Margaret Gendreau
Forum Replies Created
-
What I learned doing this lesson is that by thinking about what makes my main characters the best version for the show I engage my imagination and creativity before I’ve written a word on my pilot ensuring a greater level of success.
The Diplomat:
Kate Wyler
A. Role in the show: The newly appointed Ambassador to London who really wants to be in Kabul and far away from her husband who has secretly plotted to make her Vice President.
B. Unique Purpose / Expertise: A career diplomat who may actually have the chops to do what needs to be done but could never win an election because she is not petty and can stand pageantry of any kind.
C. Intrigue: What is secret beneath the surface? She has a seething anger at her husband who constantly lies and manipulates her. She knows he’s actually doing good but it feels like he’s undermining her and her anger threatens to erupt.
D. Moral Issue: What moral boundaries are they crossing? Does she stay married to someone who drives her crazy Evan though she relies on him? Does she give up the Bice Presidency because she can’t take him anymore or should she lie to everyone?
E. Unpredictable: What will they do next? She literally beats the crap out of her husband in the woods and then tells the President what’s what while covered in dirt and bramble getting him to change directions and adverting being pulled into a war with Iran.
F. Empathetic: Why do we care? We care because we really want to see Kate succeed despite all.
Assignment 2:
Journey: we all know Shakespeare’s plays and words and now we find out their true origin, the ultimate woman behind the man who makes a business arrangement and partnership with William Shakespeare but falls in love, has children, gets her heart broken multiple times and ends up in a loving, respectful marriage with Shakespeare that has endured the tests t of time.
Characters that sell the show: Anne and Shakespeare and Margaret
Role in the show:
Anne: brilliant mind and writer living in a time women are relegated to second class citizens.
Shakespeare: The face of the team, likes to think he’s giving Anne a way to live in the world she finds herself in but is that actually true?
Unique Purpose/Expertise:
Anne: Anne Hathaway enters into an arrangement with William Shakespeare to escape from a marriage arranged by her stepmother and to utilize her genius but ends up complicating things when she falls in love.
Shakespeare: William is an actor charming and the perfect front for Anne’s words.
Intrigue:
Anne: Anne and William are playing they are in love and every moment their sham arrangement, she is the writer, he the mouthpiece, threatens to expose them, but Anne has a bigger secret, she really is in love.
Shakespeare: Shakespeare’s biggest gift is his ability to spot talent and his secret is that he is really jealous of the talented wife and fears he would be nothing without her words.
Moral Issue:
Anne: The mores of the day are that a woman only exists to serve the needs of her husband, her children and the community/kingdom. Anne and her friend Margaret with Shakespeare’s cover consistently threaten the mores society is based on. Not too much earlier Henry VIII killed several of his wives and physical violence is never far away in 1582
Unpredictable:
Anne: Anne doesn’t tell Margaret she’s in love and doesn’t stick up for her when the watchmen beat her Anne doesn’t step in. Later we find out Anne’s pregnant with Susanna. She tells Margaret what good would it do you if I were beat up too. Who would take care of you?
Shakespeare: Shakespeare takes bribe money to have nothing to do with Anne but marries her in a secret ceremony anyway. He acts the cad but can be so kind to Anne and the children.
Empathetic:
Anne and Shakespeare: every woman feels great sympathy for Anne and every man who thinks they are a nice guy and advocate identifies with Shakespeare and his confusion when he gets it wrong.
My AI Generated Characters:
Anne Hathaway:
A. Protagonist, hidden genius playwright
B. Writing talent and intellect
C. Seeking empowerment and recognition
D. Deceiving society about authorship
E. Could expose truth and upend partnership with Will
F. Tenacious struggle for self-expression
William Shakespeare:
A. Anne’s charismatic frontman
B. Acting skills and showmanship
C. Thirst for fame and legacy
D. Plagiarizing Anne’s work as his own
E. Could betray Anne to elevate status
F. Flawed but relatable ambition
Margaret Lewis:
A. Anne’s lifelong friend, confidante
B. Wit, humor, and emotional support
C. Feisty spirit that inspires Anne’s writing
D. Must keep Anne’s secret authorship
E. Could turn on Anne out of jealousy
F. Shared history connects her to Anne
John Heminges:
A. Will’s trusted actor comrade
B. Theatrical expertise and network
C. Privileged background slumming it on stage
D. Enabling Will’s deception of authorship
E. Could sell Anne’s secret to the highest bidder
F. Bonded to Will through brotherhood
-
Lesson 2:
What I learned completing this lesson is the importance of thinking of your show’s characters before writing. In my head is now a world fully populated with characters waiting to break out and be heard. My show will be richer from thinking of characters upfront and AI was very helpful in helping me see this world.
A. Main Characters:
Anne Hathaway – The secret playwright behind Shakespeare’s works.
William Shakespeare – Actor who becomes the public face of Anne’s plays.
Margaret Lewis – Anne’s childhood friend who inspires her writing.
John Heminges – Will’s best friend and fellow actor.
B. Connected Characters:
Joan Shakespeare – William’s mother who disapproves of his marriage.
Thomas Hathaway – Anne’s older stepbrother who complicates her inheritance.
Local politicians, authorities, administrators – Obstacles for Anne.
C. Environment Characters:
Theaters owners, actors, playwrights, patronsClergy, priests, nunsNobility, ladies and lords of the courtServants, maids, cooks, laborersMerchants, vendors, money lenders
-
What I learned completing this assignment is in my head I know see cast as a bullseye with the main characters closest to the action and moving out towards the bystanders. This visual will help me greatly in designing my show.
The Diplomat Character Circles
A. Main Characters Circle: Kate Wyler, Hal Wyler, Stuart Heyford, Foreign Secretary Austin Dennison
B. Connected Circle: Eidra Park, President Rayburn, Secretary of State Ganon, Prime Minister Trowbridge, Chief of Staff Billie Appiah, Francis Munning, Ronnie, Alyse, Lucinda, Margaret Rowland, Byron, Howard, Pensy, Martin
C. Environment Circle: Staff at Winfield, Security Detail, the Embassy staff, old work colleagues, the families of the dead British soldiers, stylists, photographers, the CIA team, Kidnappers, the government officials, the foreign operatives, bystanders
-
The Diplomat
The Diplomat 5 Star Model
What I learned doing this assignment is that this pilot, The Cinderella Thing, is near perfect. I watched this show for entertainment purposes when it first came out and I was totally obsessed but didn’t spend any time on the why. I can not watch this show and stay on task so it took reading the transcript, several times and multiple viewings to discover some of her secrets…
Also I learned a lot about quick dialogue. I’ve cut my dialogue immensely but the short sentences, cutting each other off and cross talk really helps create a frenetic energy that I’d like to duplicate.
Another thing the writer did over the course of the pilot was to keep upping the death toll of the British soldiers dead from the attack on their aircraft carrier in the gulf near Iran. The ever growing number adds to the tension and the elevated stakes throughout.
Not one scene is there that doesn’t add to the tension, intrigue and obsession of this show.
Big Picture Hooks —
Kate is a career diplomat who has always played second fiddle to her narcissistic boss/husband and has had enough of his scheming, chaotic ways. She’s been named Ambassador to Kabul and he’s agreed to help her get settled in her new post and then the two will go their separate ways. An explosion on an English aircraft carrier off the coast of Iran and scheming by a few people including the President and her husband (unbeknownst to her) bring her to the top diplomatic post in London in order to test her for the Vice President role. She has to stop a potential war with Iran and has to survive the Secretary of State who wants her out, the traditionally ceremonial role in London and most importantly her husband, Hal.
2. Amazing and Intriguing Character
Kate Wyler— A career civil servant and reluctant new Ambassador to London who wants to make a difference in the world doing substantive work, bristles at the thought of being feminine or acting anything but her true self (jeans and an old tee shirt sans makeup rather than Armani), but conversely nothing can cover her beauty. She has to step into the spotlight to get what she wants but abhors the light. She is a process person while her husband believes the end justifies the means no matter the cost. Her frustration level might boil over and blow all those secret plans but she is the ultimate problem solver and luckily can think on her feet.Hal Wyler — The husband who has agreed to use his talent and experience to help her land on her feet as a newly appointed Ambassador. But Hal has never had to share the spotlight before and he’s not good at it. He’s agreed to stop scheming to help her and save the world but her literally can’t help himself. He secretly thinks he can solve all problems including the problems in their marriage. He is Machiavellian but uses his ‘talents’ for good.Stuart Heyford, Chief of Mission – Billie, the Chief of Staff, leans on Kingmaker Stuart to vet Kate and see if she’s the person for the VP role coming vacant in the near future due to a scandal. Stuart wants none of it but is forced once he finds out Kate is his new boss. He doesn’t like he’s in on a secret Kate doesn’t know about, or his partner in crime is her husband Hal, the agent of chaos, and he has no interest in reprising his role as Kingmaker for reasons we’re not privy to and yet by the end of the Pilot he sees an opportunity and can not help himself.
3. Empathy / Distress
Kate:
Kate is packing for her dream as ambassador in Kabul when she is asked to brief the White House. They actually asked her to the White House to name her as Ambassador to London. She is devastated but can’t say no to the President. This is the scene at the White House- it causes a lot of empathy for Kate- brilliant:
Billie: Hey. Come on in.
Kate: Can your guy make two copies of this? I made a list of who in Tehran could order a strike on a British vessel and who seemed pissed off we took their tanker.
Billie: I think they’re all pissed off.
Hal: But some tweeted about it and not who you’d expect.
President Rayburn: Billie. We gotta go.
Kate: I guess you can share one.
Billie: This is Katherine Wyler. She was our number two in Beirut and Islamabad.
Kate: When we seized the tanker last week, the Iranian regime signaled its outrage in a couple of unusual ways.
President Rayburn: What is she doing?
Billie: She knows a lot about Iran. I didn’t get into what we wanted to discuss.
Kate: This would be easier if you each had your own copy.
Billie: Have a seat.
Kate: Okay.
President: How’s Hal?
Kate: He’s good.
Rayburn: He’s a good man.
Kate: Thank you.
Rayburn: Did great work in Afghanistan.
Kate: Sure did.
Billie: We don’t have anyone in London.
Kate: Mm-hm.
Rayburn: A bad time not to have anyone in London.
Kate: Right.
Rayburn: Twenty-five of their sailors get killed because Iran wants to send me a message.
Kate: We don’t know it was Iran.
Billie: Whoever it was, we need someone substantial to be the ambassador in London.
Kate: He’ll be great. He’s a great choice.
Billie: I’m sorry?
Kate: Hal. And you didn’t have to ask me. We worked in different countries before.
Billie: We’re not talking about Hal. You’re experienced. You’d signal we’re taking this seriously. You’d be at every funeral, memorial…
Kate: Sorry, I’m going to Kabul.
Billie: We’ll take care of that.
Kate: They’ll love Hal in London. He’s good at all that.
Rayburn: It’s not gonna be Hal.
Kate: Why not?
Rayburn: Because he called the secretary of state a war criminal. I promised I wouldn’t send him anywhere ever again.
Billie: I realize London has a ceremonial component to it and you were ready to do more substantive work in Kabul.
Kate: I’m hoping to save a shred of what we spent 2400 American lives building. It feels substantive.
Rayburn: Billie.
Kate: I’m just saying it’s hard to imagine.
Rayburn: She can’t imagine it.
Billie: The president is asking you to serve as ambassador to the United Kingdom. We have a plane waiting. We’d like you to get on it.
Kate: It is an honor and a privilege.
Rayburn: That’s more like it.
Billie enlists Stuart to take a look at Kate to see if she is Vice President material (only a handful of people know and Billie doesn’t want anyone else in on the secret). People are plotting behind Kate’s back making us feel more empathy for her.Kate arrives at her new residence, which looks like a palace and the “staff” is outside to greet her. It literally is Kate’s idea of hell and she asks if they are going to do this every time.Her senior staff is explaining about the ceremony of presenting her to Buckingham Palace and they want to do a dry run so there are no problems with the carriage. They want a reporter present and a photographer. Here is her response when they ask if she has anything appropriate to wear:
Kate: I am not Cinderella. I’m here for 30 funerals. The only tea-length garment I packed is a burka. I have a black suit and another black suit, and I’m not getting dressed by someone named Pippa so a women’s magazine can ask who I’m wearing and what advice I have for little girls.
Unprecedentedly she is almost immediately in a call between the Prime Minister of England and the U.S. President. Afterwords she is debriefing Stuart. She is on shaky ground and we feel it, the President is acting like a loose cannon and she can’t officially start to do her real work until Secretary of Stare Ganon calls the Foreign Secretary and yet she’s already in the middle of it:
Kate: Death toll’s up to 32, and the president offered to carpet-bomb Tehran.
Stuart: What? What did the PM say?
Kate: He was polite but I’m sure he’s worried. I’ll try to dial it down when we speak to the foreign secretary.
Stuart: That could take a moment. To get to the foreign secretary. Secretary of state hasn’t called him yet. And likely won’t until he’s had a chance to speak with the Saudis and the UAE.
Kate: Secretary Ganon hasn’t called him yet?
Stuart: No.
Kate: So I can’t call him.
Stuart: Yeah, you really can’t call anyone. The whole thing is not ideal. This is your wing.
The Foreign Secretary ambushes Kate while taking a photo after she’s presented her credentials. He asks to speak to her which is not great because Ganon hasn’t called him yet.After Kate and the Foreign Secretary speak he mentions he’s about to brief the Prime Minister and would she like to join? She says she doesn’t think it’s a great idea just as she’s whisked into a room with the Prime Minister.Kate has a video call with Ganon. He’s pissed because she’s only been in the post for an hour and Kate has already been in two conversations with the Prime Minister. Just this little bit of dialogue from the end of this scene and you can feel the tension:
Ganon: Inform your friend the PM that Rayburn’s a lot of talk. He’s not planning to “light up” the Republic of Iran.
Kate: They need to hear it from you. On its face, it’s credible. We have an elderly president who just lost the House and we have a young VP who’d be glad to prove she likes to blow things up.
Ganon: That is my problem. Not yours.
Kate: Not if they can’t get you on the phone, sir, then apparently it’s mine.
Here everything changes. Stuart understands how Hal operates…that there is a price for everything Hal does and to pay Kate back for not cooperating with his little scheme, Hal goes to the memorial and announces he is Ambassador Wyler purposely fucking things up for Kate and her staff. This is the first time Hal appears vindictive and you can’t help but feel for Kate:
man: Raymond Braysdale, MP Aberconwy.
Stuart: Ambassador Wyler, United States.
( inaudible dialogue )
Stuart: Ma’am, look at me. Mr. Wyler’s here. Does he know Meg…? Don’t look over there. Does he know Meg Roylin?
Kate: I don’t know. Is he talking to Meg whoever?
Stuart: Roylin.
Kate: Is that a problem?
Stuart: She’s a Tory operative. She built the strategy behind Trowbridge’s campaign. Then he fired her when the papers started saying she was the brains behind the operation. She takes racists and turns them into lovable guys you wish had time to coach peewee soccer.
Kate: Remember I told you there would be a price? For Dennison?
( cell phone ringing )
Hal: Hey.
Kate: Stop moving.
Hal: How did it go at the Foreign Office?
Kate: I think You know exactly how it went.
Hal: I’ll be right there, but I got someone I want you to meet.
Stuart: No. Absolutely no.
Hal: Uh-oh. Bad connection. Come on.
Kate: Now you’ve met my husband.
Stuart: Pull her.
Kate: Really?
Stuart: Your first media hit in the country can’t be a candid with Meg Roylin.
Pardon us.
Thank you, thank you.
Step aside, please.
Pardon us. Step aside, please.
This way, ma’am. Step aside.
Metropolitan Police.
Kate: This is a lot.
This way.
She’s not in cardiac arrest. We’re just trying to go.
Martin: Sir? Thank you, sir.
Hal: Not today. So sorry. Not to worry. I’ll call you.
Thank you.
man: Sir, your name, please? Ambassador Wyler, United States.
( camera shutter clicks )
This is the scene where Kate is forced to choose. She didn’t want London to begin with, she’s hated every minute but now Ganon is trying to get rid of her and she’ll have to fight for it. She commits by doing what she hates most, playing Cinderella;
Kate: No, “atrocity.” Atrocity. It means “killing people and hacking them up into little pieces.” Darya, if you say “women’s health,” they think they’re funding a yoga studio in Jalalabad. Listen, I gotta go.
Stuart: Okay. Ganon’s trying to get rid of you.
Kate: That was fast.
Stuart: An apology could take the edge off.
Kare: He’s trying to keep the Gulf from boiling over. I’m not calling him to say I made an oopsie.
Stuart: Might be worth it. Hmm.
Kate: In a week, the Brits will have set the tone. Ganon won’t remember any of this.
Stuart: Ma’am… you are not gonna be here in a week. You’re not on the books yet. Ganon will have to do some explaining, but he’ll blame Hal, which won’t take much convincing.
Kate: You called him Hal. First time.
Stuart: Sorry.
Jare: Everyone does once they really know him. Guess you got the idea.
Stuart: I did. Maybe it’s all right.
Kate: What does that mean?
Stuart: You don’t seem to be all that thrilled to be here. It’s not Jalalabad.
Kate: Someone is shooting missiles at boats in the Persian Gulf. Even I can get it up for averting another bloodbath in the motherfucking Gulf.
Stuart: Sorry. I was just asking.
Kate: Who was gonna do the feature? The rehearsal. Me in a gown, with a horse.
Stuart: British Vogue.
Kate: ( groans ) God, I hate this shit.
Stuart: What?
Kate: You know who you can’t fire? Cinderella.
Hal:
Hal is almost overbearing from the introductory scene of the main characters as he tries to push his wife in certain ways in her new job in Kabul but it’s apparent from the start that all is not well between the husband and wife:
Kate: It wouldn’t kill you to take a couple days and just like… sit here and think. Figure out the next move.
Hal: Maybe it’s Kabul. Maybe that’s the next move. Oh, you think the nation of Afghanistan is not big enough for the both of us?
Kate: It isn’t.
During the Cinderella exchange Stuart asks Hal to sit in on a briefing and he agrees and Kate has to step in noting this will be hard for Hal not being used to playing second fiddle. It is awkward and we do feel for all three main characters but especially HalIn this one scene we go from Kate being tense to a tender moment where Kate asks did she’s OK to where she exerts some independence and ends with a Warner from Hal. They clearly have a bond and need each other:
Kate: Jesus, Get your feet off the furniture.
Hal: Barbara Hutton fսckеd Cary Grant on this table.
Kate: They want you at the memorial at 3:00. I’ll have them call if we’re running behind.
Hal: You are no longer in charge of my movements.
Kate: Yeah, but I don’t wanna wait for an hour because no one can find you.
Hal: Not great.
Kate: Call Darya, tell her to stop saying, “Afghan women’s health.” She has to use words like “atrocity, dismemberment.”
Hal: Who’s she talking to?
Kate: I don’t know, UNHCR. Someone in Pakistan. “Sit in on a briefing”?
Hal: It would have been rude of him not to offer.
Kate: You didn’t have to say yes.
Hal: Did you or did you not ask me to help get your feet on the ground or your ass in the saddle or whatever it was?
Kate: Is that okay?
Hal: Better.
Kate: Sure? I can do the pit wash.
Hal: You don’t need it.
Kate: Is it bad?
Hal: No, it’s good.
Kate: Oh, my God, stop. Stop.
Hal: You’re perfect.
Kate: fսck you. Am I okay?
Hal: What are you gonna say to him?
Kate: The prime minister. I am a listener on the call.
Hal: That is the opposite of ass in the saddle, Kate.
Kate: More than once, I’ve told you, when you land in a new post, there is some wisdom in spending a week or a month with your mouth shut, listening.
Hal: I never did it. It was a dumb idea. Rayburn is gonna talk about NATO, but you’re here to patch things up with the Brits. Keep the focus tight.
Kate: : I’m not doing this the way you would.
Hal: That’s fine. Just don’t do it wrong.
I’m not sure who you feel more for at the end of this scene, Kate or Hal but this scene perfectly illustrates why these two are having trouble in their marriage – she is a process person and he a results person. I love this scene. Also sets up the coming issue with Ganon:
Kate: Hi.
Hal: How did it go?
Kate: Fine. What’s wrong?
Hal: You had a driver in Beirut, right?
Kate: Yes.
Hal: This place has six gardeners, and the wife doesn’t get a car.
Kate: We were not married in Beirut. I had a driver because I was a deputy chief of mission.
Hal: None of the wives gets a car?
Kate: I swear to God.
Hal: I need to get out, let people know you’re here.
Kate: No, you don’t. Neither of us can do anything, because Ganon isn’t calling the Brits till this afternoon.
Hal: What?
Kate: Too busy whipping the Sunni coalition into a frenzy.
