[Micki Hess]

Micki’s Horror Plot

What I learned doing this assignment is this is fun. I did a 3 and 4 Acts. Seeing the movie as I do the plot with the characters, can’t and to start writing the script.

ACT 1: SET UP FOR HORROR in “The Mirrorbound Hotel”

1. Atmosphere of Evil Established

The film opens with ominous shots of the Mirrorbound Hotel, a grand but decaying structure in an isolated, eerie landscape. The hotel only appears on Friday the 13th, drawing in unsuspecting guests who see it as a luxurious, hidden getaway. The atmosphere is foreboding—long, dark hallways, strange creaks, and reflections everywhere. Even before the characters arrive, there’s an unsettling sense that something is watching, lurking in the mirrors.

The audience Is immediately made aware of the hotel’s dark, cursed history—flashbacks of previous guests who mysteriously disappeared after looking into mirrors.

2. Connect with the Characters

As the guests arrive, we meet our group of six to eight characters:

Maya (Leader): A strong, pragmatic woman who booked the trip to help the group unwind.

Liam (Moral One): Maya’s close friend, the moral compass of the group, and someone who believes in doing the right thing no matter what.

Jake (Rebel): A thrill-seeker, cocky and dismissive of rules.

Emily (Innocent): A kind and artistic soul, eager for inspiration.

Danielle (Complainer): The one who is constantly dissatisfied with everything.

Ben (Sacrificial Lamb): The easygoing, innocent one who is the first to die.

Their personalities are fleshed out as they settle in, unaware of the sinister forces they’re about to encounter.

3. The Characters Are Warned Not to Do It

The hotel’s eerie caretaker gives a chilling warning: “Whatever you do, don’t look in the mirrors.” He explains in cryptic terms that there’s an ancient curse tied to the hotel. Looking into a mirror allows the creature, a sinister force that exists within the mirrors, to steal a piece of the viewer’s body and soul. But the guests laugh it off, thinking it’s just a quirky myth or a way to add mystery to the hotel’s reputation.

They brush off the warning, with characters like Jake and Danielle making fun of it. Maya, being rational, is intrigued but skeptical.

4. Denial of Horror

Initially, the guests experience normal vacation fun—drinking, chatting, and relaxing. They start feeling comfortable in the luxurious hotel, the unsettling atmosphere slipping away. This lulls them, and the audience, into a false sense of security. When one of the characters, Ben, catches a glimpse of himself in the mirror while brushing his teeth, nothing seems to happen at first.

The characters dismiss the warning again, thinking the idea of a mirror-bound creature is absurd. Even strange occurrences—Ben mentioning he feels off, or catching flickers in the corner of their vision—are explained away as tricks of the mind.

5. Safety Taken Away

The illusion of safety shatters when Ben goes missing later that night. His absence is the first real indication that something is wrong. The group searches for him, but they can only find his reflection in one of the mirrors—his eyes missing. Panic spreads as the characters begin to realize the warning was real.

Suddenly, they notice that all reflective surfaces in the hotel start behaving strangely. The reflections move slightly out of sync, or show things that aren’t really there. Safety disappears as they realize the mirrors aren’t just showing their reflections—they’re showing something else watching them.

6. Monster: The Nature of the Beast

The true nature of the mirror-bound creature is hinted at but not fully revealed. It is a malevolent force that exists within the hotel’s mirrors, an ancient beast bound to the building by dark rituals from centuries ago. It can only act when someone gazes into a reflective surface. Once they do, the creature can steal a part of their body—eyes, hands, limbs—or worse, their life force, dragging them into the mirrored world to consume them.

The monster Is ancient, tied to the hotel’s cursed history, feeding off vanity and curiosity. It is intelligent, hunting its victims psychologically by playing on their fears before physically tearing them apart, piece by piece.

Cliffhanger for Act 1:

Ben’s gruesome fate sets the stage for Act 2. The group realizes they are trapped in the hotel, and the mirrors are now a portal to something far worse than they ever imagined.
ACT 2: THE POINT OF NO RETURN in “The Mirrorbound Hotel”

1. Isolated / Trapped / Abducted

After Ben’s disappearance, the group frantically tries to leave the hotel. Maya takes the lead, attempting to organize an escape, but they soon discover that all exits are sealed—doors won’t open, and windows lead into endless reflections instead of the outside world. They’re not just trapped in the hotel—they’re trapped within its nightmarish, shifting mirror world. The hotel itself begins to distort, with hallways that lead nowhere and mirrors appearing in places that didn’t have them before. They can’t avoid their reflections for long.

2. One of Us Killed

As panic escalates, Jake brushes off the danger, believing that Ben just wandered off and it’s all a prank. Ignoring the group’s growing fear, he looks into one of the mirrors, mocking the curse. Suddenly, the creature emerges from the reflection, dragging him partially into the mirror. His screams echo through the halls as the group watches helplessly while parts of his body—first his hands, then his eyes—are ripped away by the beast within. Jake is gruesomely killed, leaving his hollow body behind, his eyes now missing, just like Ben.

This death pushes the group to their breaking point. The realization sets in that the mirror-bound creature is real and far deadlier than they imagined.

3. MIDPOINT: The Monster is Worse Than We Thought!

The group is now in full survival mode. Maya tries to break every mirror she can find, but the mirrors quickly reassemble themselves, multiplying in number. The hotel itself becomes a part of the creature, its reflective surfaces spreading across every room. The group soon realizes that the creature doesn’t just hunt them when they look into a mirror—it can now move freely within the mirrors and hunt them through their reflections, even in places they thought were safe.

Liam finds an old journal in the hotel’s library, revealing the creature’s history. It feeds on the vanity and fear of its victims, growing stronger with every piece of them it consumes. The beast’s power isn’t just limited to the physical—it can now invade their minds, creating horrific hallucinations that make them question what’s real. This is no longer about avoiding mirrors—the entire hotel is a weapon of terror.

4. Full Pursuit by the Killer

With the monster fully unleashed, the group is pursued relentlessly through the labyrinthine hotel. It uses their deepest fears against them. Emily sees twisted versions of her own art coming to life, haunting her with grotesque, nightmarish visions. Danielle, always the complainer, is now overwhelmed by her fear of going insane, hearing whispers in every room, seeing her own reflection taunting her with her worst insecurities.

The creature is relentless, moving from reflection to reflection, picking off the group. The tension escalates as they are forced to face their fears head-on, knowing that one wrong glance could be their last. Maya and Liam try to hold the group together, but they’re all being terrorized in different ways, breaking down one by one.

5. Terrorized

The survivors are pushed to their psychological and emotional limits. Every reflective surface becomes a potential threat—water, glass, even polished metal. They’re haunted by reflections of themselves, but distorted, grotesque versions. They see reflections of people they’ve lost, reflections of their darkest desires, and worst of all, reflections of their inevitable deaths.

With each moment, the hotel warps further, turning into a living, breathing nightmare. The line between what’s real and what’s a trick of the mirrors becomes blurry. The survivors know that death isn’t just coming—it’s a slow, torturous hunt. They are completely isolated, both physically and mentally, as the monster begins to close in for the final kill.

Cliffhanger for Act 2:

As they attempt to fight back, they discover a mirror hidden in the hotel basement that seems to be the key to the creature’s power. But just as they prepare to destroy it, Emily disappears into the mirror world, leaving the others with the realization that they are running out of time—and allies.
ACT 3: FULL OUT HORROR in “The Mirrorbound Hotel”

1. Fight to the Death

With Emily trapped in the mirror world and Jake dead, Maya and Liam rally the remaining survivors—Danielle, Hunter, and Alex—for one last desperate attempt to stop the creature. They realize that breaking the hidden mirror in the basement may be their only chance to defeat the beast. The group arms themselves with anything they can find—makeshift weapons from the hotel rooms and personal items—preparing for the final confrontation.

The hotel Itself fights back, with mirrors multiplying and distorting reality around them. As they descend to the basement, they face twisted versions of themselves and are constantly hunted by the creature. The group knows this is a fight to the death, but the deeper they go, the more they’re haunted by visions of their inevitable doom.

2. Hysteria

The pressure mounts. Danielle starts to crack, overwhelmed by the constant mental torture. She begins to scream, claiming she can see her own reflection following her, laughing at her. Her fear of going insane manifests in violent outbursts, and she starts to doubt everyone around her. Hunter becomes erratic too, trying to smash every mirror in sight, but to no avail—each one just reforms moments later.

Mistrust brews as the group’s fragile unity shatters. Alex accuses Maya of leading them into a trap, convinced that the hidden mirror is a trick. They start turning on each other, but Liam pulls them back together, reminding them that if they don’t work as a team, they’re all going to die. The hysteria builds, but Maya’s determination holds them on course. They have no choice but to press on.

3. The Thrilling Escape from Death

The group finally reaches the basement, but as they approach the hidden mirror, the creature launches its full assault. It steps fully out of the reflections, taking on a terrifying physical form—a monstrous, warped combination of all its previous victims. Its body is made up of pieces of those it has consumed, including the eyes, hands, and limbs of Jake and Emily.

The group fights desperately, but the creature is nearly unstoppable, phasing in and out of the mirrors. Hunter tries to attack, only to be pulled into a mirror and gruesomely killed. His limbs are torn off, his screams echoing through the basement as his body is dragged into the reflection. The group narrowly escapes, retreating behind a corner as the creature stalks them.

Maya spots the hidden mirror glowing ominously in the corner of the basement. She realizes this is their last chance. She throws herself at it, using a metal rod to smash it to pieces. As the mirror shatters, the creature shrieks, its body convulsing violently, but the fight isn’t over yet.

4. Death Returns to Take One or More

Just when the survivors think they have won, the pieces of the shattered mirror start to reassemble. The creature is still alive, and it’s even more furious. It lashes out at the group, Danielle is caught in its grip. Her body is slowly pulled into the mirror, her terrified eyes meeting Maya’s as she begs for help. But there’s no saving her. The creature claims her, dragging her fully into the reflection.

As the mirror starts to reform, Alex makes a sacrifice play. Realizing there’s no way they can destroy the creature without someone being lost, he throws himself into the mirror, distracting the creature long enough for Maya and Liam to make a run for it. His body is twisted and contorted as the mirror pulls him in, but his sacrifice gives the others a chance.

5. Resolution

Maya and Liam, the last two standing, burst out of the basement, sprinting through the hotel’s distorted halls as the creature chases them through the mirrors. Just when it seems they’re out of options, Maya remembers the journal they found earlier. It mentioned a way to trap the creature within its own reflection.

Maya grabs a large shard of a broken mirror and forces the creature to look into it. The beast hesitates for a moment, confused by its own reflection. Using the shard, Maya and Liam trick the creature into trapping itself in its reflection, locking it within the mirror world. The creature howls in fury as it’s pulled back into the mirrored void, its terrifying presence finally disappearing.

The hotel begins to return to normal, the reflective surfaces fading away. Maya and Liam stumble out of the now-deserted hotel, traumatized but alive. The curse seems broken, but as they walk away, they pass a small handheld mirror sitting on the ground, its surface glowing faintly—suggesting the creature may not be entirely gone.

End of the movie, setting up a potential sequel.

Four Acts:
Here’s a breakdown of “The Mirrorbound Hotel” into a Four-Act Structure:

Act 1: The Set-Up (Establishing the Evil)

1. Introduction of the Characters

Maya, Liam, Emily, Jake, Danielle, Hunter, and Alex arrive at the eerie hotel on Friday the 13th, each for their own reasons. The atmosphere feels off, with a cold, eerie vibe in the air.

They are greeted by a cryptic hotel clerk, who gives them a bizarre warning: “Don’t look into the mirrors.”

2. Connect with the Characters

The audience is introduced to each character’s personality, dynamics, and relationships. Tension between certain characters emerges (e.g., Danielle and Alex don’t get along). We see their unique fears and flaws, setting the stage for later horrors.

3. Denial of Horror

Despite the unsettling warning, the group dismisses it as superstition. They joke about the creepy mirrors scattered throughout the hotel. However, strange events begin: objects reflected in mirrors seem off, and some characters feel watched.

4. Safety Taken Away

The characters’ attempts to leave the hotel the next day fail as they discover they are trapped. Phones don’t work, doors won’t open, and windows show nothing but an endless void outside.

5. Monster Introduced (Nature of the Beast)

Jake accidentally looks into a mirror, setting off a chain of terrifying supernatural events. He begins to hallucinate and experiences strange sensations, but doesn’t realize the deadly consequences of the glance.

Act 2: The Point of No Return (Building Tension)

1. Isolation and Trapped

The group realizes the mirrors are far more dangerous than they thought. Jake starts seeing pieces of his reflection disappearing, and when he touches his face, his eye is missing.

The group tries to cover or avoid the mirrors, but they seem to pop up everywhere. They are truly trapped in the hotel with no way out, and the supernatural force has full control over their surroundings.

2. The First Death

Jake is the first to die. His body is consumed by the mirror creature, his missing body parts now part of the beast. The others witness it, panicking as the hotel comes alive with malevolent energy.

3. Midpoint: The Monster is Worse than We Thought

They realize that the creature isn’t just stealing their reflections—it’s stealing pieces of their souls and bodies to become stronger. Every time they glance at a mirror, they lose a part of themselves to the beast.

Maya discovers an ancient journal in the hotel library that hints at the hotel’s dark past and the creature’s origin: it’s a beast bound to the mirrors by the hotel, feeding on vanity and fear.

4. Full Pursuit

The group starts to work together, covering the mirrors, smashing some, and trying to avoid their reflections at all costs. But the hotel itself begins to manipulate them—new mirrors appear in places, and reflections show the worst versions of themselves.

Emily accidentally looks into a mirror while trying to cover it and starts to slowly fade away, screaming as her skin turns translucent. The creature is hunting them one by one.

5. Terrorized

The survivors are constantly on the run, stalked by the creature that seems to appear whenever they are close to a reflective surface. Hunter begins to lose his mind, paranoid that every surface could be their doom. Danielle starts to hear voices from the mirrors, calling to her.

—

Act 3: The Descent into Horror (The Fight for Survival)

1. Fight to the Death

Hunter is pulled into the mirror world by the creature, his body disappearing in a gruesome scene as he struggles to fight back. His arms are torn off, and his scream echoes through the hotel. The others are left horrified and desperate.

Maya and Liam realize the only way to fight the creature is to find and break the master mirror in the basement, as revealed by the journal.

2. Hysteria and the Breaking Point

Danielle cracks, convinced that the mirrors are mocking her and that everyone is turning against her. She becomes erratic, turning on the group.

The surviving group (Maya, Liam, Alex, and Danielle) argue and panic, with Alex almost sacrificing himself to break a mirror in a mad frenzy. Maya tries to hold them together as the leader, guiding them toward the final showdown.

3. The Thrilling Escape from Death

Maya and Liam make it to the basement, where they find the master mirror. As they smash it, the creature emerges from the shadows, a monstrous version of its former self, having absorbed the body parts of its victims.

4. Death Returns for One More

Danielle is caught by the creature, consumed in front of them, her soul trapped forever in the mirror. Alex makes a heroic sacrifice, holding the creature off just long enough for Maya and Liam to finish destroying the mirror. His body is twisted grotesquely as the creature pulls him into the reflective void.

—

Act 4: The Resolution (Aftermath of Horror)

1. The Final Confrontation

Maya and Liam finally manage to destroy the master mirror, trapping the creature inside its own reflection. They watch in horror as the hotel itself seems to collapse in on itself, mirrors breaking and rooms distorting.

2. Thrilling Escape

As the hotel begins to crumble, the last remaining survivors—Maya and Liam—run through the halls as mirrors shatter all around them. They barely make it outside as the hotel implodes, leaving nothing but rubble in its wake.

3. Twist Ending (Death Returns)

As they walk away from the destroyed hotel, Maya picks up a small shard of mirror from the ground, noticing a faint glow. She drops it in shock, realizing the creature isn’t completely gone.

The camera zooms in on the shard as a faint reflection of the beast can be seen, hinting that the horror isn’t truly over.

4. Resolution

Though they’ve escaped for now, both Maya and Liam are left traumatized, aware that the creature might still exist somewhere in the world. The curse of the mirrors may continue to haunt others, setting the stage for future horrors.

This four-act structure brings together high tension, rising stakes, and a chilling conclusion while leaving the door open for possible sequels.

[Micki Hess]

Micki’s Characters for Horror
What I learned doing this assignment is knowing which characters are going to unfortunately die and how they are going to die, it was kind of fun doing this assignment. Another layers add to the plot.
1.Tell us your Concept and the Group you have chosen.
Concept:
Looking into a mirror will kill you!
On Friday the 13th, a mysterious hotel materializes, trapping those who enter for one night. Ruled by an ancient curse, the hotel commands a terrifying beast that stalks the guests through mirrors, forcing them to confront their deepest fears before dawn—or be consumed by both the beast and the hotel itself.
For “The Mirrorbound Hotel”
A. Put 6 to 8 characters together and kill them off one by one would be the best dying pattern.
This pattern builds suspense and tension as each character succumbs to the terror in unique, horrifying ways, especially when they look into the mirrors and lose parts of themselves. The group dwindles as the curse escalates, leaving the survivors increasingly desperate. It would follow a classic horror structure where the deaths become more gruesome and personal, creating a rising sense of dread.
2. Tell us the Dying Pattern of this movie.
In “The Mirrorbound Hotel,” each character’s death follows a pattern where they face their deepest fears, ultimately leading to their demise as the creature in the mirror takes a body part from them. Here’s how the dying pattern could play out for each character:
1. Ben (The Sacrificial Lamb):
Death: Ben is the first to die after innocently glancing into the mirror while fixing a light. His fear of being unnoticed leads the creature to steal his eyes, leaving him blind and helpless as it finishes him off. His death sets the tone for the others, showing how real the threat is.
2. Jake (The Rebel / Rule Breaker):
Death: Jake, ignoring all warnings, deliberately looks into the mirror out of defiance. His greatest fear is losing control over his own body, so the creature steals his limbs one by one, leaving him paralyzed before delivering the final blow. His cockiness turns into terror as he realizes the consequences.
3. Emily (The Innocent):
Death: Emily’s fear of being worthless is manifested when she looks into the mirror. The creature takes her voice, symbolizing her lost ability to express herself as an artist. She tries to warn the others but is rendered mute, ultimately being consumed by the creature in a quiet, heartbreaking death.
4. Danielle (The Complainer):
Death: Danielle’s fear of ugliness and imperfection comes to life. After looking into a mirror to mock the curse, the creature steals her face, leaving her disfigured and in agony. Her death is slow and filled with horror as she desperately tries to hold onto her beauty and identity.
5. Kevin (Monster Bait):
Death: Kevin’s fear of being helpless and weak comes true when he accidentally sees his reflection. The creature steals his heart, causing him to suffer a slow, agonizing death from fear and panic, clutching his chest as his life fades away.
6. Sarah (The Carrier):
Death: Sarah feels overwhelming guilt for bringing everyone to the hotel. When she looks into the mirror, the creature takes her hands, symbolizing her inability to fix the situation she started. She tries to save the others, but the guilt overwhelms her, leading to her demise.
7. Liam (The Moral One):
Survival: Liam’s fear is being unable to save the ones he loves. He might sacrifice himself by looking into the mirror to save someone else, and the creature takes his heart or brain, leaving him emotionally or mentally broken. Alternatively, his morality might help him survive by resisting temptation and never looking in the mirror.

8. Maya (The Leader):
Final Survivor: Maya, the leader, may be the last to face the creature. Her fear is losing control or failing to protect the group. She could face a final showdown with the creature, where she either manages to outsmart it or dies heroically, with the creature stealing her voice as she tries to command one last time.
This pattern not only kills the characters off one by one but also deeply ties each death to their personal fears, adding psychological horror to the physical terror.
3. Give us an Identity and a sentence for each character that makes up your group.
Here’s an identity for each character in “The Mirrorbound Hotel” group, with one defining line that captures their role and personality:
1. Maya (The Leader): A sharp, no-nonsense businesswoman who refuses to believe in curses, determined to keep the group calm and find a way out.

