught down in the caves?

4.13 If caught, will they survive and be able to save the other inmates and the

mortally injured cellmate? If so, how?

4.14 Will Richard return to his lusting girlfriend?

Create a Mystery Chain for each main mystery:

4.1 Early pre-mystery: What has caused Richard to suddenly give up training for

his pilot’s License?.

· Richard is in cockpit flying solo flying.

· Lands and taxis to side of runway where his flight instructor (Lou) awaits.

· Lou congratulates Richard on his landing and hands him an envelope.

· Richard opens and reads and announces his flying will need to wait.

4.2 Early pre-mystery: Why is Richard making the delivery across state lines for

his father, what is it and why the urgency and what’s the sudden urgency in

his wanting to break up with his unexpectedly amorous girlfriend and leave

town?

· Richard arrives home and announces to his mother he will leave home.

· Father arrives home and requests Richard to make delivery across state line by morning.

· Richard arranges to stop by to see his long-time girlfriend that evening.

· He wants to break-up; she wants to jump his bones.

4.3 Richard stopped in Speed Trap, jailed, and learns dilemma of other inmates.

and a mortally injured cellmate, will Richard be able to escape and bring

help?

· Richard stopped late at night in small town speed trap.

· Immediately taken to Justice of Peace Court, pronounced guilty and ordered jailed.

· Arrives at jail, denied phone call, but forced to hang up.

· Put in cell with gangly inmates who show him a badly wounded prisoner.

4.4 Overhearing through the jailhouse walls that they should not have brought

Richard to the jail, what will they do with him?

· Richard wants to know what will happen next.

· Other prisoners say they will rally to protect him.

· Jailers come to take Richard, armed against other inmates.

· Richard taken to small separate room as they prepare to take him away.

4.5 Once he gets out of jail will he make the delivery and then what?

· Something unexpected happens and Richard is released.

· Richard contacts and goes to airport where he took flight lessons.

· Flight Instructor agrees to let him fly to make delivery.

· Delivery completed; hijacker conceals himself in landed plane.

4.6 Who is Sanchez, why has he hijacked the plane and to where is he ordering

them to fly?

· Why does the plane fly like it still has the load aboard?

· Who is the hijacker and where is he ordering the plane to fly?

· Why his accent?

· Why is he ordering him to land at the farm in the county where Richard was jailed?

4.7 Why are they forced to land at the farm and what’s going on in the caves?

· Landed they are ordered to taxi towards a barn, fronted by an with an old crop-duster.

· Once inside, the barn is also a hanger.

· They are taken to a secured room in a cave below the hanger floor.

· The person in charge is Salvatore.

RED HERRING = Salvatore.

4.8 Why is Salvatore letting them leave the complex on the plane with Sanchez?

· One of the guards in the hanger is the same person at the town jail.

· He asks Salvatore why the plane was captured and brought to the hanger.

· Salvatore responds that loose ends need to be cleaned up.

· Richard and Lou are released to fly away with Sanchez.

4.9 Will they live once Sancez bails form the plane?

· Sancez bails out as the plane takes off.

· Lou and Richard keep flying away.

· Lou realizes the plane may be rigged to explode.

· They ditch, jump from the plane before it blows up.

4.10 What is the background of Lou the flight instructor?

· How die Lou know the plane would blow up and what to do?

· Lou has good navigation skills and leads them back to the farm.

· They find a border fence and adjacent road, a jeep with security guard approaches.

· Lou creates a distraction, Richard performs unexpectedly.

4.11 Once Richard and Lou make it back to the farm, barn/hanger, and caves,

what will they find, and will they get caught down in the caves?

· Richard and Lou attack and disable the guard in the jeep, a returned Sanchez and Salvatore; all of whom recover, meet and are seeking revenge.

· Richard and Lou manage to evade detection and sneak below to the caves.

· The deeper they go, the more mysterious things they see.

· Salvatore, Sanchez, and small army spread out in the caves to capture Richard and Lou.

4.12 What will they find, and will they get caught down in the caves?

· They are cornered in a large storage room in the cave, but escape to…

· The Hanger, where Salvatore is awaiting them, bullwhip in hand.

· The Hanger door opens, and the mayor drives in, telling Salvatore “They’re all yours”.

· The hanger door is not completely shut.

4.13 If caught, will they survive and be able to save the other inmates and the

mortally injured cellmate? If so, how?

· Something is happening with the back story of the jail and inmates.

· The Barn /hanger door closes, Richard and Lou head to the cornrows.

· They find their abandoned jeep, Salvatore taking off in old crop-duster.

· Jeep heads toward crop-duster.

4.14 Will Richard return to his lusting girlfriend?

[Kimbal Thompson]

Kimbal Thompson

From opening scenes, the stacking and building progression of mystery, intrigue and suspense can develop and progress including in individual character development with increasing action throughout the presentation.

4. Give us a list of the things you learned about Thrillers as you did this assignment.

Action: The actions of each scene can lead to actions of the following scenes and amalgamation of the entire script.

Mystery: One minor mystery can serve to set up and intensify all within the script.

Suspense: Suspense can build, often subtly from scene to scene throughout.

Character Mystery: can build, often subtly from scene to scene throughout.

Character Intrigue can build, often subtly from scene to scene throughout.

Stakes: The stakes can progressively rise.

Character Suspense can also build, often subtly from scene to scene
throughout.

[Kimbal Thompson]

Thriller Day 3 Assignment

Kimbal Thompson’s World and Characters

What I learned doing this assignment is

1. Remind us of your CONCEPT and the Big M.I.S. of your story.

Big
Mystery: What
is the main mystery of your story that will keep us wondering throughout
the story? What’s really happening in this rural town?

Big
Intrigue: What
is the covert, clandestine, underhanded part that will live under the
surface for most of the movie? Among others, what is happening within and
who is running this small rural town.

Big
Suspense: What
is the main danger to your Hero that will continue to escalate throughout
the script? Can he escape or his likely demise.2. Tell us the Intriguing World you have selected for this story:
An 18-year-old midwestern student, stopped in a small midwestern town
speed trap finds himself step-by-step lured to secret caves below the town
in attempting to find out the source of the town’s corruption and escape
the town..

3. With your top 2 or 3 characters, tell us the role they play and then answer these three questions:

Eighteen-year-old Richard Head (Protagonist)

A.
What is the mystery of this character? Why is he suddenly leaving home and
where is he going?
B.
What is the suspense of this character? His hang-up with his name. How he
keeps getting deeper and deeper into unknown situations.
C.
What is the intrigue of this character? He keeps setting up deadlines that
become interrupted by circumstances out of his control.

Flight Instructor (Red Herring)

A.
What is the mystery of this character? What is really his background
besides being a small- town airport flight instructor?
B.
What is the suspense of this character? How he surprisingly comes to grip
and handles deadly situations.
C.
What is the intrigue of this character? How he is so low-key, yet surprisingly
comes to grip and handles deadly situations.

Salvatore (Villain)

A.
What is the mystery of this character? Who is he, where did he come from
and why is he seemingly on charge of this mysterious operation?
B.
What is the suspense of this character? His hang-up with his name. How he
keeps getting deeper and deeper into unknown situations.
C.
What is the intrigue of this character? Why does a rough burly Latino man run what appears to be
happening in caves below a small midwestern town?

[Kimbal Thompson]

Thriller Assignment 1: Kimbal Thompson

THRILLER CONVENTIONS

“What I learned doing this assignment is there can be many twists and turns leading to an apparent solution, prior to revealing another and the real mystery and villain.

Analyze a THRILLER movie to discover the conventions of a thriller. It is totally okay to analyze a movie you’ve already seen, but please watch it again. Don’t just do it from memory.

1. Go to Netflix, iTunes, or Amazon and search for “thriller” movies. Pick a thriller that fits three criteria and answer the two questions below:

The Pale Blue Eye matches our model and is not one of our example movies.

2. The conventions of THIS story.

Unwitting but Resourceful Hero(s): Mr. Augustus Landor, Edgar Allan Poe.
Dangerous Villain(s): Mr. Augustus Landor, Edgar Allan Poe Members of the Marquis Family,
High stakes: :Ruin U.S. Military Academy
Life and death situations: LeRoy Fry (hangs) (heart Carved from chest), who hung, cut out heart and castrated 2nd Cadet and who butchered and cut hearts out of farm animals, Fire at Marquis Home, Death of Landor’s daughter.
This movie is thrilling because of the time and setting, sequencing of events,

3. What is the BIG Mystery, Intrigue, and Suspense of this story?

Big Mystery: Who killed Cadet Leroy Fry and harvested his heart, who killed Cadet. (heart Carved from chest), who hung, cut out heart and castrated 2nd Cadet and who butchered and cut hearts out of farm animals, what happened to Landor’s daughter.
Big Intrigue: Who killed Cadet Leroy Fry and harvested his heart, who killed Cadet. (heart Carved from chest), who hung, cut out heart and castrated 2nd Cadet and who butchered and cut hearts out of farm animals, what happened to Landor’s daughter, Once Edgar Allan Poe deduced what really had occurred, what would he do about it.
Big Suspense: All the above.