Hal: He’s a fսcking moron.
Kate: Well, he’s my boss.
Hal: He shouldn’t be.
Kate: ( sighs ) Did you call Darya?
Hal: No. I will. I will.
Kate: I should be in Kabul. Ganon isn’t repairing the North Atlantic Alliance. He’s swinging his dіck around the Persian Gulf.
Hal: Washington doesn’t have a UK problem, Kate. Washington has an Iran problem. You’re the one with the UK problem. If you think the foreign secretary needs attention, call him.
Kate: Ganon would shit a live ostrich.
Kate: Why?
Kate: Any idea how much planning went into the batting order on your phone sheet?
Hal: It sounds scintillating.
Kate: The president calls, the secretary of state calls, the Pentagon calls. Jesus Christ. Don’t act like it’s bullshit. It’s about fundamental respect for institutional norms.
Hal: You’re covering Ganon’s ass for him. It’s not a betrayal of rules-based democracy. You’re gonna be in Dennison’s office. Do a pop-by.
Kate: Okay. Hal, I gotta go.
Hal manipulates his way into a police car to get where he’s going by almost getting hit by a car and it ups the tension. You just know it isn’t going to go well.This scene lays it all bare and it is obvious how much Hal lives Kate. Great last line but he seems a lot like Don Quixote here so we feel a lot for Hal even though he is making everyone’s life difficult. This is also where we find out Hal is in on the VP plot:
Hal: Yeah.
Stuart: You’re getting divorced.
Hal: No, we’re not.
Stuart: Does the White House know?
Hal: There’s nothing to know.
Stuart: The ambassador says your… Your marriage is over.
Hal: Ever been married?
Stuart: This doesn’t work if she’s getting divorced. You can’t slot someone in the vice presidency if she’s getting divorced.
Hal: She’ll take me back.
Stuart: Okay. I gotta talk to Billie. You work it out with her and the president…
Hal No. You don’t tell anyone. She will take me back. I… do things that make her want to leave me, and I will not do them again.
Stuart: You were here two hours, made one call. The secretary of state wants to fire her.
Hal: I’m a big pain in the ass but it doesn’t work without me.
Stuart: Okay. Then tell her. If she wants it, fine, but I am not sneaking around.
Hal: I can’t tell her, she’ll blow it! She hates cameras and microphones and people. Right now, she is cutting a fսcking ulcer because she has to make nice with a reporter.
Stuart: Then who the fսck thought she should be vice president?
Hal: She is the one you want. Not Grace Penn, not me. No one with the temperament to win a campaign should be in charge of anything. It’s the most obvious rule in the world. No one who likes power should have it.
Stuart: You can’t eliminate every public-facing piece of the job.
Hal: That’s why we’re here. In a land of hats. She is a frog in a pot of water. We have six months. We can turn the heat up slowly, and she won’t jump out. But you can’t tell her you’re boiling her alive.
Stuart: This metaphor gives me a lot of confidence.
Hal: Billie says you’re good at this. And I’m good at this, which we all know, despite the chaos which reigns around me. We can get her there.
Stuart: Not if she doesn’t want it. Or you.
Hal: Of course she wants me. She fսcking loves me. You can’t think about it too hard. It’ll break your heart.
Last scene of the pilot, the Princess and Prince showing their magic together and also Kate states the marriage is over. Then Stuart sees she really could be the one and then Hal’s vanity gets him kidnapped and we fear for his safety.
Stuart:
Stuart is an unwilling participant in a scheme to test out Kate Wyler by throwing her in a pot of water that continually gets hotter to see if she is Vice Presidential material. By the end of the Pilot Stuart sees her potential and an opportunity and returns to his kingmaker ways.Kate steps off the airplane and Stuart is there to meet her. Kate says, ‘This must be what an arranged marriage feels like’, and you feel empathy for both Kate and Stuart in a situation they didn’t ask for and don’t want to be in.The house manager informs Stuart that Kate asked about sheets in a guest room – Stuart doesn’t get it but we know something is stressful for StuartThis scene illustrates the problem they are all going to have with Hal and again I’m not sure who we worry about more Kate or Stuart:
Kate: The president freaked them out. They’re worried he’s gonna threaten to bomb Tehran.
Then they’re really in it.
Stuart: I’m sure he’s trying to make them feel like he’s paying attention.
Kate: They want him to keep quiet. Let the Brits set the tone.
Stuart: Okay. Ganon can get into it.
Kate: They want me to handle it.
Stuart: That isn’t great.
Kate: This is exactly what Hal did to Ganon in Tel Aviv. Blew in and made the whole American delegation look like they were sitting around with their thumbs up their asses.
Stuart: But this isn’t you charging into the PM’s office. The foreign secretary tracked you down. That was his idea.
Kate: Was it? Hal.
Stuart: Really?
Kate: Yup.
Stuart: You think your husband…?
Kate: Pulled me out of a photo op and dumped me in the PM’s lap? Yeah.
Stuart: Okay. Wow. Impressive.
Kate: You say that now. Always comes at a cost.
Stuart: Which is what?
Kate: You don’t know until you know. But then you definitely know.
Stuart: Well, at this point, they’re asking you to step in. You kind of have to.
Stuart finds out that Ganon who is trying to get rid of Kate isn’t one of the people who is in on the Kate as VP scheme. Stuart doesn’t know what to do about Ganon, about the fact that Kate doesn’t seem into her job and of course Hal. This conversation with Billie is very illuminating:
( phone ringing )
Billie: What happened?
Stuart: The five people who know what’s going on here…
Billie: Yeah.
Stuart: The secretary of state’s one of them. Right?
Billie: No.
Stuart: What the fսck, Billie?
Billie: He doesn’t need to know.
Stuart: He’s trying to shitcan her.
Billie: I’m sure he’s not.
Stuart: She wound up in a sit-down with the PM, thanks to the husband, who by the way, Jesus fսck¡ng Christ.
Billie: He’s a handful, but people love him.
Stuart: Ganon thinks she’s eating off his plate. The president needs to say out loud that he asked her to take the lead here.
Billie: It’s not gonna happen. It’s a test. The president wants to see if she can handle herself. If she’s afraid of Ganon…
Stuart: She’s not.
Billie: That’s the kind of information I need. It’s why I read you in.
Stuart: Is that why you read me in? Or are you asking me to turn her into something?
Billie: I don’t know. Maybe.
Stuart: That’s the clarity I’m looking for.
Billie: I don’t have a lot of clarity. I just spent three years building a VP who could take the torch from an old man and get us another term. This was not my plan. She handles things. We get people who can campaign. They can’t handle anything and we’re drowning.
Stuart: Oh, fսck that. You see an opportunity, you can’t let it go by.
Billie: Yeah, I can’t. Who do you think taught me that?
4. Layers / Open Loops
Who bombed the British aircraft carrier?Will Kate survive this job?Will Hal and Kate stay together?What will Kate do when she finds out about this secret agreement to try and make her VP?What will she specifically do to Hal when she finds out about his scheming?Will Ganon get Kate fired?Hall was kidnapped? Will he live? Will he be returned?Who kidnapped Hal?Will Kate forgive him because she’s so worried for his safety?Will Hal blow ever up with his inability to stop his scheming?Who are the seven people in on the scheme?
5. Inviting Obsession
1. There are a lot of questions, subjects for exploration – Did Iran bomb the vessel? Will Hal sabotage Kate? Will their marriage survive? Will Kate find out about the plotters trying to make her Vice President? Will everyone find out that the Wylers are breaking up? Mostly Kate seems like she’s holding it together by a very thin thread. Will she blow the whole thing up?
2. After a hostile attack on a British vessel, seasoned diplomat Kate Wyler assumes a new role in the UK that puts her skills — and marriage — to the test.
3 The dialogue, it’s so delicious, you can’t stop watching.
-
I, Margaret Gendreau, agree to the terms of this release form.
As a member of this group, I agree to the following:
1. That I will keep the processes, strategies, teleconferences, communications, lessons, and models of the class confidential, and that I will NOT share any of this program either privately, with a group, posting online, writing articles, through video or computer programming, or in any other way that would make those processes, teleconferences, communications, lessons, and models of the class available to anyone who is not a member of this class.
2. That each writer’s work here is copyrighted and that writer is the sole owner of that work. That includes this program which is copyrighted by Hal Croasmun. I acknowledge that submission of an idea to this group constitutes a claim of and the recognition of ownership of that idea.
I will keep the other writer’s ideas and writing confidential and will not share this information with anyone without the express written permission of the writer/owner. I will not market or even discuss this information with anyone outside this group.
3. I also understand that many stories and ideas are similar and/or have common themes and from time to time, two or more people can independently and simultaneously generate the same concept or movie idea.
4. If I have an idea that is the same as or very similar to another group member’s idea, I’ll immediately contact Hal and present proof that I had this idea prior to the beginning of the class. If Hal deems them to be the same idea or close enough to cause harm to either party, he’ll request both parties to present another concept for the class.
5. If you don’t present proof to Hal that you have the same idea as another person, you agree that all ideas presented to this group are the sole ownership of the person who presented them and you will not write or market another group member’s ideas.
6. Finally, I agree not to bring suit against anyone in this group for any reason, unless they use a substantial portion of my copyrighted work in a manner that is public and/or that prevents me from marketing my script by shopping it to production companies, agents, managers, actors, networks, studios or any other entertainment industry organizations or people.
This completes the Group Release Form for the class.
-
As a member of this group, I Margaret Gendreau, agree to the following:
1. That I will keep the processes, strategies, teleconferences, communications, lessons, and models of the class confidential, and that I will NOT share any of this program either privately, with a group, posting online, writing articles, through video or computer programming, or in any other way that would make those processes, teleconferences, communications, lessons, and models of the class available to anyone who is not a member of this class.
2. That each writer’s work here is copyrighted and that writer is the sole owner of that work. That includes this program which is copyrighted by Hal Croasmun. I acknowledge that submission of an idea to this group constitutes a claim of and the recognition of ownership of that idea.
I will keep the other writer’s ideas and writing confidential and will not share this information with anyone without the express written permission of the writer/owner. I will not market or even discuss this information with anyone outside this group.
3. I also understand that many stories and ideas are similar and/or have common themes and from time to time, two or more people can independently and simultaneously generate the same concept or movie idea.
4. If I have an idea that is the same as or very similar to another group member’s idea, I’ll immediately contact Hal and present proof that I had this idea prior to the beginning of the class. If Hal deems them to be the same idea or close enough to cause harm to either party, he’ll request both parties to present another concept for the class.
5. If you don’t present proof to Hal that you have the same idea as another person, you agree that all ideas presented to this group are the sole ownership of the person who presented them and you will not write or market another group member’s ideas.
6. Finally, I agree not to bring suit against anyone in this group for any reason, unless they use a substantial portion of my copyrighted work in a manner that is public and/or that prevents me from marketing my script by shopping it to production companies, agents, managers, actors, networks, studios or any other entertainment industry organizations or people.
This completes the Group Release Form for the class.
-
Margaret Filled in Missing Scenes. What I learned completing this assignment is I brought a pilot and limited series into this class in order to complete the 5 episodes. I read the first two episodes and put in anything that was missing. For episode 3 which is half done I am going back to my breakdown board and fleshing out episode 3 and finishing a quick draft. I learned when in doubt go back to the breakdown board – It’s the holy grail of a series.
-
Rewrote 1st episode of TV Pilot, wrote 2nd episode am half way through episode 3.
-
Margaret’s Act 4 Resolution What I learned completing this assignment is I am not the same writer or person I was when I started this course. I have a confidence in my ability to get the work done that was unsteady before. I have been a victim of my resistance but no more. INT. police interview room – day
A POLICEWOMAN walks into the interview room with a file folder and sits down opposite Lake who fidgets nervously.
Policewoman
The desk officer says your interested in reporting a crime.
Lake
Thats right.
INT. Blake’s Studio – night
Blake
You fucking loser.
Lake struggles to get past.
Lake
Let me out.
Blake
If you go now don’t ever come back.
Lake tries to get past him. He pushes her.
She tries to flee.
He grabs her neck with his hands and wraps them around.
Lake
Let me go.
Blake
You’ll be alone for the rest of your life.
Lake
Let me go. You’re hurting me.
She hits him in the face and he releases his hands. She breaths heavy touching her throat.
She tries to get by.
He pushes her, blocking the door.
She pushes him back with almost super human strength.
Blake falls and hits his head.
Back to scene:
Lake
I think I killed my husband.
PolICEWOMAN
It says here he died in the fire.
Lake
He did. We had a fight. I pushed him and he fell.
PolicEWOMAN
Go on.
Lake
I was so angry. I left. And that’s the last time I ever saw him again.
Policewoman
Let me guess. You’ve become homeless.
Lake
I feel like you aren’t hearing me.
Policewoman
You want a roof over your head. I get it. You can’t imagine how many times this has been happening a day since the fires. People would rather go to jail than be on the street.
Lake
You’re telling me people are confessing to crimes to avoid homelessness?
POLICEWOMAN
That’s what I’m saying.
Lake
To murder?
POLICEWOMAN
No. Not usually murder. Was this your address before the fire?
Lake
Yes. That’s where we lived.
Lake
That’s a fancy neighborhood. Have you called your insurance company? Your policy should provide you with money for replacement housing for a full year, probably two, at least. Here is the name of a lawyer that has been helping people pro-bono with these issues. How is your mental health? Angry?
Lake
Maybe.
policewoman
Let me ask you some questions- do you consider yourself an angry person?
Lake
I would have, no. Not before the fire.
POLICEWOMAN
Do you think life is unfair?
Lake
Pretty much.
POLICEWOMAN
Do you think you are surrounded by idiots?
Lake raises her eyebrows.
Lake
I’m not sure how to answer that.
POLICEWOMAN
Is your anger excessive and disproportionate?
Lake
Definitely. Yes.
Policewoman
There’s this local Personal Development Coach that’s running free groups for fire victims. Here’s a schedule of drop in groups. I would especially recommend the Anger Management Group and the Five Stages of Grief.
Lake
I can just drop in?
Policewoman
That’s right. Let me ask you about work. Where were you working?
Lake
I worked at a marketing firm in San Rafael but afterwards…I couldn’t. I tried but I couldn’t go back.
POLICEWOMAN
And now?
Lake
I’ve been delivering food part time and I have an idea for a business.
Policewoman
Go to one of the groups and call your insurance company. Here’s my card if there’s anything else you want to tell me about that night…or anything.
Policewoman hands Lake a card.
POLICEWOMAN
And I can reach you at this number?
Lake
Yes, that’s my number.
EXT. police station parking lot – day
Lake gets into her car.
INT. parked car – day
Lake checks the time on her phone just as it rings. She answers.
Lake
Hello, Mitch.
Mitch
Hi Lake. Listen, I’ve been thinking. I know yesterday was weird but I’m worried about you. Do you have a place to stay?
Lake
I’m working on that right now.
Mitch
I was thinking you could stay here while you figure it out.
Lake takes a minute to answer.
Mitch
I’m not sure that’s such a good idea.
MITCH
I mean temporarily, until you land on your feet.
Lake
It’s a real nice offer but I’m going to have to say no.
Mitch
But where will you go?
Lake
I’m not sure, but I know I’ll figure it out. I really like you…
MITCH
I think I really like you too.
LAKE
I don’t know what’s gonna happen, but I do know if I move in with you – well let’s say I know how that story ends and it’s not good. I want to give us a real chance.
Mitch
You’re going to be OK?
Lake
I promise.
INT. parked car – day
Lake hangs up and looks down at the Policewoman’s card.
She puts the card into her handbag and dials a number on her cell phone.
Insurance agent
Hello, California Mutual, this is Cindy speaking. Can I help you?
Lake
Hi, this is Lake Turner, formerly, Logan, policy number ###.
INSURANCE AGENT
How can I help you?
Lake
California mutual insured our house. This property was destroyed in the Tubbs fire.
INSURANCE AGENT
I’m so sorry for your loss. Thank goodness you are OK.
Lake
My husband died October 9th in that fire.
Insurance agent
I’m so sorry.
Lake
I’ve been staying at a friend’s house. I couldn’t really decide what to do but I finally put the lot up for sale. I want to rent a place for a while while I figure out where I want to land.
INSURANCE AGENT
I understand, Mrs. Logan.
Lake
Mrs. Turner. Lake please.
INSURANCE AGENT
Lake, I’m authorized to write you a check for $20,000 today for replacement cost of clothing, personal items and furnishings while we process the claim for the lost structure.
Lake
Of course it isn’t lost. It burned down, but I know what you mean.
INSURANCE AGENT
I’m going to need a few pieces of paper before I can process that check…
INT. California Mutual – conference room – day
Lake signs a confirmation of receipt at the conference table. She hands the paperwork back to CINDY who shows her the check. She then placed the check in an envelope, seals it and hands to Lake.
INSURANCE AGENT
Good Luck.
INT. car – driving – day
Delivers food.
Lake gets a call and answers.
Landlord
Did you call about the Streamline?
Lake
I did. I’d like to come by now if possible.
EXT. ranch – day
There is a ranch house with a long driveway next to it that extends to a dirt track. The track ends at a silver Streamline trailer.
Mount St. Helena is visible in the distance.
Lake and Landlord ***describe landlord*** walk towards the trailer.
Blake shows up.
Landlord
My partner and I bought this trailer to do some traveling. We planned on going cross country. We completely remodeled the whole thing. James really did all the work. He was an artist. He died before we could use it. I can’t even make it through the door. With so many people losing their homes in the firestorms. Well, I couldn’t justify it sitting here empty.
Lake
I lost my husband in the fires.
The landlord hugs her extra tight. Lake is uncomfortable but gives him a small pat back.
Blake
You’ve got to be kidding me.
The Landlord opens the door and motions for Lake to enter.
INT. Streamline – day
Lake enters with Blake in tow.
The interior of the Streamline has been completely refurbished and is beautiful – totally custom.
Blake
It’s nothing like our house.
Lake
That’s why I like it.
Blake
We lived in Fountaingrove you fucking loser.
Lake
And yet it was never a home.
Blake
What’s wrong with you?
Lake
I’m not going to fight.
BLAKE
But you always do.
Lake
Not anymore.
Blake
You fucking bitch. You need me.
Lake
Let me be clear. I’m never going down that rabbit hole with you again.
Blake
You never loved me!
Lake
It’s nice here. I think I can be happy here while I look for my forever home.
The Landlord peeks his head through the door, careful not to enter.
Landlord
What do you think?
Lake
I’ll take it. How soon can I move in?
INT. Home furnishing store – day
Lake is pushing a flatbed cart down the isle of a large store.
She grabs two Adirondack chairs and a small table. She sees a fire pit and arranges her load so she can fit everything.
She starts pushing the flatbed. She grabs a couple of pillows.
Int. Secondhand store – day
Lake tries on a beautiful tailored suit.
Salesperson
It’s not the style anymore. It looks so good on you.
Lake buys it.
Takes Blake’s painting into the trailer.
Lake steals the sign from Oliver Court about home.
-
Margaret’s Act 4 Climax What I learned completing this assignment is that I’ve never utilized an ultimate expression of the conflict in my scripts before and I’m so excited to add to my writing. In this scene Blake is attacking Lake and she doesn’t respond – she continues to move forward towards her future. To make this work effectively I’ll have to go back and show Lake responding to Blake (and her mom) in a defensive way in a reactive way and now she responds proactively without considering Blake or his drama at all. Now she is truly on her way to healing. INT. parked car – day
Lake sits in the parking lot of the police station. She looks down at the card.
She puts the card into her handbag and pulls out her iPhone.
Lake dials her insurance company.
Insurance agent
Lake
INSURANCE AGENT
I’m authorized to write you a check for $20,000 today for replacement cost of clothing, personal items and furnishings.
Lake picks up a check for replacement of clothes, furnishings, rent, etc.
Delivers food
Makes a call about a place.
Lake looks at a streamline trailer on land outside of Healdsburg.
Blake shows up.
Blake
It’s nothing like our house.
Lake
That’s why I like it.
Blake
We lived in Fountaingrove you fucking loser.
Lake
And yet it was never a home.
Blake
What’s wrong with you?
Lake
I’m not going to fight.
BLAKE
But you always do.
Lake
Not anymore.
Blake
You fucking loser. You need me.
Lake
Let me be clear. I’m never going down that rabbit hole with you again.
Blake
You never loved me!
Lake
It’s nice here. I think I can be happy here looking for my forever home.
Landlord
What do you think?
Lake
How soon can I move in?
-
Margaret’s Act 4 First Scenes What I learned completing this assignment is that I’ve never added in the dilemma at the beginning of act 4. Adding this choice into my projects will make all the difference. INT. police interview room – day
A POLICEWOMAN walks into the interview room with a file folder and sits down opposite Lake who fidgets nervously.
Policewoman
The desk officer says your interested in reporting a crime.