2. Jake (The Rebel / Rule Breaker): A cocky thrill-seeker who thinks the warnings are a joke—until he’s the first to look into the mirror.

3. Sarah (The Carrier): The event planner who organized the stay at the hotel, horrified to realize she’s the reason they’re all trapped in this nightmare.

4. Ben (The Sacrificial Lamb): The quiet maintenance worker who innocently checks the mirrors while fixing a light, becoming the first gruesome victim.

5. Emily (The Innocent): A sweet and shy artist who came for inspiration, now caught in a web of terror as her own fears of self-worth are turned against her.

6. Kevin (Monster Bait): The nervous accountant who’s always sweating and easily panicked, making him an easy target for the lurking creature.

7. Danielle (The Complainer): A cynical and sarcastic travel blogger who constantly mocks the others and whines about the hotel’s old-fashioned décor, until she’s faced with real danger.

8. Liam (The Moral One): A med student who insists on helping the injured and refuses to abandon anyone, even when the odds of survival grow grim.
This ensemble would allow for a wide range of interactions, tensions, and dynamics as they confront the deadly curse of the hotel.

[Micki Hess]

Micki’s Terrifying Monster

What I learned doing this assignment is that I have been using the wrong concept. Rest of the assignments will be the beast in a cursed hotel. I learned to use my imagination what the beast and hotel are. Each entwined with the others. This assignment helped me realized the entwinement of the monsters. And the soon be victims and survivors.
(I will be going back to Assignment 1 and make the corrections and another classmate is using mirror as the monster).
Their Terror: The hotel itself is cursed and commands the beast, using it to punish or consume those who enter on Friday the 13th. It traps its victims, forcing them to confront the creature.

Their Mystery: The hotel only manifests on Friday the 13th, appearing suddenly and vanishing at dawn. Those who are caught inside must survive the night or be claimed by the beast and the hotel forever.

Their Fear-Provoking Appearance: The beast is a massive, nightmarish creature bound to the hotel, with chains of dark energy connecting it to the walls. It obeys the hotel’s will, lurking in the mirrors and shadows.

Their Rules: The hotel can summon the beast at will, trapping guests inside until they face the creature. Escape is impossible unless they can survive until dawn, but the hotel and the beast constantly shift the environment to prevent any escape.

Their Mythology: The hotel Is a manifestation of an ancient curse, designed to appear only on the unluckiest day of the year. It commands the beast, a guardian of the curse, to hunt those who dare enter, feeding off their fear and despair before finally consuming them.

[Micki Hess]

Micki’s Horror Conventions

What did I learned from the lesson: even though I don’t like watching horror movies. Find QUIET PLACE movie is something I can watch. Seeing how horror conventions makes a movie terrifying and enjoyable.

Title / Concept: A QUIET PLACE
Concept: A family trying to survive from blind creatures that attacks people hen they make a sound
Terrorize The Characters: t
The creatures attack people when a sound is made.
Isolation:
A family must be quiet and looking ves in a farm house. Separate from the rest of the world.
Death:
Make a sound, the creatures attack the person by eating them.
Monster/Villain:
Blinded creatures that uses sound to attack.
High Tension:
The birth scene where her water breaks and must be quiet during contractions. Must keep the baby quiet as well.
The children trap inside a corn silo, the daughter’s hearing aid have a high frequency that drives the creature crazy.
The father saving the children from the creatures.
Basement: The mother, older children and the baby are trapped with the creature, the mother pints a gun
She noticed her daughter in distress with her hearing aid. The daughter takes it off and turn up the volume and drives the creature crazy. Mother shoots and now more creatures are on there way.
Departure from Reality:
The world has changed since the creatures came. Speaking is no longer a normal. Using sign language to communicate.
Moral Statement: Staying silent, you can live.
2. Anything else you’d like to say about what made this movie a great horror film?
The suspension, fear, departure from reality…I was so drawn into the movie. Some parts I held my breath as of it would helped.

3. With your concept, fill in each of these Conventions for your story.

Concept:
In an isolated, eerie hotel, guests are warned never to look into the mirrors. Those who ignore the warning are hunted down by a malevolent force that uses their deepest fears against them, killing them in horrifying ways.
Terrorize The Characters:
Terrorizing the Characters in “Reflections of Death”

1. The Paranoid Guest:

Fear of the Unseen: As soon as this guest accidentally glances at a mirror in the hallway, their reflection remains even after they move. Every time they turn away, they hear faint footsteps behind them, but when they look, nothing is there. Their reflection, though, moves freely, mimicking twisted versions of their actions—always watching. They become increasingly paranoid, hearing whispers from the glass, and begin covering every mirror they see. But soon, the mirrors start appearing in places they wouldn’t expect—small, reflective surfaces in everyday objects, like a puddle or a doorknob. Their paranoia drives them to madness, and they’re hunted down by the force that stalks them through every reflection.

2. The Fearful Leader:

Fear of Losing Control: This guest, a natural leader, tries to keep everyone calm, convincing them that the curse is nothing more than a superstition. But after looking into a bathroom mirror for too long, they start to feel weak. Their arm, the one reflected in the mirror, suddenly goes numb, and before their eyes, the limb in the reflection begins to twist and wither. They scream as their real arm turns black and lifeless. Now disfigured, they lose their confidence, their leadership crumbling under the terror of losing control over their own body. Each time they catch a glimpse of their face in a reflective surface, it becomes more distorted, as if their reflection is decaying faster than their body. The fear of helplessness and losing their identity begins to consume them, and eventually, the force tears them apart mentally and physically.

3. The Skeptic:

Fear of the Unknown: Convinced that the warnings are just old folklore, the skeptic looks into the lobby mirror out of spite. At first, nothing seems to happen, but later, they notice their shadow is missing. The more they explore the hotel, the more strange phenomena occur—their voice echoes back in different tones, their footsteps are muffled, and they begin losing the ability to feel anything physically. Terrified, they rush to confront their reflection again, but this time, the mirror shows a distorted, faceless version of them, grinning. Suddenly, they feel an intense cold spreading through their body as the reflection’s face slowly peels off like flesh. Their mouth disappears in the reflection, and they scream as they physically lose the ability to speak, suffocating in silent horror as the force hunts them down.

4. The Romantic Couple:

Fear of Separation: The couple enters the room, laughing off the strange warning. As they admire themselves in the vanity mirror, one of them lingers, watching the other’s reflection. They suddenly notice something wrong—their partner’s reflection is smiling, but not in reality. The reflection steps out of the mirror, a doppelgänger that slowly approaches the real partner. In panic, they break the mirror, but the shards now reflect multiple versions of their partner, all closing in. When they turn around, their partner is gone. Now trapped in an isolated loop, every mirror shows their lost love in torment, just out of reach. The force plays on their fear of losing each other, driving them to the brink of despair, separated forever in the mirrors’ reflection.

5. The Escapee:

Fear of Being Chased: This guest, an athlete who thinks they can outrun any danger, accidentally looks into a mirror while rushing down a hallway. Their reflection lingers for a second too long, and as they turn the corner, they see their doppelgänger waiting at the end of the hall. They run, but no matter how fast they move, their reflection is always ahead, its movements unnatural and jerky, as though the mirror version is hunting them. Doors slam shut, and reflective surfaces appear everywhere, turning the hallways into a maze of terror. The reflection becomes a predator, growing closer with each look, until finally, it steps out of the mirror and takes their place, leaving them trapped in a nightmare behind the glass, watching helplessly as the force consumes their body.

In every scenario, the malevolent force exploits each character’s most intimate fear—whether it’s loss of control, separation, or being hunted. The mirrors are omnipresent, and the hotel becomes a twisted labyrinth where their own reflections are their greatest enemy, driving them deeper into terror until they meet a horrifying end.

Isolation:
Amplifying Isolation in “Reflections of Death”

1. Physical Isolation:
The Hotel’s Location: The hotel is situated in a remote area, perhaps deep in the mountains or surrounded by dense fog. There is no cell service, no nearby towns, and no functioning transportation. The guests arrive expecting a quaint, peaceful getaway, only to find that they are cut off from the outside world. When they realize something is wrong, the roads are mysteriously blocked, and the weather shifts unnaturally, trapping them.

No Escape: As the guests begin to encounter the malevolent force, any attempt to leave is futile. Doors lead back into the same rooms, the hallways loop endlessly, and staircases vanish as soon as they’re used. The more they try to escape, the deeper they’re drawn into the hotel’s labyrinth, which seems to expand and change on its own.

2. Psychological Isolation:

Paranoia: Each guest starts to feel as though they’re the only one seeing the terrifying reflections or experiencing the hauntings. As more guests succumb to the force, the survivors become distrustful of one another, fearing that any interaction might lead to their own downfall. They start locking themselves in their rooms, covering mirrors and avoiding windows, terrified of catching a reflection of anyone else.

Loneliness: As the malevolent entity picks off guests one by one, those who remain are driven to a breaking point. They hear the voices of the others trapped in the mirrors, but they can’t see them. In some cases, they might encounter strange glimpses of other guests in distant reflections—calling for help, begging to be let out—but they are unreachable, a cruel illusion of company.

3. Emotional Isolation:

Reflections as Doppelgängers: The mirrors begin to reflect versions of the guests that are twisted, emotionless copies. These doppelgängers appear more frequently as the guests become more isolated, watching them silently, taunting them with lifeless smiles. The real guests lose touch with their sense of self, no longer able to trust their own image. They feel emotionally cut off from even themselves, as though the mirrors are draining their humanity piece by piece.

Breakdown of Relationships: The fear of looking into mirrors and the threat of being mutilated turns friends, couples, and even family members against one another. They begin to isolate emotionally, unable to look at each other in the face for fear of what might happen. They may even hear false voices of loved ones calling out to them from the reflections, creating deep confusion and heartbreak, as they can no longer distinguish what is real and what is the mirror’s trickery.

4. Spiritual Isolation:

Trapped Souls: Guests who die after looking into the mirrors have their souls trapped inside the reflections, unable to move on. The living guests can sometimes catch fleeting glimpses of these souls, who are often frozen in the moment of their terror, silently screaming or pleading for release. The survivors are haunted by the idea that they too could be condemned to an eternity behind the glass, lost and forgotten.

Cut Off from Help: Any hope of spiritual or external salvation feels distant. The hotel is a cursed place, almost a void where no outside force, divine or human, can intervene. Those who pray or attempt to reach out to higher powers feel utterly abandoned. The isolation here is not only physical and mental but also existential—there’s a crushing sense that they are utterly alone in the universe, with no chance of being saved.

In “Reflections of Death,” isolation is multi-layered—guests are isolated physically by the hotel’s remote, trap-like setting, psychologically as paranoia builds, and emotionally as they can no longer rely on each other or even trust their own reflections. The mirrors become windows into a world where they are forever alone, and the hotel, despite being full of mirrors, becomes a place where they are cut off from everything, including themselves.

Death:
Horrifying Deaths in “Reflections of Death”

Each character’s death in the hotel is uniquely tied to the supernatural force manipulating the mirrors. The deaths are not just physical but psychological and emotional, using the mirrors to play on the characters’ primal fears and deepest vulnerabilities.

1. The Paranoid Guest:

Death by Isolation and Fear of the Unseen:
After weeks of paranoid avoidance, covering every reflective surface and hiding from anything that might show their image, the guest finally becomes trapped in a room full of mirrors. Desperate and exhausted, they see multiple versions of themselves, each showing a different expression of fear and panic. The reflections begin moving independently, their hands reaching out toward the real person, who is backed into a corner. One by one, the reflections step out of the glass, tearing pieces from the guest until only their terrified, empty-eyed face remains, frozen inside the mirror, now trapped as one of the many distorted reflections.

2. The Fearful Leader:

Death by Loss of Control and Fear of Helplessness:
After losing their arm, the once-strong leader spirals into despair. They look in the mirror, seeing their reflection whole again, only to feel the rest of their body failing them in reality. As they desperately try to hold onto their authority and composure, their reflection grins and starts to pull away piece by piece—first their legs, then their other arm. The leader collapses, unable to move or speak, watching helplessly as their reflection disintegrates. With each piece lost, they feel it in reality, until finally, their reflection pulls their face off, and they die, staring at their own faceless corpse in the mirror.

3. The Skeptic:

Death by Fear of the Unknown:
The skeptic’s arrogance is their undoing. After multiple terrifying encounters with reflections that don’t match reality, they attempt to confront the force head-on. They stare into a mirror, daring it to do its worst. As they do, their reflection begins to disappear piece by piece, starting with their feet. They feel themselves being pulled into the mirror world, body parts vanishing into the glass, leaving them floating in a space between realities. They scream in panic, but no sound comes out. The last thing they see before they disappear completely is their reflection grinning back at them, whole and alive, as though it has taken their place in the real world.

4. The Romantic Couple:

Death by Fear of Separation:
After their partner is taken by the mirrors, the remaining lover is left in a state of panic, searching for them throughout the hotel. Every mirror shows a warped, nightmarish version of their partner, sometimes in distress, other times smiling sinisterly. In their desperation, they begin smashing the mirrors, but each one they break reveals another layer of twisted reflections. Finally, they stumble into a room where their partner’s reflection is trapped, reaching out to them. Overcome with emotion, they touch the mirror, but instead of rescuing their partner, they are dragged in. As they enter the mirror world, they see their real body collapse to the floor, dead, while their reflection and their partner’s reflection are trapped forever behind the glass, reaching for a freedom they will never attain.

5. The Escapee:

Death by Fear of Being Chased:
After being relentlessly pursued by their reflection throughout the hotel, the athlete finds themselves cornered in a hall of mirrors. Their reflection is now a monstrous version of themselves, distorted and wild-eyed. They run through the hallways, but no matter how fast they go, the reflection is always ahead, waiting for them at every turn. As the hallways collapse into chaos, mirrors breaking and multiplying, they are forced to face the reflection directly. In a final, desperate moment, they attack the mirror, only to feel their own body ripping apart. The reflection steps out, now fully formed, while the real person’s body shatters into pieces of glass, dying as nothing more than a broken reflection of their former self.

In “Reflections of Death,” the deaths are more than physical; they reflect the characters’ deepest fears, making their demise a blend of psychological terror and supernatural horror. The mirrors serve as the gateway to these deaths, turning the characters’ own reflections into the tools of their destruction, trapping them in a nightmarish loop where they lose not just their lives, but their very identity and soul.

Monster/Villain:
The Villain: The Mirror Wraith

Name: The Mirror Wraith
Description:
The Mirror Wraith is a malevolent, otherworldly entity bound to the cursed mirrors of the hotel. It is a shadowy, amorphous figure that exists primarily within the mirrors, but it can manipulate reality through reflections. Though it rarely shows itself fully, glimpses of its true form can be seen through the mirrors—an unnerving combination of shadow, distorted faces, and disjointed limbs stolen from its victims. The Wraith has no face of its own, borrowing the features of The people it has claimed, each piece distorted and warped into something monstrous.

Abilities:

1. Reflection Manipulation:
The Mirror Wraith can alter what guests see in the mirrors, showing them twisted versions of themselves, loved ones, or terrifying visions of their own deaths. These reflections move independently, taunting the guests, creating paranoia, and luring them into traps.

2. Body Part Theft:
Whenever a guest looks into a mirror, the Wraith can take a part of them, whether it’s a limb, a sense (sight, hearing), or even a part of their mind or soul. The stolen parts appear in the Wraith’s form, used to further torment the victims. For example, a guest might look into a mirror and see their own arm missing, only to feel it physically vanish from their body moments later.

3. Psychological Torture:
The Wraith uses the mirrors to reflect the deepest fears of its victims. For some, it’s their fear of losing control, for others, it’s fear of isolation, pain, or death. The entity knows how to push each guest’s buttons, using their personal traumas and anxieties against them until they break mentally before their inevitable death.

4. Mirror Dimension:
The Wraith can trap souls in its mirror dimension, a distorted version of the hotel where time and space are warped. Here, the trapped souls are forced to relive their worst moments on an endless loop, while their bodies are left as lifeless husks in the real world. This dimension is a prison of eternal torment where the Wraith grows stronger with each soul it captures.

Motivation:
The Mirror Wraith feeds on fear and despair. It is drawn to the mirrors, using them as windows into its victims’ minds and lives. Its primary goal is to consume as many souls as possible, keeping them trapped in its mirror realm for eternity. Every life it claims strengthens its control over the hotel and its power within the mirrors. The Wraith was once a spirit tied to the hotel’s past, but over centuries it has evolved into a nearly unstoppable force, intent on feeding endlessly.

Weakness:
The Wraith can only interact with the real world through the mirrors. Without a reflection, it cannot manifest fully, making it vulnerable in rooms with no mirrors or reflective surfaces. However, removing every mirror in the hotel is nearly impossible, as new reflections seem to form even on ordinary objects like windows or polished floors. Only by breaking the original cursed mirror, hidden somewhere deep within the hotel, can the Wraith be weakened or potentially destroyed.

Appearance in Death:
When the Wraith kills, it leaves no visible wounds. Instead, the victim’s body appears almost perfectly normal but lifeless, as though drained of their essence. Often, the last thing seen before death is the Wraith’s reflection in a nearby mirror, smiling wickedly with the stolen parts of its latest victim grafted grotesquely onto its form.

High Tension:
Building High Tension in “Reflections of Death”

To intensify the horror in your story, the tension must continuously escalate, both on a psychological and emotional level. Here’s how to structure that tension effectively:

1. Slow Unraveling of Reality

Initial Unease:
At first, the guests only hear vague warnings about the mirrors from cryptic hotel staff or strange signage. No one takes it seriously, brushing it off as an old superstition. However, the first strange occurrences are subtle—mirrors showing slight delays in reflections, shadows that don’t quite match the room’s layout, or faint, whispered voices that seem to come from the glass.

Escalation of Oddities:
As time progresses, the mirrors begin to reflect things that aren’t really there—phantom movements in the corner of their eye, flashes of other guests who should be nowhere nearby. The characters notice that their reflections seem off, smiling when they aren’t, or mirroring different emotions entirely. The unsettling feeling builds slowly, creating a constant low-level anxiety.

Personalized Torment

Fear Tailored to the Characters:
Each character’s deepest fear is reflected back at them. For one character, a mirror might show them aging rapidly, reflecting their fear of death or decay. For another, their reflection might taunt them with images of being utterly alone, cut off from everyone they love. The mirrors use these fears to manipulate the characters, making them second-guess their perceptions and decisions.

Paranoia Sets In:
The tension is heightened by the growing paranoia among the guests. They start suspecting each other, wondering if someone has been possessed by the entity or if they’re part of the haunting itself. Conversations become terse, and alliances break down as everyone becomes more self-serving in their desperation to survive. No one can trust the person standing in front of them—or even themselves.

Relentless Pursuit

Unseen Stalker:
The Mirror Wraith is never fully seen, but its presence is constantly felt. It begins to stalk characters, but only through reflections—never in direct sight. Characters see it in mirrors when they look away, catching glimpses of its ever-changing form looming closer. The fear of being watched, hunted by something they can’t face directly, creates a palpable sense of dread.

Escape is Impossible:
Characters attempt to cover mirrors or avoid them entirely, but the Wraith finds new ways to reach them. Reflections appear in puddles, windows, even in another person’s eyes. Every time they believe they’ve managed to avoid it, the Wraith finds another reflective surface to taunt or chase them. The sense that there is no way to escape intensifies the terror.