4. Anything else you’d like to say about what made this movie a great thriller? It works!

5. Answer the question “What I learned doing this assignment is (see above).Subject line: (Movie title) Thriller Conventions (place in first line)

The most important thing you can do today is to CHOOSE a movie that fits our definitions and the conventions so you get a solid experience of this model. As you watch the movie, make notes about how it fits these conventions. Don’t look at anything else. All that matters is that you identify the conventions and make clear notes about them.

In the next lesson, we start working with the most important parts of your Thriller script.

Enjoy the movie…and what you learn from it!

[Kimbal Thompson]

THRILLER ASSIGNMENT 2

Kimbal Thompson

What I learned from ding this assignment: The potential for building up the mystery, Intrigue and suspense on many levels leading to the final Big M.I.S.

Give us your logline, then answer these questions. As you do, try to get to the essence for each answer. If you give more than a paragraph for each answer, you’ve likely gotten sucked into your own story. The more you can get to the point, the stronger your story will end up being.

IMPORTANT: Do not worry about having the perfect answers. Just fill in the answers you get, knowing you can modify them in the future.

Logline: Stopped in a small-town speed trap late at night and jailed, the young man must get away before the threats he hears though the jailhouse walls become reality.

1. What are the conventions of your story?

Unwitting but Resourceful Hero: Eighteen-year-old Richard Head
Dangerous Villain: Jailers and whoever is running the town.
High stakes: Get out of jail, deliver a package, save critically injured inmate, escape from caves and farm, report what is really going on in small town.
Life and death situations: Jail, landing at farmyard and taking off in sabotaged,

Plane, eluding security guards, eluding detection in caves, escape.:

This story is thrilling because? The mysteries keep escalating with increasingly high stakes.

2. Tell us the Big M.I.S. of your story?

Big Mystery: What is the main mystery of your story that will keep us wondering throughout the story?
Big Intrigue: What is the covert, clandestine, underhanded plot that will live under the surface for most of the movie? Among others, what is happening within and who is running this small rural town.
Big Suspense: What is the main danger to your Hero that will continue to escalate throughout the script? His likely demise.

3. Answer the question “What I learned doing this assignment is…?” and put it at the top of your work.

4. Post your assignment in the forums.

Subject line: (Your name’s) Big M.I.S. (place in first line)

[Kimbal Thompson]

Aloha all, I’m Kimbal Thompson in Hawaii. 3 Scripts and 2 TV specs & expecting to get a Great Thriller out of this. Otherwise, an architect, sailor and canoe paddler & lucky to live Hawaii!

[Kimbal Thompson]

ACTION Lesson 7 Assignment : Kimbal Thompson’s Story Map 12.26 21
What I learned doing this assignment is there are many more places for action.…
1. Start with the structure you built in Lesson 6:
2. Go back to your Mission track and label each step as M 1, M 2, M 3, etc.; V-1, V-2, etc., A-1,
A-2, etc.
3. Build the Mission steps, Villian steps, Action steps, into the Structure, applying them
wherever they might fit into the Story Map.
Act 1:
A-1 Scene 1:Elton speeding down Wildwood Lane on his new bicycle and the chain suddenly
breaking with Mr. Edgeson suddenly appearing from his uphill doorway asking Elton if something
was wrong. Sets up identity of protagonist and antagonist and their initial relationship
Scene 2: Elton watching Mr. Edgeson’s TV News report about UFO’s that evening. Sets up
Elton’s concern that Mr. Edgeson was strangely different.
A-2 Scene 3: Elton seeing unusual lights in Mr. Edgeson’s attic window from afar, sneaking out
and climbing Mr. Edgeson’s arbor to investigate into his attic window. Showed Eltons further
curiosity about something ‘not right’ was going on with Mr. Edgeson.
M-1: Scene 4: What Elton observed. Proved that there was a lot more going on.
A-3 Scene 5: The arbor falling backward with Elton and his hitting his head hard upon landing,
briefly conking him out. Provides a twist that enables Elton to question what he thought he had
witnessed.
V-1 Scene 6: Mr. Edgeson dispatching an alien to see had happened and the alien casting a
spell on Elton. Provided another twist to lead Elton to believe he had not seen anything out of
the ordinary.
M-2 Scene 7 (or more): Elton realizing that he had acquired some unique abilities like those he
thought he had witnessed in Mr. Edgeson’s attic, after all.
Act 2:
M-3 Scene 1: Elton seeing if he could transpose himself and re-appear in Mr. Edgeson’s house.
A-4 Scene 2: Finding that he could do this, once in the side the Edgeson residence, afraid that
he would be discovered, learning that he could miniaturize himself.
M-4 Scene 3: With these discoveries, deciding to become involved in Mr. Edgeson’s
conferences with aliens in his attic.
V-2 Scene 4:Joining in the conference, learning that he was accepted, and that Mr. Edgeson
was, in fact an alien in disguise, setting up the various governments on earth to hide the truth
about UFO sightings.
M-5 Scene 5:Discovering that the reason for this is for alien intelligence gathering for a plan to
attack earth.
M-6, V-3 Midpoint: Discovering that the date of the attack on earth is accelerated and that he,
Elton, may the one made responsible to name the date and lead the attack.
Act 3:
Scene 1: Elton realizes that he has gone too far without telling adults of what he has witnessed
and realizing that now he was really in over his head and that no one would believe him.
A-5 Scene 2: Elton refusing to cooperate with the aliens.
M-7,V-4,A-6 Scene 3: The aliens torturing Mr. Edgeson and threating to next abduct and torture
Elton’s parents.
Scene 4: Elton realizing that only he could defeat these aliens and save earth.
Scene 5: Elton devising his plan
M-8,V-5,A-7 Scene 6: Elton implementing his plan and at war with the aliens using superpowers
that he didn’t even know that he had. Elton and Aliens major fight scene.
M-9,A-8 Scene 7: Rescuing Mr. Edgeson in the process and learning that Mr. Edgeson was not
initially an alien.
M-10, Scene 8. The attack on earth averted, Elton and Mr. Edgeson realize that they may be
able to stem any future such plans by other aliens, yet to be realized.
Once you have built all three tracks into the story map, go through it one time and smooth out
the writing so it flows well enough to read and understand the basic story.

[Kimbal Thompson]

ACTION LESSON 6 ASSIGNMENT: Kimbal Thompson’s Action Structure 12.22.21
What I learned doing this assignment is there remain many options for which way this story my go and
great scenes to further develop.
Create the 3-Act structure for your story.
1. Look through your three tracks (Mission, Villain, and Action) and find the points that could work for
this structure.
2. Opening
3. Inciting Incident
4. First Turning Point at end of Act 1
5. Mid-Point
6. Second Turning Point at end of Act 2
7. Crisis
8. Climax
9. Resolution
Act 1:
Opening and Inciting Incident: Scene 1:Elton speeding down Wildwood Lane on his new bicycle
and the chain suddenly breaking with Mr. Edgeson suddenly appearing from his uphill doorway
asking Elton if something was wrong. Sets up identity of protagonist and antagonist and their
initial relationship
Inciting Incidents: Scene 2: Elton watching Mr. Edgeson’s TV News report about UFO’s that
evening. Sets up Elton’s concern that Mr. Edgeson was strangely different. Scene 3: Elton seeing
unusual lights in Mr. Edgeson’s attic window from afar, sneaking out and climbing Mr. Edgeson’s
arbor to investigate into his attic window. Showed Eltons further curiosity about something ‘not
right’ was going on with Mr. Edgeson. Scene 4: What Elton observed. Proved that there was a lot
more going on. Scene 5: The arbor falling backward with Elton and his hitting his head hard upon
landing, briefly conking him out. Provides a twist that enables Elton to question what he thought
he had witnessed. Scene 6: Mr. Edgeson dispatching an alien to see what had happened and the
alien casting a spell on Elton. Provided another twist to lead Elton to believe he had not seen
anything out of the ordinary.
First Turning Point: Scene 7 (or more): Elton realizing that he had acquired some unique abilities
like those he thought he had witnessed in Mr. Edgeson’s attic, after all.
Midpoint: Discovering that the date of the attack on earth is accelerated and that he, Elton, may
the one made responsible to name the date and lead the attack.
Second Turning Point: Act 3: Scene 1: Elton realizes that he has gone to far without telling adults
of what he has witnessed and realizing that now he was really in over his head and that no one
would believe him.
Crisis: Scene 2: Elton refusing to cooperate with the aliens. Scene 3: The aliens torturing Mr.
Edgeson and threating to next abduct and torture Elton’s parents. Scene 4: Elton realizing that
only he could defeat these aliens and save earth.
Climax: Scene 5: Elton devising his plan Scene 6: Elton implementing his plan and at war with the
aliens using superpowers that he didn’t even know that he had. Scene 7: Rescuing Mr. Edgeson
in the process and learning that Mr. Edgeson was not initially an alien.
Resolution Scene 8. The attack on earth averted, Elton and Mr. Edgeson realize that they may be
able to stem any future such plans by other aliens, yet to be realized.
3. Answer the question, “What I learned doing this assignment is…?” and put it at the top of your wor

[Kimbal Thompson]

ACTION Lesson 4 Assignment Kimbal Thompson’s The Villian Track Plans Decisions, and Actions.