Lake
Thats right.
INT. Blake’s Studio – night
Blake
You fucking loser.
Lake struggles to get past.
Lake
Let me out.
Blake
If you go know don’t ever come back.
Lake tries to get past him. He pushes her.
She tries to flee.
He grabs her neck with his hands and wraps them around.
Lake
Let me go.
Blake
You’ll be alone foe the rest of your life.
Lake
Let me go.
She hits him in the face and he releases his hands. She breaths heavy touching her throat.
She tries to get by.
He pushes her.
She pushes him back with almost super human strength.
Blake falls and hits his head.
Back to scene:
Lake
I think I killed my husband.
PolICEWOMAN
It says here he died in the fire.
Lake
He did. We had a fight. I pushed him and he fell.
PolicEWOMAN
Go on.
Lake
I was so angry. I left. And that’s the last time I ever saw him again.
Policewoman
Let me guess. You’ve become homeless.
Lake
I feel like you aren’t hearing me.
Policewoman
You want a roof over your head. You can’t imagine how many times this has been happening a day. People would rather go to jail than be on the street.
Lake
You’re telling me people are confessing to crimes to avoid homelessness?
POLICEWOMAN
That’s what I’m saying. Is this your address before the fire?
Lake
Yes. That’s where we lived.
Lake
That’s a fancy neighborhood. Have you called your insurance company? Your policy should provide you with money for replacement housing for a full year, probably two, at least. Here is the name of a lawyer that has been helping people pro-bono with these issues. How is your mental health? Angry?
Lake
Maybe.
policewoman
Let me ask you some questions- do you consider yourself an angry person?
Lake
I would have, no. Not before the fire.
POLICEWOMAN
And now?
Lake
Maybe…probably.
POLICEWOMAN
Is your anger excessive and disproportionate?
Lake
Definitely. Yes.
Policewoman
Recommends anger management.
Lake
I can just drop in?
Policewoman
Let me ask you about work. Where were you working?
Lake
I worked at a marketing firm in San Rafael but afterwards…I couldn’t.
POLICEWOMAN
And now?
Lake
I’ve been delivering food part time and I have an idea for a business.
Policewoman
Go to the group and call your insurance company. Here’s my card if there’s anything else you want to tell me about that night…or anything.
Hands Lake a card. Because I am writing a series and not movie the dilemma comes later in the episode and it won’t be the last time she has to make a similar decision Choi I g healing and life over giving up. She goes to the liquor store and picks up some Alcohol to deliver. She looks at the small bottles she Has been drinking and threw away but she doesn’t buy any.
-
Margaret’s Completed Act 3 What I learned completing this assignment is just show up every day and begin and you’ll get further than you think. INT. house for sale – master bedroom – day
Lake sleeps peacefully in the staged bed of the master bedroom of the house for sale on Olive Court.
She smiles in her sleep.
Blake appears on the side of the bed.
BlAKE
It’s time to wake up.
Lake’s smile disappears but she doesn’t open her eyes.
Lake
No. Not yet.
EXT. HOUSE FOR SALE – OLIVE COURT – day
Ember pulls up in a flat black Range Rover followed by a COUPLE in a white Mercedes GLC.
Ember passes Lakes’s distinctive Mini Cooper. She notices it immediately and looks around suspiciously.
Ember and her clients approach the front door.
Ember enters her numbers in the lockbox and is relieved to see the key.
INT. house for sale – master bedroom – day
BlAKE
Look, you gotta go.
Lake
You go.
INT. house for sale – Olive Court – day
Ember leading the couple through the house motions to the kitchen.
Ember
This house features French oak flooring throughout. The open concept great room comes complete with an expansive island with a sink and bar seating. Notice the chefs kitchen with everything you need to entertain.
INT. house for sale – Olive Court – day
Lake hears Ember’s voice.
Ember
Notice the professional range and integrated fridge. There’s even a wine cooler.
Lake jumps out of bed in her underwear and a teeshirt.
Lake
Shit, shit shit!
She slides her bags under the bed.
Lake hurriedly straightens the covers and jumps under the bed just in time.
Ember enters the room with the couple in tow.
Ember
The master suite is complete with a walk-in closet, an ensuite bathroom with his and her sinks.
Embers legs are right next to the bed. Lake holds her breath.
Wife couple
(screeching)
Aha!
She claps excitedly.
Wife couple
Look at the view from the bathroom window.
Husband couple
Spectacular.
Embers legs move towards the bathroom and Lake exhales.
EXT. house FOR SALE – OLIVE COURT – day
Lake is lugging her suitcases to the car.
Lake
Life is so unfair. I mean what did I ever do to deserve this?
Angrily wrestling her suitcase into the back seat.
Phone rings. It’s Ember. Lake grits her teeth, smiles big and answers the phone.
Lake
Ember! To what do I owe the pleasure?
EmBER
Lake. What are you up to?
Lake
What do you mean?
EmbER
I just showed the Olive Court property and guess who’s car was there?
Lake twists her face trying to think quickly.
Lake
I’m still here.
Ember
Why are you breathing so hard?
LAKE
I realized this morning I hadn’t checked out the neighborhood so I drove up this morning for a brisk walk.
EmBER
You are a horrendous liar.
Lake
I told you, I’m trying the place on.
EmBER
Don’t you think it’s time to take responsibility for your life?
Lake
Umm. I…
EmBER
Save it. I have to go. I’m busy.
Ember hangs up. Lake screams, trying to shove the suitcase in the back seat.
Lake
Fuck!!!
INT. BEE’S ORGANIC FAST FOOD RESTAURANT – DAY
Lake enters Bee’s her bag over her shoulder and keys and phone in hand.
She walks up to the counter. There is a young woman, COUNTER HELP, smiling ready to help. Lake looks disappointed.
LAKE
Hi, I’m picking up for Annie L. today.
COUNTER HELP
Just a minute.
Counter Help begins looking through the various bags on the pick up shelf.
Mitch appears and speaks to the young woman who disappears to the back.
MITCH
That’s Annie L?
LAKE
Yes, thank you.
MITCH
So, woman about to formerly be known as Lake, what goes on?
LAKE
Oh, you know, brain surgery. You?
MITCH
About the same.
He hands her a bag.
LAKE
Thank you.
He walks around the corner and begins to walk her out.
MITCH
May I walk with you?
Mitch motions towards the door.
LAKE
But of course.
The STAFF at Bee’s watch the two eagerly as they exit the restaurant.
EXT. RESTAURANT – DAY
Mitch and Lake are at her car, the food already in the hatch.
LAKE
You didn’t call?
MITCH
I was embarrassed. It felt…you know…too casual.
LAKE
Hey.
Lake reaches up and touches his cheek ever so gently.
LAKE
It may have seemed casual but truth be told I haven’t slept with anyone since Blake…
Mitch
Let me guess, ex-boyfriend?
Lake
My husband. He died in the firestorm.
MITCH
Oh. Ummm, you want to talk about it?
LAKE
Noooo. Definitely, no.
MITCH
You should have told me.
LAKE
I was nervous, ya know. I thought just pull it off like a bandaid.
MITCH
You’re so romantic.
LAKE
I know, right.
MITCH
Second date?
Blake shows up.
LAKE
Not you again.
Mitch
I’m getting mixed signals here.
LAKE
Sorry, I’m definitely down for that second date. Do you ever feel like you’re being haunted by your ex?
Mitch
All the time. Why is there luggage in your backseat. Are you going somewhere?
Lake
Yes.
Mitch
Where to?
Lake
Not sure yet.
Mitch
Well come over for dinner tonight before you go anywhere.
LAKE
I’d like that. Very much. Now I have to deliver this food before it gets cold and take care of something I’ve been putting off for a very long time.
He opens the car door for her as she steps into the driver’s seat. He closes the door after her.
He waves and she smiles at him as she pulls out of the parking lot in her yellow and black Mini Cooper.
Int. CAR – DRIVING – DAY
Lake’s Mini Cooper zips up the street and slowly drives through a residential neighborhood on Santa Cruz Street.
INT. CAR – DRIVING – DAY
Lake looks at the addresses on the houses as she drives, the map open on the passenger seat.
JEZeBEL
Return to the route.
LAKE
I am on Santa Cruz Street ass wipe.
JEZeBEL
Turn left now. Continue on Santa Cruz Street.
LAKE
Is everyone an idiot?!
Lake pulls up to the address on her phone and hits arrived.
JEZeBEL
Arrived.
LAKE
What a piece of shit. I think I’m going to call you Miss Jezebel and Dr. J from now on.
Lake exits the car and opens the hatch, the partially burned painting visible.
She grabs her Foodease bag and hurries to the front door.
INT. driving car – day
Lake turns right down a road with a homeless camp down the sidewalk.
A HOMELESS MAN with a bike pulling a long trailer stands next to the bike in the middle of the road. He’s pushing the bike that clearly has a flat tire slowly towards the side of the road.
Lake waits impatiently for him to pass. She sticks her hand in a food bag and pulls out a samosa.
A GIRL, 10, is on the sidewalk near Lake. She looks at the girl and then at the samosa. She drops it back into the food bag.
She closes the bag up.
Lake
Hey.
She holds the bag outside her window towards the girl.
Girl
Me?
Lake
I hope you like Indian food.
The girl approaches sizing up Lake. She gives Lake a once over and then grabs the bag greedily.
The man finishes pushing his bike to the side of the road. Lake starts to go and looks back but the girl had already disappeared.
EXT. HILLSIDE PLOT – DAY
Lake pulls up to the hillside plot but this time parks in the driveway.
The area around has been grated and cleaned up except the plot where her house once stood, it is exactly as it was after the fire.
She looks over wearily at her old man neighbor’s house, the only still standing in the area.
A CONTRACTOR approaches her car.
CONTRACTOR
Good afternoon, Mrs. Logan.
LAKE
It’s Turner. I changed it back to my maiden name after…but you can just call me Lake.
CONTRACTOR
Here are a pair of gloves. Do you want me to accompany you or would you rather be alone.
LAKE
I’d rather do this alone. Thanks.
Blake follows her.
Lake
I said I’d rather do this alone. That means you too, whatever you are.
Blake
Oh, I wouldn’t miss this for the world.
Lake walks through where her house used to stand which is nothing but soot and ash. She runs her boot through some ash piles and then turns away.
She walks up the driveway and back towards a partially burned back building with a large tarp over it.
EXT. STUDIO – DAY
The contractor follows her up to the destroyed structure.
He pulls the tarp off a pile of what used to be a building and folds it up.
CONTRACTOR
You shouldn’t do this alone, ma’am.
She looks at the ghost of Blake.
Lake
Don’t worry, I’m never alone anymore.
CONTRACTOR
You just holler if you need anything.
LAKE
Thanks.
The Contractor walks away.
Lake turns towards Blake’s destroyed studio still holding the gloves but doesn’t approach.
INT. Blake’s studio – DAY
Lake walks into Blake’s studio as he paints a colorful abstract. The studio is tastefully decorated with his pictures displayed and framed magazine covers touting his accomplishments.
LAKE
I brought lunch. You hungry?
Blake
I’m not sure.
LAKE
Had a late night in the studio?
Blake
No. I’ve been staying up late working on a painting.
LAKE
Isn’t that what I just asked? Are you gas lighting me? You’re always gas lighting me.
Blake
You dumb bitch that isn’t what I meant.
Lake heads towards the door but Blake is up and blocking her way.
LAKE
Let me out.
BLAKE
You wouldn’t be anything without me.
Lake
Let me out.
Blake
You’re pathetic.
Lake
Get out of my way.
Blake grabs her arm and pulls her away from the door. He pushes her back further standing between her and the door.
She pushes him with an almost super human strength. He falls back and hits his head on the brick around the wood burning stove.
Lake runs out of the room.
Blake lies still on the floor not moving.
EXT. STUDIO – DAY
Gloves on, Lake searches through the wreckage of Blake’s studio. She looks at what is left of the black potbellied stove.
She overturns a piece of burned metal. She uses her foot to comb through sticky ash. Nothing.
Lake spots something and pulls it out of the rubble. She wipes black ash off an intact crystal vase with the side of the glove.
She moves toward the corner of the structure where partially burned wood boards remain.
She moves some boards aside and finds a partially burned canvas covered with an abstract painting.
She picks it up and carries it outside the wrecked building.
She surveys the destruction of the structure and the whole area where the fire’s burned with a look of overwhelm.
She looks down and sees her boot is over a burned and faded picture of her and Blake.
Blake
There were some good times.
Lake
Stop haunting me.
Blake
Who else would I haunt?
Lake
Why? Why are you haunting me?
BLAKE
You killed me.
She stares at the image for a few minutes and then moves her boot over the picture and grinds the image further into the layer of dirt and ash.
Lake
I didn’t kill you!
The contractor looks up from the clipboard with papers he’s holding.
Blake
You left me for dead which is the same thing.
INT. MITCH’S HOUSE – NIGHT
Lake sits on the couch in the great room of Mitch’s house.
Mitch approaches with two empty wine glasses and an open bottle of Zinfandel.
He sets the glasses down and pours her a glass.
He hands it to her and then turns to pour himself a glass.
LAKE
Thank you.
Lake looks around the modern, tastefully done house with very few furnishings.
LAKE
Minimalist…or?
Lake takes a sip of wine.
MITCH
My ex-wife left me when the restaurant closed down. She pretty much took everything. I kinda like it like this though.
LAKE
Oh, my, that is so good.
MITCH
One of my favorites.
LAKE
It smells so good in here.
MITCH
I love how enthusiastic you are about food.
LAKE
Well, I love food! Where did you learn to cook?
MITCH
Europe. Then, I worked in the kitchen of Amador in Chicago for a couple of years.
LAKE
THE Amador?
MITCH
Yes. Then I opened La Cuisine.
LAKE
I loved that place! I was so bummed when…wait, you’re Mitch Delange?
MITCH
Guilty.
LAKE
Sorry.
MITCH
What?
LAKE
About losing the restaurant and all that. It must have been hard.
MITCH
It was…is. I’m taking time to decide what’s next. The truth is I was working all the time. I mean ALL the time. I want to find a way to do what I love and have a life at the same time. I want to do it on my terms this time.
LAKE
Understood. A do-over.
MITCH
Exactly. A do-over.
Lake
Do you think everyone has a right to a do over?
MITCH
Absolutely. I think if your smart enough to want to do it again but this time better then you’ve already earned it.
Lake
I have the best idea.
INT. driving car – night
Lake is driving and Mitch is in the passenger side seat with her Foodease bag carefully balanced in his lap.
She pulls up to a house with a for sale sign.
MITCH
You’ve got to be kidding me?
Lake
I think this is a good one to try on. Let’s check it out.
EXT. house for sale – Braiden Lane – night
Lake opens the lockbox and pulls out the key. Mitch stands shifting his weight nervously from one foot to the other, the Foodease bag at his side with the straps over his shoulder.
Mitch
I don’t think this is a very good idea.
Lake
You go in. I’ll go around to the back door and you just have to let me in.
INT. House for sale – braiden lane – night
Mitch opens the sliding glass door.
Mitch and Lake unpack the dishes Mitch cooked onto the table.
LAKE
Too bad there’s no candles.
Mitch
My heart is beating like a teenager that snuck his girlfriend in through my bedroom window.
Lake
It’s hot right.
Mitch and Lake drop what they are doing and are all over each other.
Blake is suddenly seated at one of the chairs at the table.
Blake
Getting predictable.
Lake
Three’s a crowd.
Mitch pulls back from her.
MITCH
What?
Lake
Hearing Blake in my head again.
Mitch
I know how to fix that.
He lifts her onto the end of the table and pulls her pants down. He kisses her and opens her legs.
He keeps kissing her. He pulls himself away and bends over, his face between her legs.
Blake
This is just embarrassing.
Lake flips him off and then her head drops back in ecstasy forgetting Blake entirely.
Montage various
1. Lake at a different for sale house each night waking up to a 5:00 a.m. alarm on her phone each morning.
2. Lake parks down the street from a for sale house.
3. Lake’s car very organized – her back seat like a closet and dresser. Lake throws away all the 50 ml bottles of alcohol from the glove box.
4. Lake sneaks into a house carrying a duffle bag.
5. Lake goes to gym very early and showers there.
6. Lake tasting food and writing reviews.
INT. house for sale Montgomery Drive – night
Lake and Mitch are having sex in the bed of a house for sale on Montgomery Drive.
Mitch
I think this is the first time we’ve had sex in an actual bed.
Lake
It’s kind of comfortable.
Mitch
I know I’ve said this before but this is the last time I sneak into a house with you.
Lake
We could come up with a new way to get an adrenaline rush.
Mitch
Such as…
Lake
Jumping out of an airplane with no chute perhaps?
Mitch
Roulette.
Lake
Funny.
Mitch
You know you don’t have to justify that you lived.
The sound of a door opening.
LAKE
Shit.
Ember walks into the bedroom followed by a COUPLE.
Mitch and lake jump out of bed instinctively, trying to simultaneously cover themselves.
The couple YELLS out in surprise and flees the room.
Ember stays in the room facing them both.
EmBER
So, this is how you’ve been spending your time since mom threw you out.
Lake
I’ve been really good actually.
Ember
I can see that.
MITCH
Wait, you two know each other?
Lake
Ember this is Mitch, Mitch meet my sister, Ember.
Mitch takes a moment to process this information.
Mitch
I recognize our idea of excitement might have been warped by trauma.
EmBER
Did you lose your house too?
Mitch
My restaurant and my marriage but I kept the house.
Ember
Well, you two make a pair. I need to go do some damage control with my clients. Maybe we’ll meet again under different circumstances. And you..
(turning towards Lake)
Best not say anything.
Lake
Yeah. Sorry…
Ember
Not a thing.
Blake leaning against the wall laughs. Lake looks like she could murder him.
INT. Parked car – night
Lake’s yellow and black Mini Cooper is parked in Mitch’s driveway with the two of them sitting in the car.
LAKE
I’m sorry about earlier. I know it was super embarrassing.
Mitch
I’m still not sure about you.
Lake
Still makes two of us.
Mitch
Listen, regressing with you has been really fun but I still wake up with myself.
Lake
I understand.
Mitch
Maybe we can just give it some time.
Lake
Sure. Good Night Mitch.
Mitch
Do you have somewhere to go?
Lake
Don’t worry about me.
EXT. HOUSE FOR SALE – OLIVE COURT – night
Lake walks down the street a duffel bag over her shoulder.
She approaches the front door and enters Ember’s number into the lockbox. It doesn’t open. She tries again. Still nothing.
Lake
Damn it.
She looks through the front window. The dining room table with the sign over it is just visible: Home, Where memories are made, Love is felt and refuge is found. You belong here.
EXT. hillside plot – night
Lake drives her car into her old driveway. The plot has now been grated.
INT. parked car – hillside plot – night
Lake opens her glove box and looks through it desperately looking for alcohol.
She pulls a jacket from her backseat. Lake reclines the car seat as far as it will go. She shoves the jacket under her head trying to get comfortable.
She looks out into the night sky filled with stars.
INT. Parked car – day
Lake opens her eyes and looks around. She sits up and adjusts her car seat to an upright position.
Her Neighbor is walking up the driveway towards her carrying a steaming cup of coffee.
She straightens her hair and unrolls her window.
Old man Neighbor
Good Morning, Lake.
Lake
Morning.
He hands her the mug.
Lake
I don’t really know what to say.
Old MAN NEIGHBOR
No need to say anything. As horrible as this fire was, it reminded me and the missus what’s important.
Lake
What? What’s important?
Old man neighbor
Kindness and remember home is where the heart is.
Lake
And if you can’t feel your heart?
OLD MAN NEIGHBOR
Don’t worry. You’ll find it again. You need anything else? Something to eat maybe?
Lake
I’m good. Thanks for the coffee. I think I know what I’m going to do.
OLD MAN NEIGHBOR
What’s that?
Lake
With the lot.
INT. coffee shop – day
Lake pushes open the door to the coffee shop with too much force.
A woman, ADDISON RAY, 40s, very professional, sits at a table by herself working on a laptop. In front of her sits a 20 oz. Cup of coffee.
Lake
Addison Ray?
Addison quickly closes the laptop and stands up.
Addison ray
Lake Turner.
She holds out her hand quickly towards Lake. Lake grabs hold of her hand and they shake.
Lake
Thanks for coming.
ADDISON RAY
Please, sit. Can I get you a cup of coffee?
Lake
No, thank you. I just finished one as a matter of fact.
Addison sits down and grabs a packet of papers out of her briefcase.
ADDISON RAY
I have everything here to start the process to list the lot. You brought the certificate of death?
Lake pulls out an unopened envelope and places it carefully on the table in front of Addison’s closed laptop.
Blake shows up.
Lake
It’s here.
ADDISON RAY
It…you haven’t opened it.