Countdown to Death

Time Running Out:
Once a character looks into a mirror and catches sight of the Wraith, it’s only a matter of time before they’re consumed. They begin to deteriorate—physically, mentally, or both. Maybe they start losing small parts of themselves (a hand that suddenly feels numb, or the ability to speak), each piece claimed by the Wraith. The ticking clock of their impending death drives up the tension, especially as they desperately try to hide from every reflective surface, knowing that any glance could be their last.

Isolation and Helplessness:
The remaining survivors watch as their numbers dwindle, each death more brutal and psychologically tormenting than the last. They’re trapped not only by the hotel but by their own minds, as the constant fear of reflection chips away at their sanity. Being hunted relentlessly in an environment where even the walls seem to conspire against them pushes them to the brink of madness.

Final Stand in a Hall of Mirrors

Climax in a Labyrinth of Mirrors:
The climax should occur in the most tension-filled setting possible—a room or hallway lined with mirrors on every side. The remaining characters are forced into this space, completely surrounded by reflections. The Wraith appears in every mirror, a distorted, shifting version of each character, mocking them with visions of their doom.

Fight or Flight:
The tension reaches its breaking point as the characters have no choice but to face their own worst fears—either by confronting the Wraith head-on or frantically trying to smash every mirror. Each time they break a mirror, the Wraith becomes more powerful, its form coalescing as it steps out of the shards. The claustrophobic environment and the growing realization that they’ve been outsmarted at every turn makes the climax suffocatingly tense.

Techniques to Amplify the Tension:

Unpredictable Pace:
Alternate moments of eerie calm with sudden bursts of terror. Sometimes, the Wraith is patient, lurking and observing, while other times, it strikes without warning, keeping the audience on edge.

Sound Design and Silence:
The mirrors could produce unsettling noises—echoes of whispers, distant screams, or distorted laughter. At key moments, the absolute silence of a character’s isolation can be just as terrifying as any sound, allowing the audience to anticipate a sudden strike.

Character Breakdown:
Show characters deteriorating mentally, physically, or emotionally in real-time. Some may break down and begin talking to their reflections, while others may turn on their companions in fits of rage or paranoia.

Glimpses of the Wraith:
Never show the Wraith fully until the very end. Its fragmented form in the mirrors—an arm here, a face there—keeps it more terrifying because it remains mostly unseen. The less we see, the more we fear it, as the imagination fills in the blanks with far worse horrors.

By combining these escalating layers of tension, “Reflections of Death” can become a high-stakes horror experience, where both the characters and the audience are left questioning reality and fighting to survive the mounting dread of the unseen Wraith. The constant interplay between reflective surfaces and the looming, unseen threat of the Mirror Wraith keeps the terror unpredictable and ever-present.

Departure from Reality:
Departure from Reality in “Reflections of Death”

One of the most powerful tools in horror is the slow erosion of a character’s sense of reality. In “Reflections of Death,” this can be used to create an even more disorienting, terrifying atmosphere. The line between what is real and what is not becomes blurred, leaving both the characters and the audience questioning the very nature of their existence. Here’s how you can integrate this into your story:

Shifting Environments

As the characters succumb to the influence of the Mirror Wraith, the hotel itself begins to change in ways that distort their perception of reality:

Labyrinthine Layout: Hallways start to bend in impossible ways. Characters may find themselves walking in circles or backtracking to places they’ve already been, even though they never turned around. Familiar rooms disappear or change drastically when they return. This constant shift in space makes the characters feel like they’re trapped in a dream—or a nightmare—where nothing makes sense.

Mirror Worlds: Sometimes the characters pass by a mirror and see not their own reflection, but an alternate version of the hotel—a decayed, crumbling ruin or a version that is warped beyond recognition. The mirrors reflect a world in which time or reality itself has unraveled, adding to the sense that the hotel exists on the edge of two dimensions.

Personal Reality Distortions

The Mirror Wraith doesn’t just manipulate the hotel—it manipulates the minds of the guests, gradually distorting their sense of self and the world around them:

Loss of Time: The characters may lose track of time altogether. What seems like minutes might actually be hours, or they might go to sleep and wake up days later without remembering what happened. Watches stop working, clocks spin randomly, and even the day-night cycle begins to blur.

Altered Memories: The Wraith could start warping the characters’ memories. A character might suddenly “remember” events that never happened or forget crucial details about their life. Others might start doubting whether they were ever real. Their memories of the outside world begin to feel hazy, making it difficult to ground themselves in anything certain.

Identity Fracture: The Wraith could manipulate reflections to the point where characters begin to question who they are. Their reflections may take on lives of their own—talking back, making decisions for them, or acting against their will. The characters’ sense of identity starts to fragment as they see multiple versions of themselves in mirrors, all behaving differently.

Psychological Fragmentation

The relentless mental assault of the Wraith takes its toll, breaking down the mental fortitude of each character:

Hallucinations: Characters begin seeing things that aren’t really there—distorted versions of their companions, past traumas, or surreal images that blend into the real world. They might mistake other guests for reflections or vice versa, losing their grip on what’s real.

Mirror-Driven Madness: A character might begin obsessively looking into mirrors, convinced they can solve the mystery if they watch closely enough. Others might become so terrified of their own reflection that they avoid anything that can show them their image, even going so far as to break all mirrors they come across, pushing them into a frenzied state.

Paranoid Delusions: As the Wraith isolates each character mentally, paranoia sets in. They may start believing that their companions are working with the Wraith, or that they are already dead and trapped in some twisted afterlife. This paranoia causes rifts between the survivors, making alliances nearly impossible and increasing the characters’ vulnerability.

Dreamlike Logic

Reality begins to follow dreamlike, illogical rules. Just when the characters think they’ve grasped the truth, the rules change:

Inescapable Loops: Characters might think they’ve escaped a room, only to find themselves right back where they started. They could attempt to flee the hotel, only to re-enter from a different door moments later. The sense of being trapped not just physically but within a reality loop enhances the claustrophobic terror.

Fluid Time and Space: Rooms that once were connected might no longer be accessible. Walking down a hallway might lead to a completely different section of the hotel than expected. This unpredictability makes escape seem impossible and disorients the characters to the point of helplessness.

Reality Bleeds: The Wraith’s mirror world begins bleeding into the real world, making the characters question whether they’re still in the hotel at all. Shadows of the mirror dimension flicker in and out of existence, distorting objects and people around them. This further disconnects the characters from any stable sense of reality.

Final Descent Into Madness

As the story reaches its climax, the characters’ final descent into madness can take multiple forms:

Multiple Realities: The Wraith might fracture the remaining characters into different realities. One person may see themselves trapped in a never-ending nightmare, while another believes they have escaped, only to realize they’re still in the hotel, living the same events on a loop.

Identity Erasure: The Wraith could strip away so much of a character’s identity that they no longer remember their name, who they are, or what they’re doing in the hotel. In their final moments, they might not even recognize themselves when they look in the mirror—because their reflection is someone else entirely.

Eternal Captivity: In the final moments, the characters might realize that they have been trapped in the mirror dimension all along, never having left it. The “real” world was just another reflection manipulated by the Wraith. They are doomed to spend eternity reliving their worst fears and moments, prisoners of the Wraith.

Techniques to Amplify the Departure from Reality:

Surreal Imagery: Use dreamlike visuals—hallways that stretch endlessly, clocks with no numbers, characters suddenly floating or moving in slow motion, objects behaving as if they are underwater. These visuals enhance the sense that the characters have left the known world.

Audio Distortion: Use sounds to disorient the audience—voices that seem to echo from different directions, growing louder or softer unexpectedly. The characters might hear whispers or conversations between their reflections that they can’t control.

Perspective Shifts: Occasionally shift the audience’s perspective, so they’re seeing through the eyes of a reflection or a character who is slowly losing their mind. Let the audience experience the fragmentation of reality along with the characters, heightening the tension and confusion.

Moral Statement:
Moral Statement for “Reflections of Death”

“In the pursuit of self-discovery and truth, one must be cautious not to lose themselves to the illusions of their deepest fears.”

[Micki Hess]

Name? Michale (Micki) Hess

How many scripts you’ve written?
I have written ten scripts

What you hope to get out of the class?
Understand how horror scripts are written.

Something unique, special, strange or unusual about you?
I promise not to get overly weird. So I am doing a light strange about myself.
I write left handed that looks like right handled person wrote it.
Just kidding….after all this is a horror class. I have dreams of people dying or if I see them, i get a feeling.
On my honeymoon night, I had a horrible dream that came true five days later. My baby Uncle Randy died, five days after my wedding. (I am older than my Uncle Randy by eleven months and twenty days.)
But it isn’t only death, it could be an accident. Like my husband’s “small accident”, a week before this, I warned him to be extra careful. Because my whole right side had sharp pain starting at my head going down to my ankle. I could not moved or see for a short period of time. When he had the accident, it was at the time when I experienced the sharp pain. He had injuries. He fell two and a half stories. He was on a Chinook helicopter. He is doing better.

[Micki Hess]

I Michale (Micki) Hess

“I agree to the terms of this release form.”

GROUP RELEASE FORM
As a member of this group, I agree to the following:
1. That I will keep the processes, strategies, teleconferences, communications, lessons, and models of the class confidential, and that I will NOT share any of this program either privately, with a group, posting online, writing articles, through video or computer programming, or in any other way that would make those processes, teleconferences, communications, lessons, and models of the class available to anyone who is not a member of this class.
2. That each writer’s work here is copyrighted and that writer is the sole owner of that work. That includes this program which is copyrighted by Hal Croasmun. I acknowledge that submission of an idea to this group constitutes a claim of and the recognition of ownership of that idea.
I will keep the other writer’s ideas and writing confidential and will not share this information with anyone without the express written permission of the writer/owner. I will not market or even discuss this information with anyone outside this group.
3. I also understand that many stories and ideas are similar and/or have common themes and from time to time, two or more people can independently and simultaneously generate the same concept or movie idea.
4. If I have an idea that is the same as or very similar to another group member’s idea, I’ll immediately contact Hal and present proof that I had this idea prior to the beginning of the class. If Hal deems them to be the same idea or close enough to cause harm to either party, he’ll request both parties to present another concept for the class.
5. If you don’t present proof to Hal that you have the same idea as another person, you agree that all ideas presented to this group are the sole ownership of the person who presented them and you will not write or market another group member’s ideas.
6. Finally, I agree not to bring suit against anyone in this group for any reason, unless they use a substantial portion of my copyrighted work in a manner that is public and/or that prevents me from marketing my script by shopping it to production companies, agents, managers, actors, networks, studios or any other entertainment industry organizations or people.

[Micki Hess]

Title: Christmas Eve, Again?
Genre: Comedy/ Family
Concept:
Two bickering families get trapped in a magical hotel where Christmas Eve never ends. Their only way out? Surviving the ultimate holiday prank war together.

Logline
Two rival families stuck in an endless Christmas Eve prank war must team up to escape the time loop—and maybe learn the true spirit of the holiday.

[Micki Hess]

Micki’s Budget
What I learned doing this assignment is by minimizing the budget I could see where I can cut some scenes and props that are not important. And on a bigger budget I can expand scenes, cast and props.
Ways to Decrease the Budget:
Main Variables:
1. Number of Locations:
Solution: Minimize locations by keeping the entire movie set within the hotel. Use various parts of the hotel (rooms, lobby, kitchen) to create diverse settings without having to change locations.
2. Expensive Locations:
Solution: Use a single, affordable location that can be dressed to look like a high-end hotel. If shooting indoors, you can find a less expensive building and decorate it accordingly, rather than using an actual luxury hotel.
3. Number of Characters:
Solution: Focus on a tight ensemble cast (the two families, a small hotel staff). Fewer actors will reduce overall payroll costs, wardrobe, and logistics.
4. Special Effects:
Solution: Limit the use of VFX. If special effects are needed (for pranks or looping effects), use simple practical effects over expensive digital ones. The story is more psychological, so avoid heavy CGI.
5. Number of Pages:
Solution: Keep the script tight at around 90 pages, which aligns with a 90-minute runtime. Shorter films are quicker to shoot, meaning fewer days on set.
6. Crowd Scenes:
Solution: Eliminate or minimize crowd scenes. Focus on the core characters. If crowds are needed for a brief moment (like at the beginning), they can be simulated using sound or tight camera angles.
7. Stunts, Chase Scenes, and Fight Scenes:
Solution: Reduce or simplify any physical stunts or action scenes. The pranks and conflicts can be more psychological or comedic without requiring dangerous physical stunts, which keeps insurance and stunt costs down.
8. Special Sets:
Solution: Avoid custom-built sets. Use practical locations and only modify or dress certain rooms for specific scenes.
Secondary Variables:
1. Rights to Music, Brands, Books, etc.:
Solution: Use royalty-free music or hire a composer to create original music, which is often cheaper than licensing well-known songs or brands. Avoid product placement unless it brings in revenue.
2. Explosions and Firearms:
Solution: Eliminate the need for explosions, firearms, or high-risk special effects. The tension of the loop and the escalating prank war can build without these elements.
3. Kids:
Solution: No children involved, which avoids the added complications of reduced work hours and tutors on set.
4. Animals:
Solution: No animals in the movie, avoiding wrangling fees and additional shooting time.
5. Weather (Rain, Snow, Wind):
Solution: Shoot indoors to avoid weather-related delays. If snow or wind is needed to set the Christmas tone, use artificial effects indoors rather than relying on unpredictable real weather.
6. Water and Underwater Scenes:
Solution: No water scenes required. Even if a pool is part of the hotel, avoid using it or keep any such scenes minimal and simple.
7. Night Scenes:
Solution: Keep night scenes to a minimum, as shooting at night typically requires more lighting and equipment, which increases the cost.
8. Helicopters, Aircraft, Drone Shots:
Solution: No helicopters or aircraft. If aerial shots are necessary, simple drone shots could be used sparingly but kept to a minimum.
9. Green Screen Work:
Solution: Avoid green screen work. Keep effects practical and use the real environment of the hotel rather than digitally inserting backgrounds or environments.
10. Extensive Makeup:
Solution: Use minimal, natural makeup for the characters. Any special makeup (for comedic pranks or injuries) should be simple and not require extensive prosthetics or elaborate designs.
11. Archival Footage:
Solution: No need for archival footage. Keep the focus on the present-day storyline within the hotel.
12. Anything Dangerous that Increases Preparation Time or Insurance:
Solution: Avoid dangerous stunts, fire, or situations that require heavy insurance. Focus on character-driven conflict rather than action-driven conflict to avoid the need for increased safety measures.
List of What Should Stay to Maintain the Story:
1. Pranks: The pranks are central to the story, but they can be comedic and low-cost without requiring expensive special effects or stunt coordination.
2. Hotel Setting: The single location of the hotel is integral to the concept of the time loop. By dressing different parts of the hotel differently, you can keep it visually interesting without needing to shoot elsewhere.
3. Small Cast: The story is primarily about the two feuding families and the hotel staff. Keeping the cast small preserves the interpersonal drama and comedic tension without adding unnecessary characters or extras.
4. Psychological and Emotional Tension: The escalating pranks, interpersonal conflicts, and unraveling of the time loop are the heart of the story. Focus on character development and dialogue to drive the plot, which reduces reliance on special effects or action sequences.
By focusing on character-driven tension and minimizing physical action, expensive locations, and special effects, this project can be produced on a lower budget without losing its core concept.
What to Add with a Quadrupled Budget:
Main Variables:
1. Number of Locations:
Addition: You could expand the number of locations beyond just the hotel. For example, flashbacks or dream sequences set in different locations could add depth. You might also use exterior shots of a luxurious hotel or a nearby winter wonderland, increasing the visual scope of the film.
2. Expensive Locations:
Addition: If the budget allows, you could shoot at an actual high-end hotel or resort during the holiday season, adding authenticity and production value. You could also use multiple expensive hotel interiors, such as a ballroom, spa, or rooftop terrace for key scenes.
3. Number of Characters:
Addition: More hotel staff or additional guests could be added to create subplots or contribute to the escalating chaos. A larger cast could allow for more complex interactions and comedic moments, including a secondary romance or rivalry.
4. Special Effects:
Addition: With a higher budget, you could add more elaborate pranks, some involving CGI or special effects. You could also enhance the time loop aspect with visual effects that show subtle distortions in reality as the loop repeats (e.g., the clock flickering, rooms slightly changing with each reset).
5. Number of Pages:
Addition: A longer script might allow more exploration of side characters, secondary arcs, and the hotel’s deeper mystery. This could include an extended backstory for the time loop or more time spent on the characters’ emotional growth.
6. Crowd Scenes:
Addition: You could add larger, more extravagant party scenes in the hotel. For example, a lavish Christmas Eve gala where the pranks escalate in a crowded, high-society setting. Crowds would add energy to the prank war and chaos.
7. Stunts, Chase Scenes, and Fight Scenes:
Addition: If the budget allows, you could increase the scale of physical comedy. Pranks could become more elaborate and dangerous, involving stunt doubles or chase scenes around the hotel, such as a high-speed pursuit on luggage carts or a snowball fight on the roof.
8. Special Sets:
Addition: You could build custom hotel sets to enhance certain key scenes, such as an opulent ballroom, a frozen outdoor skating rink, or a secret hotel basement that contains the mystery of the time loop.
Secondary Variables:
1. Rights to Music, Brands, Books, etc.:
Addition: With a larger budget, you could license popular Christmas songs to enhance the holiday atmosphere. You could also integrate real-world brands into the hotel, making the setting feel more high-end and authentic.
2. Explosions and Firearms:
Addition: Though not essential to the plot, the escalation of pranks could involve over-the-top destruction (e.g., an accidental explosion caused by faulty Christmas lights). This would add spectacle and humor but still fit within the comedic tone.
3. Kids:
Addition: Introducing children into the story could provide an added layer of innocence to the escalating chaos. They could accidentally trigger or worsen some pranks, adding humor. With a larger budget, their presence becomes feasible with tutors and shorter workdays.
4. Animals:
Addition: With more budget, you could include a mischievous hotel mascot—perhaps a dog or a Christmas-themed animal like a reindeer—that gets caught up in the prank war. Animals add warmth and humor but would require a wrangler and more time.
5. Weather (Rain, Snow, Wind):
Addition: With the added budget, you could introduce real snow, or even use artificial snow for outdoor scenes. The storm outside could also become a visual metaphor for the time loop or the families’ inability to escape the hotel, adding tension.
6. Water and Underwater Scenes:
Addition: You could add a sequence involving the hotel’s indoor pool, with characters using it for an elaborate prank or comedic chase scene. Underwater stunts and shots could be used to break up the visual rhythm of the film.
7. Night Scenes:
Addition: Night scenes could become more atmospheric and visually stunning. More intricate lighting setups could create a magical yet eerie holiday vibe, enhancing the mood of the film and adding to the mystery of the perpetual Christmas Eve.
8. Helicopters, Aircraft, Drone Shots:
Addition: Use drone shots to capture sweeping views of the hotel and its surroundings, especially during snowstorms or for establishing shots. Helicopters could be used for a grand entrance or a last-minute escape attempt by one of the characters.
9. Green Screen Work:
Addition: More extensive green screen work could be used for surreal sequences within the time loop, showing how reality bends and warps as the families get closer to breaking the cycle. This would visually enhance the fantastical elements of the story.
10. Extensive Makeup:
Addition: With more budget, elaborate makeup effects could be used for the characters as they grow more disheveled and frantic with each repeated day. Aging effects or makeup to show mental and emotional strain could enhance the character arcs.
11. Archival Footage:
Addition: Archival footage could be used to reveal the hotel’s history or prior guests who were trapped in the time loop, adding a deeper mystery and sense of foreboding. This would tie into the hotel’s backstory and hidden agenda.
12. Anything Dangerous that Increases Preparation Time or Insurance:
Addition: If the budget allows, you could include more dangerous stunts, such as characters narrowly escaping falling chandeliers or other exaggerated dangers caused by their pranks. This would heighten the physical comedy and stakes of the prank war.
Summary of Additions with a Quadrupled Budget:
Larger, More Elaborate Locations: Expanding the setting beyond just the hotel or using a real luxury hotel.
Bigger Cast: Adding more staff, guests, and even children to heighten the chaos.
High-End Special Effects: More CGI for time loop effects, enhanced pranks, and visual distortion as the loop repeats.
Intricate Sets: Custom-built sets for key scenes, adding grandeur to the hotel environment.
More Complex Pranks and Stunts: Using stunt doubles, chase scenes, and physical comedy.
Licensed Music: Famous Christmas songs and real-world brands integrated into the story.
Drone Shots and Helicopter Scenes: For impressive establishing shots and to enhance action sequences.
Weather Effects: Real or artificial snowstorms to emphasize the isolated, trapped feeling.
With a quadrupled budget, you could significantly enhance the visual and physical elements of the film, turning it into a more elaborate, visually rich, and high-energy comedic experience.