What I learned doing this assignment is just all of the possibilities yet to come in further developing this script.

1. Ask the Villain Track questions to discover your Villain’s plan, decisions, and actions.

A.
What might be the Villain’s plan to accomplish an evil outcome: Report on
UFO sightings such that he is largely considered an eccentric charlatan
and the governments of the world reluctant to make public any truth to
sightings, so not yo alarm the public. Meanwhile, the aliens are, in fact,
gathering logistic and military intelligence such to assure a decisive
victory in attacking earth.

..or to annihilate the hero? Once, Elton is realized to be a thorn in the plan, Mr. Edgeson has to formulate a plan to silence the hero in a manner not to attract attention to the plot.

· B. How many ways can the Villain attack or destroy the hero?

Many, although not without causing further investigation. (Under development)

C.
What advantage does the Villain have and how can they exploit that in this
movie?

He has an entire more sophisticated and technologically advanced civilization in his camp.

D.
What would be a “fitting end” for this Villain where they pay for what
they’ve done?

To turn on the aliens, who retreat and create a miniaturized UFO orbiting among the asteroids.

.

[Kimbal Thompson]

Action Lesson 3 Lesson 3 Kimbal Thompson’s Hero’s Mission Track

What I learned from this how the story begins leading to many possibilities.

1. Ask the Mission Track questions to discover your Hero’s mission.

A.
What is it about this Hero that will have them go straight into the face
of the overwhelming odds?

No one will possibly believe him about what he has witnessed nor about the antagonist.

B.
What is the mission that would be an impossible goal?

To prevent the antagonist from succeeding, given no one else can.

C.
What strong internal and external motivation could drive the hero?

Knowing what knows is true, realization of his new superpowers and believing in himself.

D.
Imagine that mission playing out across a story. What could naturally
happen if this hero went on this mission against this villain?

Likely, he would be annihilated from the start.

2. Use the Mission Steps to outline the mission.

Clear Mission:

Motivation:
Initially, to find out what Mr. Edgeson was and what was happening in his
attic.
Inciting
Incident: Crawling up Mr. Edgeson’s arbor to spy on him, seeing him with
the miniaturized aliens and eavesdropping on their conversation, then
falling backwards with the arbor to the ground and hitting his head.
First
Action: An alien went to discover the commotion and cast a spell on Elton.
Obstacle:
Elton initially awakening with a sore head and believing what he had
witnessed.
Escalation
:Elton discovered he could be transformed, miniaturized, and understand
the aliens’ and Mr. Edgeson’s real identity and mission.
Overwhelming
Odds: Conveying all of this to anyone else.
New
Plan: Take Mr. Edgeson and the aliens on himself
Full
out Attack: While miniaturized or life size, and where?
Success:
Or else!

.

[Kimbal Thompson]

Action Lesson 2 Assignment: Kimbal Thompson’s Hero and Villian

What I learned doing this assignment is the many interesting variants on a theme.

Concept:

Hero
Morally Right: Elton is an innocent young midwestern kid who suffers a transformation
from a fall when trying to spy on the antagonist.
Villain
Morally Wrong: Mr. Edgeson is a cynical TV newscaster, and UFO proselytizer,
in secret controlled by aliens as their representative to control earth.

Hero: Elton, age eleven

A.
Unique Skill Set: none initially until he fell backward off an arbor
hitting his head.
B.
Motivation: initially to spy on what was happening in a neighbor’s attic,
then to save earth
C.
Secret or Wound: his initial confrontation with Mr. Edgeson and broken
bicycle.

Villain

A.
Unbeatable: has a team of technologically superior aliens
B.
Plan/Goal: conquer earth
C.
What they lose if Hero survives: earth, or their existence on earth

Impossible Mission

A.
Puts Hero in Action: he learns that Mr. Edgeson is in fact an alien in
disguise
B.
Demands They Go Beyond Their Best: He becomes the leader in a non-stop
battle to save his home
C.
Destroy the Villain: First by exposing Mr. Edgeson and ultimately the
alien sinister plan and many of the aliens.

2. Once you have filled in a quick answer to each, go back and extrapolate (If the roles were reversed then how might Mr. Edgeson, a public figure, do away with a n 11-year-old kid? I am sticking with the variants above although may play with improvements later.

[Kimbal Thompson]

ACTION: Lesson 1 12.14.2021 Kimbal Thompson’s Conventions

What I learned doing this assignment is that a simple beginning can provide both a foil to and anticipation of what is coming ahead.

Concept: What is thought to be an eccentric local newscaster, is, in fact, an alien with superpowers recruited to conquer earth.: A nosy neighbor kid accidently inherits the superpower to stop him.

Conventions

Hero: Elton, an eleven-year-old mid-western boy
Demand For Action: strange behavior of Mr. Edgeson. He
is a newscaster proselytizing about UFO’s, deemed eccentric by his
community. He is really an alien assigned to conquer earth.
Mission: find out what Mr. Edgeson is really up to,
then saving the planet.
Antagonist: Mr. Edgeson
Escalating Action: climbing up Mr. Edgeson’s arbor late
at night and discovering what’s going on in his attic. He is communicating
with aliens and turns into one when so communicating. IN spying on this,
Elton becomes caught in a force allowing him such alien superpowers.

[Kimbal Thompson]

Agree

[Kimbal Thompson]

30 Day Script Lesson 15: Kimbal Thompson’s The Midpoint 09.21.21

What I learned doing this assignment is that the further into the script, the more opportunities and characters that continue to be developed.

ASSIGNMENT

1. Outline your Key Scene 4: The Midpoint.

KEY SCENE 4: RORY GOES LOOKING FOR THE HORSE

2. Write the Midpoint scene.

RORY

(dressed and masked in black, Rory thinks to himself)

They’ll never know I was here, but where’s that fuck’n horse?

Frustrated, Rory slips away from the campus in the darkness not wanting to risk looking anywhere beyond the storeroom.

ANGELO

What do you mean the horse is gone? You think it just trotted off?

RORY

You told me Ernesto said it was safe in that storeroom and the Janitor guy would keep an eye on it.

ANGELO

I there two month ago, now Janitor Make, Ernesto, he go to. Maybe my sister talk to new janitor.

RORY

We should keep your sister out of it, but maybe we have no chice.

See if she can ask some kid to ask teh Janitor.

ANGELO

Yassss, I will ask her.

Students had noticed the life size horse statue mounted to a new concrete base when passing through the Building Courtyard. One student approached the school custodisn and aked why the horse was now in teh courtyard by teh airplane.

KAINALO STUDENT

(approaching custodian)Good Morning Mr. Oshiro, how come the horse id out here.

MR. OSHIRO

It’s Mustang, our school mascot. Some Boy scout goin’ restore it and it stay here now.

KAINALO STUDENT

Oh, Mahalo Mr. Oshiro.

ANGELO

She say janitor say some scout goin’ to restore it and it now stay in Building Courtyard.

RORY

Fuck’n great, where eerybody can see it. We’ll just have to keep an eye on teh restoration. Maybe you can get a job up there.

ANGELO

Why me?

Finding the horse missing, he learns of Kai’s project, finds the repaired patch, and goes after Kai… to be continued

[Kimbal Thompson]

30 Day Script Lesson 14: Kimbal Thompson’s Finish Act 1 09.20.21

What I learned doing this assignment is that the further into the script, the more opportunities that arise..

ASSIGNMENT

1. Outline Key Scenes 2 & 3.

KEY SCENE 2: Rethink everything: Rory’s story begins after his prison escape goes to find the horse and finds it missing; meanwhile – Rory Background and following his escape

KEY SCENE 3: Finding the package, tsking it home, unwrapping it, Kai finds the Cache and proceeds to see if he can uncover it’s origin.

…in process

2. Write Key Scene 2: Protagonist takes on a plan and executes it.

PH Devise way for Rory background:

From New Jersey, rough childhood, moved with divorced parent to Hawaii while in lower grade, picked on in school, doesn’t like Hawaiian kids, hates scouts. Despite being in trouble, enlisted in Air Force at 18, in Guam, court marshalled for what he thought was performing a good deed.. Arrested in Hawaii for major crime and incarcerated. Careful to not give much information on source of cache that he has hidden to insure his future once out of prison…

… In process

3. Write Key Scene 3: Not only does their plan fail, but Kai finds the horse is patched, uncovers the patch to find a treasure and looks to discover from where it originated….

4. ..in progress

[Kimbal Thompson]

Act 2:

Key Scene 1: Reaction to the turning point . The old ways were not enough

Kai and some scout friends are listening to the instructions of Clem, the seasoned bronze statue restorer.