Lake looks at the envelope unblinking.
She picks up the envelope and opens it quickly.
She unfolds the certificate of death and places it back in the table.
Addison pulls out her phone and takes a picture of the document.
She folds the document and hands it back to Lake.
ADDISON RAY
I’m sorry what you’re going through.
Lake takes the folded paper and places it back in her purse.
LAKE
It happened to you too.
Addison Ray
Yes, not far from you. Our neighbor woke us up or…well we barely made it. We consider ourselves lucky. I can’t imagine what you’re going through.
Blake leans his chin in his hands anxious to hear the story.
Flashback Lake tries to get back up to her house but firemen physically restrain her.
Lake
We had a fight and I left. I went to my office and started working because I didn’t know where else to go. I got a text after midnight and raced home. Blake wouldn’t answer his phone. I kept calling. The firemen wouldn’t let me through. No one would tell me anything for more than a week but I knew already. I knew that he was dead.
ADDISON RAY
Can I hug you?
Lake
I don’t think I could take it right now. How do you keep going.
ADDISON RAY
One foot in front of the other right? I just have to keep moving because if I stop I don’t know, I might not get up again.
Lake
I stopped moving.
Blake
ADDISON RAY
There’s a developer who’s been snapping up the lots in this area for spec houses. There’s a glut of burned lots hitting the market but because of where yours is you won’t have any trouble.
Lake
Now that I decided I want it sold ASAP.
ADDISON RAY
I call as soon as I’ve spoken to the developer. Your sister, she’s in Real Estate, no?
Lake
She’s family. A sister. It’s complicated.
AddISON RAY
Understood.
***tries to turn herself into the police.
Lake
I think I may have killed my husband.
-
Margaret’s Act 3 Turning Point
What I learned completing this assignment is that momentum makes writing easy.
INT. house for sale Montgomery Drive – night
Lake and Mitch are having sex in the bed of a house for sale on Montgomery Drive.
Mitch
I think this is the first time we’ve had sex in an actual bed.
Lake
It’s kind of comfortable.
Mitch
I know I’ve said this before but this is the last time I sneak into a house with you.
Lake
We could come up with a new way to get an adrenaline rush.
Mitch
Such as…
Lake
Jumping out of an airplane with no chute perhaps?
Mitch
Roulette.
Lake
Funny.
Mitch
You know you don’t have to justify that you lived.
The sound of a door opening.
LAKE
Shit.
Ember walks into the bedroom followed by a COUPLE.
Mitch and lake jump out of bed instinctively, trying to simultaneously cover themselves.
The couple YELLS out in surprise and flees the room.
Ember stays in the room facing them both.
EmBER
So, this is how you’ve been spending your time since mom threw you out.
Lake
I’ve been really good actually.
Ember
I can see that.
MITCH
Wait, you two know each other?
Lake
Ember this is Mitch, Mitch meet my sister, Ember.
Mitch takes a moment to process this information.
Mitch
I recognize our idea of excitement might have been warped by trauma.
EmBER
Did you lose your house too?
Mitch
My restaurant and my marriage but I kept the house.
Ember
Well, you two make a pair. I need to go do some damage control with my clients. Maybe we’ll meet again under different circumstances. And you..
(turning towards Lake)
Best not say anything.
Lake
Yeah. Sorry…
Ember
Not a thing.
Blake leaning against the wall laughs. Lake looks like she could murder him.
INT. Parked car – night
Lake’s yellow and black Mini Cooper is parked in Mitch’s driveway with the two of them sitting in the car.
LAKE
I’m sorry about earlier. I know it was super embarrassing.
Mitch
I’m still not sure about you.
Lake
Still makes two of us.
Mitch
Listen, regressing with you has been really fun but I still wake up with myself.
Lake
I understand.
Mitch
Maybe we can just give it some time.
Lake
Sure. Good Night Mitch.
Mitch
Do you have somewhere to go?
Lake
Don’t worry about me.
EXT. HOUSE FOR SALE – OLIVE COURT – night
Lake walks down the street a duffel bag over her shoulder.
She approaches the front door and enters Ember’s number into the lockbox. It doesn’t open. She tries again. Still nothing.
Lake
Damn it.
She looks through the front window. The dining room table with the sign over it is just visible: Home, Where memories are made, Love is felt and refuge is found. You belong here.
EXT. hillside plot – night
Lake drives her car into her old driveway. The plot has now been grated.
INT. parked car – hillside plot – night
Lake opens her glove box and looks through it desperately looking for alcohol.
She pulls a jacket from her backseat. Lake reclines the car seat as far as it will go. She shoves the jacket under her head trying to get comfortable.
She looks out into the night sky filled with stars.
-
Margaret’s Act 3 Middle Scenes What I learned completing this assignment is that after the success and momentum of this class where I have been consistently writing every day, I have a new confidence in my abilities to get the writing done. INT. MITCH’S HOUSE – NIGHT
Lake sits on the couch in the great room of Mitch’s house.
Mitch approaches with two empty wine glasses and an open bottle of Zinfandel.
He sets the glasses down and pours her a glass.
He hands it to her and then turns to pour himself a glass.
LAKE
Thank you.
Lake looks around the modern, tastefully done house with very few furnishings.
LAKE
Minimalist…or?
Lake takes a sip of wine.
MITCH
My ex-wife left me when the restaurant closed down. She pretty much took everything. I kinda like it like this though.
LAKE
Oh, my, that is so good.
MITCH
One of my favorites.
LAKE
It smells so good in here.
MITCH
I love how enthusiastic you are about food.
LAKE
Well I love food! Where did you learn to cook?
MITCH
Europe. I worked in the kitchen of Amador in Chicago for a couple of years.
LAKE
THE Amador?
MITCH
Yes. Then I opened La Cuisine.
LAKE
I loved that place! I was so bummed when…wait, you’re Mitch Delange?
MITCH
Guilty.
LAKE
Sorry.
MITCH
What?
LAKE
About losing the restaurant and all that. It must have been hard.
MITCH
It was…is. I’m taking time to decide what’s next. The truth is I was working all the time. I mean ALL the time. I want to find a way to do what I love and have a life at the same time. I want to do it on my terms this time.
LAKE
Understood. A do-over.
MITCH
Exactly. A do-over.
Lake
Same. I have the best idea.
INT. driving car – night
Lake is driving and Mitch is in the passenger side seat with her Foodease bag carefully balanced in his lap.
She pulls up to a house with a for sale sign.
MITCH
You’ve got to be kidding me?
Lake
I think this is a good one to try on. Let’s check it out.
EXT. house for sale – Braiden Lane – night
Lake opens the lockbox and pulls out the key. Mitch stands shifting his weight nervously from one foot to the other, the Foodease bag at his side with the straps over his shoulder.
Mitch
I don’t think this is a very good idea.
Lake
You go in. I’ll go around to the back door and you just have to let me in.
INT. House for sale – braiden lane – night
Blake opens the sliding glass door.
Mitch and Lake unpack the dishes Mitch cooked onto the table.
LAKE
Too bad there’s no candles.
Mitch
My heart is beating like a teenager that snuck his girlfriend in through my bedroom window.
Lake
It’s hot right.
Mitch and Lake drop what they are doing and are all over each other.
Blake is suddenly seated at one of the chairs at the table.
Blake
Getting predictable.
Lake
Three’s a crowd.
Mitch pulls back from her.
MITCH
What?
Lake
Hearing Blake in my head again.
Mitch
I know how to fix that.
He lifts her onto the end of the table and pulls her pants down. He kisses her and opens her legs.
He keeps kissing her. He pulls himself away and bends over, his face between her legs.
Blake
This is just embarrassing.
Lake flips him off and then her head drops back in ecstasy forgetting Blake entirely.
Montage various
1. Lake at a different for sale house each night waking up to a 5:00 a.m. alarm on her phone each morning.
2. Lake parks down the street from a for sale house.
3. Lake’s car very organized – her back seat like a closet and dresser. Lake throws away all the 50 ml bottles of alcohol from the glove box.
4. Lake sneaks into a house carrying a duffle bag.
5. Lake goes to gym very early and showers there.
6. Lake tasting food and writing reviews.
INT. house for sale Montgomery Drive – night
Lake and Mitch are having sex in the bed of a house for sale on Montgomery Drive.
Mitch
I think this is the first time we’ve had sex in a bed.
Lake
It’s kind of comfortable.
Mitch
I know I’ve said this before but this is the last time I sneak into a house with you.
Lake
We could come up with a new way to get an adrenaline rush.
Mitch
Such as…
Lake
Jumping out of an airplane with no chute perhaps?
Mitch
Roulette.
Lake
Funny.
Mitch
You know you don’t have to justify that you lived.
The sound of a door opening.
LAKE
Shit.
Ember walks into the bedroom followed by a COUPLE.
Mitch and lake jump out of bed instinctively, trying to simultaneously cover themselves.
The couple YELLS out in surprise and flee the room.
Ember stays in the room facing them both.
EmBER
So, this is how you’ve been spending your time since mom threw you out.
Lake
I’ve been really good actually.
Ember
I can see that.
MITCH
Wait, you two know each other?
Lake
Ember this is Mitch, Mitch meet my sister, Ember.
Mitch takes a moment to process this information.
Mitch
I recognize our idea of excitement might have been warped by trauma.
EmBER
Did you lose your house too?
Mitch
My restaurant and my marriage but I kept the house.
Ember
Well, you two make a pair. I need to go do some damage control with my clients. Maybe we’ll meet again under different circumstances. And you..
(turning towards Lake)
Best not say anything.
Lake
Yay. Sorry…
Ember
Not a thing.
-
Margaret’s Act 3 Middle Scenes What I learned completing this assignment is that after the success and momentum of this class where I have been consistently writing every day, I have a new confidence in my abilities to get the writing done. INT. MITCH’S HOUSE – NIGHT
Lake sits on the couch in the great room of Mitch’s house.
Mitch approaches with two empty wine glasses and an open bottle of Zinfandel.
He sets the glasses down and pours her a glass.
He hands it to her and then turns to pour himself a glass.
LAKE
Thank you.
Lake looks around the modern, tastefully done house with very few furnishings.
LAKE
Minimalist…or?
Lake takes a sip of wine.
MITCH
My ex-wife left me when the restaurant closed down. She pretty much took everything. I kinda like it like this though.
LAKE
Oh, my, that is so good.
MITCH
One of my favorites.
LAKE
It smells so good in here.
MITCH
I love how enthusiastic you are about food.
LAKE
Well I love food! Where did you learn to cook?
MITCH
Europe. I worked in the kitchen of Amador in Chicago for a couple of years.
LAKE
THE Amador?
MITCH
Yes. Then I opened La Cuisine.
LAKE
I loved that place! I was so bummed when…wait, you’re Mitch Delange?
MITCH
Guilty.
LAKE
Sorry.
MITCH
What?
LAKE
About losing the restaurant and all that. It must have been hard.
MITCH
It was…is. I’m taking time to decide what’s next. The truth is I was working all the time. I mean ALL the time. I want to find a way to do what I love and have a life at the same time. I want to do it on my terms this time.
LAKE
Understood. A do-over.
MITCH
Exactly. A do-over.
Lake
Same. I have the best idea.
INT. driving car – night
Lake is driving and Mitch is in the passenger side seat with her Foodease bag carefully balanced in his lap.
She pulls up to a house with a for sale sign.
MITCH
You’ve got to be kidding me?
Lake
I think this is a good one to try on. Let’s check it out.
EXT. house for sale – Braiden Lane – night
Lake opens the lockbox and pulls out the key. Mitch stands shifting his weight nervously from one foot to the other, the Foodease bag at his side with the straps over his shoulder.
Mitch
I don’t think this is a very good idea.
Lake
You go in. I’ll go around to the back door and you just have to let me in.
INT. House for sale – braiden lane – night
Blake opens the sliding glass door.
Mitch and Lake unpack the dishes Mitch cooked onto the table.
LAKE
Too bad there’s no candles.
Mitch
My heart is beating like a teenager that snuck his girlfriend in through my bedroom window.
Lake
It’s hot right.
Mitch and Lake drop what they are doing and are all over each other.
Blake is suddenly seated at one of the chairs at the table.
Blake
Getting predictable.
Lake
Three’s a crowd.
Mitch pulls back from her.
MITCH
What?
Lake
Hearing Blake in my head again.
Mitch
I know how to fix that.
He lifts her onto the end of the table and pulls her pants down. He kisses her and opens her legs.
He keeps kissing her. He pulls himself away and bends over, his face between her legs.
Blake
This is just embarrassing.
Lake flips him off and then her head drops back in ecstasy forgetting Blake entirely.
Montage various
1. Lake at a different for sale house each night waking up to a 5:00 a.m. alarm on her phone each morning.
2. Lake parks down the street from a for sale house.
3. Lake’s car very organized – her back seat like a closet and dresser. Lake throws away all the 50 ml bottles of alcohol from the glove box.
4. Lake sneaks into a house carrying a duffle bag.
5. Lake goes to gym very early and showers there.
6. Lake tasting food and writing reviews.
INT. house for sale Montgomery Drive – night
Lake and Mitch are having sex in the bed of a house for sale on Montgomery Drive.
Mitch
I think this is the first time we’ve had sex in a bed.
Lake
It’s kind of comfortable.
Mitch
I know I’ve said this before but this is the last time I sneak into a house with you.
Lake
We could come up with a new way to get an adrenaline rush.
Mitch
Such as…
Lake
Jumping out of an airplane with no chute perhaps?
Mitch
Roulette.
Lake
Funny.
Mitch
You know you don’t have to justify that you lived.
The sound of a door opening.
LAKE
Shit.
Ember walks into the bedroom followed by a COUPLE.
Mitch and lake jump out of bed instinctively, trying to simultaneously cover themselves.
The couple YELLS out in surprise and flee the room.
Ember stays in the room facing them both.
EmBER
So, this is how you’ve been spending your time since mom threw you out.
Lake
I’ve been really good actually.
Ember
I can see that.
MITCH
Wait, you two know each other?
Lake
Ember this is Mitch, Mitch meet my sister, Ember.
Mitch takes a moment to process this information.
Mitch
I recognize our idea of excitement might have been warped by trauma.
EmBER
Did you lose your house too?
Mitch
My restaurant and my marriage but I kept the house.
Ember
Well, you two make a pair. I need to go do some damage control with my clients. Maybe we’ll meet again under different circumstances. And you..
(turning towards Lake)
Best not say anything.
Lake
Yay. Sorry…
Ember
Not a thing.
Blake leans against the bedroom wall chuckling to himself.
Lake looks like she could murder him.
-
Margaret’s Act 3 Reaction to Midpoint What I learned completing this assignment is this is definitely the easy way to write. I tried it the hard way and I’m really appreciating the easy way.
This is her reaction to the midpoint – bullet points that take me to the end of Episode 2 –
INT. MITCH’S HOUSE – NIGHT
Lake sits on the couch in the great room of Mitch’s house. A large screen TV plays low in the background.
Mitch approaches with two empty wine glasses and an open bottle of Zinfandel.
He sets the glasses down and pours her a glass.
He hands it to her and then turns to pour himself a glass.
LAKE
Thank you.
Lake looks around the modern, tastefully done house.
LAKE
Minimalist…or?
Lake takes a sip of wine.
MITCH
My ex-wife left me when the restaurant closed down. She pretty much took everything. I kinda like it like this though.
LAKE
Oh my that is so good.
MITCH
One of my favorites.
LAKE
It smells so good in here.
MITCH
I love how enthusiastic you are about food.
LAKE
Well I love food! Where did you learn to cook?
MITCH
Europe. I worked in the kitchen of Amador in Chicago for a couple of years.
LAKE
THE Amador?
MITCH
Yes. Then I opened La Cuisine.
LAKE
I loved that place! I was so bummed when…wait, you’re Mitch Delange?
MITCH
Guilty.
LAKE
Sorry.
MITCH
What?
LAKE
About losing the restaurant and all that. It must have been hard.
MITCH
It was…is. I’m taking time to decide what’s next. The truth is I was working all the time. I mean ALL the time. I want to find a way to do what I love and have a life at the same time. I want to do it on my terms this time.
LAKE
Understood. A do-over.
MITCH
Exactly. A do-over.
Lake
Same. I have the best idea.
Sneak into house
Blake shows up
Threes a crowd
Sleeping at a different for sale house each night
Parks down the street.
Car very organized
Only takes one duffle
Wakes up at 5:00 am
Goes to gym
Writing food reviews
Get caught by sister and other client in house for sale having sex with Mitch.
Mitch and Ember meet for the first time.
Mitch
I recognize our idea of excitement might have been warped by trauma.
EmBER
Did you lose your house too?
Mitch
My restaurant and my marriage but I kept the house.
Ember
Well you two make a pair. I need to go do some damage control with my clients. Maybe will meet again under different circumstances. And you..
(turning towards Lake)
Best not say anything.
Lake
Yay. Sorry…
Ember
Not a thing.
***Fights with Blake
***Has a fit of rage and breaks crystal vase
***Lake at anger management group
***Sleeps at Mitch’s house 1 night
***Gets up early
***Steals sign from Olive Court regarding home is where you belong.
-
This reply was modified 2 years, 2 months ago by Margaret Gendreau.
-
This reply was modified 2 years, 2 months ago by
-
Margaret had completed Act 2 Draft 1 What I learned completing this assignment is I realized except for one day where I had plans and scheduled that I wouldn’t write, I’ve written every day since the beginning of this class. Even though I’ve been writing for 30+ years I have never accomplished this until now. The momentum is fantastic but I now take myself seriously as a writer on a new level. I know I will continue at this pace to achieve my goals for this year and beyond. I’m all in. Because I’m writing a series and not a feature my structure is a little different but for the purposes of this assignment, I’ve brought together what would be my second act (which is in fact the last scene of episode one and the first half of episode two). EXT. mom’s house – night
Lake struggles with a large suitcase an overnight bag and har handbag.
She drops them beside the car.
Lake opens the passenger side door and moves the seat back and struggles to get her suitcase and bags into the back seat.
EXT. HILLSIDE PLOT – NEIGHBORHOOD – night
Lake pulls up in her car and parks in front of the burned plot where her house used to stand.
INT. parked car – night
Lake
What the fuck am I supposed to do now? What the actual fuck!?
Blake appears in her driver side seat.
Lake
Just when I thought nothing could get worse.
Blake
You have everything you need.
Lake
I need to find where I belong. That was never with you.
Blake
But it wasn’t all bad.
Lake
No it wasn’t all bad.
Blake
You have a clean slate.
Lake
It seems pretty crowded for a clean slate.
Blake
Home is where you belong.
Lake raises her head and smiles at Blake for the first time.
EXT. House for sale – Olive Court – day
Lake surrounded by her bags at her feet on the front step, quickly enters Ember’s code into the lockbox and opens to reveal the key.
She unlocks the front door and steps dramatically over the threshold and looks around.
INT. House for sale – Olive Court – day
She carries all the bags into the house and drops them inside.
INT. House for sale – Olive Court – day
Lake opens the sliding glass door at the other side of the great room.
ExT. House for sale – Olive Court – day
Lake exits the front door. She locks the front door and carefully put the key back in the lockbox.
INt. House for sale – Olive Court – day
Lake enters the house through the glass door.
She shuts the door behind her and locks it.
She heads back towards her bag but stops in front of the sign over the dining room table: Home where memories are made, love is felt and refuge is found. You belong here.
Lake smiles wryly. INT. house for sale – master bedroom – day
Lake sleeps peacefully in the staged bed of the master bedroom of the house for sale on Olive Court.
She smiles in her sleep.
Blake appears on the side of the bed.
BlAKE
Time to get up babe.
Lake’s smile disappears.
Lake
No. Not you.
EXT. HOUSE FOR SALE – OLIVE COURT – day
Ember pulls up in a flat black Range Rover followed by a COUPLE in a white Mercedes GLC.
Ember passes Lakes’s distinctive Mini Cooper. She notices it immediately and looks around suspiciously.
Ember and her clients approach the front door.
Ember enters her numbers in the lockbox and is relieved to see the key.
INT. house for sale – master bedroom – day
BlAKE
Look, you gotta go.
Lake
Why did you go? Why did you leave me?
BlAKE
I didn’t have a choice.
LAKE
I didn’t have a choice…
INT. house for sale – Olive Court – day
Ember describes the kitchen getting couple to imagine this as their home.
Ember
This Sonoma County stunner features French oak flooring throughout. The open concept kitchen/great room comes complete with an expansive island with a sink and bar seating. Notice the chefs kitchen with everything you need to entertain.
INT. house for sale – Olive Court – day
Lake hears Ember’s voice.
Ember
Notice the professional range and integrated fridge. There’s even a wine cooler.
Lake jumps out of bed in her underwear and a teeshirt.
Lake
Shit, shit shit!
She slides her bags under the bed.