[Micki Hess]

Micki’s Writes Great Hope/Fear!
What did I learn from doing this assignment is hope/fear and other elements of it can drive the script into deepness that the audience wants that they weren’t aware of. With each acts having deepness of emotions and despairs, characters become alive.
Act 1: Introduction to the Hotel and Families
Hope:
Environment (Trapped/Prisoner): The families arrive at the hotel with high hopes for a perfect Christmas Eve. The setting feels magical, promising a holiday to remember.
Incompatibility (Forced to Deal with Each Other): Both families hope to avoid each other as much as possible, assuming they can coexist without much interaction.
Unpredictability (Not Sure What the Real Threat Is): At first, the prank war is seen as harmless fun, a playful way to pass the time until Christmas Day arrives.
Isolation (Helpless): The families believe they have control over their stay, confident that this is just another holiday gathering.
Increasing Tension (Ticking Clock): There’s an excitement about the clock striking midnight and Christmas finally arriving. The hope is that this will be the best Christmas ever.
Fear:
Environment (Restricting): The coziness of the hotel becomes a prison as they realize the clock never strikes midnight. They are trapped.
Incompatibility (Opposing Needs/Desires): The families soon realize they can’t avoid each other, and their conflicting desires for how to celebrate Christmas spark the first signs of tension.
Unpredictability (Out of Control Situation): The prank war begins to escalate unpredictably, and they start to fear that the situation is spiraling beyond their control.
Isolation (Psychological Issues): The unending Christmas Eve creates mental strain, and characters start feeling psychologically trapped, questioning if they’ll ever leave.
Increasing Tension (Impending Doom): As the clock fails to strike midnight, there’s a growing fear that they may be stuck in the hotel forever, trapped in an endless loop.
Act 2: The Prank War Escalates
Hope:
Environment (Claustrophobic): The families hope the prank war will break the monotony of the unending Christmas Eve, adding some excitement to their stay.
Incompatibility (Mind Games): Each family believes they can outwit the other through clever pranks, hoping to come out on top and prove their superiority.
Unpredictability (Could Attack at Any Moment): The thrill of anticipation keeps the families on their toes, believing they can out-prank the other.
Isolation (Loss of a Companion): Characters begin to form alliances within their own families, hoping that teamwork will give them an advantage in the escalating prank war.
Increasing Tension (What’s the Worst That Could Happen?): They still believe there’s no real danger, and that things will return to normal soon, allowing them to enjoy Christmas Day.
Fear:
Environment (Dangerous): The hotel starts to feel less like a cozy retreat and more like a hazardous place. The pranks turn dangerous, with characters fearing they could get hurt.
Incompatibility (Triggering Each Other): Psychological triggers from past family tensions surface, as the rivalry reignites old wounds, deepening the conflict between the families.
Unpredictability (Out of Control Situation): The pranks become reckless, and characters fear that someone might truly snap, turning the situation deadly.
Isolation (Helpless): Some characters feel increasingly isolated as the pranks escalate, with no clear way to escape the loop or break the tension.
Increasing Tension (Impending Doom): The longer they remain trapped, the more they fear the loop is inescapable, and that the consequences of the escalating pranks will be severe.
Act 3: Realization and Desperation
Hope:
Environment (Restricting): As the families search for a way out, they cling to the hope that they can find the key to breaking the loop and finally seeing Christmas Day.
Incompatibility (Psychological Issues): Despite the growing tension, they hope to find common ground with their family members to stop the endless prank war.
Unpredictability (Not Sure Who or What the Real Threat Is): Some characters believe there is still time to figure out what—or who—is behind the endless Christmas Eve and stop it before it’s too late.
Isolation (Helpless): A few of the family members believe there’s still a solution they haven’t tried, and if they work together, they can escape.
Increasing Tension (What’s the Worst That Could Happen?): They convince themselves that, while things are bad, the worst hasn’t happened yet, and they can still avoid a tragic outcome.
Fear:
Environment (Not Livable): The hotel becomes more hostile, and the fear grows that they are trapped in a place that’s becoming increasingly dangerous.
Incompatibility (Triggering Each Other): As each family member is pushed to their breaking point, the fear of emotional collapse and irreversible damage to relationships looms.
Unpredictability (Out of Control Situation): The fear grows that the hotel itself may be manipulating events, and they no longer know how to stop the escalating chaos.
Isolation (Psychological Issues): Some characters begin to succumb to the hopelessness of the situation, fearing they will never escape and that the hotel is breaking them psychologically.
Increasing Tension (Impending Doom): The fear that they are running out of time mounts, even though the clock is stuck at Christmas Eve. They feel impending doom creeping closer, despite the frozen time.
Act 4: Final Showdown and Unity
Hope:
Environment (Hiding Out): Characters believe that if they band together, they can stop the pranks and solve the mystery of the endless Christmas Eve.
Incompatibility (Opposing Needs/Desires): They finally start to hope that by resolving their differences and working as a team, they can end the loop and bring about Christmas Day.
Unpredictability (Person on the Edge): They hope to rein in the family member who has reached their breaking point, preventing them from doing something irreversible.
Isolation (Helpless): The final push brings characters together, giving them hope that unity and understanding will be the key to escaping.
Increasing Tension (Ticking Clock): As the clock seems to inch toward midnight, they hope that their final plan will succeed in breaking the loop.
Fear:
Environment (Dangerous): The hotel becomes more perilous, with strange happenings and physical danger escalating, making the final moments more tense.
Incompatibility (Triggering Each Other): The fear that their old rivalries and issues will sabotage their final attempt to escape looms large, as they wonder if they can truly trust one another.
Unpredictability (Out of Control Situation): Even as they attempt their final plan, they fear the hotel or some unseen force will thwart them, keeping them trapped forever.
Isolation (Psychological Issues): The fear of being stuck in an emotional and physical loop forever, with no chance of ever escaping, reaches its peak.
Increasing Tension (Impending Doom): The sense of impending doom becomes overwhelming, as they realize this may be their last chance to break the loop—or be trapped for eternity.
Resolution:
Hope: The families finally resolve their emotional issues and unite in the true spirit of Christmas, breaking the loop and finally bringing about Christmas Day.
Fear: They fear that their unity will not be enough and that something they’ve missed will trap them forever—but ultimately, their shared breakthrough frees them from the hotel’s grasp.
This blend of hope and fear across the acts emphasizes the emotional and psychological stakes while layering in the suspense of the endless Christmas Eve and its hidden dangers

[Micki Hess]

Micki’s 4 Act Structure
What did I learn from this lesson is that it is simpler by doing 4 Acts instead of 3-Acts. By breaking it down to twenty minutes makes less bog down in the 2-Act.
Act 1: A Trapped Christmas
Opening Scene:
* A Festive Arrival: The Anderson and Walker families arrive at the charming Hollyridge Hotel for a Christmas getaway.
* Initial Tension: Old rivalries surface as the families settle in.
Inciting Incident:
* A Strange Occurrence: The clock strikes midnight, but the day remains Christmas Eve.
* Trapped in Time: The families realize they are unable to leave the hotel or contact anyone outside.
Set-Up:
* A Strange Loop: Despite the oddity, the families attempt to enjoy the holiday.
* Growing Tension: As the same day repeats, frustration and resentment grow.
Rising Tension:
* A Prank War: The children’s playful pranks turn into an outlet for the families’ anxiety.
* A Hidden Room: A strange event reveals a hidden room filled with unwrapped presents.
Turning Point 1:
* A Cryptic Message: The families discover a cryptic message suggesting they must find “the true gift of Christmas” to escape.
* A New Goal: Determined to solve the mystery, the families reluctantly agree to work together.
Act 1 Ends:
* A Shared Purpose: The families, united by their predicament, embark on a journey to break free from the endless Christmas Eve.
Act 2: The Path to Redemption
New Plan:
* Confront the Past: The families agree that they must confront their ancestors’ feud head-on.
* Seek Reconciliation: They decide to find the descendants of their ancestors’ rivals and attempt to reconcile.
* Uncover the Truth: They aim to uncover the true cause of the original feud, hoping to understand its origins and break free from its cycle.
Plan in Action:
* Research and Discovery: The families begin researching their ancestors’ history, tracking down their descendants.
* Initial Encounters: They meet with the descendants of their rivals, initially met with skepticism and distrust.
* Shared Stories: Through shared stories and revelations, the families begin to understand the depth of the historical conflict.
Midpoint Turning Point:
* A Shocking Discovery: A crucial piece of information comes to light, revealing a hidden truth about the original feud.
* A Shared Enemy: The families discover that their ancestors were actually victims of a common enemy, leading to a newfound sense of unity.
* A Path Forward: Realizing they have a shared goal, the families decide to work together to seek justice for their ancestors and break free from the cycle of hatred.
Act 3: The Final Countdown
Rethink Everything:
* A New Perspective: The families reevaluate their understanding of the hotel and their situation.
* A Deeper Meaning: They realize that the endless Christmas Eve is more than just a physical trap; it’s a test of their character and their ability to overcome their differences.
New Plan:
* A Heartfelt Approach: The families decide that they must focus on the true meaning of Christmas: love, forgiveness, and compassion.
* A Final Attempt: They plan to confront their deepest fears and unresolved issues, hoping to break free from the cycle of negativity.
Turning Point: Huge Failure / Major Shift:
* A Setback: Despite their best efforts, the families encounter a major setback. Their attempts to break free from the loop seem futile.
* A Heartbreaking Revelation: A shocking truth comes to light: the hotel is a reflection of their own hearts. If they cannot change from within, they will be trapped forever.
* A Final Chance: Faced with the possibility of eternal imprisonment, the families realize that they must make a drastic change. They must truly forgive each other and let go of their past grievances.
Act 3 Ends:
* A Moment of Truth: The families come to a profound realization: the only way to escape is to truly forgive and love one another.
* A Final Effort: With renewed determination, they make a final attempt to break free from the endless Christmas Eve.
Act 4: The Gift of Christmas
Final Plan:
* A Heartfelt Gesture: The families decide to focus on the true meaning of Christmas: giving.
* A Charitable Act: They plan to help those in need, hoping to spread joy and kindness.
Climax/Ultimate Expression of the Conflict:
* A Final Test: As the families carry out their charitable acts, they face their final test. Their true nature will be revealed.
* A Moment of Truth: A crisis arises, forcing the families to choose between their own desires and the well-being of others.
Resolution:
* A Triumph of Love: The families overcome their differences and choose to help those in need, demonstrating the true spirit of Christmas.
* Breaking Free: As a result of their selfless act, the families are finally able to break free from the endless Christmas Eve.
* A New Beginning: The families return to their lives, forever changed by their experience. They have learned the true meaning of Christmas and the importance of love, forgiveness, and compassion.
Act 4 Ends:
* A Happy Ending: The families celebrate their newfound unity and the true spirit of Christmas. They have not only escaped the endless loop but have also found a deeper connection to each other.

[Micki Hess]

Micki’s Delivering Multiple Layers!
What I learned doing this assignment is this assignment help me develop layers of the characters, plots and discovering layers that build up characters, scenes and plots.
The Surface Layer of Making the Christmas Eve Loop
Surface Layer:
On the surface, the Christmas Eve loop appears to be a whimsical, magical enchantment that perpetuates the excitement and anticipation of Christmas forever. The hotel has an almost fairytale-like charm, where it’s always the festive, joy-filled night before Christmas, with lights twinkling, carols playing, and the atmosphere brimming with holiday cheer. The staff and regular guests make it seem as though this is a special experience to keep the magic of Christmas alive eternally, ensuring that everyone is always happy and content in the festive spirit.
Beneath That:
The loop is not just a harmless holiday enchantment but a curse placed on the hotel long ago. It traps the guests in a never-ending cycle of anticipation without fulfillment, reflecting their own unresolved issues and desires. Each family that arrives has the opportunity to break the cycle by confronting their deepest fears and learning to appreciate the true meaning of Christmas beyond the superficial celebrations. The loop feeds off the families’ inner conflicts, making it harder for them to break free until they find true harmony.
How Revealed:
The true nature of the loop is gradually revealed through the experiences of the families. Small cracks begin to appear in the perfect facade—decorations start looking faded, carols sound out of tune, and the joy feels increasingly forced. As the characters explore the hotel and unearth its hidden layers, they discover old records and journals from previous guests who were also trapped. It becomes clear that the loop is not about preserving Christmas magic but about forcing people to face their own inner turmoil, with the hope that breaking free from the cycle requires personal growth and genuine connection.
Character Layers Related to the Christmas Eve Loop
Mark Anderson
Surface Layer: Mark appears as a strict, overbearing father who believes that everything must be perfect to truly capture the spirit of Christmas. He insists on maintaining strict traditions and rules, trying to keep the family from falling apart.
Beneath That: Mark’s need for control stems from his past as a magician, where he failed to control an illusion that led to a tragic accident. This experience left him scarred, unable to handle the unpredictability of life. The Christmas Eve loop is a metaphor for his life—stuck in a cycle of trying to control every outcome, never moving past his guilt and fear of failure.
How Revealed: Mark’s behavior becomes increasingly rigid and obsessive as the loop continues. When the family discovers his past, it becomes clear that the only way to break the cycle is for him to let go of his need for control and embrace the imperfections of life, symbolized by him finally performing the trick that went wrong, this time letting fate take its course.
Grace Walker
Surface Layer: Grace is the pragmatic, no-nonsense mother who insists that the family focus on practical matters rather than indulging in holiday fantasies. She dismisses the loop as a weird but manageable phenomenon, preferring to find a logical solution.
Beneath That: Grace’s skepticism mmand practicality are her defense mechanisms. After exposing a corporate scandal in her past, she now avoids any situations that seem too good to be true, fearing they will come crashing down. The loop traps her in a cycle of disbelief and denial, preventing her from accepting any possibility of magic or genuine connection.
How Revealed: Grace’s layers are peeled back when she encounters evidence of the curse she can’t explain away—such as her own photo in a journal from decades past. She realizes that her insistence on logic is a barrier to seeing the truth, forcing her to confront her past and open her heart to the possibility of redemption and trust.
Chloe Anderson
Surface Layer: Chloe is the ever-cheerful daughter who tries to keep everyone’s spirits up, pretending that the eternal Christmas Eve is an exciting adventure. She distracts herself with holiday activities and ignores the underlying tension.
Beneath That: Chloe’s cheerfulness hides a deep fear of being alone and unloved. Her failed marriage left her feeling unworthy, and the loop represents her unwillingness to confront these feelings, as she clings to the surface joy of Christmas rather than face the emptiness underneath.
How Revealed: Chloe’s facade crumbles when her ex-husband appears in the loop, forcing her to confront her unresolved feelings of betrayal and rejection. Her journey toward self-acceptance and moving past her fear of loneliness is crucial to breaking the loop.
Dylan Walker
Surface Layer: Dylan is the rebellious teenager who detests the enforced family togetherness and constant festivities. He lashes out, challenging the hotel staff and his family, treating the loop as a challenge to beat or escape from.
Beneath That: Dylan’s rebellion hides his fear of not belonging, stemming from his adoption. The loop traps him in a cycle of rejection and defiance, representing his inner conflict about his identity and his place within the family.
How Revealed: Dylan’s breakthrough comes when he discovers his biological connection to the hotel through a hidden journal. Realizing that his past is intertwined with the hotel’s history forces him to confront his fear of rejection and accept his dual identity, helping him to break free from his self-imposed isolation.
Emma Anderson
Surface Layer: Emma is the curious, imaginative child who views the loop as a magical game. She explores the hotel, interacting with the enchanted objects and rooms, unknowingly uncovering clues.
Beneath That: Emma’s childlike wonder masks a deeper understanding. She senses the pain and unresolved issues in her family, and the loop represents her wish to keep them together forever, fearing that once Christmas ends, so will their unity.
How Revealed: Emma’s role as the key to breaking the loop is revealed when she begins drawing scenes she has never witnessed but are crucial to the hotel’s history. Her innocent belief in the magic of Christmas is both the cause and solution to the loop. She must learn that real magic is letting go and allowing life to move forward.
Overall Character Dynamic in the Loop
The Christmas Eve loop forces each character to confront their unresolved issues, with the hotel itself responding to their internal conflicts. Breaking the cycle requires them to move beyond their surface personas, revealing their true selves and healing old wounds. Each character’s personal growth is intertwined with the larger mystery of the hotel, making their individual journeys essential to freeing everyone from the endless anticipation of an unfulfilled Christmas.