CLEM

(spitting out chewing tobacco from the side of his mouth as he speaks)

So fellers, this here is how you do it , so watch me ‘n then you all cun try it ‘n I’ll correct ya.

BILLY

(whispers to Kai)

Where did you find this old galoot?)

KAI

Clemet, please let me introduce you to my friends. Clemet Shine is the best metal restoration artist in the Island. He was recommended by teh State Foundation and agreed to help us out.

CLEM

Thanky Kai, now I was a sayin’

Key Scene 2 : As he begins restoring the horse, Kai finds a patch in the bronze. Kai’s curiosity leads him to discover why there is a patch, and uncovers patch to find a package inside, decides to remove it and finds it wraps a valuable cache

Key Scene 2 Rethink everything: Rory’s story begins after his prison escape goes to find the horse and finds it missing; meanwhile – Rory Background and following his escape

PH Devise way for Rory background:

From New Jersey, rough childhood, moved with divorced parent to Hawaii while in lower grade, picked on in school, doesn’t like Hawaiian kids, hates scouts. Despite being in trouble, enlisted in Air Force at 18, in Guam, court marshalled for what he thought was performing a good deed.. Arrested in Hawaii for major crime and incarcerated. Careful to not give much information on source of cache that he has hidden to insure his future once out of prison.

KEY SCENE 3:

Kai decides to try and find out the source of the cache

INT. KAI AT HOME ON HIS COMMPUTER

KEY SCENE 4: RORY GOES LOOKING FOR THE HORSE

EXT. SCHOOL STOREROOM – NIGHT

Finding the horse missing, he learns of Kai’s project, finds the repaired patch, and goes after Kai

[Kimbal Thompson]

30 Day Script Lesson 12: Kimbal Thompson’s Finish Act 1 09.18.21

What I learned doing this assignment is the satisfaction Turning Points can to turn to different locations, likely a better location. .

ASSIGNMENT

1. Outline any other scenes left to write in Act 1.

2. Write a 20% draft of those scenes.

3. With those scenes done, do a quick read of Act 1 and add/improve anything you’d like. No wordsmithing!

4. Answer the question “What I learned doing this assignment is…?” and put it at the top of your work.

5. Post your assignment in the forums at http://ScreenwritingU.com/forums

EAGLE STALLION (Act 1 Turning Point)

BEGINNING: Kai decides to take on the airplane project.

MIDDLE: Kai and his dad go see the weathered 2+ story high steel sculpture of a paper airplane stuck into a planter in the courtyard of Kalaheo High School. Kai chooses that as his project although schemes to have the restoration put out to bid for the actual restoration work.

END: School insists he also restore the life-size bronze horse sculpture in which Kai must perform the actual restoration work. Kai accepts.

EXT. SCHOOL COURTYARD – DAY

SCHOOL PRINCIPAL

Kai, we like your idea to restore the Airplane sculpture, but also have something else.

KAI

That’s great, Mahalo. That’s the else?

SCHOOL PRINCIPAL

we have a horse in need of restoration.

KAI

What kind of horse?

INT. STORAGE BUILDING – DAY

The Principal takes Kai to a storage building behind the school and show him a full-size musty crusted metal sculpture of a horse.

HIGH SCHOOL PRINCIPAL

The School team is the Mustangs and this, once restored, will be our mascot.

KAI

(scratching the horse)

It looks like it may be bronze below all this uh, crust.

HIGH SCHOOL PRINCIPAL

That’s what we were lead to believe way back when the horse was donated fifteen or twenty years back.

KAI

How come it’s been kept in here for so long?

HIGH SCHOOL PRINCIPAL

We were just waiting for you to come along.

KAI

In other words, the price is right.

HIGH SCHOOL PRINCIPAL

Then you accept?

KAI

Yes

HIGH SCHOOL PRINCIPAL

Great, now you can bring in a statue refinishing consultant, but we insist you to do all the refinishing on the horse yourself.

[Kimbal Thompson]

30 Day Script Lesson 11: Kimbal Thompson’s Act 1 Turning Point 09.17.21

What I learned doing this assignment is Turning Points can to turn to different locations, likely where they should be.. .

ASSIGNMENT

1. Outline your Act 1 Turning Point.

2. Write your Act 1 Turning Point.

EAGLE STALLION (Act 1 Turning Point)

BEGINNING: Kai decides to take on the airplane project.

MIDDLE: Kai and his dad go see the weathered 2+ story high steel sculpture of a paper airplane stuck into a planter in the courtyard of Kalaheo High School. Kai chooses that as his project although schemes to have the restoration put out to bid for the actual restoration work.

END: School insists he also restore the life-size bronze horse sculpture in which Kai must perform the actual restoration work. Kai accepts.

EXT. SCHOOL COURTYARD – DAY

SCHOOL PRINCIPAL

Kai, we like your idea to restore the Airplane sculpture, but also have something else.

KAI

That’s great, Mahalo. That’s the else?

SCHOOL PRINCIPAL

we have a horse in need of restoration.

KAI

What kind of horse?

INT. STORAGE BUILDING – DAY

The Principal takes Kai to a storage building behind the school and show him a full-size musty crusted metal sculpture of a horse.

HIGH SCHOOL PRINCIPAL

The School team is the Mustangs and this, once restored, will be our mascot.

KAI

(scratching the horse)

It looks like it may be bronze below all this uh, crust.

HIGH SCHOOL PRINCIPAL

That’s what we were lead to believe way back when the horse was donated fifteen or twenty years back.

KAI

How come it’s been kept in here for so long?

HIGH SCHOOL PRINCIPAL

We were just waiting for you to come along.

KAI

In other words, the price is right.

HIGH SCHOOL PRINCIPAL

Then you accept?

KAI

Yes

HIGH SCHOOL PRINCIPAL

Great, now you can bring in a statue refinishing consultant, but we insist you to do all the refinishing on the horse yourself.

[Kimbal Thompson]

30 Day Script Lesson 10: Kimbal Thompson’s Opening Scenes 09.16.21

What I learned doing this assignment is how quickly scenes can develop and the need to concentrate on moving quickly. .

ASSIGNMENT

1. Empowerment

2. 1. Go to your Beat Sheet and find the opening scene and a second lead character introduction. Create a simple outline those scenes for those two scenes.

2. Write your Opening scene that introduces a lead character; either your Protagonist or Antagonist.

3. Write the scene that introduces the other lead character.

EAGLE STALLION

Act 1:

EXT. TRUCK LEAVING PRISON – NIGHT

A fifty-ish man is wedged between the frame rails beneath the Opala truck exiting the Hawaii Federal Detention Center where he has been an inmate since it’s construction in (date).

MAN

(to himself)

No traffic, first stoplight and I’m outa here, they won’t even miss me until tomorrow.

INT. KAI’S DINING ROOM – DAY

At the Breakfast table Kai and his parents are discussing his potential advancement to Eagle Scout

KAI’S DAD

(casually over breakfast)

What are you thinking about for your Eagle project son?

KAI

I’m not.

KAI’S MOM

Why?

KAI

You both are more into Scouting than I am at this point, I’m more interested in looking forward to getting my drivers license.

KAI’S DAD

Not until you finish your Eagle.

KAI’S MOM

I’ll support that.

KAI

That sucks! But I really have been thinking about it. You have any ideas?

KAI’S DAD

Do you remember Uncle Jim? He was a good friend that you met when you were in diapers. Remember the photo at least?

KAI

Wasn’t he the architect that jumped off the cliff?

KAI’S DAD

Yes, and survived. That was just before your picture with him. He was a talented architect and also designed a steel sculpture for Kalaheo High School, that may be in need of restoration. We should go look.

KAI

That sounds like a lot of work.

KAI’S DAD

Your project is not just supposed to be easy. Besides, it would truly be a good deed.

KAI

No good deed goes unpunished!

MIDDLE: Kai and his dad go see the weathered 2+ story high steel sculpture of a paper airplane stuck into a planter in the courtyard of Kalaheo High School. Kai chooses that as his project although schemes to have the restoration put out to bid for the actual restoration work.

END: School insists he also restore the life-size bronze horse sculpture in which Kai must perform the actual restoration work. Kai accepts.

EXT. SCHOOL COURTYARD – DAY

SCHOOL PRINCIPAL

Kai, we like your idea to restore the Airplane sculpture, but also have something else.

KAI

That’s great, Mahalo. That’s the else?

SCHOOL PRINCIPAL

The School team is the Mustangs and we have a horse in need of restoration.

KAI

What kind of mustang?

Act 2:

INT. STORAGE BUILDING – DAY

BEGINNING: The Principal takes Kai to a storage building behind the school and show him a full-size musty crusted meal sculpture of a horse.

MIDDLE: New plan: Kai decides to bring in expertise in restoring large bronze exterior sculptures.

END: Plan in action: Utilizing instructions from experts, Kai discovers patch in horse. Turning Point: Kai’s curiosity leads him to discover why there is a patch, uncovers patch to find a package inside with a valuable cache.