Lake hurriedly straightens the covers and jumps under the bed just in time.
Ember enters the room with the couple in tow.
Legs and voices.
Ember
The master suite is complete with a walk-in closet, an i suite bathroom with his and her sinks.
Embers legs are right next to the bed. Lake holds her breath.
Wife couple
(screeching)
Aha!
She claps excitedly.
Wife couple
Look at the view from the bathroom window.
Husband couple
Spectacular.
Embers legs move towards the bathroom and lake exhales.
EXT. house FOR SALE – OLIVE COURT – day
Lake is lugging her suitcases to the car.
Lake
Angrily wrestling her suitcase into the back seat.
Phone rings. It’s Ember. Lake grits her teeth, smiles big and answers the phone.
Lake
Ember! To what do I owe the pleasure?
EmBER
Lake. What are you up to?
Lake
What do you mean?
EmbER
I just showed the Olive Court property and guess who’s car was there?
Lake twists her face trying to think quickly.
Lake
I’m still here.
Ember
Why are you breathing so hard?
LAKE
I realized this morning I hadn’t checked out the neighborhood so I drove up this morning for a brisk walk.
EmBER
You are a horrendous liar.
Lake
I told you, I’m trying the place on.
EmBER
Just don’t sleep there again. I have to go. I’m busy.
Ember hangs up. Lake screams, trying to shove the suitcase in the back seat.
Lake
Fuck!!!
INT. BEE’S ORGANIC FAST FOOD RESTAURANT – DAY
Lake enters Bee’s her bag over her shoulder and keys and phone in hand.
She walks up to the counter. There is a young woman, COUNTER HELP, smiling ready to help. Lake looks disappointed.
LAKE
Hi, I’m picking up for Annie L. today.
COUNTER HELP
Just a minute.
Counter Help begins looking through the various bags on the pick up shelf.
Mitch appears and speaks to the young woman who disappears to the back.
MITCH
That’s Annie L?
LAKE
Yes, thank you.
MITCH
So, woman about to formerly be known as Lake, what goes on?
LAKE
Oh, you know, brain surgery. You?
MITCH
About the same.
He hands her a bag.
LAKE
Thank you.
He walks around the corner and begins to walk her out.
MITCH
May I walk with you?
Mitch motions towards the door.
LAKE
But of course.
The STAFF at Bee’s watch the two eagerly as they exit the restaurant.
EXT. RESTAURANT – DAY
Mitch and Lake are at her car, the food already in the hatch.
LAKE
You didn’t call?
MITCH
I was embarrassed. It felt…you know…too casual.
LAKE
Hey.
Lake reaches up and kisses him on his cheek.
LAKE
It may have seemed casual but truth be told I haven’t slept with anyone since Blake…
Mitch
Let me guess-ex-boyfriend?
Lake
My husband. He died in the firestorm.
MITCH
Oh. Ummm, you want to talk about it?
LAKE
Noooo. Definitely, no.
MITCH
You should have told me.
LAKE
I was nervous, ya know. I thought just pull it off like a bandaid.
MITCH
You’re so romantic.
LAKE
I know, right.
MITCH
Second date?
Blake shows up.
LAKE
Not you again.
Mitch
I’m getting mixed signals here.
LAKE
Sorry, I’m definitely down for that second date. Do you ever feel like you’re being haunted by your ex?
Mitch
All the time. Why is there luggage in your backseat. Are you going somewhere?
Lake
Yes.
Mitch
Where to?
Lake
Not sure yet.
Mitch
We’ll come over for dinner tonight before you go anywhere.
LAKE
I’d like that. Very much. Now I have to deliver this food before it gets cold and take care of something I’ve been putting off for a very long time.
He opens the car door for her as she steps into the driver’s seat. He closes the door after her.
He waves and she smiles at him as she pulls out of the parking lot in her yellow and black Mini Cooper.
EXT. HILLSIDE PLOT – DAY
Lake pulls up to the hillside plot but this time parks in the driveway.
The area around has been grated and cleaned up except the plot where her house once stood, it is exactly as it was after the fire.
She looks over wearily at her old man neighbor’s house, the only still standing in the area.
A CONTRACTOR approaches her car.
CONTRACTOR
Good afternoon, Mrs. Logan.
LAKE
It’s Turner. I changed it back to my maiden name after…but you can just call me Lake.
CONTRACTOR
Here are a pair of gloves. Do you want me to accompany you or would you rather be alone.
LAKE
I’d rather do this alone. Thanks.
Blake follows her.
Lake
I said I’d rather do this alone. That means you too, whatever you are.
Blake
Oh, I wouldn’t miss this for the world.
Lake walks through where her house used to stand which is nothing but soot and ash. She runs her boot through some ash piles and then turns away.
She walks up the driveway and back towards a partially burned back building with a large tarp over it.
EXT. STUDIO – DAY
The contractor follows her up to the destroyed structure.
He pulls the tarp off a pile of what used to be a building and folds it up.
CONTRACTOR
You shouldn’t do this alone, ma’am.
She looks at the ghost of Blake.
Lake
Don’t worry, I’m never alone anymore.
CONTRACTOR
You just holler if you need anything.
LAKE
Thanks.
The Contractor walks away.
Lake turns towards Blake’s destroyed studio still holding the gloves but doesn’t approach.
INT. Blake’s studio – DAY
Lake walks into Blake’s studio as he paints a colorful abstract. The studio is tastefully decorated with his pictures displayed and framed magazine covers touting his accomplishments.
LAKE
I brought lunch. You hungry?
Blake
I’m not sure.
LAKE
Had a late night in the studio?
Blake
No. I’ve been staying up late working on a painting.
LAKE
Isn’t that what I just asked? Are you gas lighting me? You’re always gas lighting me.
Blake
You dumb bitch that isn’t what I meant.
Lake heads towards the door but Blake is up and blocking her way.
LAKE
Let me out.
BLAKE
You wouldn’t be anything without me.
Lake
Let me out.
Blake
You’re pathetic.
Lake
Get out of my way.
Blake tries to push her back. She pushes him with an almost super human strength.
He falls back and hits his head on the brick around the wood burning stove.
Lake runs out of the room.
Blake lies still on the floor not moving.
EXT. STUDIO – DAY
Gloves on, Lake searches through the wreckage of Blake’s studio. She looks at what is left of the black potbellied stove.
She overturns a piece of burned metal. She uses her foot to comb through sticky ash. Nothing.
Lake spots something and pulls it out of the rubble. She wipes black ash off an intact crystal vase with the side of the glove.
She moves toward the corner of the structure where partially burned wood boards remain.
She moves some boards aside and finds a partially burned canvas covered with an abstract painting.
She picks it up and carries it outside the wrecked building.
She surveys the destruction of the structure and the whole area where the fire’s burned with a look of overwhelm.
She looks down and sees her boot is over a burned and faded picture of her and Blake.
Blake
There were some good times.
Lake
Stop haunting me.
Blake
Who else would l haunt?
Lake
Why me?
BLAKE
You killed me.
She stares at the image for a few minutes and then moves her boot over the picture and grinds the image further into the layer of dirt and ash.
Lake
I didn’t kill you!
The contractor looks up from the clipboard with papers he was looking at.
Blake
You left me for dead which is the same thing
-
Margaret’s Act 2 TP – Midpoint What I learned completing this assignment is sometimes I am assembling a scene/series is scenes piece by piece, sometimes inspiration hits and sometimes a scene which was only a vague idea become clear. All these ways are writing are equally valuable as long as I am moving forward. INT. house for sale – master bedroom – day
Lake sleeps peacefully in the staged bed of the master bedroom of the house for sale on Olive Court.
She smiles in her sleep.
Blake appears on the side of the bed.
BlAKE
Time to get up babe.
Lake’s smile disappears.
Lake
No. Not you.
EXT. HOUSE FOR SALE – OLIVE COURT – day
Ember pulls up in a flat black Range Rover followed by a COUPLE in a white Mercedes GLC.
Ember passes Lakes’s distinctive Mini Cooper. She notices it immediately and looks around suspiciously.
Ember and her clients approach the front door.
Ember enters her numbers in the lockbox and is relieved to see the key.
INT. house for sale – master bedroom – day
BlAKE
Look, you gotta go.
Lake
Why did you go? Why did you leave me?
BlAKE
I didn’t have a choice.
LAKE
I didn’t have a choice…
INT. house for sale – Olive Court – day
Ember describes the kitchen getting couple to imagine this as their home.
Ember
This Sonoma County stunner features French oak flooring throughout. The open concept kitchen/great room comes complete with an expansive island with a sink and bar seating. Notice the chefs kitchen with everything you need to entertain.
INT. house for sale – Olive Court – day
Lake hears Ember’s voice.
Ember
Notice the professional range and integrated fridge. There’s even a wine cooler.
Lake jumps out of bed in her underwear and a teeshirt.
Lake
Shit, shit shit!
She slides her bags under the bed.
Lake hurriedly straightens the covers and jumps under the bed just in time.
Ember enters the room with the couple in tow.
Legs and voices.
Ember
The master suite is complete with a walk-in closet, an i suite bathroom with his and her sinks.
Embers legs are right next to the bed. Lake holds her breath.
Wife couple
(screeching)
Aha!
She claps excitedly.
Wife couple
Look at the view from the bathroom window.
Husband couple
Spectacular.
Embers legs move towards the bathroom and lake exhales.
EXT. house FOR SALE – OLIVE COURT – day
Lake is lugging her suitcases to the car.
Lake
Angrily wrestling her suitcase into the back seat.
Phone rings. It’s Ember. Lake grits her teeth, smiles big and answers the phone.
Lake
Ember! To what do I owe the pleasure?
EmBER
Lake. What are you up to?
Lake
What do you mean?
EmbER
I just showed the Olive Court property and guess who’s car was there?
Lake twists her face trying to think quickly.
Lake
I’m still here.
Ember
Why are you breathing so hard?
LAKE
I realized this morning I hadn’t checked out the neighborhood so I drove up this morning for a brisk walk.
EmBER
You are a horrendous liar.
Lake
I told you, I’m trying the place on.
EmBER
Just don’t sleep there again. I have to go. I’m busy.
Ember hangs up. Lake screams, trying to shove the suitcase in the back seat.
Lake
Fuck!!!
INT. BEE’S ORGANIC FAST FOOD RESTAURANT – DAY
Lake enters Bee’s her bag over her shoulder and keys and phone in hand.
She walks up to the counter. There is a young woman, COUNTER HELP, smiling ready to help. Lake looks disappointed.
LAKE
Hi, I’m picking up for Annie L. today.
COUNTER HELP
Just a minute.
Counter Help begins looking through the various bags on the pick up shelf.
Mitch appears and speaks to the young woman who disappears to the back.
MITCH
That’s Annie L?
LAKE
Yes, thank you.
MITCH
So, woman about to formerly be known as Lake, what goes on?
LAKE
Oh, you know, brain surgery. You?
MITCH
About the same.
He hands her a bag.
LAKE
Thank you.
He walks around the corner and begins to walk her out.
MITCH
May I walk with you?
Mitch motions towards the door.
LAKE
But of course.
The STAFF at Bee’s watch the two eagerly as they exit the restaurant.
EXT. RESTAURANT – DAY
Mitch and Lake are at her car, the food already in the hatch.
LAKE
You didn’t call?
MITCH
I was embarrassed. It felt…you know…too casual.
LAKE
Hey.
Lake reaches up and kisses him on his cheek.
LAKE
It may have seemed casual but truth be told I haven’t slept with anyone since Blake…
Mitch
Let me guess-ex-boyfriend?
Lake
My husband. He died in the firestorm.
MITCH
Oh. Ummm, you want to talk about it?
LAKE
Noooo. Definitely, no.
MITCH
You should have told me.
LAKE
I was nervous, ya know. I thought just pull it off like a bandaid.
MITCH
You’re so romantic.
LAKE
I know, right.
MITCH
Second date?
Blake shows up.
LAKE
Not you again.
Mitch
I’m getting mixed signals here.
LAKE
Sorry, I’m definitely down for that second date. Do you ever feel like you’re being haunted by your ex?
Mitch
All the time. Why is there luggage in your backseat. Are you going somewhere?
Lake
Yes.
Mitch
Where to?
Lake
Not sure yet.
Mitch
We’ll come over for dinner tonight before you go anywhere.
LAKE
I’d like that. Very much. Now I have to deliver this food before it gets cold and take care of something I’ve been putting off for a very long time.
He opens the car door for her as she steps into the driver’s seat. He closes the door after her.
He waves and she smiles at him as she pulls out of the parking lot in her yellow and black Mini Cooper.
EXT. HILLSIDE PLOT – DAY
Lake pulls up to the hillside plot but this time parks in the driveway.
The area around has been grated and cleaned up except the plot where her house once stood, it is exactly as it was after the fire.
She looks over wearily at her old man neighbor’s house, the only still standing in the area.
A CONTRACTOR approaches her car.
CONTRACTOR
Good afternoon, Mrs. Logan.
LAKE
It’s Turner. I changed it back to my maiden name after…but you can just call me Lake.
CONTRACTOR
Here are a pair of gloves. Do you want me to accompany you or would you rather be alone.
LAKE
I’d rather do this alone. Thanks.
Blake follows her.
Lake
I said I’d rather do this alone. That means you too, whatever you are.
Blake
Oh, I wouldn’t miss this for the world.
Lake walks through where her house used to stand which is nothing but soot and ash. She runs her boot through some ash piles and then turns away.
She walks up the driveway and back towards a partially burned back building with a large tarp over it.
EXT. STUDIO – DAY
The contractor follows her up to the destroyed structure.
He pulls the tarp off a pile of what used to be a building and folds it up.
CONTRACTOR
You shouldn’t do this alone, ma’am.
She looks at the ghost of Blake.
Lake
Don’t worry, I’m never alone anymore.
CONTRACTOR
You just holler if you need anything.
LAKE
Thanks.
The Contractor walks away.
Lake turns towards Blake’s destroyed studio still holding the gloves but doesn’t approach.
INT. Blake’s studio – DAY
Lake walks into Blake’s studio as he paints a colorful abstract. The studio is tastefully decorated with his pictures displayed and framed magazine covers touting his accomplishments.
LAKE
I brought lunch. You hungry?
Blake
I’m not sure.
LAKE
Had a late night in the studio?
Blake
No. I’ve been staying up late working on a painting.
LAKE
Isn’t that what I just asked? Are you gas lighting me? You’re always gas lighting me.
Blake
You dumb bitch that isn’t what I meant.
Lake heads towards the door but Blake is up and blocking her way.
LAKE
Let me out.
BLAKE
You wouldn’t be anything without me.
Lake
Let me out.
Blake
You’re pathetic.
Lake
Get out of my way.
Blake tries to push her back. She pushes him with an almost super human strength.
He falls back and hits his head on the brick around the wood burning stove.
Lake runs out of the room.
Blake lies still on the floor not moving.
EXT. STUDIO – DAY
Gloves on, Lake searches through the wreckage of Blake’s studio. She looks at what is left of the black potbellied stove.
She overturns a piece of burned metal. She uses her foot to comb through sticky ash. Nothing.
Lake spots something and pulls it out of the rubble. She wipes black ash off an intact crystal vase with the side of the glove.
She moves toward the corner of the structure where partially burned wood boards remain.
She moves some boards aside and finds a partially burned canvas covered with an abstract painting.
She picks it up and carries it outside the wrecked building.
She surveys the destruction of the structure and the whole area where the fire’s burned with a look of overwhelm.
She looks down and sees her boot is over a burned and faded picture of her and Blake.
Blake
There were some good times.
Lake
Stop haunting me.
Blake
Who else would l haunt?
Lake
Why me?
BLAKE
You killed me.
She stares at the image for a few minutes and then moves her boot over the picture and grinds the image further into the layer of dirt and ash.
Lake
I didn’t kill you!
The contractor looks up from the clipboard with papers he was looking at.
Blake
You left me for dead which is the same thing.
-
Margaret’s Act 2 middle scenes
What I learned completing this assignment is I’ve stuck to it and just kept writing despite some problems that needed solved. I kept at it and feel like I’m really building momentum now.
Because I’m doing a TV Series the reaction to Act I turning point was act 5 and these scenes start my episode II Anger.
INT. house for sale – Olive Court – day
Lake sleeps peacefully in the stager bedroom of the house for sale.
She smiles in her sleep.
Blake appears on the side of the bed.
BlAKE
Time to get up babe.
Lake’s smile disappears.
Lake
No. Not your baby.
EXT. HOUSE FOR SALE – OLIVE COURT – day
Two cars pull up (describe).
Ember and client approach the front door.
INT. house for sale – Olive Court – day
Ember describes the kitchen getting couple to imagine this as their home.
INT. house for sale – Olive Court – day
Lake hears someone. Jumps out of bed and slides her bags under the bed.
Straightens the covers and jumps under the bed just in time.
Ember in room. Legs and voices.
INT. BEE’S ORGANIC FAST FOOD RESTAURANT – DAY
Lake enters Bee’s her bag over her shoulder and keys and phone in hand.
She walks up to the counter. There is a young woman, COUNTER HELP, smiling ready to help. Lake looks disappointed.
LAKE
Hi, I’m picking up for Annie L. today.
COUNTER HELP
Just a minute.
Counter Help begins looking through the various bags on the pick up shelf.
Mitch appears and speaks to the young woman who disappears to the back.
MITCH
That’s Annie L?
LAKE
Yes, thank you.
MITCH
So, woman about to formerly be known as Lake, what goes on?
LAKE
Oh, you know, brain surgery. You?
MITCH
About the same.
He hands her a bag.
LAKE
Thank you.
He walks around the corner and begins to walk her out.
MITCH
May I walk with you?
Mitch motions towards the door.
LAKE
But of course.
The STAFF at Bee’s watch the two eagerly as they exit the restaurant.
EXT. RESTAURANT – DAY
Mitch and Lake are at her car, the food already in the hatch.
LAKE
You didn’t call?
MITCH
I was embarrassed. It felt…you know…too casual.
LAKE
Hey.
Lake reaches up and kisses him on his cheek.
LAKE
It may have seemed casual but truth be told I haven’t slept with anyone since Blake…
Mitch
Break up?
Lake
My husband. He died in the firestorm.
MITCH
Oh. Ummm, you want to talk about it?
LAKE
Noooo. Definitely, no.
MITCH
You should have told me.
LAKE
I was nervous, ya know. I thought just pull it off like a bandaid.
MITCH
You’re so romantic.
LAKE
I know, right.
MITCH
Second date?
Blake shows up.
LAKE
Not you again.
Mitch
I’m getting mixed signals here.
LAKE
Sorry, I’m definitely down for that second date. Do you ever feel like you’re being haunted by your ex?
Mitch
All the time. I get maybe we should take it a little slower. How about dinner at my place?
LAKE
I’d like that. Now I have to deliver this food before it gets cold and take care of something I’ve been putting off for a very long time.
He opens the car door for her as she steps into the driver’s seat. He closes the door for her after she gets in.
He waves and she smiles at him as she pulls out of the parking lot in her yellow and black Mini Cooper.
-
Margaret’s Act 2 Reaction to TP 1
What I learned completing this assignment is I spent some time this morning reworking my turning point in order for my pilot to end in the way that makes the most sense. My act five is the reaction to the turning point ending the episode and setting up the second episode. The extra time I spent makes sure I’m where I want to be in the story but I’m still moving quickly.
EXT. MOM’S HOUSE – NIGHT
Lake sits in the car in front of a tract home in the dark.
INT. CAR – NIGHT
She writes in a little black book with a pen.
She’s writing a review of Mae’s dumplings.
She finishes writing and puts the little black book down and opens the glove box.
She grabs a few of the small bottles and drinks them down.
EXT. MOM’S HOUSE – NIGHT
Lake stands for a long moment in front of the house. She steels herself and breaths in deeply.
She puts the keys in the lock and opens the front door.
INT. MOM’S HOUSE – NIGHT
Lake looks around and sees no one. She tiptoes toward the hall.
Mom steps into the kitchen entry.
Mom
Did you go by the house today and sign the papers?
Lake
Not today.
Mom
You need to pack up your stuff and get out now.
Lake
Now?
Mom
Right now.
Lake
But where am I supposed to go?
Mom
That isn’t my problem.
LAKE
I can’t believe you’re doing this.
Mom
It’s for your own good.
EXT. mom’s house – night
Lake struggles with a large suitcase an overnight bag and har handbag.
She drops them beside the car.
Lake opens the passenger side door and moves the seat back and struggles to get her suitcase and bags into the back seat.
EXT. HILLSIDE PLOT – NEIGHBORHOOD – night
Lake pulls up in her car and parks in front of the burned plot where her house used to stand.
INT. parked car – night
Lake
What the fuck am I supposed to do now? What the actual fuck!?
Blake appears in her driver side seat.