[Micki Hess]

Micki’s Character Journeys
What I learned doing this assignment is by doing the 3 Acts with points for each character to see the deepness of each act and the essence. Making important decisions for each character to be developed. Each layers are being revealed.
Mark Anderson (The Control Freak)
Beginning: Mark is determined to have the perfect Christmas, meticulously planning every detail of the family’s stay at the hotel. He clashes with his kids over their lack of enthusiasm and the other family, especially Grace, over control of the holiday environment.
Turning Point: The first prank war between the two families spirals out of control, ruining his carefully curated plans and sparking frustration. The endless Christmas Eve begins, but Mark refuses to see it as anything other than an inconvenience.
Midpoint: Mark realizes he can’t control everything, especially time itself. As the prank war escalates, he struggles with the realization that his attempts to fix things keep making the situation worse.
Turning Point 2: When Emma begins to lose faith in the Christmas magic she’s always believed in, Mark is forced to reflect on his own relationship with the holiday and his family. His controlling nature isolates him from the others, making him question his role as the head of the family.
Dilemma: Mark must decide between continuing to force his idea of the perfect Christmas on everyone or letting go of control and allowing the holiday—and his family—to be what it needs to be, even if it’s messy.
3rd Act Climax: Mark has a confrontation with Grace, where they both realize that their obsessive need for control (in different ways) is what’s trapping everyone in the endless loop. He finally lets go of his need for perfection.
Ending: Mark reconciles with his family, choosing to enjoy the chaos of Christmas as it is, rather than trying to control it. He embraces imperfection, and the spell of endless Christmas Eve begins to break.
Chloe Anderson (The Social Media Queen)
Beginning: Chloe is more focused on getting the perfect Instagram post than engaging with her family. She’s caught up in superficiality and image, annoyed by the lack of internet at the hotel, but determined to make the holiday look picture-perfect.
Turning Point: When the prank war intensifies, Chloe initially sees it as a chance to create viral content, but her focus on appearances leads to embarrassment and missteps, making her realize she can’t control how others see her.
Midpoint: As the endless Christmas Eve drags on, Chloe’s curated image starts to crumble. She grows increasingly frustrated with her inability to share her life online and begins questioning why she places so much importance on what others think.
Turning Point 2: A bonding moment with Emma shows Chloe the innocence of Christmas that she’s been missing. She realizes that her obsession with social media has kept her from truly connecting with people, especially her family.
Dilemma: Chloe must choose between staying wrapped up in her online persona or embracing authenticity, even if it means being vulnerable and imperfect.
3rd Act Climax: Chloe makes a bold decision to shut off her phone and fully engage in the real-life Christmas around her. This personal growth helps the families begin to break the cycle.
Ending: Chloe learns to balance her social media presence with authenticity, realizing that the real memories and connections made during Christmas are more valuable than a perfect post.
Dylan Anderson (The Mischievous Prankster)
Beginning: Dylan is excited about the prank war and sees the endless Christmas Eve as the ultimate opportunity to create chaos. He’s rebellious and only cares about having fun, not considering the consequences.
Turning Point: After one of his pranks goes too far, causing real damage or emotional fallout, Dylan starts to see that his actions aren’t just fun and games—they’re affecting people in ways he didn’t intend.
Midpoint: Trapped in the time loop, Dylan becomes increasingly frustrated as his pranks lose their charm. He starts to feel the emptiness of his antics and the isolation they cause.
Turning Point 2: A confrontation with Alex makes Dylan realize that his pranks have been a way to avoid dealing with deeper issues, such as feeling overlooked or misunderstood by his family.
Dilemma: Dylan must decide whether to continue hiding behind jokes and pranks or take responsibility for his actions and find more meaningful ways to connect with his family.
3rd Act Climax: Dylan makes a genuine effort to help Emma rediscover her faith in Christmas, showing his softer side and proving that he can contribute more than just chaos.
Ending: Dylan reconciles with his family and grows from the experience, understanding that there’s a time for fun and a time to be serious. He helps break the time loop by taking responsibility for his actions.
Grace Walker (The Cynical Realist)
Beginning: Grace is cynical about the holiday season, only attending the family trip because of tradition. She believes Christmas has become over-commercialized and has lost its meaning, constantly clashing with Mark’s controlling nature.
Turning Point: The time loop exacerbates Grace’s frustrations, and she becomes the most vocal critic of the situation, believing that nothing will change until everyone accepts how ridiculous and meaningless Christmas has become.
Midpoint: After multiple failed attempts to break the loop, Grace is forced to confront her own relationship with the holiday. She realizes that her cynicism is a defense mechanism to avoid disappointment, rooted in past hurts and failed holiday expectations.
Turning Point 2: A candid conversation with Emma makes Grace reflect on what Christmas was like when she still believed in its magic. This forces her to reconsider her attitude and whether her outlook is contributing to the endless cycle.
Dilemma: Grace must choose between holding onto her cynicism or taking a risk by opening herself up to the possibility of magic and redemption in the holiday season.
3rd Act Climax: Grace makes a heartfelt apology to her family and embraces the imperfections of the holiday, allowing herself to feel the magic of Christmas once again.
Ending: Grace softens her cynical exterior, learning to balance realism with hope. Her willingness to believe in the magic of Christmas helps to break the time loop.
Alex Walker (The Intellectual Skeptic)
Beginning: Alex dismisses the magic of Christmas entirely, preferring logic and reason. He finds the holiday to be pointless and only tolerates it for his family’s sake, often clashing with Dylan over the pranks.
Turning Point: When the endless Christmas Eve begins, Alex is initially excited to find a logical solution to the time loop. He approaches it like a puzzle, but every rational explanation fails.
Midpoint: After countless failed attempts to break the loop using logic and reason, Alex becomes frustrated and starts questioning his beliefs. His intellectual approach isn’t enough to solve this problem.
Turning Point 2: An emotional encounter with Emma leads Alex to realize that some things can’t be explained by logic alone—like the power of faith, hope, and family.
Dilemma: Alex must decide whether to continue clinging to logic or open himself up to the possibility that some things—like Christmas magic—might defy explanation.
3rd Act Climax: Alex finally lets go of his intellectual skepticism and participates in a Christmas tradition with the families, choosing to embrace the holiday for what it is, not what it should logically be.
Ending: Alex grows from the experience, finding a balance between his rational mind and an openness to the magic of Christmas. This helps the families break the loop and find closure.
Emma Walker (The Christmas Enthusiast)
Beginning: Emma is the embodiment of Christmas spirit, excited about every aspect of the holiday and determined to spread joy. She becomes the glue that holds the two feuding families together.
Turning Point: As the endless Christmas Eve drags on, Emma begins to lose her belief in the magic of the holiday. The families’ pranks and bickering start to wear her down, making her question everything she’s always loved about Christmas.
Midpoint: Emma’s loss of faith in Christmas becomes a turning point for everyone, as they realize they’ve drained the holiday of its meaning. Her disappointment forces them to confront their behavior.
Turning Point 2: A quiet moment of reflection with Chloe and Mark reminds Emma of why she loved Christmas in the first place, not because of the magic but because of the connections it fosters between people.
Dilemma: Emma must decide whether to continue hoping for magic to save the day or take action to bring the families together through forgiveness and kindness.
3rd Act Climax: Emma steps up as a leader, orchestrating a final act of unity that forces the families to come together and reconcile their differences. She reignites the Christmas spirit in everyone.
Ending: Emma’s faith in Christmas is restored, but in a more mature and grounded way. She understands that the magic of the holiday comes from love, forgiveness, and unity, helping to break the endless loop.

[Micki Hess]

Micki’s Character Depth!

What I learned doing this assignment is a little bit complex to figure out the story behind each character. While doing this, taking each character’s profile becomes stronger and more vivid. Understanding their backstory and why they are they way they are going to be. Using their names in this and the future assignments.

Internal Character Depth for Each Character in The Hotel of Endless Christmas Eve:

Mark Anderson (The Control Freak)

Motivation: To ensure the perfect Christmas Eve for his family, believing that he can make everyone happy through control.

Secret: He’s terrified of losing control, which stems from an early failure (perhaps a past Christmas disaster) where everything went wrong, and he was blamed.

Wound: Mark’s father was distant and absent during the holidays, and Mark swore he’d never let his own family feel that same disappointment.

Subtext: His need for control is masking a deep fear of inadequacy and failure as a father and husband.

Layers: He is outwardly organized and authoritative, but underneath, he’s desperate for affirmation and connection. He believes achieving perfection will prove his worth.

Character to Character:

Conflict: Clashes with Grace Walker’s cynical attitude about Christmas; his insistence on perfection irritates his wife and causes tension with his children.

Hidden Agenda: Mark wants validation from his family and hopes that pulling off the perfect holiday will make him feel like he’s succeeded as a father.

Conspiracy: He suspects that the Walkers are intentionally sabotaging his Christmas Eve plans to humiliate him.

Intrigue: He’s quietly investigating possible reasons for the time loop, trying to figure out how to escape it by controlling the situation.

Character Situation:

Dilemma: Does Mark loosen his grip and let the holiday chaos unfold naturally, or does he continue trying to maintain control at the cost of further strain on his family relationships?

Secret Identity: He’s seen as the family’s stable rock, but deep down, he’s haunted by the fear that he’s not enough.

Chloe Anderson (The Social Media Queen)

Motivation: To present the perfect image of her life and family online, using Christmas Eve as a backdrop for her social media posts.

Secret: Chloe feels deeply insecure and worries that if people knew who she truly was, they wouldn’t accept her.

Wound: As a child, she was often overlooked by her parents and classmates, which drives her need for validation from an online audience.

Subtext: Her obsession with curating a perfect image hides a profound loneliness and fear of genuine connection.

Layers: On the surface, she’s bubbly and attention-seeking, but beneath, she’s emotionally fragile, using her online persona to mask her feelings of isolation.

Character to Character:

Conflict: Frequently clashes with her father, Mark, who wants her to be more present and stop focusing on her phone. She also competes with Dylan’s pranks for attention.

Hidden Agenda: She craves genuine approval but is terrified of being vulnerable. She uses her posts to seek external validation, hiding her true self behind filters and edits.

Conspiracy: Chloe believes her popularity is at risk due to the pranks and family chaos and starts suspecting that others are sabotaging her content.

Intrigue: She’s subtly trying to manipulate events to ensure she captures the “perfect moment” for her audience, not realizing how artificial it all is.

Character Situation:

Dilemma: Should she continue pretending and chasing online approval, or should she risk being her true self with her family and followers?

Secret Identity: Though she presents herself as confident and flawless online, Chloe is deeply insecure and unsure of who she really is outside of social media.

Dylan Anderson (The Mischievous Prankster)

Motivation: To amuse himself and liven up the endless Christmas Eve by pulling pranks, avoiding the boredom of repetition.

Secret: His pranks are a way to get attention and avoid feelings of abandonment from his family’s growing distance.

Wound: He feels invisible within the family, especially with Chloe and Mark dominating attention. His pranks are his only way to stand out.

Subtext: Dylan’s playful exterior hides a deeper longing to be noticed and valued by his family.

Layers: While he seems carefree and fun-loving, his pranks are rooted in a desperate need to connect and express his frustration.

Character to Character:

Conflict: His escalating pranks irritate both families and often provoke unintended consequences. He feels neglected by Chloe’s social media obsession and Mark’s controlling behavior.

Hidden Agenda: Dylan wants his family to pay attention to him, even if it’s negative attention. His pranks serve as a cry for recognition.

Conspiracy: He starts to suspect that the rival family is setting him up to take the blame for certain pranks he didn’t pull.

Intrigue: Dylan begins to play both families against each other, stirring up more chaos while secretly hoping it forces everyone to deal with their issues.

Character Situation:

Dilemma: Does he continue escalating the pranks to keep himself entertained and noticed, or does he open up to his family about feeling overlooked?

Secret Identity: He plays the role of the carefree troublemaker, but deep down, he’s lonely and just wants to be seen and appreciated.

Grace Walker (The Cynical Realist)

Motivation: To expose the shallowness of Christmas and prove that it’s all about commercialism and meaningless tradition.

Secret: Despite her cynicism, Grace secretly longs for a magical Christmas experience, but she’s afraid of being let down.

Wound: She had a painful childhood where Christmas always felt like a forced obligation, leading her to reject it as an adult.

Subtext: Her tough exterior hides a deep fear of disappointment and vulnerability, which is why she pushes people away.

Layers: While she’s outwardly dismissive and sarcastic, Grace is also secretly yearning for the magic of Christmas but can’t bring herself to admit it.

Character to Character:

Conflict: She butts heads with Mark’s attempts at a perfect Christmas and is constantly undermining him with her snide remarks and pranks.

Hidden Agenda: Grace wants to protect herself from being hurt by disappointment, so she sabotages the holiday before it can let her down.

Conspiracy: She suspects the hotel staff might be manipulating events to keep the families in a constant loop, reinforcing her belief that Christmas is a sham.

Intrigue: Grace begins uncovering strange clues around the hotel, leading her to wonder if there’s a deeper reason for the time loop beyond her control.

Character Situation:

Dilemma: Will she continue to protect herself by rejecting Christmas, or will she open her heart to the possibility of holiday magic and emotional connection?

Secret Identity: Grace pretends to be a hardened realist, but deep down, she’s a dreamer who’s afraid of being hurt.

Alex Walker (The Intellectual Skeptic)

Motivation: To find a logical explanation for the endless Christmas Eve, convinced that it’s a scientific anomaly or psychological experiment.

Secret: He struggles with accepting emotional or mystical solutions, fearing they’re irrational and weak.

Wound: Alex grew up feeling pressured to be the “rational one” in the family, suppressing his emotional side to meet expectations.

Subtext: His skepticism masks a fear of vulnerability and an aversion to emotional intimacy.

Layers: Although he outwardly rejects anything that isn’t logical, Alex is slowly forced to confront the emotional side of life as the time loop continues.

Character to Character:

Conflict: Clashes with both families over his cold, clinical approach to solving the time loop, especially with Chloe, who he sees as shallow.

Hidden Agenda: Alex wants to maintain his rational superiority, but part of him is terrified that he might have to embrace something emotional or spiritual to solve the problem.

Conspiracy: He believes the endless Christmas Eve is some kind of grand experiment, possibly orchestrated by the hotel.

Intrigue: As he uncovers strange events, Alex’s skepticism is challenged, leading him down a path of reluctant emotional awakening.

Character Situation:

Dilemma: Will Alex continue pursuing a rational solution, or will he allow himself to explore emotional or even magical answers?

Secret Identity: He presents himself as purely logical, but Alex hides a yearning for deeper emotional connection that he’s been too afraid to explore.

Emma Walker (The Christmas Enthusiast)

Motivation: To celebrate the perfect Christmas Eve and enjoy the magic of the holiday with her family.

Secret: She’s beginning to feel disillusioned as the perfect Christmas Eve never arrives, realizing that anticipation without resolution is frustrating.

Wound: She’s young and hopeful but beginning to understand the world’s imperfections, which threatens her innocent view of Christmas.

Subtext: Emma’s initial enthusiasm hides a growing impatience and desire for more than just endless anticipation.

Layers: Outwardly, she’s cheerful and excited about Christmas, but as the loop continues, she becomes more introspective, realizing that the perfect Christmas isn’t about the event but the people.

Character to Character:

Conflict: Her endless optimism becomes grating for the more cynical characters, especially Grace, who views Emma’s enthusiasm as naïve. She also clashes with her brother, Alex, who dismisses her belief in Christmas magic.

Hidden Agenda: Emma secretly hopes that by maintaining her cheerfulness, she can bring her family back together and restore the magic of Christmas, even though she’s struggling with doubt herself.

Conspiracy: She begins to suspect that the time loop is happening for a reason, possibly a magical one, and that the families must find the true spirit of Christmas to break it.

Intrigue: Emma slowly starts putting together clues that the endless Christmas Eve is a test of sorts, designed to teach everyone a lesson about the holiday’s true meaning.

Character Situation:

Dilemma: Will she hold onto her idealized view of Christmas, or will she accept that the holiday (and life) is about more than just magic—it’s about the imperfections and connections?

Secret Identity: While she’s seen as the embodiment of holiday cheer, Emma is beginning to question whether the magic she’s always believed in is real, or if it’s something she has to create herself.

• This reply was modified 7 months, 3 weeks ago by  Micki Hess.

[Micki Hess]

Micki’s Right Characters

What I learn while preparing the assignment is that the deeper the characters are and more soundly their hooks are onto the concept, the story can be clearer.

1. Family A: The Andersons

Patriarch: The Control Freak

Connection to the Hook: relentless need for control mirrors the unyielding passage of time in the hotel. No matter how much he tries to perfect the evening, the clock never reaches midnight. His personal growth comes when he learns to let go of his rigid expectations and embrace the messiness of life and relationships.

Teen Daughter: The Social Media Queen

Social media queen is more concerned with documenting the perfect Christmas Eve for her followers than actually enjoying it. She spends most of her time taking selfies, filming TikToks, and engaging in the prank war with the other family for “content.”

Connection to the Hook: Social media queen obsession with appearances reflects the shallow nature of the family’s feuding. Her realization that she’s been missing out on authentic moments of connection because of her fixation on her online persona becomes key to breaking the cycle.

Young Son: The Mischievous Prankster

The mischievous prankster is the one who starts the prank war with the rival family, believing that it’s all just good fun. As the day keeps repeating, his pranks escalate out of boredom and frustration, becoming meaner and more destructive.

Connection to the Hook: The mischievous prankster pranks are symbolic of the destructive nature of holding onto grudges and focusing on competition instead of connection. As the loop continues, he begins to see the emotional impact of his actions on others, and this insight becomes critical in ending the feud.

2. Family B: The Walkers

Matriarch: – The Cynical Realist

Cynical Realist is tired of the commercialization of Christmas and views the holiday as nothing more than a stressful, hollow event. She’s the one who initiates many of the pranks out of spite, seeing them as a way to inject some reality into the overly sentimental atmosphere.

Connection to the Hook: The Cynical Realist cynicism is tied to the emotional stasis that keeps the families trapped. She represents the jaded perspective that must be overcome in order for the families to move forward. Her eventual shift toward embracing the magic of Christmas and allowing herself to be vulnerable becomes a turning point in breaking the spell.

College-Aged Son: – The Intellectual Skeptic

The Intellectual Skeptic approaches the situation with cold logic, convinced that the endless Christmas Eve is some kind of psychological or scientific anomaly. He tries to find a rational solution, rejecting any idea that there’s a magical or emotional component to the situation.

Connection to the Hook: The Intellectual Skeptic refusal to accept that the solution could be emotional rather than intellectual mirrors the family’s broader struggle to let go of their animosity. His eventual recognition that not everything can be explained logically, and that emotional growth is necessary, helps move the families toward resolution.

Young Daughter: – The Christmas Enthusiast

The Christmas Enthusiast loves everything about Christmas and is initially thrilled to be in an endless Christmas Eve. However, as time goes on, even she grows frustrated by the lack of progress toward Christmas Day. Her childlike excitement becomes tinged with impatience and sadness as she begins to realize that Christmas Eve means nothing without Christmas Day.

Connection to the Hook: The Christmas Enthusiast initial enthusiasm reflects the surface-level excitement of the holiday season, but her eventual frustration represents the deeper emotional truth that the anticipation of Christmas means little without meaningful connection. Her desire to see the families come together becomes a key emotional driver in resolving the conflict.

How Each Character Fits the Perpetual Christmas Eve Hook:

Patriarch obsession with control fits the broader theme of being stuck in time—his need to make everything perfect is exactly what keeps the families from progressing to Christmas Day. His arc will revolve around learning to let go of control and focus on enjoying the present moment.

Social media queen fixation on appearances and social media keeps her emotionally distant, mirroring the artificiality of the endless holiday festivities. Her journey will be about discovering the value of genuine, in-the-moment connections with others instead of curating her image.

The Mischievous Prankster love for pranks escalates the conflict, and his growing awareness of the impact of his actions parallels the overall story’s message about the cost of rivalry. His character will evolve as he learns empathy and responsibility.

Matriarch cynicism about Christmas reflects the families’ emotional stagnation. Her transformation from viewing the holiday as empty consumerism to embracing its emotional core will be central to breaking the cycle.

The Intellectual Skeptic rational skepticism symbolizes the families’ unwillingness to confront the emotional roots of their conflict. His eventual acceptance of the emotional and magical elements of their situation will help push the narrative toward resolution.

Christmas Enthusiast childlike enthusiasm for Christmas initially feels like the ideal reaction, but as she becomes frustrated with the unending anticipation, she highlights the importance of moving forward. Her emotional insight, despite her young age, will help the families understand that Christmas isn’t just about the event, but about the people you share it with.

By exploring the individual arcs of each character in relation to the perpetual Christmas Eve hook, the story becomes not just a prank war between rival families, but a deeper exploration of how personal growth and emotional vulnerability are necessary to break free from conflict and find genuine holiday joy.

[Micki Hess]

Micki’s Great Hook

What did you learn doing this assignment how a single idea can be expanded and deeper into unlimited possibilities.

A. How did this process work for you?
It expanded my thoughts processes.
Taking each exponents and dig deeper what the hook could be.

Hotel
Mountainside with room doors facing the lobby.
Beach side with rooms facing the ocean.

Hotel workers
An elf like work that is up to mischief.
Desk worker that is a wannabe actor.

Just some examples

[Micki Hess]

Micki’s Guidelines for Night School (comedy)

What I learned doing this assignment is having to make quick changes if a pandemic ever happens, how to adapt to the guidelines and how to bring tension to the script if another pandemic ever happens again. Making choices that will affect the script and lives of others, is important to follow guidelines.

TITLE: NIGHT SCHOOL

AS THEY DID IT:

A. People: 95

B. Stunts: the explosion, the jumping from roof to another, locker

C. Extras: out of the 95 most of them were dancers or audience members at the graduation.

D. Wardrobe: most of the time were everyday clothing, except for the stunt of jumping from one roof to another, Teddy’s job at a chicken place where he wore a chicken outfit, prom and graduation.