• Act 3:

EXT. TRUCK LEAVING PRISON – NIGHT

BEGINNING: Rory Ragsdale is wedged between the frame rails beneath the Opala truck exiting the Hawaii Federal Detention Center where he has been an inmate since it’s construction in (date).

MIDDLE• Rethink everything: Rory escapes prison, goes to find the horse and finds it missing

END: Rory Background and escape thru

PH Devise way for Rory background:

From New Jersey, rough childhood, moved with divorced parent to Hawaii while in lower grade, picked on in school, doesn’t like Hawaiian kids, hates scouts. despite being in trouble, enlisted in Air Force at 18, in Guam, court marshalled for what he thought was performing a good deed.. Arrested in Hawaii for major crime and incarcerated. Careful to not give much information on source of cache that he has hidden to insure his future once out of prison.

EXT. SCHOOL STOREROOM – NIGHT

• Finding the horse missing, he learns of Kai’s project, finds the repaired patch, and goes after Kai

INT. KAI AT HOME ON HIS COMMPUTER

• Turning Point: Huge failure / Major shift: Kai traces the source of the cache, goes after Kai.

Act 4:

BEGINNING: Rory chases and catches Kai demanding where he has taken the package.

EXT. SCHOOL PARKING LOT

KAI

Who are you and what are you talking about?

MIDDLE: Kai is interrupted and gracefully escapes. Climax/Ultimate expression of the conflict: Rory captures Kai; Kai tricks and severely injures Rory, stealing his car and drives.

END: to the statue dedication ceremony turning in Rory and solving a long unsolved Hawaiian mystery.

INT. KALAHEO HIGH SCHOOL AUDITIRIUM – DAY

The entire Kalaheo High School body is assembled in the courtyard including on second story walkways facing the courtyard. Kai is introduced among full applause and hundreds of paper airplanes flown toward the sculptures.

KAI

Kai explains the source of the cache and dedicates it’s return.

[Kimbal Thompson]

30 Day Script Lesson 8: Kimbal Thompson’s Opening Scenes 09.15.21

What I learned doing this assignment is how quickly scenes can develop and the need to concentrate on moving quickly. .

ASSIGNMENT

1. Empowerment

2. 1. Go to your Beat Sheet and find the opening scene and a second lead character introduction. Create a simple outline those scenes for those two scenes.

2. Write your Opening scene that introduces a lead character; either your Protagonist or Antagonist.

3. Write the scene that introduces the other lead character.

EAGLE STALLION

Act 1:

EXT. TRUCK LEAVING PRISON – NIGHT

A fifty-ish man is wedged between the frame rails beneath the Opala truck exiting the Hawaii Federal Detention Center where he has been an inmate since it’s construction in (date).

MAN

(to himself)

No traffic, first stoplight and I’m outa here, they won’t even miss me until tomorrow.

INT. KAI’S DINING ROOM – DAY

At the Breakfast table Kai and his parents are discussing his potential advancement to Eagle Scout

KAI’S DAD

(casually over breakfast)

What are you thinking about for your Eagle project son?

KAI

I’m not.

KAI’S MOM

Why?

KAI

You both are more into Scouting than I am at this point, I’m more interested in looking forward to getting my drivers license.

KAI’S DAD

Not until you finish your Eagle.

KAI’S MOM

I’ll support that.

KAI

That sucks! But I really have been thinking about it. You have any ideas?

KAI’S DAD

Do you remember Uncle Jim? He was a good friend that you met when you were in diapers. Remember the photo at least?

KAI

Wasn’t he the architect that jumped off the cliff?

KAI’S DAD

Yes, and survived. That was just before your picture with him. He was a talented architect and also designed a steel sculpture for Kalaheo High School, that may be in need of restoration. We should go look.

KAI

That sounds like a lot of work.

KAI’S DAD

Your project is not just supposed to be easy. Besides, it would truly be a good deed.

KAI

No good deed goes unpunished!

MIDDLE: Kai and his dad go see the weathered 2+ story high steel sculpture of a paper airplane stuck into a planter in the courtyard of Kalaheo High School. Kai chooses that as his project although schemes to have the restoration put out to bid for the actual restoration work.

END: School insists he also restore the life-size bronze horse sculpture in which Kai must perform the actual restoration work. Kai accepts.

EXT. SCHOOL COURTYARD – DAY

SCHOOL PRINCIPAL

Kai, we like your idea to restore the Airplane sculpture, but also have something else.

KAI

That’s great, Mahalo. That’s the else?

SCHOOL PRINCIPAL

The School team is the Mustangs and we have a horse in need of restoration.

KAI

What kind of mustang?

Act 2:

INT. STORAGE BUILDING – DAY

BEGINNING: The Principal tkes Kai to a storage building behind the school and show him a full-size musty crusted meal sculpture of a horse.

MIDDLE: New plan: Kai decides to bring in expertise in restoring large bronze exterior sculptures.

END: Plan in action: Utilizing instructions from experts, Kai discovers patch in horse. Turning Point: Kai’s curiosity leads him to discover why there is a patch, uncovers patch to find a package inside with a valuable cache.

• Act 3:

EXT. TRUCK LEAVING PRISON – NIGHT

BEGINNING: Rory Ragsdale is wedged between the frame rails beneath the Opala truck exiting the Hawaii Federal Detention Center where he has been an inmate since it’s construction in (date).

MIDDLE• Rethink everything: Rory escapes prison, goes to find the horse and finds it missing

END: Rory Background and escape thru

PH Devise way for Rory background:

From New Jersey, rough childhood, moved with divorced parent to Hawaii while in lower grade, picked on in school, doesn’t like Hawaiian kids, hates scouts. despite being in trouble, enlisted in Air Force at 18, in Guam, court marshalled for what he thought was performing a good deed.. Arrested in Hawaii for major crime and incarcerated. Careful to not give much information on source of cache that he has hidden to insure his future once out of prison.

EXT. SCHOOL STOREROOM – NIGHT

• Finding the horse missing, he learns of Kai’s project, finds the repaired patch, and goes after Kai

INT. KAI AT HOME ON HIS COMMPUTER

• Turning Point: Huge failure / Major shift: Kai traces the source of the cache, goes after Kai.

Act 4:

BEGINNING: Rory chases and catches Kai demanding where he has taken the package.

EXT. SCHOOL PARKING LOT

KAI

Who are you and what are you talking about?

MIDDLE: Kai is interrupted and gracefully escapes. Climax/Ultimate expression of the conflict: Rory captures Kai; Kai tricks and severely injures Rory, stealing his car and drives.

END: to the statue dedication ceremony turning in Rory and solving a long unsolved Hawaiian mystery.

INT. KALAHEO HIGH SCHOOL AUDITIRIUM – DAY

The entire Kalaheo High School body is assembled in teh courtyard including on second story walkways facing the courtyard. Kai is introduced among full applause an hundreds of paper airplanes flown toward the sculptures.

KAI

Kai explains the source of the cache and dedicates it’ return.

[Kimbal Thompson]

30 Day Script Lesson 8: Kimbal Thompson’s Add Theme and Antagonist Journey 09.14.21

What I learned doing this assignment is the many intricacies that can develop throughout the theme.

ASSIGNMENT

1. Empowerment

2. Use the High-Speed Writing Rules as you do today’s assignment.

Rule
1: Understand writing in drafts.
Rule
2: Choose speed over quality
for EARLY drafts.
Rule
3: Allow yourself to start (and
continue) without all the answers.
Rule
4: Use empowering self talk. Cheer
yourself on.
Rule
5: Give yourself freedom to
write without criticism.
Rule
6: Keep moving. Don’t allow
yourself to ever stall out.
Rule
7: if it doesn’t come to
you, give it to your creative mind to process.

3. Do Pass 1: Interweave theme throughout the beat sheet.

EAGLE STALLION

Act 1:

INT. KAI’S DINING ROOM – DAY

At the Breakfast table Kai and his parents are discussing his potential advancement to Eagle Scout

KAI’S DAD

(Casually over breakfast)

What are you thinking about for your Eagle project son?

KAI

I’m not.

KAI’S MOM

Why?

KAI

You both are more into Scouting than I am at this point, I’m more interested in looking forward to getting my drivers license.

KAI’S DAD

Not until you finish your Eagle.

KAI’S MOM

I’ll support that.

KAI

That sucks! But, I really have been thinking about it. You have any ideas?

KAI’S DAD

Do you remember Uncle Jim? He was a good friend that you met when you were in diapers. Remember the photo at least?

KAI

Wasn’t he the architect that jumped off the cliff?

KAI’S DAD

Yes, and survived. That was just before your picture with him. He was a talented architect and designed a steel sculpture for High School, that’s in need of restoration.

KAI

That sounds like a lot of work.

KAI’S DAD

Your project is not just supposed to be easy. Besides It would truly be a good deed.

KAI

No good deed goes unpunished!

Inciting Incident: It is suggested he could restore a weathered 2+ story high steel sculpture of a paper airplane stuck into a planter in the courtyard of a local high school. He chooses that as his project although schemes to have the restoration put out to bid for the actual restoration work.