Lake
Just when I thought nothing could get worse.
Blake
You have everything you need.
Lake
I need to find where I belong. That was never with you.
Blake
But it wasn’t all bad.
Lake
No it wasn’t all bad.
Blake
You have a clean slate.
Lake
It seems pretty crowded for a clean slate.
Blake
Home is where you belong.
Lake raises her head and smiles at Blake for the first time.
EXT. House for sale – Olive Court – day
Lake surrounded by her bags at her feet on the front step, quickly enters Ember’s code into the lockbox and opens to reveal the key.
She unlocks the front door and steps dramatically over the threshold and looks around.
INT. House for sale – Olive Court – day
She carries all the bags into the house and drops them inside.
INT. House for sale – Olive Court – day
Lake opens the sliding glass door at the other side of the great room.
ExT. House for sale – Olive Court – day
Lake exits the front door. She locks the front door and carefully put the key back in the lockbox.
INt. House for sale – Olive Court – day
Lake enters the house through the glass door.
She shuts the door behind her and locks it.
She heads back towards her bag but stops in front of the sign over the dining room table: Home where memories are made, love is felt and refuge is found. You belong here.
Lake smiles wryly.
-
Margaret’s Finished First Act
What I learned completing this assignment is I still have a ways to go to writing fast. I spent a couple of days finishing act I because there were some problems that needed to be solved before I headed off to Episode 2. I don’t feel entirely bad because I’m very happy with the solutions I came up.
Open
Int. mom’s spare room – day
LAKE TURNER, 30s, a failed corporate type, is under the covers with a pillow over her head, her eyes stubbornly shut as the faint SOUND of an alarm rings.
Lake
No. You can’t be here.
Blake, 30s, with a self-absorbed intensity to him, sits on the edge of the bed fiddling with his wedding ring. He is casual in his expensive, slouchy clothes.
Blake
Get up.
Lake
Not yet.
Blake
You’re never going to get anywhere like this.
LAKE
I’m not ready.
Blake
It’s time. Time to get on with it.
Lake
I can’t.
Blake
You’ll never amount to anything if you don’t move.
Alarm NOISES getting louder.
Lake sits up and shouts. Over the insistent SOUND of a blaring alarm.
Lake
Shut up!
The mattress she is on is surrounded by all manner of junk and paraphernalia. A hoarder’s dream.
She looks around. She is alone in the room.
She fumbles for her phone. She grabs it but it falls off the side of the bed onto the floor.
The floor is cluttered. Lake’s hand locates the phone and shuts off the alarm.
The door of the room bursts open with MOM, 60s, a wild-eyed middle aged woman in a matching sweatsuit.
Mom
How could anyone sleep through that? Do you know how long it’s been going off?
Lake
Sorry, I couldn’t sleep last night.
Mom
You weren’t up cleaning I hope?
Lake
For the last time I didn’t throw anything away!
Mom
I couldn’t sleep either. The President said we should be raking our forests. Maybe that fire wouldn’t have happened…
Lake
I thought it was the lasers?
Mom
If there wasn’t the fuel…
Lake
Don’t believe everything you hear mom.
Mom
You think YOU know more than the President?
Lake
I think I’m gonna be late. I gotta start my shift.
TITLE: GIG ECONOMY
INT. CAR DRIVING – DAY
Lake drives a zippy Mini Cooper, bright yellow with black stripes on the sides, the last vestige of her former life.
On the passenger seat is an unfolded map of Sonoma County with red Xs marked over it and black Rs.
JEZeBEL
(electronic voice)
Turn right now.
The only thing visible is a residential wall as far as the eye can see blocking off the generic, similar backyards from the sidewalk and thoroughfare.
A large SONOMA STRONG hand painted sign hangs from the fence.
LAKE
You did it again, didn’t you? You little hussy.
She expertly flips a bitch and heads off in the other direction on the wide, shady street. She stops at the first stop sign and turns left.
JEZeBEL
Return to the route…
LAKE
Whatever.
JEZeBEL
Return to the route…
LAKE
This IS the damn route.
She takes another left.
JEZeBEL
Return to the route.
Lake pulls up in front of a two story, moss colored house.
LAKE
You wouldn’t know the route if it was crammed up your…
JEZeBEL
Arrived!
INT. PARKED CAR – DAY
Lake, puts the car in park, switches the emergency brake on, pushes off the ignition, hits arrived on the delivery app on her phone and hops out of the car.
EXT. HOUSE – DAY
She opens the hatchback revealing a large, red bag with white lettering spelling FOODEASE on the side.
Lake grabs the bag by the straps and flings the straps over her shoulder. She heads toward the generic, middle class house, carrying her phone and keys.
She unzips the bag at the door step, takes the white plastic bag with the white styrofoam food container and places it ever so carefully on the step in front of the door.
She knocks twice quickly, hits the send on a text on her phone that reads: This is your FOODEASE driver, Lake. I’ve arrived and your order is outside your door. Enjoy!
Lake places the empty FOODEASE bag in the back of the car and slams the hatchback.
Her phone buzzes.
She looks down for directions to her next restaurant pick up.
INT. SAM’S LIQUOR & DELI – DAY
AZIZ, the owner, shows Lake two bottles. Next to him is a tall plexiglass case filled with small bottles of alcohol like those on airplanes.
AZIZ
Here we have a bottle of the finest, low brow, red table wine. This followed by a bottle of cheap champagne guaranteed to give you a headache before your night is over.
Aziz puts the bottles in a brown bag.
LAKE
Check. Check. Thanks Aziz.
AZIZ
Stay safe out there.
A drunk man stumbles up to the counter talking to himself as Lake packs the brown bag into her insulated food bag.
LAKE
You stay safe in here.
Lake slips the straps more carefully over her shoulder and exits the liquor store passing the drunk man’s shopping cart filled with all his worldly possessions just outside the entry door.
EXT. REMOTE ROAD – DAY
The zippy Mini Cooper drives on a remote road next to a river. The yellow car stands out in all the green.
JEZABEL
Turn left now.
Lake slams on the breaks.
She cranes her neck to get a better view over the hood.
A squirrel emerges and runs to the side of the road and up a tree.
Lake looks visibly relieved.
LAKE
Whewww, That was close.
JEZeBEL
Return to the route. Return to the route.
LAKE
I’m going.
Blake shows up in her passenger seat.
Lake
Jesus! I’m not crazy. I’m not crazy.
Blake
Calm down.
LAKE
I must be having…
Blake
A vision.
Lake
A hallucination.
BlAKE
You were calmer this morning.
Lake
This morning I thought I was having…
Blake
A dream.
Lake
A nightmare. Calm down. Don’t you tell me to calm down.
Blake
Still the same I see. Still a stupid bitch.
Lake
How are you the same!? You…you…
Blake
Still got it.
Lake
You are dead. Go back from where you came!
Blake
Still here.
Lake
You’re dead! Go be at peace or whatever.
Blake
That doesn’t actually work.
Lake
Why? Why doesn’t it work?
Blake
We’re not finished.
Lake
I am finished. Oh, I’m so finished.
Blake
Besides, you’ll never make it without me.
Lake
I won’t make it without you? How can a ghost be such an asshole? You just watch me. Can’t make it without you.
Blake is suddenly gone.
Lake
Thank god. Make it with out you. I’ll be so successful…hell, I’ll… I’ll be famous!
INT. CAR DRIVING – DAY
Lake squints into the evening sun, descending in the west.
LAKE
I don’t see a road, you stupid bitch.
JEZeBEL
Turn left. Now.
LAKE
You’ve GOT to be kidding me.
EXT. SIDE OF ROAD – DAY
A hand painted sign barely hanging onto the post it is nailed to reads: RIO VERDE ROAD.
INT. CAR DRIVING – DAY
Lake turns down the grown-over dirt road.
The sides of the rough road are wild and encroach on the drive.
LAKE
Fuck me.
JEZeBEL
Your destination is a quarter of a mile on the right.
LAKE
You ever seen the movie Deliverance, Jezebel?
JEZeBEL
Arrived!
Lake stares out at what looks like a wood shed with a second story built over top of it. A rickety stairway ascends to the top floor on the right of the “home”.
LAKE
Affordable housing in Sonoma County.
She turns off the ignition and steps out of the car.
LAKE
If I don’t make it out alive, it’s been a real pleasure working with you, Jezebel.
EXT. MOM’S HOUSE – NIGHT
Lake sits in the car in front of a tract home in the dark.
INT. CAR – NIGHT
Lake places the map in the back seat carefully and begins to collect her things.
She changes her mind and drops her stuff back on the passenger’s seat.
She opens her glove box and little bottles of alcohol threaten to spill out. She takes one, Grand Marnier out, cracks the cap and guzzles it.
Lake makes a sour face.
She pulls out a folded flyer for a house for sale from the glovebox. She carefully unfolds the paper and looks at the property.
She pulls out her phone and dials her her sister.
INT. home gym – night
EMBER, 30s, type A personality, runs hardcore on a treadmill. Her phone is strapped to her arm with earphone up to her ears BLASTING a song.
Her phone rings. She hops off in one swift move and answers the call.
Intercut with above
Ember
What is it? How’s mom?
Lake
The same.
Ember
I keep hope alive.
Lake
Tigers always hope.
EMBER
I’m busy, why are you calling me?
LAKE
I want to look at a house. (Gives the address and MLS#)
Ember
Out of your price range.
LAKE
Show it to me anyway. I want to see if it fits.
EMBER
It isn’t a pair of jeans.
Lake
You want me to call Addison Ray?
Ember
No. Fine.
Lake
Tomorrow at 6:00?
Ember
I’ll be there.
Lake
And bring your appetite, I’ll bring dinner.
Ember
It’s not a date.
LAKE
I told you, I’m trying on the house. See ya.
EmBER
Bye.
Lake ends the call. She looks closely at the flyer and sighs.
Lake
Watch me.
EXT. MOM’S HOUSE – NIGHT
Lake stands for a long moment in front of the house. She steels herself and breaths in deeply.
She puts the keys in the lock and opens the front door.
INT. MOM’S HOUSE – NIGHT
Lake looks around and sees no one. She tiptoes toward the hall.
Mom steps into the kitchen entry.
MOM
They’re bulldozing Blake’s studio Friday afternoon.
LAKE
Jesus. You scared me.
MOM
I don’t think you can put it off anymore.
LAKE
OKAY, mom.
MOM
It’s time.
LAKE
Good night.
MOM
I’m just sayin’ you gotta do it.
LAKE
I hear ya. Good night, mom.
INT. SPARE ROOM – NIGHT
Lake lies on a mattress in sweats and a tank top.
Lake checks her earnings for the day on her phone.
She smiles at the phone in a satisfied sort of way.
She initiates an instant deposit and almost immediately receives a confirmation message.
She signs on to her bank account. The deposit’s not enough to cover the negative amount in the account. She frowns.
She plugs in her phone and turns off the light.
Lake turns off her phone…
LAKE
Good Night, Jezebel.
…and turns over in bed.
INT. CAR DRIVING – DAY
Lake drives down a two lane road with a left turn lane at a light. Lake is nearly at the light.
JEZeBEL
At the stop light turn left.
There are eight cars in the left hand turn lane and there is no possibility of her getting over.
LAKE
You are really pissing me off right now, Jezebel.
Lake goes through the green light and turns left into a shopping center. She cuts through the parking lot.
She cuts into traffic. On her right is a long row of dilapidated motor homes parked on the side of the road.
Behind the back vehicle is a red and green plastic container.
EXT. BEE’S ORGANIC FAST FOOD RESTAURANT – DAY
A modern farmhouse looking building with a living roof.
The Yellow Mini Cooper with its distinctive black stripes pulls up outside the busy restaurant.
A sign reading: Welcome Bee’s Delivery Partners, stands at the end of the parking space.
INT. BEE’S ORGANIC FAST FOOD RESTAURANT – DAY
Lake approaches a counter with her Foodease bag, keys and phone in hand.
A rather good looking man, turns around to help her. MITCH, 30s, has cropped hair. He is tall and fit and looks like a lawyer that got lost in his light blue, button-down shirt and Khaki pants.
LAKE
I’m picking up for Mark C. today.
Mitch
FOODEASE – Let’s see Mark C.
LAKE
Eight items.
Mitch
What is someone like you doing delivering food?
LAKE
Asks the grown man working at a fast food restaurant.
Mitch
It’s organic!
LAKE
There’s a drive through.
Mitch
Yeah, I’ve got nothing.
Mitch hands her a full bag and displays a dazzling smile.
Mitch
Thank you for being our partner and providing excellent food to Sonoma County.
LAKE
You should do the commercial.
EXT. HOUSE – DAY
Lake steps out of her Mini Cooper and lifts the hatchback. She grabs her Foodease bag and walks up to the house.
Around the door is a decorative lantern next to a bench and a large candle on a little round table with a few beautiful potted plants.
Lake places the bag in front of the door that Mitch handed her carefully and knocks.
INT. MAE’S CHINESE DELIGHT RESTAURANT – DAY
LAKE
Hi Mae. I have a pick up for Lucy M. today.
Lake’s phone buzzes. There is a message from Mitch that reads: do you ever eat out? Sincerely, The grown man working at Bee’s.
INT. GRAIZE EATERY – DAY
Mitch and Lake sit across from each other in a casual eatery looking at their respective menus.
LAKE
It’s kind of weird to actually be eating in a restaurant. I can’t remember the last time…
INT. DIFFERENT RESTAURANT – NIGHT
Lake sits with Blake. Both look at their menus. Both wear wedding rings.
BlakE
So, what are you gonna get?
LAKE
I’m ping-ponging between the sword fish and the shrimp scampi. You?
Blake
Definitely the salmon. Unless, I choose the linguini with clams that is.
LAKE
Decisive couple we are husband.
Blake puts down his menu and holds up a glass of champagne, an almost clear liquid with the tiniest of bubbles.
Blake
Happy Anniversary, Lake.
She puts down her menu and picks up her glass and smiles at him.
They touch glasses with a TINK and each take a sip of the pale, golden liquid.
INT. GRAIZE EATERY – DAY
Lake puts down her menu and squares to Mitch.
LAKE
So what kind of name is MITCH?
MITCH
I don’t know LAKE.
LAKE
Yeah, I’m definitely changing that. Lake. Meadow. Fawn. Great names for the under twenty-five crowd…not so much for a woman in her thirties…and middle aged. Uggh!
MITCH
So what’s your story, the woman who’s about to formerly be known as Lake?
LAKE
Let’s not exchange our stories just yet. I find it’s best to know as little as possible sometimes. Don’t you agree?
MITCH
Rubbish.
LAKE
Rubbish? What are you British? And I’m still not talking.
MITCH
Work?
LAKE
This again?
MITCH
What do you like about delivering for FOODEASE? We do need to talk about something.
Lake reaches over with a fork and plucks a piece of blackened tuna with green wasabi sauce and quickly puts it in her mouth.
LAKE
Yum.
MITCH
Did you really just eat from my plate?
LAKE
I like to try everything.
MITCH
(clears throat)
So, Foodease?
LAKE
I like to observe humans in their natural habitat. Especially the endangered species.
MITCH
Such as….
LAKE
Uneducated white males.
MITCH
Funny.
LAKE
How did you get my number anyway?
MITCH
One of the benefits of management. I hope I didn’t overstep?
Blake shows up.
Blake
No one is ever going to want you.
Lake
Go away!
Mitch
What?
Lake
Not you.
Mitch
So, I did overstep?
INT. GRAIZE EATERY BATHROOM – DAY
Lake’s jeans are around her ankles almost covering her boots and Mitch’s khakis are similarly bunched up at his loafers. She leans against the bathroom tile with him taking her from behind.
Someone tries to open the door. The two continue to go at it.
Lake is distracted by Blake, arms crossed leaning against the wall watching.
Blake
I did not see this coming.
A knock…
RESTAURANT PATRON (O.S.)
Hello?!
MITCH
Almost finished.
Lake
Almost finished.
Blake
Finish already.
He finishes.
EXT. GRAIZE EATERY BATHROOM – DAY
Mitch and Lake walk out past the disapproving restaurant PATRON.
LAKE
We just both had to go and we were together so you know, efficiency.
Mitch pushes her from behind and smiles guiltily as they pass the waiting patron.
EXT. GRAIZE EATERY PARKING LOT – DAY
Mitch and Lake stand awkwardly next to her car. Mitch tries to kiss Lake. She pulls away.
LAKE
I’m not ready for that yet.
MITCH
We just had sex in the bathroom and you won’t kiss me?
LAKE
Oh, I never, before the third date.
MITCH
Well…
LAKE
Come on…I know you want to say rubbish!
MITCH
I’m not sure about you.
LAKE
Well, that makes two of us.
Mitch
It felt like there was three of us in the bathroom.
Lake
What?
Mitch
A ghost of an old boyfriend perhaps.
Lake
I have a shift that starts in about a minute. We’ll have to visit ghosts of lovers past some other time.
Mitch takes her hand in his and gently brings her hand up to his lips and kisses just so.
Mitch
Mi’lady.
EXT. house for sale – day
Lake pulls up to the house. She looks at her phone, it’s a few minutes to 6:00 p.m.
She exits the car and looks up and down the street. She looks at the front of the house appraising it’s situation.
She approaches the front door. There is a lockbox. She walks over to the first window she sees and looks in.
The living room is staged with furniture. She looks down at the time on her phone. It’s 6:00 p.m. exactly.
Her phone rings. Ember is calling.
Lake
Where are you?
Ember
I got caught up writing an offer. We’ll have to see the house some other time.
Lake
Are you serious? I’m here now standing outside the house.
Ember
I’m not going to apologize for being successful.
Lake walks over to the lockbox.
Lake
Give me the code to the lockbox.
Ember
I could lose my license.
Lake
Then get yourself up here.
Ember
One, zero, zero, two.
Lake
That’s the security code,
One, zero, zero, two?
Ember
Fuck off. Lock up when you’re finished.
Lake enters the numbers and the box opens revealing the key. She pulls out the key and looks around.
She goes back to the car and takes out her Foodease bag, unlocks the front door and enters the house.
INT. House for sale – day
She walks room to room. She smiles.
Lake sits down at the table in the dining room in the open concept and starts unpacking the dinner.
She pulls out a bottle of red wine and a wine opener. She pulls out to wine glasses wrapped in a towel, salad and crab pasta.
She pours herself a glass.
She tips the glass up and takes a sip.
Blake
Happy Anniversary baby.
Lake
Jesus, I wish you would stop showing up like that.
BLAKE
This looks good. I wish I could still eat.
***Insert scene here new day
INT. MOM’S HOUSE – NIGHT
Lake and her mom sit at a generic kitchen table covered by many open sushi takeout containers.
MOM
I’m not used to eating this late.
LAKE
I’m starving. God I love sushi.
MOM
Isn’t sushi expensive?
LAKE
I had a good day. Aren’t you enjoying this? These, with the hamachi, are amazing – try one.
MOM
Everything’s very good Lake. Thank you. I just think it’s time you moved on.
LAKE
What?
MOM
You just need to get unstuck and I think finding a place of your own is the perfect way to begin moving forward.
LAKE
Why can’t you just enjoy dinner and stop harassing me for a few minutes?
MOM
The fire happened in October.
LAKE
And it’s March! I don’t even have the insurance check.
Mom
They’ll never release that check until you go and tour the site and sign the paperwork for the clean up.
LAKE
I’ll go soon.
Mom
When?
Lake grabs her keys and heads towards the door.
Mom
Where are you going?
Lake
For a drive.
Mom
You don’t belong here, Lake.
Lake
I know. Just trying to figure out where I do belong.
Comes back and starts packing up the sushi.
Lake
This sushi is coming with me.
Lake heads for the door.
Mom
The sushi was fine dear. I didn’t mean to…
The door slams behind Lake.
INT. CAR PARKED – HILLSIDE PLOT – NIGHT
Lake is sitting in her car in front of an empty, burned plot of land where a house used to be.
She is breathing heavily, the remains of her sushi dinner on the seat.
She opens her glove box and takes out a few of the little bottles of alcohol and starts drinking them one at a time and tossing the empty bottles over the seat.
She pauses and opens the window and breaths in deeply.
She coughs and closes the window.
EXT. CAR PARKED – HILLSIDE PLOT – DAY
The sun rises over the burn area.
A large hand painted “SONOMA STRONG” sign is nailed to what remains of a burned oak tree.
INT. CAR PARKED – HILLSIDE PLOT – DAY
Lake is asleep with her mouth open on the reclined driver’s seat in her Mini Cooper.
An OLD MAN NEIGHBOR knocks on her window.
She is startled awake.
OLD MAN NEIGHBOR
Lake. Are you alright?
Lake looks around squinting in the brightening sun.
LAKE
Good Morning.
She unrolls her window.
OLD MAN NEIGHBOR
You OK?