E. Hair and Make Up: minimum

F. Kids and Animals: four kids

G. Quarantine

COVID GUIDELINE VERSION:

A. People could use less people. By having graduation on a Zoom, prom could be left out.

B. Stunts Maybe make different choices of stunts. Instead of jumping, maybe having them break a window to escape.

C.Extras: Eliminating the prom and graduation, you will need less people.

D. Wardrobe nothing needs to be changed. Might need to be sanitized more often.

E. Hair and Make Up Nothing needs to change except wearing a mask while doing hair and make-up.

F. Kids and Animals Have less time for the children to be in the film. Make sure they wear a mask while not filming.

G. Quarantine everyone needs to wear a mask while being the camera. Have a sanitization station.

[Micki Hess]

I Michale Hess,

I agree to the terms of this release form.
As a member of this group, I agree to the following:
1. That I will keep the processes, strategies, teleconferences, communications, lessons, and models of the class confidential, and that I will NOT share any of this program either privately, with a group, posting online, writing articles, through video or computer programming, or in any other way that would make those processes, teleconferences, communications, lessons, and models of the class available to anyone who is not a member of this class.
2. That each writer’s work here is copyrighted and that writer is the sole owner of that work. That includes this program which is copyrighted by Hal Croasmun. I acknowledge that submission of an idea to this group constitutes a claim of and the recognition of ownership of that idea.
I will keep the other writer’s ideas and writing confidential and will not share this information with anyone without the express written permission of the writer/owner. I will not market or even discuss this information with anyone outside this group.
3. I also understand that many stories and ideas are similar and/or have common themes and from time to time, two or more people can independently and simultaneously generate the same concept or movie idea.
4. If I have an idea that is the same as or very similar to another group member’s idea, I’ll immediately contact Hal and present proof that I had this idea prior to the beginning of the class. If Hal deems them to be the same idea or close enough to cause harm to either party, he’ll request both parties to present another concept for the class.
5. If you don’t present proof to Hal that you have the same idea as another person, you agree that all ideas presented to this group are the sole ownership of the person who presented them and you will not write or market another group member’s ideas.
6. Finally, I agree not to bring suit against anyone in this group for any reason, unless they use a substantial portion of my copyrighted work in a manner that is public and/or that prevents me from marketing my script by shopping it to production companies, agents, managers, actors, networks, studios or any other entertainment industry organizations or people.
This completes the Group Release Form for the class.

[Micki Hess]

Hi, everyone, my name is Michale [pronounced like Michael] (Micki) Hess.
I have written about ten scripts.
To put my story in a contained area to learn how to make one room have over thousands ways of being unique.
The unique thing about me is:
I self-taught to play the mandolin and sing bluegrass songs. I sang a song so fast on a dare and broke three guitar strings and two banjo strings.I won! I have met Ernest Tubb and his ban
My mandolin was unfortunately destroyed by my cousin.

[Micki Hess]

Micki’s Her Journey / His Journey
What I learned doing this assignment is like every relationship, it has to grow and both have to compromise and communicate with each other. The deeper the character’s development the more relatable they become.

### Character Development for Chloe and Weston

**Chloe Monroe:**

1. **Initial State:**
– **Character:** Chloe Monroe is a highly successful and emotionally guarded wedding planner. She is fiercely organized and driven but deeply hurt from being jilted at the altar.
– **Situation:** She boards a luxurious cruise ship in her wedding dress, seeking escape and solace.

2. **Meet-Cute Moment:**
– **Situation:** On the cruise, Chloe is mistaken for the bride of a high-profile celebrity wedding. Weston Reed, the photographer, is charmed by her in the wedding dress, thinking she’s part of the event. Their paths cross when Chloe clarifies the misunderstanding and takes over planning the wedding.

3. **Initial Challenges:**
– **Professional:** Chloe has to organize a high-profile wedding on short notice, dealing with limited resources and unexpected challenges on the cruise.
– **Personal:** She struggles with her emotions and trust issues, amplified by seeing Weston’s carefree attitude.

4. **Major Conflict / Obstacle:**
– **External:** Chloe’s ex-fiancé, part of a rival firm, sabotages her efforts, jeopardizing her professional reputation and the success of the wedding.
– **Internal:** Chloe must confront her lingering feelings of betrayal and self-doubt.

5. **Self-Reflection:**
– **Realization:** Chloe recognizes that her need for control is a defense mechanism against her fear of vulnerability and failure. She also begins to see Weston’s value beyond his relaxed demeanor.

6. **Acceptance and Growth:**
– **Change:** Chloe learns to trust Weston and embrace spontaneity, allowing herself to be more flexible and open. She starts to let go of her rigid approach and finds joy in the unexpected.

7. **Demonstrate the Change:**
– **Action:** Chloe confidently handles a major crisis during the pre-wedding event, improvising and working with Weston to turn the situation around. She also finally changes out of her wedding dress, symbolizing her readiness to move on.

8. **Reunion:**
– **Moment:** After the wedding’s success, Chloe rejects her ex-fiancé’s attempt to reconcile, reaffirming her new-found confidence and independence. She and Weston share a heartfelt moment on the deck of the cruise ship, deciding to pursue a future together.

—

**Weston Reed:**

1. **Initial State:**
– **Character:** Weston Reed is a free-spirited, adventurous photographer who avoids long-term commitments. He thrives on capturing candid moments and lives life with a carefree attitude.
– **Situation:** He’s on the cruise for an assignment, looking forward to a relaxed job without major responsibilities.

2. **Meet-Cute Moment:**
– **Situation:** Weston is charmed by Chloe, still in her wedding dress, during their first interaction. He initially mistakes her for part of the event he’s photographing, leading to a humorous and memorable first meeting.

3. **Initial Challenges:**
– **Professional:** Weston is thrust into a high-pressure situation, having to work closely with Chloe on the celebrity wedding, which demands more responsibility and commitment than he’s used to.
– **Personal:** He’s intrigued by Chloe’s determination and drive but is also challenged by her need for control.

4. **Major Conflict / Obstacle:**
– **External:** Weston must help Chloe navigate the sabotage attempts by her ex-fiancé and the rival firm, pushing him out of his comfort zone.
– **Internal:** He grapples with his fear of commitment and the realization that he wants more stability and purpose in his life.

5. **Self-Reflection:**
– **Realization:** Weston recognizes that his aversion to commitment stems from a fear of failure and loss. He begins to see the value in Chloe’s structured approach and how it complements his spontaneity.

6. **Acceptance and Growth:**
– **Change:** Weston starts to take on more responsibility and think about his future. He commits to helping Chloe save the wedding and acknowledges his feelings for her, deciding to stay and build something meaningful.

7. **Demonstrate the Change:**
– **Action:** Weston takes the lead in a crisis during the pre-wedding event, using his creativity and adaptability to save the day. He openly supports Chloe and helps her navigate the challenges, showing his newfound sense of purpose.

8. **Reunion:**
– **Moment:** After the successful wedding, Weston confesses his feelings to Chloe and commits to staying with her. They share a romantic moment on the deck of the cruise ship, looking forward to their future together.

[Micki Hess]

Micki’s 7 Stages of Love
What I learned doing this assignment is each stage of love takes the story in depth with the characters’ needs and wants for each other.

1. Create the 7 Stages of Love for your two lead characters.
The 7 Stages of Love:
1. Meet-Cute
2. Attraction/Flirting
3. Denial
4. Separation/Forced Together
5. Working through Issues/Differences
6. Hate/Betrayal/All Hope is Lost
7. Love Happens

The 7 Stages of Love: Chloe & Weston
1. Meet-Cute (Act 1, Turning Point): Just after Chloe boards the cruise in a flustered state, she bumps into Weston on the deck, spilling her drink all over herself. Weston, ever the gentleman, helps her clean up and offers her a spare shirt (not too formal, but charming).
2. Attraction/Flirting (Act 2, New Plan in Action): During a mandatory “singles mingle” activity, Chloe and Weston are paired up for a salsa dancing lesson. Despite Chloe’s initial stiffness, Weston’s playful teasing and encouraging guidance lead to laughter and a spark of attraction.
3. Denial (Act 2, Midpoint Turning Point): After her emotional breakdown following the encounter with her ex-fiancé, Chloe tries to avoid interaction with Weston. She denies feeling attracted to him or needing any emotional connection while on the cruise.
4. Separation/Forced Together (Act 3, Rethink Everything): Determined to avoid Chloe, Weston reluctantly agrees to switch teams for the treasure hunt. However, fate intervenes when another passenger drops out, forcing them to work together again.
5. Working through Issues/Differences (Act 3, Turning Point and Act 4): Through the treasure hunt, Chloe and Weston learn to appreciate each other’s strengths. Weston challenges Chloe to loosen up and trust her intuition, while Chloe helps Weston become more strategic and organized.
6. Hate/Betrayal/All Hope is Lost (Absent): The story avoids a “hate” or “betrayal” stage. There are misunderstandings and insecurities, but honesty and communication prevent major conflict.
7. Love Happens (Act 4, Resolution and Epilogue): After their grand discovery in the treasure hunt and Chloe’s stand against her ex-fiancé, a sense of accomplishment and mutual respect blossoms into love. Weston’s confession and Chloe’s reciprocation solidify their bond. The transformation of the wedding dress symbolizes their commitment to a new future together.

[Micki Hess]

Micki’s Bigger Story

What I learned doing this assignment is that the idea becomes a bigger picture. Formulating the acts into a mini insight of the story.

Brainstorm at least 5 ideas for each of these and select the one or combination you like best for your bigger story.

A. What interesting world could this movie/show be set in?

Luxury Cruise Ship: A classic rom-com setting with a touch of extravagance. Chloe is in her pre-booked honeymoon suite, and Weston is there for a photography workshop.

B. What major conflict could be happening?

The Ex Factor: Chloe’s smooth-talking ex-fiancé, a wealthy businessman, unexpectedly boards the same cruise. He attempts to win Chloe back, creating insecurity and jealousy in Weston.

C. What intriguing situation could these characters be engaged in?

Foreign Port Mishap: During a shore excursion in a foreign port, a misunderstanding leads Chloe and Weston separated from their tour group. Lost and with limited communication options, they must rely on each other’s skills and resourcefulness to find their way back.

2. Turn that bigger story into a 3-Act or 4-Act structure.

4-Act Rom-Com Structure: Runaway Bride on a Singles Cruise

Act 1: The Broken Vow and a New Course

* Opening:
We meet Chloe, seemingly perfect and about to be married. Hints of her uptight nature and second thoughts are sprinkled throughout.

* Inciting Incident:
Just before the wedding, Chloe discovers a shocking truth about her fiancé (caught cheating, a secret debt, etc.). This sends her world crashing down.

* Turning Point:

Impulsively, Chloe grabs her wedding dress and flees the ceremony. She books a last-minute spot on the “Singles Adventure” cruise, her original honeymoon destination.

Act 2: The Reluctant Adventurer

* New Plan:

Chloe boards the cruise determined to have a good time, despite the circumstances. However, she struggles to let go of her heartbreak and is resistant to participating in shipboard activities.

* Plan in Action:

Chloe tries to stick to her meticulously planned itinerary, but the carefree atmosphere of the cruise and the vibrant personalities of other singles challenge her rigid approach

* Midpoint Turning Point:

Chloe bumps into her ex-fiancé on the cruise. His insincere attempts to win her back trigger her insecurities. Feeling humiliated and alone, she breaks down in tears.

Act 3: The Treasure Hunt and Unexpected Connections
* Rethink Everything:
Upset and lost, Chloe seeks solace on the ship’s deck where she encounters Weston, a charming and laid-back passenger.

* New Plan:
Weston convinces Chloe to join the “Pirate’s Treasure Hunt” competition. Initially hesitant, she agrees, hoping for a distraction.

* Turning Point: Huge Failure / Major Shift:

During the competition, Chloe’s rigid planning and distrust of intuition lead to a major setback. She realizes her controlling behavior is hindering her enjoyment and potential connection with Weston.

Act 4: Finding Love and Letting Go

* Climax/Ultimate expression of the conflict:

Facing elimination from the treasure hunt, Chloe and Weston must work together, combining logic and intuition. This forces her to rely on Weston and embrace spontaneity.

* Resolution:
Despite Chloe’s initial resistance, they win the competition. More importantly, Chloe starts to let down her guard and enjoys genuine connections with Weston and other passengers. While her ex-fiancé tries one last manipulation tactic, Chloe stands up for herself and exposes his true nature. The wedding dress is symbolically transformed into a new outfit.

* Epilogue:
The cruise ends with Chloe and Weston sharing a heartfelt goodbye, leaving the future of their connection open-ended but with a strong possibility of romance blossoming.

[Micki Hess]

We gave Charlie to a local Zoo that teaches about reptiles. He has passed away in the Eighties. Nobody told me of what caused his death.

• This reply was modified 9 months, 3 weeks ago by  Micki Hess.

[Micki Hess]

Micki’s Rom Com Project

What I learned doing this assignment learning the deeper characters and connections that they have for each other.

ASSIGNMENT:

1. Starting with your concept and conventions, fill in as many blanks as you can for each of your lead characters.

Who is She?
Who is He?
What makes them lovable?
What attracts them to each other?
What needs does each fulfill for the other?

Chloe Monroe
Who is She:

Chloe Monroe is a successful event planner known for her meticulous organization and unwavering dedication to her clients. A recent college graduate, she poured her heart into building her business and has achieved early recognition in her field.

What Makes Her Lovable:

Despite her driven exterior, Chloe possesses a warm and witty personality. She has a knack for making others feel comfortable and valued, and her friends adore her fierce loyalty. Deep down, Chloe longs for a genuine connection and dreams of finding love that complements her ambitious spirit.

What Attracts Her to Weston:

Weston’s easygoing nature and adventurous spirit are a breath of fresh air for Chloe. His ability to find humor in everyday situations and his genuine interest in her work life spark a sense of joy and connection she hasn’t felt in a while. Weston challenges her to loosen her grip on control and embrace spontaneity.
Needs Fulfilled

Chloe’s Needs:

Security and Stability:

Weston can provide a sense of balance by encouraging Chloe to relax and enjoy the moment. His easygoing nature can help alleviate her stress and perfectionism.

Adventure and Excitement:

Weston’s adventurous spirit can awaken Chloe’s own desire to explore and experience new things. He can push her outside her comfort zone and help her discover a more carefree side of herself.

Emotional Intimacy and Vulnerability:

Deep down, Chloe craves a genuine emotional connection. Weston’s openness and ability to live in the moment can inspire Chloe to be more vulnerable and share her deeper feelings. In Weston, she may find a safe space to express her fears and dreams, creating a stronger emotional bond.

Weston Reed

Who is He:

Weston Reed is a talented freelance photographer who thrives on capturing the beauty of the world around him. A free spirit with a passion for travel, Weston avoids commitments and prefers to live in the moment.

What Makes Him Lovable:

Weston’s infectious enthusiasm and optimistic outlook on life are magnetic. He possesses a disarming honesty and a kind heart, always willing to lend a helping hand. Weston’s adventurous spirit makes him exciting to be around, and his down-to-earth personality puts everyone at ease.

What Attracts Him to Chloe:

Chloe’s unwavering determination and drive inspire Weston. He admires her work ethic and the success she’s built. Beneath her focused exterior, Weston sees a woman with a warm heart and a yearning for adventure, a side he hopes to help her explore.

Needs Fulfilled
Weston’s Needs:

Focus and Direction:

Chloe’s ambition and goal-oriented personality can inspire Weston to channel his energy and consider his own long-term goals.

Grounding and Responsibility:

Chloe’s grounded nature can help Weston find a healthy balance between his love of adventure and the need for some stability.

Emotional Connection:

Despite his free spirit, Weston craves a deeper connection. Chloe’s warmth and loyalty offer the emotional support he seeks in a partner.

2. Then work with what you have to improve the answers.

Chloe Monroe:

Who is She:

Chloe Monroe is a rising star event planner. Her meticulous organization and dedication are legendary, turning dream weddings into reality for her A-list clientele. Fueled by ambition, she built her business from the ground up after college and is now a force to be reckoned with in the industry.

What Makes Her Lovable:

Underneath her steely exterior lies a witty and warm personality. Chloe’s fierce loyalty makes her a cherished friend, and her ability to make everyone feel seen and valued is a secret weapon. Despite her success, Chloe craves a genuine connection, a love that complements her drive and ambition.

What Attracts Her to Weston:

Weston’s easygoing charm and adventurous spirit are a welcome contrast to Chloe’s regimented world. His ability to find humor in everyday situations and his genuine interest in her high-pressure career create a spark of joy and connection she hasn’t felt in a long time. Weston challenges Chloe to loosen her grip on control and embrace the unexpected, a quality she secretly admires.

Weston Reed:

Who is He:

Weston Reed is a captivating freelance photographer with a talent for capturing the world’s hidden beauty. A free spirit with a passion for travel, Weston thrives on new experiences and avoids commitments, preferring to live in the moment.

What Makes Him Lovable:

Weston’s infectious enthusiasm and optimistic outlook are impossible to resist. His honesty and willingness to help anyone in need make him a true friend. Weston’s adventurous spirit makes him exciting to be around, while his down-to-earth personality puts everyone at ease.

What Attracts Him to Chloe:

Chloe’s unwavering determination and drive inspire Weston. He admires her work ethic and the success she’s built for herself. Beyond her focus, Weston glimpses a woman with a warm heart and a yearning for adventure, a side he hopes to draw out. Chloe’s ambition motivates him to consider his own goals and dreams.

3. Take a break to process, then return and compare both characters to each other to find any other ways these two might create the best relationship for this movie or TV series.

Comparing Chloe and Weston: A Recipe for Rom-Com Potential

Chloe and Weston, on paper, embody the classic opposites-attract trope with their contrasting personalities. Let’s delve deeper into their strengths and how they can create compelling relationship dynamics for a rom-com:
Strengths as Individuals:

Chloe:

Ambition, Drive, Organization

Weston:
Enthusiasm, Optimism, Adaptability

Room for Growth:

Chloe: Needs to loosen up, embrace vulnerability.

Weston: Needs focus, direction, and a sense of stability.

How They Can Complement Each Other:

Chloe can: Encourage Weston to channel his energy into creative pursuits, providing him with a sense of purpose. She can also help him navigate the complexities of commitment, fostering stability in his life.

Weston can: Help Chloe relax and appreciate the beauty of spontaneity. He can inspire her to embrace the unexpected and find joy in the present moment. Weston’s unwavering support can bolster

Chloe’s confidence and help her navigate professional setbacks.

Emotional Connection:

Shared Vulnerability:

Despite their contrasting personalities, both Chloe and Weston crave a deeper emotional connection. Chloe’s need for security can be met by Weston’s optimistic outlook and ability to live in the moment. Weston’s desire for emotional intimacy can be fulfilled by Chloe’s capacity for loyalty and her safe space for sharing vulnerabilities.

Conflict and Growth:

Chloe’s controlling nature can clash with Weston’s free spirit, leading to humorous situations and opportunities for personal growth.

Weston’s commitment issues can create tension, forcing Chloe to confront her own insecurities and redefine her expectations in a relationship.

Overall, Chloe and Weston’s contrasting personalities create a compelling foundation for a rom-com. Their journey from hesitant reconnection to a supportive and emotionally fulfilling relationship promises laughter, self-discovery, and ultimately, a love that helps them both become the best versions of themselves.

[Micki Hess]

Micki’s Rom Com Project

What I learned doing this assignment is coming up with a concept is fun. Putting the pieces of love and comedy together to see it take shape.