TE 2 School adds to project

Turning Point: School insists he also restore the life-size bronze horse sculpture in which Kai must perform the actual restoration work. Kai accepts.

Act 2:

EXT. SCHOOL COURTYARD – DAY

SCHOOL PRINCIPAL

Kai, we like your idea to restore the Airplane sculpture, but also have something else.

KAI

That’s great, Mahalo. That’s the else?

SCHOOL PRINCIPAL

The school team is the Mustangs and we have a horse in need of restoration.

KAI

What kind of mustang?

• New plan: Kai decides to bring in expertise in restoring large bronze exterior sculptures.

• Plan in action: Utilizing instructions from experts, Kai discovers patch in horse.

• Midpoint Turning Point: Kai’s curiosity leads him to discover why there is a patch, uncovers patch to find a package inside with a valuable cache.

• Act 3:

EXT. TRUCK LEAVING PRISON – NIGHT

• Rethink everything: Rory escapes prison, goes to find the horse and finds it missing

PH: Rory Background and escape thru

EXT. SCHOOL STOREROOM – NIGHT

• Finding the horse missing, he learns of Kai’s project, finds the repaired patch, and goes after Kai

INT. KAI AT HOME ON HIS COMMPUTER

• Turning Point: Huge failure / Major shift: Kai traces the source of the cache, goes after Kai.

Act 4:

Rory chases and catches Kai demanding where he has taken the package.

EXT. SCHOOL PARKING LOT

KAI

Who are you and what are you talking about?

PH Kai is interrupted and gracefully escapes

• Climax/Ultimate expression of the conflict: Rory captures Kai; Kai tricks and severely injures Rory, stealing his car and drives…

• Resolution: . .to the statue dedication ceremony turning in Rory and solving a long unsolved Hawaiian mystery.

4. Do Pass 2 : Build in the Antagonist Journey.

EAGLE STALLION

Act 1:

INT. KAI’S DINING ROOM – DAY

At the Breakfast table Kai and his parents are discussing his potential advancement to Eagle Scout

KAI’S DAD

(Casually over breakfast)

What are you thinking about for your Eagle project son?

KAI

I’m not.

KAI’S MOM

Why?

KAI

You both are more into Scouting than I am at this point, I’m more interested in looking forward to getting my drivers license.

KAI’S DAD

Not until you finish your Eagle.

KAI’S MOM

I’ll support that.

KAI

That sucks! But, I really have been thinking about it. You have any ideas?

KAI’S DAD

Do you remember Uncle Jim? He was a good friend that you met when you were in diapers. Remember the photo at least?

KAI

Wasn’t he the architect that jumped off the cliff?

KAI’S DAD

Yes, and survived. That was just before your picture with him. He was a talented architect and designed a steel sculpture for High School, that’s in need of restoration.

KAI

That sounds like a lot of work.

KAI’S DAD

Your project is not just supposed to be easy. Besides It would truly be a good deed.

KAI

No good deed goes unpunished!

Inciting Incident: It is suggested he could restore a weathered 2+ story high steel sculpture of a paper airplane stuck into a planter in the courtyard of a local high school. He chooses that as his project although schemes to have the restoration put out to bid for the actual restoration work.

TE 2 School adds to project

Turning Point: School insists he also restore the life-size bronze horse sculpture in which Kai must perform the actual restoration work. Kai accepts.

Act 2:

EXT. SCHOOL COURTYARD – DAY

SCHOOL PRINCIPAL

Kai, we like your idea to restore the Airplane sculpture, but also have something else.

KAI

That’s great, Mahalo. That’s the else?

SCHOOL PRINCIPAL

The School team is the Mustangs and we have a horse in need of restoration.

KAI

What kind of mustang?

• New plan: Kai decides to bring in expertise in restoring large bronze exterior sculptures.

• Plan in action: Utilizing instructions from experts, Kai discovers patch in horse.

• Midpoint Turning Point: Kai’s curiosity leads him to discover why there is a patch, uncovers patch to find a package inside with a valuable cache.

• Act 3:

EXT. TRUCK LEAVING PRISON – NIGHT

Rory Ragsdale is wedged between the frame rails beneath the Opala truck exiting the Hawaii Federal Detention Center where he has been an inmate since it’s construction in (date).

RORY

(to himself)

No traffic, first stoplight and I’m outa here, they won’t even miss me until tomorrow.

• Rethink everything: Rory escapes prison, goes to find the horse and finds it missing

PH: Rory Background and escape thru

PH Devise way for Rory background:

From New Jersey, rough childhood, moved with divorced parent to Hawaii while in lower grade, picked on in school, doesn’t like Hawaiian kids, hates scouts. despite being in trouble, enlisted in Air Force at 18, in Guam, court marshalled for what he thought was performing a good deed.. Arrested in Hawaii for major crime and incarcerated. Careful to not give much information on source of cache that he has hidden to insure his future once out of prison.

EXT. SCHOOL STOREROOM – NIGHT

• Finding the horse missing, he learns of Kai’s project, finds the repaired patch, and goes after Kai

INT. KAI AT HOME ON HIS COMMPUTER

• Turning Point: Huge failure / Major shift: Kai traces the source of the cache, goes after Kai.

Act 4:

Rory chases and catches Kai demanding where he has taken the package.

EXT. SCHOOL PARKING LOT

KAI

Who are you and what are you talking about?

PH Kai is interrupted and gracefully escapes

• Climax/Ultimate expression of the conflict: Rory captures Kai; Kai tricks and severely injures Rory, stealing his car and drives…

• Resolution: . .to the statue dedication ceremony turning in Rory and solving a long unsolved Hawaiian mystery.

[Kimbal Thompson]

EAGLE STALLION

Act 1:

INT. KAI’S DINING ROOM – DAY

At the Breakfast table Kai and his parents are discussing his potential advancement to Eagle Scout

TE 1. Kai, a reluctant Eagle Scout candidate must complete an Eagle Scout Project.

• Inciting Incident: It is suggested he could restore a weathered 2+ story high steel sculpture of a paper airplane stuck into a planter in the courtyard of a local high school. He chooses that as his project although schemes to have the restoration put out to bid for the actual restoration work.

TE 2 School adds to project

• Turning Point: School insists he also restore the life-size bronze horse sculpture in which Kai must perform the actual restoration work. Kai accepts.

Act 2:

EXT. SCHOOL COURTYARD – DAY

SCHOOL PRINCIPAL

Kai, we like your idea to restore the Airplane sculpture, but also have something else.

KAI

That’s great, Mahalo. That’s the else?

SCHOOL PRINCIPAL

The School team is the Mustangs and we have a horse in need of restoration.

KAI

What kind of mustang?

• New plan: Kai decides to bring in expertise in restoring large bronze exterior sculptures.

• Plan in action: Utilizing instructions from experts, Kai discovers patch in horse.

• Midpoint Turning Point: Kai’s curiosity leads him to discover why there is a patch, uncovers patch to find a package inside with a valuable cache.

• Act 3:

EXT. TRUCK LEAVING PRISON – NIGHT

• Rethink everything: Rory escapes prison, goes to find the horse and finds it missing

PH: Rory Background and escape thru

EXT. SCHOOL STOREROOM – NIGHT

• Finding the horse missing, he learns of Kai’s project, finds the repaired patch, and goes after Kai

INT. KAI AT HOME ON HIS COMMPUTER

• Turning Point: Huge failure / Major shift: Kai traces the source of the cache, goes after Kai.

Act 4:

Rory chases and catches Kai demanding where he has taken the package.

EXT. SCHOOL PARKING LOT

KAI

Who are you and what are you talking about?

PH Kai is interrupted and gracefully escapes

• Climax/Ultimate expression of the conflict: Rory captures Kai; Kai tricks and severely injures Rory, stealing his car and drives…

• Resolution: . .to the statue dedication ceremony turning in Rory and solving a long unsolved Hawaiian mystery.

[Kimbal Thompson]

30 Day Script Lesson 6: Kimbal Thompson’s Transformational Events 09.12.21

What I learned doing this assignment is the many additional aspects that could be added to this adventure. Also, the potential this could also offer as a framework for a Comedy or Superhero story.

ASSIGNMENT

1. Empowerment

2. Start with the Character Arc and the list of Old Ways and New Ways.

Kai Old Ways

Looking for the accomplishing
project as a requirement .
Dedicated and driven to be the
best.
Blind to how others may see his
motivations

Kai New Ways

Self-confident and accomplished.
Operates well in and beyond the
Scouts.
Considers the greater
possibilities of what he can accomplish.

4. Make a list of 6 – 8 changes or steps that need to happen for that character to go from who they are in the beginning (Old Ways) to who they are in the ending (New Ways).