LAKE
You know, totally unmoored. How are you and your wife?
OLD MAN NEIGHBOR
Its strange being the only ones still here.
LAKE
They let you back up then?
OLD MAN NEIGHBOR
Just a couple of weeks ago. Are you going to rebuild?
LAKE
I… not sure…
OLD MAN NEIGHBOR
Understood.
LAKE
Do you think it will ever stop smelling like smoke?
OLD MAN NEIGHBOR
Eventually. I hope. Let me get you a cup of coffee.
LAKE
No. I should be going. I have to get to work.
OLD MAN NEIGHBOR
Let me do this one thing. It would make this old man happy.
He turns towards the only remaining house in a sea of ash and disappears.
Tears begin streaming down Lake’s face and she brushes them away angrily.
EXT. HILLSIDE PLOT – NEIGHBORHOOD – DAY
The old man neighbor comes out with a mug of steaming coffee in his hands.
The place where Lake was parked is empty.
He looks disappointed, but not surprised.
EXT. YELLOW HOUSE WITH THE PEELING PAINT – DAY
Lake at the front door. She knocks.
She hears someone but no one comes to the door. She knocks again.
Finally, a young man, UNDER TWENTY-ONE, opens the door.
UNDER TWENTY-ONE
Hi.
LAKE
I need to see an ID.
He hunches over slightly, pats his pants slowly, theatrically.
UNDER TWENTY-ONE
I’ll be right back.
He closes the door in Lake’s face.
LAKE
We know how this one goes, don’t we Jezebel.
After a long time, Under Twenty-One opens the door again.
UNDER TWENTY-ONE
I’m sorry I wasted your time. I can’t even find my keys.
He swings the door shut in Lake’s face.
LAKE
Maybe wait until your 21st birthday next time.
INT. BEE’S ORGANIC FAST FOOD RESTAURANT – DAY
Lake enters Bee’s her bag over her shoulder and keys and phone in hand.
She walks up to the counter. There is a young woman, COUNTER HELP, smiling ready to help. Lake looks disappointed.
LAKE
Hi, I’m picking up for Annie L. today.
COUNTER HELP
Just a minute.
Counter Help begins looking through the various bags on the pick up shelf.
Mitch appears and speaks to the young woman who disappears to the back.
MITCH
That’s Annie L?
LAKE
Yes, thank you.
MITCH
So, woman about to formerly be known as Lake, what goes on?
LAKE
Oh, you know, brain surgery. You?
MITCH
About the same.
He hands her a bag.
LAKE
Thank you.
He walks around the corner and begins to walk her out.
MITCH
May I walk with you?
Mitch motions towards the door.
LAKE
But of course.
The STAFF at Bee’s watch the two eagerly as they exit the restaurant.
EXT. RESTAURANT – DAY
Mitch and Lake are at her car, the food already in the hatch.
LAKE
You didn’t call?
MITCH
I was embarrassed. It felt…you know…too casual.
LAKE
Hey.
Lake reaches up and kisses him on his cheek.
LAKE
It may have seemed casual but truth be told I haven’t slept with anyone since Blake…
Mitch
Break up?
Lake
My husband. He died in the firestorm.
MITCH
Oh. Ummm, you want to talk about it?
LAKE
Noooo. Definitely, no.
MITCH
You should have told me.
LAKE
I was nervous, ya know. I thought just pull it off like a bandaid.
MITCH
You’re so romantic.
LAKE
I know, right.
MITCH
Second date?
Blake shows up.
LAKE
Not you again.
Mitch
I’m getting mixed signals here.
LAKE
Sorry, I’m definitely down for that second date. Now I have to deliver this food before it gets cold and take care of something I’ve been putting off for a very long time.
He opens the car door for her as she steps into the driver’s seat. He closes the door for her after she gets in.
He waves and she smiles at him as she pulls out of the parking lot in her yellow and black Mini Cooper.
EXT. HILLSIDE PLOT – DAY
Lake pulls up to the hillside plot but this time parks in the driveway.
The area has been grated except the plot where her house burned is exactly the easy it was after the fire.
She looks over wearily at her old man neighbor’s house one of the only still standing.
A CONTRACTOR approaches her car.
CONTRACTOR
Good afternoon, Mrs. Logan.
LAKE
It’s Turner. I changed it back to my maiden name after…but you can just call me Lake.
CONTRACTOR
Here are a pair of gloves. Do you want me to accompany you or would you rather be alone.
LAKE
I’d rather do this alone. Thanks.
Blake follows her.
Lake
I said I’d rather do this alone. That means you too, whatever you are.
Blake
Oh, I wouldn’t miss this for the world.
Lake walks through where her house used to stand which is nothing but soot and ash.
She walks up the driveway and back towards a partially burned back building with a large tarp over it.
EXT. STUDIO – DAY
The contractor follows her up to the destroyed structure.
He pulls the tarp off a pile of what used to be a building and folds it up.
CONTRACTOR
You shouldn’t do this alone, ma’am.
She looks at the ghost of Blake.
Lake
Don’t worry, I’m never alone anymore.
CONTRACTOR
You just holler if you need anything.
LAKE
Thanks.
The Contractor walks away.
Lake turns towards Blake’s destroyed studio still holding the gloves but doesn’t approach.
INT. Blake’s studio – DAY
Lake walks into Blake’s studio as he paints a colorful abstract. The studio is tastefully decorated with his pictures displayed and framed magazine covers touting his accomplishments.
LAKE
I brought lunch. You hungry?
Blake
I’m not sure.
LAKE
Had a late night in the studio?
Blake
No. I’ve been staying up late working on a painting.
LAKE
Isn’t that what I just asked? Are you gas lighting me? You’re always gas lighting me.
Blake
You dumb bitch that isn’t what I meant.
Lake heads towards the door but Blake is up and blocking her way.
LAKE
Let me out.
BLAKE
You wouldn’t be anything without me.
Lake
Let me out.
Blake
You’re pathetic.
Lake
Get out of my way.
Blake tries to push her back. She pushes him with an almost super human strength.
He falls back and hits his head on the brick around the wood burning stove.
Lake runs out of the room.
Blake still on the floor not moving.
EXT. STUDIO – DAY
Gloves on, Lake searches through the wreckage of Blake’s studio.
She overturns a piece of burned metal. She uses her foot to comb through sticky ash. Nothing.
Lake spots something and pulls it out of the rubble. She wipes black ash off an intact crystal vase with the side of the glove.
She moves toward the corner of the structure where partially burned wood boards remain.
She moves some boards aside and finds a partially burned canvas covered with an abstract painting.
She picks it up and carries it outside the wrecked building.
She surveys the destruction of the structure and the whole area where the fire’s burned with a look of overwhelm.
She looks down and sees her boot is over a burned and faded picture of her and Blake.
Blake
See it wasn’t all bad.
Lake
Stop haunting me.
Blake
Who else would l haunt?
Lake
Why me?
BLAKE
You killed me.
She stares at the image for a few minutes and then moves her boot over the picture and grinds the image further into the layer of dirt and ash.
Lake
And I didn’t kill you!
The contractor looks up from the clipboard with papers he is looking at.
Blake
You left me for dead which is the same thing.
Lake
I didn’t kill you.
-
Margaret’s Turning Point 1 What I learned completing this assignment is continuing to move forward no matter whether you feel comfortable or ready is what fast writing is all about. EXT. HILLSIDE PLOT – DAY
Lake pulls up to the hillside plot but this time parks in the driveway.
The area has been grated except the plot where her house burned is exactly the easy it was after the fire.
She looks over wearily at her old man neighbor’s house one of the only still standing.
A CONTRACTOR approaches her car.
CONTRACTOR
Good afternoon, Mrs. Logan.
LAKE
It’s Turner. I changed it back to my maiden name after…but you can just call me Lake.
CONTRACTOR
Here are a pair of gloves. Do you want me to accompany you or would you rather be alone.
LAKE
I’d rather do this alone. Thanks.
Blake follows her.
Lake
I said I’d rather do this alone. That means you too, whatever you are.
Blake
Oh, I wouldn’t miss this for the world.
Lake walks through where her house used to stand which is nothing but soot and ash.
She walks up the driveway and back towards a partially burned back building with a large tarp over it.
EXT. STUDIO – DAY
The contractor follows her up to the destroyed structure.
He pulls the tarp off a pile of what used to be a building and folds it up.
CONTRACTOR
You shouldn’t do this alone, ma’am.
She looks at the ghost of Blake.
Lake
Don’t worry, I’m never alone.
CONTRACTOR
You just holler if you need anything.
LAKE
Thanks.
The Contractor walks away.
Lake turns towards Blake’s destroyed studio still holding the gloves but doesn’t approach.
INT. LOGAN HOUSE – BEDROOM – DAY
Lake walks into Blake’s studio as he paints a colorful abstract. The studio is tastefully decorated with his pictures displayed and framed magazine covers touting his accomplishments.
LAKE
I brought lunch. You hungry?
Blake
I’m not sure.
LAKE
Another late night?
Blake
No. I’ve been staying up late working on a painting.
LAKE
Isn’t that what I just said? Are you gas lighting me? You’re always gas lighting me.
Blake
You dumb bitch that isn’t what I meant.
Lake heads towards the door but Blake is up and blocking her way.
LAKE
Let me out.
BLAKE
You wouldn’t be anything without me.
Lake
Let me out.
Blake
You stupid bitch.
Lake
Get out of my way.
Blake tries to push her back. She pushes him with an almost super human strength.
He falls back and hits his head on the brick around their wood burning stove.
Lake runs out of the room.
Blake on the floor not moving.
-
Margaret’s Turning Point 1 What I learned completing this assignment is continuing to move forward no matter whether you feel comfortable or ready is what fast writing is all about. EXT. HILLSIDE PLOT – DAY
Lake pulls up to the hillside plot but this time parks in the driveway.
The area has been grated except the plot where her house burned is exactly the easy it was after the fire.
She looks over wearily at her old man neighbor’s house one of the only still standing.
A CONTRACTOR approaches her car.
CONTRACTOR
Good afternoon, Mrs. Logan.
LAKE
It’s Turner. I changed it back to my maiden name after…but you can just call me Lake.
CONTRACTOR
Here are a pair of gloves. Do you want me to accompany you or would you rather be alone.
LAKE
I’d rather do this alone. Thanks.
Blake follows her.
Lake
I said I’d rather do this alone. That means you too, whatever you are.
Blake
Oh, I wouldn’t miss this for the world.
Lake walks through where her house used to stand which is nothing but soot and ash.
She walks up the driveway and back towards a partially burned back building with a large tarp over it.
EXT. STUDIO – DAY
The contractor follows her up to the destroyed structure.
He pulls the tarp off a pile of what used to be a building and folds it up.
CONTRACTOR
You shouldn’t do this alone, ma’am.
She looks at the ghost of Blake.
Lake
Don’t worry, I’m never alone.
CONTRACTOR
You just holler if you need anything.
LAKE
Thanks.
The Contractor walks away.
Lake turns towards Blake’s destroyed studio still holding the gloves but doesn’t approach.
INT. LOGAN HOUSE – BEDROOM – DAY
Lake walks into Blake’s studio as he paints a colorful abstract. The studio is tastefully decorated with his pictures displayed and framed magazine covers touting his accomplishments.
LAKE
I brought lunch. You hungry?
Blake
I’m not sure.
LAKE
Another late night?
Blake
No. I’ve been staying up late working on a painting.
LAKE
Isn’t that what I just said? Are you gas lighting me? You’re always gas lighting me.
Blake
You dumb bitch that isn’t what I meant.
Lake heads towards the door but Blake is up and blocking her way.
LAKE
Let me out.
BLAKE
You wouldn’t be anything without me.
Lake
Let me out.
Blake
You stupid bitch.
Lake
Get out of my way.
Blake tries to push her back. She pushes him with an almost super human strength.
He falls back and hits his head on the brick around their wood burning stove.
Lake runs out of the room.
Blake’s still on the floor not moving.
-
Margaret’s inciting incident. What I learned completing this assignment is it’s easy to crate momentum this way which is the difference between trying to paddle against the current to having the current carry you forward swiftly with no resistance. EXT. REMOTE ROAD – DAY
The zippy Mini Cooper drives on a remote road next to a river. The yellow car stands out in all the green.
JEZABEL
Turn left now.
Lake slams on the breaks.
She cranes her neck to get a better view over the hood.
A squirrel emerges and runs to the side of the road and up a tree.
Lake looks visibly relieved.
LAKE
Whewww, That was close.
JEZeBEL
Return to the route. Return to the route.
LAKE
I’m going.
Blake shows up seated in her passenger seat.
Lake
Jesus! I’m not crazy. I’m not crazy.
Blake
Calm down.
LAKE
I must be having…
Blake
A vision.
Lake
A hallucination.
BlAKE
You were calmer this morning.
Lake
This morning I thought I was having…
Blake
A dream.
Lake
A nightmare. Calm down. Don’t tell my to calm down.
Blake
Still the same I see. Still a stupid bitch.
Lake
How are you the same!? You…you…
Blake
Still got it.
Lake
You are dead. Go back from where you came!
Blake
That doesn’t actually work.
Lake
Why? Why doesn’t it work.
Blake
We’re not finished.
Lake
I am finished. Oh I am so finished.
Blake
Besides, you’ll never make it without me.
Lake
I won’t make it without you? How can a ghost still be an asshole. Nothing like Clarence. Where’s Clarence when you need him. You just watch me. Can’t make it without you.
Blake is suddenly gone.
Lake
Thank god. Make it with out you. I’ll be so successful…hell, I’ll… I’ll be famous! INT. CAR – NIGHT
Lake places the map in the back seat carefully and begins to collect her things.
She changes her mind and drops her stuff back on the passenger’s seat.
She opens her glove box and little bottles of alcohol threaten to spill out. She takes one, Grand Marnier out, cracks the cap and guzzles it.
Lake makes a sour face.
She pulls out a folded flyer for a house for sale from the glovebox. She carefully unfolds the paper and looks at the property.
She pulls out her phone and dials her her sister.
INT. home gym – night
EMBER, 30s, type A personality runs hardcore on a treadmill. Her phone is strapped to her arm with earphone up to her ears BLASTING a song.
Her phone rings. She hops off in one swift move and answers the call.
Intercut with above
Ember
Lake. What is it? How’s mom?
Lake
The same.
Ember
I keep hoping. I’m busy, why are you calling me?
LAKE
I want to look at a house. (Gives the address and MLS#)
Ember
Out of your price range.
LAKE
Show it to me anyway. I want to see if it fits.
EMBER
It isn’t a pair of jeans.
Lake
You want me to call Addison Ray?
Ember
No. Fine.
Lake
Tomorrow at 2:00?
Ember
I’ll be there.
Lake
And bring your appetite, I’ll bring lunch.
Ember
It’s not a date.
LAKE
I told you, I’m trying on the house. See ya.
EmBER
Bye.
Lake ends the call. She looks closely at the flyer and sighs.
Lake
Watch me.
-
Margaret’s Opening Scene What I learned completing this assignment is when you follow the rules of writing quickly you really can make a lot of progress fast. OPEN
INT. MOM’S SPARE ROOM – DAY
Lake, 30s, a failed corporate type, is under the covers with a pillow over her head, her eyes stubbornly shut. The faint SOUND of an alarm barely perceptible.
LAKE
No.
Blake, 30s, a well dressed man sits on the edge of the bed fiddling with his wedding ring.
The two get into an argument.
Alarm NOISES getting louder.
Lake sits up and shouts. Over the insistent SOUND of a blaring alarm.
LAKE
Shut up!
The mattress she is on is surrounded by all manner of junk and paraphernalia. A hoarders dream.
She looks around. She is alone in the room.
She fumbles for her phone. She grabs it but it falls off the side of the bed onto the floor.
The floor is cluttered. Lake’s hand locates the phone and shuts of the alarm.
The door of the room bursts open revealing mom (description).
MOM
How could anyone sleep through that? Do you know how long its been going off?
LAKE
Sorry, I couldn’t sleep last night.
MOM
You weren’t up cleaning I hope?
LAKE
For the last time I didn’t trow anything away!
MOM
I don’t think you’re thriving here.
LAKE
It hasn’t even been three months.
MOM
I’m only looking out for what’s best for you.
LAKE
I’m late. I’ve gotta start my shift.
-
Margaret’s Beat Sheet Draft 2 What I learned completing this assignment is, it really is OK to move forward without having all the answers. I haven’t fully discovered what the theme is but it definitely has to do with home. Lake has lost her home in the Tubbs fire, her mother lives in her home as a border, there is the comment in Act II about affordable homes in Sonoma County, there’s the streets lines with broken down campers and travel trailers, Lake is looking at a Zillow like app at homes for sale throughout the series, there is the Real Estate Agent who is a new character but plays an important role and at the end of the series Lake is in a home that perfectly reflects who she is. ACT I –
Open
INT. SPARE ROOM – DAY. Lake in bed with a pillow over her head, her eyes stubbornly shut. The faint sound of an alarm barely perceptible. Blake sits at the edge of the mattress. “Are you stupid?” “No. Are you calling me stupid?” “Of course not I just don’t want you to do anything you’ll regret.” Alarm noises getting louder. She sits up and shouts “Shut Up!” Over an insistent loud alarm. Her mom opens the door and yells at her, “How could anyone sleep through that? You weren’t up late cleaning were you?” The rest of the room is piled with junk almost to the ceiling with only a narrow lane to the mattress. “For the last time I didn’t throw anything away!”
Mom, “You aren’t thriving here”
Lake, “it hasn’t even been three months.”
Mom “I’m only looking out for you.”
ACT II
INT. PARKED CAR – DAY
Lake in her car listening to voice mail from contractor, “I’ve been calling for weeks. I need you to come do a walkthrough of the site so we can begin cleanup.”
Message food is ready
INT. RESTAURANT- DAY
Picks up food – red Foodease bag
EXT/INT DRIVING CAR – DAY
Driving past burn area and won’t look at it. Introduce gps who she calls Jezebel
Raises her hand to shield her vision
EXT/INT. DRIVING CAR – DAY
Delivering in Guerneville, passes Sonoma strong hand painted sign. Drives down lane of makeshift homes, “Welcome to affordable housing in Sonoma County.”
EXT/INT PARKED CAR – NIGHT
Lake eating overlooking County at sunset and writing in notebook.
EXT/INT DRIVING CAR – NIGHT
Drives by a house for sale, slows down, checks out neighborhood.
EXT/INT DRIVING CAR – NIGHT
Drives to house.
EXT/INT DRIVING CAR – NIGHT
Gets drunk in car with small booze bottles like you get on airplanes while scrolling through houses for sale. Doesn’t want to go in.
EXT/INT DRIVING CAR – NIGHT
Passes out.
Act III
INT – RESTAURANT- DAY
Lake meets Mitch – banter
(Place holder – Complications with Blake haunting her as the critical voice in her head “you’re such a loser.”)
( place holder- Complications with mom – mom tells Lake the contractor is trying to reach her. They’re bulldozing the site and tomorrow is her last opportunity to inspect and sign off.)
INT RESTAURANT- DAY
Picking up food. Mitch calls and asks her out.
Act IV
INT. EMPTY HOUSE – DAY
Lunch with Mitch at house for sale. End up having sex. Get caught by real estate agent whom Lake knows. Awkward. Agree to look at a property Lake knows the address and MLS
#(9
digits) “just for the record I’m not giving you the code to the lockbox ever again so don’t ask.”
(Place holder – Blake haunts her she argues and then stands up for herself and finally drives to the burn site.)
EXT. BURN SITE – DAY
Lake meets the contractor. We discover Blake died here. She cries looking at a piece of a picture of she and Blake. She drops the picture and grinds it with her boot into the ashes of her house. She goes through Blake’s art studio and finds one of his paintings barely burned. She picks it up and looks at it.
A love bird lands on her head.
Act V –
The bird now in a bright cage on the front seat of Lake’s car. Blake haunting her from the back seat. “A bird. Really?” “You don’t get to tell me how to live anymore.” “FYI- yet here I am.”
EXT/INT HOUSE FOR SALE – DAY
Meets the real estate agent (maybe her sister?)outside a house for sale. She and the agent talk about the fire and how she is. Lake steps over a threshold of the house – her future self.
-
This reply was modified 2 years, 3 months ago by Margaret Gendreau.
-
This reply was modified 2 years, 3 months ago by
-
Margaret’s High Speed Beat Sheet. What I learned completing this assignment is figure out what you are going to write before you write. This model ups your chances of success by 1000% the old way is like playing the lottery. ACT I –
Open
INT. SPARE ROOM – DAY. Lake in bed with a pillow over her head, her eyes stubbornly shut. The faint sound of an alarm barely perceptible. Dave sits at the edge of the mattress. “Are you stupid?” “No.” They argue. Alarm noises getting louder. She sits up and shouts “Shut Up!” Over an insistent loud alarm. Her mom opens the door and yells at her, “Something rude here.” The rest of the room is piled with junk almost to the ceiling with only a narrow lane to the mattress. “For the last time I didn’t throw anything away!”