1. Starting with whatever idea you have, fill in the blanks to create a concept.

Two People Who Belong Together:
How Are They Separated:
What Forces Them together:
Issues to be Resolved:
On Their Journey of Love:

Jilted Bride Honeymoon
Here's a rom-com idea: A woman left at the altar goes on her pre-booked honeymoon cruise and ends up reconnecting with her charming high school flame who's also on the same trip as part of a work retreat. As they explore exotic destinations and reminisce about old times, they discover a rekindled spark and must decide if they can rewrite their love story.

2. Then fill in the blanks to create your conventions. Even though some of these are the same, it is worth looking at them in the context of the conventions.

Experience of Falling In Love:
The Journey of Love:
Relationship Set-up:
Issues each must Resolve:
Separation:
How will Comedy be Expressed:

Experience of Falling in Love:
Awkward attempts to relive old hobbies that end hilariously, playful banter that turns into accidental insults about each other's present lives, discovery of quirky habits that endear them to each other.

The Journey of Love:
Self-deprecating humor about past relationship choices, getting mistaken for a couple by fellow passengers leading to chaotic situations, facing their dating ineptitude through hilarious dinner dates or excursions.

Relationship Set-up:
Forced proximity leading to comical misunderstandings about each other's daily routines, pretending to be a couple in front of the cruise staff with disastrous results, their contrasting personalities clashing in funny ways (neurotic bride vs. laid-back ex-flame).

Issues Each Must Resolve:
Dealing with heartbreak through self-effacing jokes, societal expectations of marriage turning into humorous anecdotes, career choices turning into funny banter about their bosses.

Separation:
Potential conflict with the ex-fiance leading to a slapstick encounter, societal pressure to explain their situation to friends and family in a humorous way, the fear of commitment expressed through exaggerated anxieties or funny ultimatums.

Comedy be expressed:

Situational Comedy:
Awkward encounters, mistaken identities, and chaotic situations arising from their forced proximity on the cruise.

Slapstick Humor:
Physical comedy routines or pratfalls resulting from their attempts to navigate new experiences or revisit old ones.

Witty Dialogue:
Playful banter, self-deprecating humor, and funny asides that reveal their personalities and vulnerabilities.

Running Gags:
Recurring jokes or references throughout the story that build on the comedic elements.

Visual Humor:
Sight gags, exaggerated facial expressions, and funny costumes that add to the lighthearted atmosphere.

3. Edit both lists to improve the expression of the concept and conventions.

Jilted Bride Honeymoon:
The concept, incorporating humor:

Experience of Falling in Love:

Nostalgia with a Twist:
Their attempts to relive high school hobbies go hilariously awry, leading to playful banter that teeters between sweet and self-deprecating. As they discover (and sometimes mock) each other's quirky present-day habits, a new kind of endearment blossoms.

The Journey of Love:
Laughter is the Best Medicine: They bond over self-deprecating humor about past relationship choices. Getting mistaken for a couple by fellow passengers leads to chaotic situations they have to navigate together, hilariously highlighting their dating ineptitude.

Relationship Set-up:
Second Chance Awkwardness: Forced proximity on the cruise amplifies their hilarious misunderstandings about each other's routines. Pretending to be a couple for the cruise staff backfires spectacularly, showcasing their contrasting personalities (neurotic bride vs. laid-back ex-flame) in a comedic way.

Issues Each Must Resolve:
Finding the Funny in Fear: The jilted bride uses humor to cope with heartbreak, while the ex-flame deflects his fear of commitment with exaggerated anxieties or funny ultimatums. Societal expectations of marriage become fodder for humorous anecdotes, and their career choices turn into playful banter about their bosses.
Separation:

The Farewell Fiesta: A potential conflict with the ex-fiance leads to a slapstick showdown. Societal pressure to explain their situation to friends and family turns into a competition of witty excuses. Ultimately, the fear of commitment is expressed through a hilarious ultimatum, forcing them to confront their true feelings.

Comedy Expression:
Humor Throughout the Cruise: A mix of situational comedy (awkward encounters, mistaken identities), witty dialogue (playful banter, self-deprecation), and running gags (e.g., their inability to dance) keeps the story light and entertaining.

Visual Humor for Emphasis: Sight gags, exaggerated facial expressions, and funny costumes add to the rom-com atmosphere during key scenes.

• This reply was modified 10 months ago by  Micki Hess. Reason: Accidentally post twice

[Micki Hess]

1. Name? Michale (Micki) Hess

2. How many scripts you’ve written? About ten

3. What you hope to get out of the class? To write a script that producers need and audiences want to watch.

4. Something unique, special, strange or unusual about you? I once own a small alligator named Charlie and it grew only twenty four inches. He liked raw hamburger meat. Easiest pet to take care of.

• This reply was modified 10 months ago by  Micki Hess.

[Micki Hess]

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.
Sign,
Michale (Micki) Hess

[Micki Hess]

Micki’s Marketable Components

A worn-out family fed-up of the sisters’ feud; so they plan to lock them up; until the feud is over during the holiday.

A. Unique. Seeing if the sisters end a feud during a busy holiday Fourth of July weekend.

B. Great Title–FIREWORKS

C. True N/A

D. Timely. N/A

E. It’s a first.N/A

F. Ultimate. Family gives the two sisters an ultimatum of ending a feud that started in high school or they will spend the weekend in the attic..

G. Wide audience appeal. This is a movie for those who loved seeing a good feeling movie with laughter.

H. Adapted from a popular book. N/A

I. Similarity to a box-office success. SISTERS movie.

J. A great role for a bankable actor.

DAKOTA TANNER –Engaging friendly lead

JOHN GRANT –easy-going, lay back

BLAKE RILEY– sticks up the butt cheeks, angry all the time, it is my way or the highway.

What I learned doing this assignment is with components of marketability a producer will be interested in a script. More components the better chances of getting made.

[Micki Hess]

Micki’s Project and Market

What I learned today is.

1. Give us your

Genre: COMEDY

Title: FIREWORKS

Concept: A worn-out family fed-up of the sisters’ feud; so they plan to lock them up; until the feud is over during the holiday.

2. In one or two sentences, tell us what you think is most attractive about your story. Two sisters have been feuding since high school. The family locks the sisters up in the attic during a 4th of July celebration. This 4th of July firework isn’t the only thing that is exploding.

3. Tell us which you will target FIRST — managers, producers, or actor’s production company — and why you picked that target.

First enter genre contests. Then small producers who connected to any big producers. Better chance of getting the movie made by small producers.

What I learned today is understanding the needs of producers with marketability of a script. When a script is marketable, it is more likely to get made. Don’t tell, sell the script.

[Micki Hess]

Micki’s Credibility is Going Up!

What I learned doing this assignment is it is important to make yourself visible to the producers. Checking to see what information is out there on you and try to make it more professional.

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

My credibility:

Google search (under Michale Hess) First article is screenwriter, and the rest was my social media: LinkedIn, Facebook and Instagram

Google search (under Micki Hess) is my IMDbPro as a producer to Txtn (2018). (Need to update Micki Hess as a screenwriter)

1. Your Writing Sample

‘Recommend’ from Coverage No

Delivers on the genre in a strong way Yes

Delivers on the business decisions Some

2. Screenwriting Accomplishments

Contest wins: I have not entered any yet.

Smaller deals (options, sales, writing assignments) I had one however, the producer decided to cancel the writing assignment.

Larger deals None, YET

Movies produced I have a procedure credit for TXTN (2018)

3. The Google factor

Google your name. How many items on the first page show you as a professional screenwriter? I have one article under Michale Hess and none under Micki Hess

Buzz posts, interviews, news reports, etc..

4. Your Network

How many producers are in your network? LinkedIn about 1000 or more

How many Connections do you have who are connected to producers? About 2500

5. Education specific to screenwriting

Degree in film or screenwriting ScreenwritingU MSC

Master Screenwriter Certificate program at ScreenwritingU Yes class 4

6. Borrowed Credibility

Represented by an agent or manager No

Working with a producer No

Connected to a star No

Connected to a funding source No

7. IMDB CREDITS

Go to [url=”http://imdb.com/”]http://IMDB.com[/url] and search your name. What credits show up there for you?

Producer credit for TXTN (2018)

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

Novels published Children’s book (out of publish)

Producer or director experience Got a credit

Experience working with agencies, production companies, film festivals, etc.. None

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

Update my LinkedIn with current projects and let producers there know I am available for writing assignments.

Build relationship with producers on LinkedIn

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

Enter contests

Build relationships with producers and other screenwriters.

[Micki Hess]

Micki’s Projects and Insights

Two projects

One I would like to write, however it might not:

WILD WEEKEND (5-15 million) [Comedy]

Three fed-up friends of the bride: kidnap the bride–they head to Panama City Beach with a blindfolded bride; one wild night of partying, they lose the bride. Backtrack of the events of the night in hopes to find the bride before the wedding.

GALAXY GAMES (over 100 million) [Comedy Sci-Fi] {first draft}

Two earthlings: captain of the high school football team and an injured cheerleader get teleported to another universe; where they must compete in games and not to lose in any games or their planet gets destroyed.

Opening Notes:

By using your ultra best script as a writing sample(s) it will help getting a manager, producer or maybe an actor.

That paid writing assignments will help your career as a serious writer or a comedic writer.

Take extensive notes while discussing the script.

Keep the producer in the loop with each step of the script. From doing a treatment to getting the movie made. By doing this, it will save wasted time on the writer’s part.

The main thing is GET THE MOVIE MADE.

[Micki Hess]

Hi, Micki Hess, here.

I hope to understand and get the skills to get writing assignments and maybe along the way to get a couple of my scripts made.

I have written four “first draft” scripts and have many that are started and not finished. Learning on how to do drafts.

I hope to get an understanding on how to get writing assignments and where to go for them.

My parents gave their only daughter (me) a somewhat unique name. Michale pronounced like Michael. Yes, I have three younger brothers and yes they have “normal male names”.

I am also a colon cancer survivor of 14 years.

EDIT

I could not find the where to put the first lesson at. There are two and so posted here.

Micki’s Projects and Insights

Two projects

One I would like to write, however it might not:

WILD WEEKEND (5-15 million) [Comedy]

Three fed-up friends of the bride: kidnap the bride–they head to Panama City Beach with a blindfolded bride; one wild night of partying, they lose the bride. Backtrack of the events of the night in hopes to find the bride before the wedding.

GALAXY GAMES (over 100 million) [Comedy Sci-Fi] {first draft}

Two earthlings: captain of the high school football team and an injured cheerleader get teleported to another universe; where they must compete in games and not to lose in any games or their planet gets destroyed.

Opening Notes:

By using your ultra best script as a writing sample(s) it will help getting a manager, producer or maybe an actor.

That paid writing assignments will help your career as a serious writer or a comedic writer.

Take extensive notes while discussing the script.

Keep the producer in the loop with each step of the script. From doing a treatment to getting the movie made. By doing this, it will save wasted time on the writer’s part.

The main thing is GET THE MOVIE MADE.

• This reply was modified 2 years, 2 months ago by  Micki Hess.

[Micki Hess]

I, Michale (Micki) Hess, do solemnly agree to the conditions of the confidentiality statement.

[Micki Hess]

I have decided to rewrite the script. It went off the outline. So I have decided to start completely over.

[Micki Hess]

I will be working on the script to catched up.

I will seek feedback after module 7.

[Micki Hess]

Micki’s Has Finished Act 4!

My vision: Be recognized as a writer that will work with the industry and would do what it takes to be that WRITER.

EMPOWERED!

What I learned from doing this assignment as the script is now at 60 pages. It is now about 30%, I know it needs improvements. Expand on some scenes and maybe add some more. I promised from here that I will have a complete outline that is not one sentence. More in depth of scenes and characters. This is my first time attempting to write from an outline.

[Micki Hess]

Micki’s Continues Act 4

My vision: Be recognized as a writer that will work with the industry and would do what it takes to be that WRITER.

What I learned from doing this assignment is being patient with this process. Don’t know if it is 30% or not. I feeling it is more like 20%. I will have to wait to go back over it with Module 6.

[Micki Hess]

Micki’s Act Started Act 4

My vision: Be recognized as a writer that will work with the industry and would do what it takes to be that WRITER.

What I learned from doing this assignment is: finding out that your outline should be more than a sentence or two. Running into some trouble with the outline. A lesson that is earn.

[Micki Hess]

Micki’s Act Finishing Act 3

My vision: Be recognized as a writer that will work with the industry and would do what it takes to be that WRITER.

What I learned from doing this assignment is being patient of not editing or wordsmithing.

[Micki Hess]

Micki’s Act Continuing Act 3

My vision: Be recognized as a writer that will work with the industry and would do what it takes to be that WRITER.

EMPOWERED!

What I learned from doing this assignment as the script is approaching its last scene. It had been an experience that I didn’t even imagine I could do. Write 6-10 pages per day, a feat I have not done before I took this course.

IMPRESSIVE.

[Micki Hess]

Micki’s Act Began Act 3

My vision: Be recognized as a writer that will work with the industry and would do what it takes to be that WRITER.

EMPOWERED!

What I learned from doing this assignment is it is going so well that something is about to happen. Still racing against the timer. I didn’t expect to do ACT 3 this fast or get to it. This speed writing against the timer and listening to music helps. Doing 15 minutes speed writing three times. Two times a day. This is so outstanding. I got to go. Got some writing to do. Bye.

[Micki Hess]

Micki’s Completed Act 2

My vision: Be recognized as a writer that will work with the industry and would do what it takes to be that WRITER.

EMPOWERED!

What I learned from doing this assignment is that it went by fast. I usually get stuck on Acct 2 and with the outline and knowing the characters, I didn’t have a hang up. It was great. And still racing against the timer. Now on to ACT 3, this is where it is getting exciting. Can’t wait to see what happens. Thank you!

[Micki Hess]

Micki’s Continuing Act 2

My vision: Be recognized as a writer that will work with the industry and would do what it takes to be that WRITER.

What I learned from doing this assignment is setting a timer and race against has improved my speed. THe scene are coming together better than I thought.

[Micki Hess]

Micki’s Act Began Act 2

My vision: Be recognized as a writer that will work with the industry and would do what it takes to be that WRITER.

What I learned from doing this assignment is setting a timer and writing sprint music has increased my flow of writing and creativeness. I feel like I create more vivid scenes when using these methods. It is easier to concentrate on the scene from an outline. I used to be a panster, but now with the outline method used in this course, I am feeling that outline can truly help to move the story forward and keep you focused on details of the characters’ journey.

[Micki Hess]

Micki’s Finished Act 1

My vision: Be recognized as a writer that will work with the industry and would do what it takes to be that WRITER.

What I learned from doing this assignment is that using a timer has helped me with my writing speed. Finding that I can finish a scene in ten to fifteen minutes. Time does fly by when you don’t realize it when you are writing.

[Micki Hess]

Micki’s Next Act 1 Scenes

My vision: Be recognized as a writer that will work with the industry and would do what it takes to be that WRITER.

What I learned from doing this assignment is by doing a routine in my writing. I am finding out that I can write at a good speed. Five pages a day is good for me. I know that it might increase with time, which I am pretty sure will increase soon

[Micki Hess]

Micki’s Act 1 First Draft Part 1

My vision: Be recognized as a writer that will work with the industry and would do what it takes to be that WRITER.

What I learned from doing this assignment is find a place to write without any distraction and I found it. The fast pace rules are kind of hard to do. I have been listening to music for ten minutes and now, I am up to twenty minutes. Trying to type faster and think faster as the scenes in the outline are being written. I have been working on the script, writing about five pages per day. Some days are not good days, I do get two to three pages done. And also staying with the outline. Today, I have reached the ACT II.

[Micki Hess]

Micki’s High Speed Writing Rules

My vision: Be recognized as a writer that will work with the industry and would do what it takes to be that WRITER.

What I learned from doing this assignment is that writing quickly can be a natural thing. I write for twenty minutes and take a brief break. Come back to the writing and write for twenty minutes. I do this about four times. I have to take breaks because of my medical condition.

[Micki Hess]

Micki’s First Scene.

My vision: Be recognized as a writer that will work with the industry and would do what it takes to be that WRITER.

What I learned from doing this assignment is that following the outline is much simpler than I thought it will be. My writing is more focused than before. Excited to write the script.

[Micki Hess]

I am ready for exchange for my outline.

Thank you in advance.

Title: FIREWORKS

Genre: COMEDY

Concept:

A worn-out family who are fed-up with the sisters’ feud; so they plan to lock them up until the feud is over during the holiday.

[Micki Hess]

Micki’s

My vision: Be recognized as a writer that will work with the industry and would do what it takes to be that WRITER.

What I learned from doing this assignment is digging deeper into the script with interesting techniques for scene, characters and action.

ACT ONE

1 EXT. STREET—DAY

A woman who could be mistaken for a tourist, DAKOTA TANNER, steps out onto the sidewalk with a garment bag.

SA: Going from a store to the Lake house.

E: Scenery of the town to the lake house.

C: Slow cars

S:

H/F: We hope she gets to the lake house with any problems, we fear she might have a flat tire.

Beginning: She leaves the store as rain starts pouring down.

Middle: Slow cars because of the downpour.

Ending: She gets to the lake house.

New:

Beginning: She rushes to her car in the rain. ( More interesting setting)

Middle: Slow cars break in front of her. (Surprise)

Ending: Causes her to skid. (Uncertainly)

2 INT. LAKEHOUSE- KITCHEN —DAY

Dakota expresses who she wants the feud to end with her sister, BLAKE RILEY.

SA: She puts the garment bag away. She goes to her family and

asks for help to end the feud.

E: She hopes for help.

S: She wants to end the feud.

H/F: We hope the family helps her and we fear that they might not.

Beginning: She puts the garment bag away in her parents room.

Middle: She enters the kitchen with the fragrance of a home cooked meal.

Ending: She informs them she wants to end the feud.

New:

Beginning: She places the garment bag on the kitchen chair. (Intrigue)

Middle: Her stomach growls. (Betrayal)

Ending: She announces she is ending the feud with Blake. (Uncomfortable moment.)

3 EXT. LAKE HOUSE DRIVEWAY—DAY

A rushed woman, BLAKE RILEY, arrives and sees Dakota’s car.

SA: Blake sees her sister’s car, she storms to the house.

E: She sees red.

C: Slamming of the car door.

S: There is going to be a fight.

H/F: We hope Dakota is ready for Blake’s anger. We fear that Blake is going to start a fight with Dakota.

Beginning: Blake sees Dakota car.

Middle: She slams the car door.

Ending: Stomps to the house.

New:

Beginning: Blakes breaks hard. (External Dilemma)

Middle: She storms to the house. (Superior position)

Ending: Jerk the door open and the door refuses to open. (Surprise)

INCITING INCIDENT

4 INT. HOUSE—DAY

Dakota and Blake go up to the attic to look for the tablecloth.

SA: Sisters go from the kitchen to up to the attic.

C: Sisters are upset with each other.

H/F: We hope Dakota will put an end to the feud. We fear that Blake wants to keep feuding.

Beginning: The sisters head up to the attic.

Middle: Sisters are upset with each other.

Ending: Dakota gently closes the door.

New:

Beginning: Blake shoves Dakota on the way to the attic. (Superior Position)

Middle: Dakota stops in front of Blake before opening the door to the attic. (Uncertainly)

Ending: Dakota opens the door and let Blake in. (Internal dilemma)

5 INT. ATTIC—DAY

Dakota starts looking through some boxes.

SA: Facing all the boxes to go through them.

C: The boxes and no help from Blake

H/F: We hope Dakota finds the item. We fear she might not.

Beginning: Dakota glances around and sees the boxes.

Middle: Blake sits on the sofa.

Ending: Dakota picks a box and goes through it.

New:

Beginning:

Middle:

Ending:

6 INT. ATTIC—DAY

Blake refuses to look through the boxes or anything else.