1. Kai accepts “Airplane Restoration” as Eagle Project

2. Kai devises scheme of putting the project out “to bid” rather than performing actual work

3. School insists “Horse“ be added to project and that Kai performs actual restoration work

4. Kai discovers patch in bronze while restoring horse

5. He doesn’t tell anyone but removes patch and discovers package with cache & removes

6. Kai researches possible origin of what he found in the package

7. Rory finds Horse is missing and tracks down Kai to recover package and silence Kai

8. Rory confronts Kai who takes command of situation to defeat Rory.

4. Sequence the steps from easiest to most difficult. This will imply the journey the character takes.

1. Kai accepts “Airplane Restoration” as Eagle Project

2. Kai devises scheme of putting the project out “to bid” rather than performing actual work

3. School insists “Horse“ be added to project and that Kai performs actual restoration work

4. Kai discovers patch in bronze while restoring horse

5. He doesn’t tell anyone but removes patch and discovers package with cache & removes

6. Kai researches possible origin of what he found in the package

7. Rory finds Horse is missing and tracks down Kai to recover package and silence Kai

8. Rory confronts Kai who takes command of situation to defeat Rory.

5. Brainstorm dramatic events or tests that could cause those changes for the character.

6. Add these transformational events to your four-act structure.

Act 1:

Opening:
Kai, a reluctant Eagle Scout candidate must complete an Eagle Scout
Project.
Inciting
Incident: It is suggested he could restore a weathered 2+ story high steel
sculpture of a paper airplane stuck into a planter in the courtyard of a
local high school. He chooses that as his project although schemes to have
the restoration put out to bid for the actual restoration work.
Turning
Point: School insists he also restore the life-size bronze horse sculpture
in which Kai must perform the actual restoration work. Kai accepts.

Act 2:

New
plan: Kai decides to bring in expertise in restoring large bronze exterior
sculptures.
Plan in action: Utilizing instructions from experts,
Kai discovers patch in horse.
Midpoint Turning Point: Kai’s curiosity leads him to
discover why there is a patch, uncovers patch to find a package inside
with a valuable cache.
Act 3:

Rethink
everything: Rory escapes prison, goes to find the horse and finds it
missing
Finding
the horse missing, he learns of Kai’s project, finds the repaired patch,
and goes after Kai
Turning
Point: Huge failure / Major shift: Kai traces the source of the cache,
goes after Kai.

Act 4:

Climax/Ultimate
expression of the conflict: Rory captures Kai; Kai tricks and severely
injures Rory, stealing his car and drives…
Resolution:
. .to the statue dedication ceremony turning in Rory and solving a long
unsolved Hawaiian mystery.

[Kimbal Thompson]

30 Day Script Lesson 5: Kimbal Thompson’s Four-Act Transformational Structure 09.11.21

What I learned doing this assignment is a start to this adventure. .

ASSIGNMENT

1. Create a first draft of your 4 Act Transformational Structure.

2. Give us the following:

1. Concept: Kai, 14-year-old scout whose parents won’t let him get a driver’s license until he becomes an Eagle Scout for which he must complete an Eagle Scout project. His initial project is to restore a steel paper airplane sculpture at a local High School Courtyard although the school insists he also restore the full-size bronze sculpture of a horse that has been long stored away.

In restoring the horse, he discovers it has been patched, finds and takes a hidden cache from inside the horse. Meanwhile, Rory, the convicted killer that hid the cache escapes prison, finds the horse missing from storage and learns of the Eagle Scout project. He ruthlessly pursues Kai.

for the cache, and out of sheer vengeance. .

Main
Conflict: Solving the origin of the cache mystery. Rory and Kai; Finishing
the project.
Old
Ways: Complete the Project, obtain the rank of Eagle, get Driver’s
License.,
New
Ways: Get rid of the convicted killer, get a reward, complete the Project,
obtain the rank of Eagle, get Driver’s License.

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

Act 1:

Opening:
Kai must complete an Eagle Scout Project
Inciting
Incident: Selects project for the restoration of large metal paper
airplane sculpture at a local high school courtyard.
Turning
Point: School insists he also restore the life-size bronze horse
sculpture. Kai accepts.

Act 2:

New
plan: Kai decides to bring in expertise in restoring large bronze exterior
bronze sculptures.
Plan
in action: Utilizing instructions from experts, Kai discovers patch in
horse.
Midpoint
Turning Point: Kai’s curiosity leads him to discover why there is a patch.

Act 3:

Rethink
everything: Rory escapes prison, goes to find the horse and finds it
missing
Finding
the horse missing, he learns of Kai’s project, finds the repaired patch,
and goes after Kai
Turning
Point: Huge failure / Major shift: Kai traces the source of the cache,
goes after Kai.

Act 4:

Climax/Ultimate
expression of the conflict: Rory captures Kai; Kai tricks and severely injures
Rory, stealing his car and drives…
Resolution:
. .to the statue dedication ceremony turning in Rory and solving a long
unsolved Hawaiian mystery.

3. Once you have created the 4-Act Structure for your Protagonist, go back over it to see if there is any big picture points you need to add to represent your Antagonist. Rory hates both paper airplanes and Scouts.

[Kimbal Thompson]

30 Day Script Lesson 4: Kimbal Thompson’s Character Interviews 09.10.21

What I learned doing this assignment is getting to know the cast better.

ASSIGNMENT

1. Empowerment

2. Pull out the character profiles for your protagonist and antagonist.

3. Then interview each character, knowing that they will answer any questions you ask. As you interview them, allow them to tell you their experience.

4. Add any new info to your Character Profiles and share with us what discovered about the characters.

Protagonist: Kai.

What
draws us to this character? He’s physically attractive, multi-ethnic,
talented and assumes leadership
Traits:
good sense of humor, honest, well-accepted by peers
Subtext:
hiding his basic lack of enthusiasm for scouting
Flaw:
procrastination
Values:
honesty, integrity, love of Hawaiian culture
Irony:
while initially not too into the project, he becomes self-absorbed with
it.
What
makes this the right character for this role? Age, time, and circumstance

Antagonist: Rory

What
draws us to this character? He’s obviously a scumbag
Traits:
grizzly, not honest, ruthless
Subtext:
he will kill to achieve his goals
Flaw:
not too sharp
Values:
manipulating people, greed, freedom
Irony:
As clever as his scheme was conceived, he failed to conceive of what could
go wrong.
What
makes this the right character for this role? He’s a non-caring creep.

3. Make any improvements you think of to your Part 1 profile and bring the two parts together.

Role
in the story: Protagonist Kai
Age
range and Description: normal bright athletic 14.5-year-old teen male

Internal
Journey: from feeling reluctantly required to perform a scout rank task to
knowing he took the lead in solving a long-time community mystery (and
pride in completing the project).
External
Journey: from questioning why he was doing the project manipulated by his
parents to bring down a notorious outlaw. :

Motivation:
To finish the project enabling him to get his driver’s license.
Wound:
Having to always depend on his parents.
Mission/Agenda:
To complete the restorations, obtain the rank of Eagle and move on.:
Secret:
:He really was not too excited about scouting.
What
makes them special? His ability to discover more in the process of the project
and pursue it.

Role
in the story: Antagonist: Rory
Age
range and Description: 50-something hardened convict out of prison

Internal
Journey: from feeling confident he could find the cache of jewels he hid
before prison, discovering missing to whatever it takes to retrieve
External
Journey: from discovering the missing cache to hunting down who took it.

Motivation:
To retrieve his cache, cash it in and move on.
Mission/Agenda:
find the missing cache and punish who took it
Secret: :How he came by the cache and how he hid it.
What makes them special? His lack of
foresight in being able to pull off the “perfect” crime.

Questions for Protagonist: Kai

Kai,
tell me about yourself. I was born at Kapiolani, raised on the windward
side, like water sports including swimming, kayaking, canoe paddling. I am
in a Hula Halau and played soccer. I’ve already started dating and have a
girlfriend. Basically, my parents are insisting I achieve Eagle Scout
before I can get my driver’s license.
Why
do you think you were called to this journey? To get my Eagle. Why you?
Because my dad and uncle were both Eagle Scouts and believe it ‘character
building.’ Maybe for them.
You
are up against . Getting the project approved by the Scouts and school in
time to finish it by the time I can apply for my license, basically a
little less than a year. What is it about them that makes this journey
even more difficult for you? The fact that the airplane sculpture was made
by an old friend of my dad. Now, the school is insisting that I also
refinish an old life-size bronze horse.
In
order to survive or accomplish this, you are going to have to step way
outside of your box. What changes do you expect to make and which of them
will be the most difficult? I need
to find a good way to learn to do all of this.
What
habits or ways of thinking do you think will be the most difficult to let
go of? Not really wanting to do it.
What
fears, insecurities and wounds have held you back? I just don’t want to
disappoint anyone or fail.
What
skills, background or expertise makes you well-suited to face this
conflict or antagonist?

It is interesting and we can learn some new skills.

What
are you hiding from the other characters? What don’t you want them to
know? While I have encouraged some fellow scouts to participate with me, I
really have no idea what we are getting into.
What
do you think of ? Good question!
Tell
me your side of this whole conflict / story. I was never too excited about
scouting, yet here we are.
What
does it do for your life is you succeed here? It will prove I can do it,
get my driver’s license, achieve Eagle and quit Scouts.