ACT II
INT. PARKED CAR – DAY
Lake in her car listening to voice mail from contractor, “I’ve been calling for weeks. I need you to come do a walkthrough of the site so we can begin cleanup.”
Message food is ready
INT. RESTAURANT- DAY
Picks up food – red Foodease bag
EXT/INT DRIVING CAR – DAY
Driving past burn area and won’t look at it. Introduce gps who she calls Jezebel
Raises her hand to shield her vision
EXT/INT. DRIVING CAR – DAY
Delivering in Guerneville, passes Sonoma strong hand painted sign. Drives down lane of makeshift homes, “Welcome to affordable housing in Sonoma County.”
EXT/INT PARKED CAR – NIGHT
Lake eating overlooking County at sunset and writing in notebook.
EXT/INT DRIVING CAR – NIGHT
Drives by a house for sale, slows down, checks out neighborhood.
EXT/INT DRIVING CAR – NIGHT
Drives to house.
EXT/INT DRIVING CAR – NIGHT
Gets drunk in car with small booze bottles like you get on airplanes while scrolling through houses for sale. Doesn’t want to go in.
EXT/INT DRIVING CAR – NIGHT
Passes out.
Act III
INT – RESTAURANT- DAY
Lake meets Mitch – banter
(Place holder – Complications with Dave haunting her as the critical voice in her head “you’re such a loser.”)
( place holder- Complications with mom – mom tells Lake the contractor is trying to reach her. They’re bulldozing the site and tomorrow is her last opportunity to inspect and sign off.)
INT RESTAURANT- DAY
Picking up food. Mitch calls and asks her out.
Act IV
INT. EMPTY HOUSE – DAY
Lunch with Mitch at house for sale. End up having sex. Get caught by real estate agent whom Lake knows. Awkward. Agree to look at a property Lake knows the address and MLS
#(9
digits) “just for the record I’m not giving you the code to the lockbox ever again so don’t ask.”
(Place holder – Dave haunts her she argues and then stands up for herself and finally drives to the burn site.)
EXT. BURN SITE – DAY
Lake meets the contractor. We discover Dave died here. She cries looking at a piece of a picture of she and Dave. She drops the picture and grinds it with her boot into the ashes of her house. She goes through Dave’s art studio and finds one of his paintings barely burned. She picks it up and looks at it.
A love bird lands on her head.
Act V –
Dave again haunting her.
EXT/INT HOUSE FOR SALE – DAY
Meets the real estate agent (maybe her sister) outside a house for sale. She and the agent talk about the fire and how she is. Lake steps over a threshold of the house – her future self.
End.
-
Margaret’s Transformational Events. What I learned completing this lesson is by identifying the changes that need to happen and brainstorming the best ways to illustrate the change I can hit the target. The old way of writing seems like a drunken version of pin the tail on the donkey. 2. Start with the Character Arc and the list of Old Ways and New Ways. Broken by life and tragedy to boundaries and mental and emotional health
3. 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). Lake must go through the five stages of grief over the six 30 minute episodes of the season – one in each episode plus being tested and flexing her new behaviors to support her healthy life: Episode 1: Denial – Episode 2: Anger – Episode 3: Bargaining – Episode 4: Depression – Episode 5: Acceptance – Episode 6: Raising from the Ashes – Lake is challenged but models mastery, her new found responsibility for her own life and is certain as we are that she will be OK.
4. Sequence the steps from easiest to most difficult. This will imply the journey the character takes. Episode 1: Denial – Lake must accept her circumstances Episode 2: Anger – Find her voice Episode 3: Bargaining – Take responsibility for herself. Episode 4: Depression – Choose Herself Episode 5: Acceptance – Gain Confidence Episode 6: Raising from the Ashes – Trust herself and vanquish the critic/Dave
5. Brainstorm dramatic events or tests that could cause those changes for the character. Episode 1: Denial – Lake must accept her circumstances. Lake finally goes to the burn site and walks through the ashes of her former life forcing her to come to terms with her circumstances Episode 2: Anger – Find her voice Episode 3: Bargaining – Take responsibility for herself. Episode 4: Depression – Choose Herself Episode 5: Acceptance – Gain Confidence Episode 6: Raising from the Ashes – Trust herself and vanquish the critic/Dave. For the purposes of today’s lesson I only need to identify the Transformational Event is Episode one (see above) but I will continue to brainstorm the transformational events in the next five episodes until I’ve got it.
6. Add these transformational events to your four act structure. Added to structure. I’m breaking the episode and added to end of act 4.
-
Margaret’s 5-Act Transformational Structure What I learned doing this structure is by dropping in the what happens where in the story I am able to brainstorm the actual best scenes to illustrate my themes and story possible elevating my story before writing a single scene. Doing this work for my antagonist is life changing. 1. Give us the following:
• Concept – Lake attempts to rebuild after the Tubbs Fire took her house and husband moving through the five stages of grief working in the new gig economy
• Main Conflict – old ways v. New ways. Will Lake let this tragedy destroy her or will she rise from the ashes and live her life in even a better way.
• Old Ways – avoidance, denial, escapism, drinking, defensive, compartmentalization
• New Ways – learning new positive coping mechanisms – breathing, regulating, talking, hiking, integrating, maybe therapy?
2. Fill in each of these with the answers you have right now. As this is a 30 minute dramedy, I am using the five act structure:
Act 1: 1-2 scenes, 3 minutes
• Opening – introduce Lake/premise/tone
• Inciting Incident/ hook- Lake’s mom kicks her out
Act 2: 3-6 scenes, 3-8 minutes
• New plan – gets drunk and sleeps in front of the rubble to her house/ looks for a place to stay
• Plan in action – Lake delivers food (introduce Sonoma County)
• Hook – Lake is visited by Dave’s ghost (introduce Dave and his controlling/critical ways)
Act 3: 3 scenes, 5-7 minutes
• Rethink everything – Lake meets Mitch
• New plan – Lake gathers information for her cooking blog idea
• Hook/Turning Point: Huge failure – fights w/mom
Act 4:
• Twist/Ultimate expression of the conflict – visits burn sight, flashback reveals the abuse – finds painting
• Hook- sex w/Mitch in bathroom of restaurant while visited by Dave’s ghost
Act 5: 1 scene, 3 minutes • Twist/Ultimate expression of the conflict/surprising information – flashback of Lake pushing Dave to escape/ Dave hitting his head – Lake finally cries about what happened to her and accepts her life will never be the same
• Hook/steps over threshold of story/ no going back –
-
Margaret’s Character Interviews What I learned completing this assignment is what’s at stake for my protagonist but the most surprising thing was how little I knew the antagonist. I know him so much better and as a result my project will be 100% better. I also discovered the resolution of the conflict and what happens that will allow Lake to finally move on.
QUESTIONS FOR YOUR PROTAGONIST
Lake Turner 1 Tell me about yourself. First of all, thank you for having me Margaret. I’m not sure where to begin. Mainly, I think of myself as a lucky person, you have to know that. I’m not someone who feels sorry for myself. Get on with it, am I right? But, last October I lost my husband and my house in the Tubbs fire. Afterwards, I tried to go back to my job but it all felt so meaningless. I couldn’t do it. Now I’m sleeping in m mom’s spare room, delivering food from restaurants for a company called Foodease. I like that I can get out of my head for awhile and keep moving. I see people but I don’t have to answer any insipid questions. If another person asks me how I am I might seriously lose my shit. I can’t stay indefinitely at my moms but I feel stuck. The insurance will come through at some point and maybe then I’ll be able to move on.
2 Why do you think you were called to this journey? Why you? Personally, I think I was just in the wrong place at the wrong time. It could of happened to anyone. If I looked really deep and could break free of this delish I might be able to admit I was terribly unhappy. Maybe the fire came to wipe the slate clean so I could possible do my life over in a way that makes me happy.
3 You are up against . What is it about them that makes this journey even more difficult for you? Dave keeps appearing before me. I mean I know he’s dead, right? I keep expecting him to show up and be a dick – I have his terrible voice in my head and then he appears and it’s like my worse nightmare. He isn’t here but the worst part of him appears. I’m not crazy. You don’t think I’m crazy do you? The critical voices in my head are haunting me.
4 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 have to re-define what success looks like for me. I have to admit running around doing more than everyone else is never going to bring me happiness. I don’t need to attract a man on one side to be worthy nor do I have to work/act like a man to be worthy. I just need to be my own authentic self. The truth is I love to cook for people and I love good food which I suppose is very un-feminist of me. I need to believe in my own worth not defined by my relationship with anyone else and I don’t know how to do that.
5 What habits or ways of thinking do you think will be the most difficult to let go of? The critical voices in my head telling me I’m not good enough, I’ll never be good enough.
6 What fears, insecurities and wounds have held you back? That underneath it all I really am unworthy. I mean something. My life means something.
7 What skills, background or expertise makes you well-suited to face this conflict or antagonist? In my heart of hearts I have always been an iconoclast. I’ve never had the confidence to say it aloud or criticize anyone but people instinctually knew it and were unkind. I never understood why people had such strong reactions to me especially since I was shy. I guess I can’t hide my true self as much as I thought I could.
8 What are you hiding from the other characters? What don’t you want them to know? That I have the strength to stand alone. Also, I fought back against Dave finally and he fell and hit his head. I drove off angry and when I tried to get through to see if he was OK I couldn’t get through because of the fire. I’m afraid I killed Dave.
9 What do you think of Dave? I’m so disappointed he turned into his mother. Petty, mean, small minded and fearful. He seemed quite the opposite when we met. I’m also very upset that I chose so badly. I mean fuck, really? A successful artist. Confident, kind, good looking. He seemed like he had it all. We seemed like we had it all but it was just a lie. I thought he was my “soulmate”. How pathetic.
10 Tell me your side of this whole conflict / story. He kept calling me a fucking loser and kept pushing me and wouldn’t let me pass. I finally broke and pushed him so hard. I don’t know my own strength. All I could think of is I have to get out. I got out but I never saw Dave alive again.
11 What does it do for your life if you succeed here? I feel like in this big mess if I could find a way to live life on my own terms and make money without hiding who I am – well that would be true success to me.
12 Ask any other questions about their character profile that will help you.
QUESTIONS FOR YOUR ANTAGONIST
1 Tell me about yourself. I’m Dave. The most important thing to know about me is I’m dead but I’m not gone. Lake needs me. I can’t be too nice to Lake because she’ll leave me. That’s obvious to everyone but her I think.
2 Having to do with this journey, what are your strengths and weaknesses? My mom doted on me, acting like I was God’s favorite so face it, I grew a little entitled. OK, a lot entitled. I’m expected to be the provider and the top of the food chain and all that. My weakness is, I’m afraid all the time and I can’t let anyone know.
3 Why are you committed to making the Protagonist fail? Or for a relationship movie, why are you committed to making them change? The world is changing. I thought if I could control Lake I could stop the change from happening. I’m used to everything one way and I’m terrified of it becoming different. A world where I have no power.
4 What do you get out of winning this fight / succeeding in your plan / taking down your competition? If I win and have control then I won’t have to change.
5 What drives you toward your mission / agenda, even in the face of danger, ruin, or death? The annihilation of my ego would mean my destruction. What I don’t know is the current power structures keep me trapped and only by letting them go will I ever be truly free but change means death to me.
6 What secrets must you keep to succeed? What other secrets do you keep out of fear / insecurity? Like I said I can’t let anyone know I’m terrified. My life from the outside looks like I have it all but I don’t feel close to happy. I don’t know how to survive outside the manufactured societal structure that was manufactured by man. Everyone calls it gods plan or whatever to maintain power but I don’t know if I believe in god but I certainly would never say that out loud.
7 Compared to other people like you, what makes you special? I act like I’m all that so people act like I’m all that. I just act like I’m a genius in my painting and my vision is so clear in my mind, other people just fall in line. Women want to talk about feelings and collaborate but acting like you know everything and having no mercy is the way to get ahead.
8 What do you think of Lake? I would never admit it but I really admire Lake. In my innermost thoughts she is who I wish I could be but that’s not possible.
9 Tell me your side of this whole conflict / story. It’s not my fault. I know I can be cruel but it’s not my fault. It’s all I’ve ever known. What’s going on is the inevitable backlash to change. Men are in charge and we went way too far in letting women think they are equal and now the comeuppance. I’ve gone along with the whole thing to a certain extent because I wanted people to like me. I wanted Lake to like me. Now that I’m dead though I see the manufactured structure for what it is and what I would never admit to anyone is I just wanted to be happy like everyone else. I didn’t know how to make that happen so I was how my parents, society, religion expected me to be. When I talked, people listened. I really liked that but in the end happiness would have been better.
-
Subject line: Margaret’s Character Profile Part 2 What I learned doing this assignment is you can spend months trying to ‘find’ your character and this is allows you to define your character right out of the gate. 2. Fill in Part 2 of the character Profile for your two lead characters.
• What draws us to this character? We recognize the struggle to recover from trauma in her
• Traits: humor, grit, determination
• Subtext: is haunted by dead husband and is afraid she killed him the night of the fire
• Flaw: lacks self confidence, struggles with feelings of unworthiness
• Values: authenticity, freedom,
• Irony:
• What makes this the right character for this role? Is broken and through the 5 stages of grief ends up in a better place even though to the outside eye she had it all
3. Make any improvements you think of to your Part 1 profile and bring the two parts together.
• Victim – Lake feels like a victim of life and circumstances and there’s plenty of evidence to support that claim. She’s lost her husband and her house and her career as a result of the Tubbs Fire but if she doesn’t learn to reframe her thinking she’ll never be master of her own life.
• Villain – The villain of this story is the critical voice inside Lake’s head as actualized by her dead husband’s visits, her hoarder mom and even the gps on her phone she’s named “Jezebel”. In order to have the life she wants Lake will need to slay the critical voice in her head as much as any antagonist in a hero movie.
• Supporting characters: Jezebel – voice of GPS, Aziz liquor store owner, Mom, Mitch – love interest, Dave – dead husband, old neighbor, under twenty-one, contractor, Jen – friend, Mae – Chinese restaurant owner, creepy man, Lonnie – art dealer
• Minor roles: various restaurant owners and delivery customers, escrow agent, real estate agent
• Background characters: drivers, pedestrians, art gallery patrons
• Drama – Gig Economy is a half-hour Dramedy with six episodes that contain Lake’s complete transformational Journey. Comps include Fleabag, Dead to Me and I May Destroy You
• Role in the story: protagonist
• Age range and Description: mid 30s, a failed corporate type
• Internal Journey: through the 5 stages of grief from denial to acceptance and recovery
• External Journey: Homeless and struggling to finding her place in the world
• Motivation: to live life on her terms
• Wound: fears she is unlovable
• Mission/Agenda: to find a way to make a living that doesn’t require her to work for someone else
• Secret: feels responsible for Dave’s death
• What makes them special? Her ability to continue in the face of fear and heartbreak. What draws us to this character? We recognize the struggle to recover from trauma in her
• Traits: humor, grit, determination
• Subtext: is haunted by dead husband and is afraid she killed him the night of the fire
• Flaw: lacks self confidence, struggles with feelings of unworthiness
• Values: authenticity, freedom,
• Irony:
• What makes this the right character for this role? Is broken and through the 5 stages of grief ends up in a better place even though to the outside eye she had it all.
-
Subject line: Margaret’s Character Profiles Part 1 I learned that the clearer I am now the more specific I’ll be in my script
2. Pick the type of role your Protagonist will play and give us a few sentences on how they will fulfill that role.
• Hero
• Explorer
• Runner
• Fighter
• Victim – Lake feels like a victim of life and circumstances and there’s plenty of evidence to support that claim. She’s lost her husband and her house and her career as a result of the Tubbs Fire but if she doesn’t learn to reframe her thinking she’ll never be master of her own life.
• Dreamer
3. Pick the type of role your Antagonist will play and give us a few sentences on how they will fulfill that role.
• Villain – The villain of this story is the critical voice inside Lake’s head as actualized by her dead husband’s visits, her hoarder mom and even the gps on her phone she’s named “Jezebel”. In order to have the life she wants Lake will need to slay the critical voice in her head as much as any antagonist in a hero movie.
• Change Agent
• Authority –
• Predator
4. What other characters might be necessary?
• Supporting characters: Jezebel – voice of GPS, Aziz liquor store owner, Mom, Mitch – love interest, Dave – dead husband, old neighbor, under twenty-one, contractor, Jen – friend, Mae – Chinese restaurant owner, creepy man, Lonnie – art dealer
• Minor roles: various restaurant owners and delivery customers, escrow agent, real estate agent
• Background characters: drivers, pedestrians, art gallery patrons
5. Pick your genre.
• Rom-Com or Buddy Movie
• Thriller
• Horror
• Action
• Drama – Gig Economy is a half-hour Dramedy with six episodes that contain Lake’s complete transformational Journey. Comps include Fleabag, Dead to Me and I May Destroy You
• Sci-Fi
• Comedy
6. Fill in whatever answers come to you about your lead character profiles.
• Role in the story: protagonist
• Age range and Description: mid 30s, a failed corporate type
• Internal Journey: through the 5 stages of grief from denial to acceptance and recovery
• External Journey: Homeless and struggling to finding her place in the world
• Motivation: to live life on her terms
• Wound: fears she is unlovable
• Mission/Agenda: to find a way to make a living that doesn’t require her to work for someone else
• Secret: feels responsible for Dave’s death
• What makes them special? Her ability to continue in the face of fear and heartbreak.
-
Margaret’s Transformational Journey
What I learned doing this assignment is that by defining her change so clearly I am able to see behavior and situations that illustrate the transformation with clarity.
2. Who is your Hero and what is their Character Arc that represents a transformation?
Lake Turner begins Gig Economy sleeping in her mom’s guest room. Her mom is a hoarder and there is only a narrow space available to the bare mattress and then her mom kicks her out. She’s lost her husband and home in the Tubbs Firestorm. Unable to return to her old job and life she delivers food in a traumatized Sonoma County as she travels through the five stages of grief to healing.
Internal Journey: unsustainable life to a life perfect for herExternal Journey: homeless and unmoored to a new home and life but now authentic
3. What are the Old Ways and New Ways?
Obsessive, intense, perfectionist to boundaries and mental and emotional health
-
Hi everyone, my name is Margaret Gendreau. I’ve written 7 screenplays and 4 pilots. My first pilot was written in the first Bingeworthy TV class. Two years and a rewrite later, during MSC17, it was optioned almost immediately after going out to market, which terrified me – could I do it again and in less than 24 months? After writing an additional three episodes and two pilots on assignment for producers I can say, yes, I can do it again but now the question is – can I write the same quality quickly?
My goal in 2023 is to write 3 (rewrite Gig Economy) new pilots with series bibles and take them out to market. Also, with three projects in development, I’m looking forward to one making it into production.
Not sure if it’s interesting but like my character in Gig Economy, I pursue real estate daily for no particular reason.
Great luck with your projects!
-
I, Margaret Gendreau, agree to the terms of the Group Release listed below-
GROUP RELEASE FORM
As a member of this group, I agree to the following:
1. That I will keep the processes, strategies, teleconferences, communications, lessons, and models of the class confidential, and that I will NOT share any of this program either privately, with a group, posting online, writing articles, through video or computer programming, or in any other way that would make those processes, teleconferences, communications, lessons, and models of the class available to anyone who is not a member of this class.
2. That each writer’s work here is copyrighted and that writer is the sole owner of that work. That includes this program which is copyrighted by Hal Croasmun. I acknowledge that submission of an idea to this group constitutes a claim of and the recognition of ownership of that idea.
I will keep the other writer’s ideas and writing confidential and will not share this information with anyone without the express written permission of the writer/owner. I will not market or even discuss this information with anyone outside this group.
3. I also understand that many stories and ideas are similar and/or have common themes and from time to time, two or more people can independently and simultaneously generate the same concept or movie idea.
4. If I have an idea that is the same as or very similar to another group member’s idea, I’ll immediately contact Hal and present proof that I had this idea prior to the beginning of the class. If Hal deems them to be the same idea or close enough to cause harm to either party, he’ll request both parties to present another concept for the class.
5. If you don’t present proof to Hal that you have the same idea as another person, you agree that all ideas presented to this group are the sole ownership of the person who presented them and you will not write or market another group member’s ideas.
6. Finally, I agree not to bring suit against anyone in this group for any reason, unless they use a substantial portion of my copyrighted work in a manner that is public and/or that prevents me from marketing my script by shopping it to production companies, agents, managers, actors, networks, studios or any other entertainment industry organizations or people.
This completes the Group Release Form for the class.