Questions for Antagonist: Rory

Rory,
Tell me about yourself. Born in New Jersey, move to Hawaii at about ten.
Went to rough school where they had ‘Kill Haole Day” Got into a fair
amount of trouble but was accepted when I enlisted in the Air Force at 18.
Was sent to Guam in late 80’s, court-martialed, back in Hawaii for a year
before my arrest for attempted murder and imprisoned until I recently
served my term.
Having
to do with this journey, what are your strengths and weaknesses? I planned
for my future, now I will complete my plan.
Why
are you committed to making the Protagonist fail? The little shit got my
retirement. Or for a relationship movie, why are you committed to making
them change? Damn right!
What
do you get out of winning this fight / succeeding in your plan / taking
down your competition? Outta here rich, took care of him and back to my
future.
What
drives you toward your mission / agenda, even in the face of danger, ruin,
or death? To finish my plan.
What
secrets must you keep to succeed? My prior role in this/What other secrets
do you keep out of fear / insecurity? Others that were involved catching
up with me.
Compared
to other people like you, what makes you special? I’m getting away with
this.
Tell me your side of this whole conflict
/ story. I made off with some of the missing treasure.

[Kimbal Thompson]

30 Day Script Lesson 3: Kimbal Thompson’s Character Profiles Part 209.09.21

What I learned doing this assignment is.

ASSIGNMENT

1. Empowerment

2. Fill in Part 2 of the character Profile for your two lead characters

Protagonist: Kai.

What
draws us to this character? He’s physically attractive, multi-ethnic,
talented and assumes leadership
Traits:
good sense of humor, honest, well-accepted by peers
Subtext:
hiding his basic lack of enthusiasm for scouting
Flaw:
procrastination
Values:
honesty, integrity, love of Hawaiian culture
Irony:
while initially not too into the project, he becomes self-absorbed with
it.
What
makes this the right character for this role? Age, time, and circumstance

Antagonist: Rory

What
draws us to this character? He’s obviously a scumbag
Traits:
grizzly, not honest, ruthless
Subtext:
he will kill to achieve his goals
Flaw:
not too sharp
Values:
manipulating people, greed, freedom
Irony:
As clever as his scheme was conceived, he failed to conceive of what could
go wrong.
What
makes this the right character for this role? He’s a non-caring creep.

3. Make any improvements you think of to your Part 1 profile and bring the two parts together.

Role
in the story: Protagonist Kai
Age
range and Description: normal bright athletic 14.5-year-old teen male

Internal
Journey: from feeling reluctantly required to perform a scout rank task to
knowing he took the lead in solving a long-time community mystery (and
pride in completing the project).
External
Journey: from questioning why he was doing the project manipulated by his
parents to bring down a notorious outlaw. :

Motivation:
To finish the project enabling him to get his driver’s license.
Wound:
Having to always depend on his parents.
Mission/Agenda:
To complete the restorations, obtain the rank of Eagle and move on.:
Secret:
:He really was not too excited about scouting.
What
makes them special? His ability to discover more in the process of the
project and pursue it.

Role
in the story: Antagonist: Rory
Age
range and Description: 50-something hardened convict out of prison

Internal
Journey: from feeling confident he could find the cache of jewels he hid
before prison, discovering missing to whatever it takes to retrieve
External
Journey: from discovering the missing cache to hunting down who took it.

Motivation:
To retrieve his cache, cash it in and move on.
Mission/Agenda:
find the missing cache and punish who took it
Secret: :How he came by the cache and how he hid it.
What makes them special? His lack of
foresight in being able to pull off the “perfect” crime.

[Kimbal Thompson]

30 Day Script Lesson 2: Kimbal Thompson’s Who Are We Traveling With? 09.08.21
What I learned doing this assignment is the myriad of directions this could take.
ASSIGNMENT
1. Empowerment.
2. Pick the type of role your Protagonist will play and give us a few sentences on how they will fulfill that
role. Likely a combination of these:
 Explorer: taking on a project for which he will push his bounds of knowledge
 Runner: must accomplish this project to advance
 Fighter: must become such to survive and the challenge of the conflict
 Dreamer: must imagine the future rewards in accomplishing this project for the future..
3. Pick the type of role your Antagonist will play and give us a few sentences on how they will fulfill that
role.
 Villain: a real villain
 Change Agent; is the change agent
 Predator; is such
4. What other characters might be necessary?
 Supporting characters:
Parents
Fellow scouts assisting with project
School Principal
School Custodian
Scout Leader
Project Advisor
:
 Minor roles:
School students
 Background characters:
School students
Other Scouts
5. Pick your genre.
 Action
 Drama
 Thriller
6. Fill in whatever answers come to you about your lead character profiles.
 Role in the story: Protagonist
 Age range and Description: normal bright athletic 14.5-year-old teen male
 Internal Journey: from feeling reluctantly required to perform a scout rank task to knowing he took
the lead in solving a long-time community mystery (and pride in completing the project).
 External Journey: from questioning why he was doing the project manipulated by his parents to
bring down a notorious outlaw. :
 Motivation: To finish the project enabling him to get his driver’s license.
 Wound: Having to always depend on his parents.
 Mission/Agenda: To complete the restorations, obtain the rank of Eagle and move on.:
 Secret: :He really was not too excited about scouting.
 What makes them special? His ability to discover more in the process of the project and pursue it.
 Role in the story: Antagonist
 Age range and Description: 50-something hardened convict out of prison
 Internal Journey: from feeling confident he could find the cache of jewels he hid before prison,
discovering missing to whatever it takes to retrieve
 External Journey: from discovering the missing cache to hunting down who took it.
 Motivation: To retrieve his cache, cash it in and move on.
 Mission/Agenda: find the missing cache and punish who took it
 Secret: :How he came by the cache and how he hid it.
 What makes them special? His lack of foresight in being able to pull off the “perfect” crime.

[Kimbal Thompson]

30 Day Script Lesson 1: Kimbal Thompson’s Transformational Journey 09.07.21
What I learned doing this assignment is a good story can appear form when least expected.
ASSIGNMENT
1. You send a Hero on a journey that the audience gets to live.
2. Who is your Hero: Kai, 14-year-old scout whose parents won’t let him get a driver’s license until
he becomes an Eagle Scout for which he must complete an Eagle Scout project.
His Character Arc that represents a transformation is: Selects restoring a paper airplane sculpture
at a local High School Courtyard and the school insists he also restore the bronze sculpture of a
life-size Horse long ago donated to the school, The school Mascot is a Stallion. In refinishing the
horse, he finds it has a hollow cavity he further pursues, and which leads to his transformation.as
a hero in the community.
 Internal Journey: From wanting to complete the project for to getting it behind him:
 External Journey: To solving a past mystery for which he is internally and externally rewarded.
3. What are the old ways and what are the new ways?
Kai Old Ways
1. Looking for the accomplishing project as a requirement .
2. Dedicated and driven to be the best.
3. Blind to how others may see his motivations
Kai New Ways
1. Self-confident and accomplished.
2. Operates well in and beyond the Scouts.
3. Considers the greater possibilities of what he can accomplishe..

[Kimbal Thompson]

I agree to the terms o the release form.

[Kimbal Thompson]

Aloha, I am Kimbal Thompson

Written or in progress : 4 scripts

an additional new script in 30-days + all that implies

I slipped out of my 2^nd period High School Studyhall in Indiana, to run away to Hawaii and in California the car stopped next to me at a red light was a relative. I returned to a Military School. Two years later, I was living in La Jolla and surfing with a well-known surfer. Shortly thereafter, by way of the Frank Lloyd Wright School of Architecture, I was living in Hawaii where I am an architect and now, Screenwriting.

[Kimbal Thompson]

Kimbal Thompson BWAI M1, L9 Inviting Obsession Through Open Loops

What I learned doing this assignment is how big and little picture open loops are used to create obsession throughout a series.

ASSIGNMENT 1

1. Think about the Diplomat. Make a list of the Big Picture open loops that were established early in the season.

· Who attacked th British Aircraft Carrier?

· Will Kate succeed as the Ambassador to England?

· Why does Kate want to go to Kabul?

· Will Kate become Vice President?

· Will others continue refer to Kate as Ambassador rather than referring to Hal as such?

· Why did Kate check to see if sheets were on the Guestroom bed?

· Will Hal let Kate perform her responsibilities without him?

· Will Hal get a car in England?

· Can Kate break the protocol?

· Did Hal manipulate Kates’s meetings?

· Can the U.S. Secretary of State perform?

· Why is the President at odds with his Secretary of State?

· Why is Kate being kept away from Meg?

· Will the aerial photo of the Iranian boat cause Gannon to react publicly?

· Will Gannon be able to get rid of Gannon?

· Will Hal be gone soon?

· Will Kate take Hal back?

· Does Hal want Kate to become VP?

· Who is kidnapping Hal?

2. Go back and watch the pilot again. As you do, notice how many open loops are being used to create the need to see future episodes. At least those above.

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ASSIGNMENT 2:

1. Use this list to brainstorm big picture open loops for your first season that you will use to keep the audience captivated.

GOALS:

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