SA: Blake sits down and does nothing while Dakota looks for it; to her looking around..

E: Blake will not help if her life depends on it.

C: WIll Blake help?

S: Blake not helping will take longer.

H/F: We hope she helps, we fear she would not.

Beginning: Blake refuses to help.

Middle: She throws a doll at Dakota.

Ending: Dakota throws it back.

New:

Beginning: Blake sits down like she is the queen. (Anticipation)

Middle: Blake sees one of Dakota’s dolls. She grabs it and throws it at Dakota. (Character Reveal)

Ending: Dakota picks up the doll and throws it back at Blake. (Out of character)

TURNING POINT 1:

7 INT. ATTIC—DAY

Blake gets up and sees a CD player and CDs, she finds a mixed jam.

SA: Blake gets up, looks around to where she plays music.

E: She plays music

H/F: We hope she will help. We fear she isn’t.

Beginning: Blake spots a CD player.

Middle: She goes and plugs it in.

Ending: She put a mixed CD into the player.

New:

Beginning: The doll passes Blake and lands on the CD player. (Interesting setting)

Middle: She plugs in the CD and plays a CD. It works. (Surprise)

Ending: Turns up the volume. (Betrayal) Blake knows Dakota has sensitive hearing.

Dakota pulls the plug.

SA: She had enough of the crap and she goes try to take control.

E: Enough is enough.

H/F: We hope she gets some help. We fear she isn’t.

Beginning: Dakota sees Blake and the music is loud.

Middle: She walks over to the player.

Ending: She unplugs it.

New:

Beginning: Dakota places her hand over each ear. (Uncomfortable moment)

Middle: She walks quickly over to the CD player and unplugs it. (Surprise)

Ending: Goes back searching through boxes for the item. (Dutiful)

8 INT. ATTIC—DAY

Dakota looks for it and gives up.

SA: She looks for it and she heads down the stairs

C: She can’t do it anymore.

H/F: We hope she can get out. We fear that she can’t.

Beginning: Dakota looks through some boxes.

Middle: She gets tired.

Ending: She sits down on the sofa.

New:

Beginning: After five huge boxes, she gives up. (Intrigue)

Middle: She watches Blake. (Cliffhanger)

Ending: She places her head in her hands. (Mislead.) She goes to the stairwell. (Mislead)

9 INT. STAIRWELL–DAY

Dakota heads back down and the door is locked.

SA: She hopes to get out instead she is locked in.

E: Will she get out or not?

C: She can’t take anymore of her sister.

H/F: We hope she can get, our fear of her being locked up.

Beginning: She gets up.

Middle: She goes to the door.

Ending: She rattles the doorknob.

New:

Beginning: She walks down to the stairwell. (Anticipation)

Middle: She breathes deeply and reaches for the doorknob. (Mystery)

Ending: She rattles the lock door. (Misdirect)

ACT TWO

10 INT. STAIRCASE–DAY

Dakota realizes her and Blake are locked up in the attic.

SA: Dakota tries to leave and she can’t.

C: She feels like crying,and screaming.

S: She hopes to get out of the attic.

H/F: We hope she was able to leave. We fear she will not be able to.

Beginning: She tries to open the door.

Middle: She pounds on the door.

Ending: She screams, sits down on the step and cries.

New:

Beginning: She pounds on the door. (Distraught)

Middle: She pulls on the doorknob. (Fear)

Ending: She sits down. (Defeat)

11 INT. ATTIC–DAY

Blake plugs the CD player and puts her favorite CD in and starts dancing.

SA: Blake plugs the CD player back and she starts dancing, bumping into Dakota.

E: Blake doing what she wants and she does.

C: She is enjoying being a pain in the ass.

H/F: We hope Blake will help. We fear she is being an ass.

Beginning: Blake plugs the CD.

Middle: Goes through CDs, smiles when she finds her favorite.

Ending: Starts dancing, she bumps into Dakota.

New:

Beginning: Blake plugs in the CD player and lowers the volume. (Character changes radically)

Middle: Blake starts looking through the boxes. (Character changes radically)

Ending: Her favorite song comes on, she starts dancing. (More interesting)

TURNING POINT 2 / Midpoint:

12 INT. ATTIC–DAY

Dakota finds her old high school album and a picture falls to the floor.

SA: Dakota looks through her album and smiling, didn’t notice the picture.

E: Memories of high school.

Beginning: Goes through a box and finds an album.

Middle: She goes through the pages.

Ending: A picture of falls out.

New:

Beginning: Dakota and Blake go through the boxes. (More interesting situation)

Middle: Dakota finds the old high school albums. (Reveal)

Ending: She starts laughing at the pictures. (Suspense)

13 INT. ATTIC—DAY

Dakota sits on the floor and starts to cry.

C: She remembers the good times she and Blake had.

S: She hurt for those years.

Beginning: She sits on the floor.

Middle: Dakota looks at her and Blake hugging and smiling.

Ending: She cries over the album.

New:

Beginning: Dakota shows Blake the picture of them two acting goofy. (Reveal)

Middle: Blake stands up and imitates the picture. (Reveal)

Ending: Dakota laughs at Blake. (Surprise)

Blake picks up the photo she took and shows Dakota kissing John Grant at the dance.

E: Blake hurt back then.

C: She wants to ruin Dakota.

S: She hates Dakota.

H/F: We hope she will forgive Dakota. We fear her hatred will ruin her.

Beginning: She saw them kissing in the photo.

Middle: Her hatred for Dakota started.

Ending: She throws the photo down.

New:

Beginning: Blake picks up a picture from the box. It was Dakota kissing John. (Intrigue)

Middle: Blake shows the photo to Dakota. Dakota’s smile disappears. (Major twist)

Ending: Blake demands the kiss. (Uncomfortable moment)

Dakota explains to Blake what really happened.

C: She hopes this helps.

S: She does care about Blake.

H/F: We hope the sisters finally forgive. We fear they will not.

Beginning: Dakota finds the photo.

Middle: Blake blames Dakota for the kiss.

Ending: Dakota explains what really happened.

New:

Beginning: Dakota tries to explain but Blake stops her. (Twist)

Middle: Blake blames Dakota for her unhappy years in high school. (Reveal)

Ending: Dakota rapidly tells Blake what happened. (Reveal)

ACT THREE

14 INT. ATTIC—DAY

Blake notices a motorcycle.

SA: Blake wants to know who owns the bike and she finds out, she gets angry.

C: High school nightmare over again

H/F: We hope Blake will understand. We fear she will not.

Beginning: Blake glances out the window.

Middle: Sees a motorcycle.

Ending: Blake asks Dakota who it belongs to.

New:

Beginning: While Dakota explains, Blake goes to the window and sees the bike. (Cliffhanger)

Middle: She asks Dakota who owns the bike. (Uncertainly)

Ending: Blake asks again, Dakota refuses to answer. (Internal dilemma)

Blake tells Dakota that she doesn’t deserve John, that he was hers to have.

C: Dakota feels she does and Blake will have to accept it.

Beginning: Blake yells at Dakota how dare her.

Middle: Dakota explains why.

Ending: Blake wants John.

New:

Beginning: Blake demands why Dakota is doing this to her. (Betrayal.

Middle: Dakota tells Blake she deserves happiness and she finds it in John. (suspense)

Ending: Blake throws things at Dakota. Dakota ducks. (betrayal)

TURNING POINT 3

14 INT. ATTIC—DAY

Dakota tells Blake she wants to end the feud.

SA: Dakota tells Blake she wants to end the feud, Blake gets highly upset.

E: To end the feud.

C: Blake wants to keep the feud going.

S: Blake will lie.

H/F: We hope Dakota sees through her sister. We fear that Blake will harm Dakota.

Beginning: Dakota tells Blake the feud is over.

Middle: Blake says it isn’t.

Ending: Dakota wants it over.

New:

Beginning: Dakota tells Blake the feud is over. (Reveal)

Middle: Dakota is no longer going to fight with Blake, she had enough. (External Dilemma)

Ending: Blake attacks Dakota by knocking her on the floor. Dakota grabs her stomach and murmurs something. (surprise and cliffhanger)

Blake finds out that Dakota wants to end the feud.

SA: She has a hissy fit of a three-year-old, she starts throwing pillows.

Beginning: Blake says the feud can’t be over.

Middle: She says it will end when she dies.

Ending: Dakota throws a pillow at Blake.

New:

Beginning: Blake refuses to help Dakota up and end the feud. (Intrigue)

Middle: Dakota asks Blake why she doesn’t want to end it. (Anticipation)

Ending: Blake says Dakota doesn’t deserve happiness because Blake’s life is in shambles. (Reveal)

ACT 4 CLIMAX

15 INT ATTIC—DAY

Dakota sees the photo of John kissing her.

SA: She gets furious at Blake and then laughs.

Beginning: Dakota notices the picture of her and John.

Middle: She picks it up and Blake tries to take it away.

Ending: She tells Blake that she is marrying John.

New:

Beginning: Dakota tells Blake about marrying John, because she does deserve happiness and family. (Reveal)

Middle: Dakota is willing to fight for her happiness (Character changes radically)

Ending: Dakota pulls Blake’s hair and Blake pulls Dakota’s hair. (Superior position)

RESOLUTION

16 EXT. BY THE LAKE—NIGHT

Dakota marries John.

SA: Dakota goes from being single to marrying John.

E: She is happy.

H/F: We hope the newlyweds will have a happy future. We have no fear.

Blake stands next to Dakota at the wedding.

H/F: We hope she loves her family. We have no fear.

Beginning: Dakota walks down the makeshift aisle by the lake.

Middle: Blake stands next to Dakota.

Ending: Dakota kisses John while fireworks go off.

New:

Beginning: Dakota walks down the aisle with her father, John watches her. (Anticipation)

Middle: Blake makes a small speech about how she is proud of her sister. (Major twist and surprise)

Ending: John and Dakota kiss under the fireworks as the family cheer. (Ending)

[Micki Hess]

Micki’s Scene Requirements

My vision: Be recognized as a writer that will work with the industry and would do what it takes to be that WRITER.

What I learned from doing this assignment is putting the script together. Seeing my outline will work and seeing if there are any plot holes, missing subtexts. Putting the characters: protagonist, antagonist, and supporting characters in the script and arranging the pace, the concept and scene arc. Each scene carries the story forward and let the characters shine. This assignment was fun to do. (Side note: I posted what scene I got done on August 11, I will continue to work on this. Thank you!)

EMPOWERED!

EXT. STREET –DAY

Dakota leaves the bridal store and heads out of town.

Blake drives down the same street and notices Dakota.

Scene Arc: SIsters are racing to the lake house, one sister gets behind a slow vehicle.

Essence: Dakota has to get to the Lake house first to hide her dress.

Conflict: Who will get there first?

Subtext: Dakota is a better driver.

hope/fear: We hope Dakota will be there first. We fear that something is going to happen to her.

INT. LAKE HOUSE—DAY

In the kitchen: Grandma May Tanner, Grandpa Hank Tanner, Adam Tanner and Marica Tanner sat at the table.

Scene Arc: Make plans on how to end the feud by sending out the girls to do the vegetables.

Essence:

Conflict: The sisters start bickering.

Subtext:

Hope/Fear: We fear that the sisters’ fight will get worse. We hope they find peace.

EXT. PORCH–DAY

Dakota husking the corn. Blake snaps the green beans.

Scene Arc: Starts doing the vegetables and ends up with Blake dumping the husks on Dakota.

Essence: Blake snaps.

Conflict: Fights

Subtext: Blake dislikes her sister.

Hope/Fear: We hope Dakota stands up to her sister. We fear that Blake will take Dakota down.

INT. KITCHEN DAY

Grandma May peels potatoes, while Marica chops carrots.

Scene Arc: Grandma May comes up with a plan to end the feud when the sisters come in.

Essence: Will the plan work or not?

Conflict: Which one of them is going to lock the door.

Subtext: The family is tired of the feud and wants to end it.

Hope/Fear: We hope the plan works. We fear one of the sisters does not want to end it.

INT. KITCHEN DAY

Dakota comes in with the corn and husks on her. Blake walks in with a smile.

Scene Arc: Grandma May gets mad at Blake; ends with Grandma May telling a story about her and her sister, Annie.

Essence: Blake knows what she is doing.

Conflict: Blood pressure is going up.

Hope/Fear: We do hope that Dakota will stand up for herself. We fear how Blake treats Dakota for all these years.

INT. LAKE HOUSE—DAY

Madison Riley, Anna Riley, and Colton Riley enter the kitchen.

Scene Arc: The kids want some food. The scene ends with the kids eating.

Essence: Shows that Blake can be caring if she wants.

Conflict: She has responsibilities to her children and husband.

Subtext: She wished for a better life.

Hope/Fear: We hope she finds peace within her family. We fear she will use the kids against Dakota.

INT. KITCHEN—DAY

Blake argues with Dakota about the way she is doing the corn.

Scene Arc: Blake’s argument to Grandma May sending the girls to the attic.

Essence: Enough is enough.

Conflict: Argument

Hope/Fear: We hope that Blake finds peace, we fear she would not.

INT. ATTIC—DAY

Dakota and Blake enter the attic.

SA: Dakota looks for the tablecloth, ends with Blake sulks on the sofa.

E: Dakota does the work.

H/F: We hope the sisters will find it, we fear that Blake is not going to help.

EXT. LAKE–DAY

John Grant parks his motorcycle next to Dakota’s car.

SA: John’s arrival to Hope Knightley’s arrival.

E: John and Hope are here for the celebration.

S: Hope arrival is a surprise.

H/F: We hope that John knows what is going on. We fear he might not be kind about it.

INT. ATTIC—DAY

Blake hears the motorcycle and looks out the window.

SA: Blake notices who has arrived and asks Dakota about it.

E: Unexpected guests.

S: John is here. Blake can’t believe her eyes.

H/F: We hope that Dakota tells her sister about John and we fear that she might not tell.

INT. KITCHEN DAY

John and Hope enter the kitchen.

SA: The visitors to a loud sound from the attic.

E: People are happy.

H/F: Family is happy. We are afraid Dakota or Blake will be hurt.

INT. ATTIC—DAY

Dakota accidentally drops a box on the floor and her body falls with it.

SA: Dakota and the box on the floor to Blake sitting on the sofa.

E: Dakota might be hurt.

C: Boxes and hurt pride

S: Dakota needs help and Blake refuses.

H/F: We hope that Dakota is okay, we fear that she might harm her body.

[Micki Hess]

ACT ONE

EXT. STREET—DAY

A woman who could be mistaken for a tourist, DAKOTA TANNER, steps out onto the sidewalk with a garment bag.

SA: Going from a store to the Lake house.

E: Scenery of the town to the lake house.

C: Slow cars

S:

H/F: We hope she gets to the lake house with any problems, we fear she might get a flat tire.

INT. LAKEHOUSE- KITCHEN —DAY

Dakota expresses who she wants the feud to end with her sister, BLAKE RILEY.

SA: She puts the garment bag away. She goes to her family and

asks for help to end the feud.

E: She hopes for help.

S: She wants to end the feud.

H/F: We hope the family helps her and we fear that they might not.

EXT. LAKE HOUSE DRIVEWAY—DAY

A rushed woman, BLAKE RILEY, arrives and sees Dakota’s car.

SA: Blake sees her sister’s car, she storms to the house.

E: She sees red.

C: Slamming of the car door.

S: There is going to be a fight.

H/F: We hope Dakota is ready for Blake’s anger. We fear that Blake is going to start a fight with Dakota.

INCITING INCIDENT

INT. HOUSE—DAY

Dakota and Blake go up to the attic to look for the tablecloth.

SA: Sisters go from the kitchen to up to the attic. C: Sisters are upset with each other.

H/F: We hope Dakota will put an end to the feud. We fear that Blake wants to keep feuding.

INT. ATTIC—DAY

Dakota starts looking through some boxes.

SA: Facing all the boxes to go through them.

C: The boxes and no help from Blake

H/F: We hope Dakota finds the item. We fear she might not.

INT. ATTIC—DAY

Blake refuses to look through the boxes or anything else.

SA: Blake sits down and does nothing while Dakota looks for it; to her looking around..

E: Blake will not help if her life depends on it.

C: WIll Blake help?

S: Blake not helping will take longer.

H/F: We hope she helps, we fear she would not.

TURNING POINT 1:

INT. ATTIC—DAY

Blake gets up and sees a CD player and CDs, she finds a mixed jam.

SA: Blake gets up, looks around to where she plays music.

E: She plays music

H/F: We hope she will help. We fear she isn’t.

Dakota pulls the plug.

SA: She had enough of the crap and she goes try to take control.

E: Enough is enough.

H/F: We hope she gets some help. We fear she isn’t.

INT. ATTIC—DAY

Dakota looks for it and gives up.

SA: She looks for it and she heads down the stairs

C: She can’t do it anymore.

H/F: We hope she can get out. We fear that she can’t.

INT. STAIRWELL–DAY

Dakota heads back down and the door is locked.

SA: She hopes to get out instead she is locked in.

E: Will she get out or not?

C: She can’t take anymore of her sister.

H/F: We hope she can get, our fear of her being locked up.

ACT TWO

Dakota realizes they are locked up in the attic.

SA: Dakota tries to leave and she can’t.

C: She feels like crying,and screaming.

S: She hopes to get out of the attic.

H/F: We hope she was able to leave. We fear she will not be able to.

INT. ATTIC–DAY

Blake plugs the CD player and puts her favorite CD in and starts dancing.

SA: Blake plugs the CD player back and she starts dancing, bumping into Dakota.

E: Blake doing what she wants and she does.

C: She is enjoying being a pain in the ass.

H/F: We hope Blake will help. We fear she is being an ass.

TURNING POINT 2 / Midpoint:

INT. ATTIC–DAY

Dakota finds her old high school album and a picture falls to the floor.

SA: Dakota looks through her album and smiling, didn’t notice the picture.

E: Memories of high school.

INT. ATTIC—DAY

Dakota sits down and starts to cry.

C: She remembers the good times she and Blake had.

S: She hurt for those years.

Blake picks up the photo she took and shows Dakota kissing John Grant at the dance.

E: Blake hurt back then.

C: She wants to ruin Dakota.

S: She hates Dakota.

H/F: We hope she will forgive Dakota. We fear her hatred will ruin her.

Dakota explains to Blake what really happened.

C: She hopes this helps.

S: She does care about Blake.

H/F: We hope the sisters finally forgive. We fear they will not.

ACT THREE

INT. ATTIC—DAY

Blake notices a motorcycle.

SA: Blake wants to know who owns the bike and she finds out, she get angry.

C: High school nightmare over again

H/F: We hope Blake will understand. We fear she will not.

Blake tells Dakota that she doesn’t deserve John, that he was hers to have.

C: Dakota feels she does and Blake will have to accept it.

TURNING POINT 3

INT. ATTIC—DAY

Dakota tells Blake she wants to end the feud.

SA: Dakota tells Blake she wants to end the feud, Blake gets highly upset.

E: To end the feud.

C: Blake wants to keep the feud going.

S: Blake will lie.

H/F: We hope Dakota sees through her sister. We fear that Blake will harm Dakota.

Blake finds out that Dakota wants to end the feud.

SA: She has a hissy fit of a three-year-old, she starts throwing pillows.

ACT 4 CLIMAX

Dakota sees the photo of John kissing her.

SA: She gets furious at Blake and then laughs.

RESOLUTION

EXT. BY THE LAKE—NIGHT

Dakota marries John.

SA: Dakota goes from being single to marrying John.

E: She is happy.

H/F: We hope the newlyweds will have a happy future. We have no fear.

Blake stands next to Dakota at the wedding.

H/F: We hope she loves her family. We have no fear.

[Micki Hess]

Micki’s Intriguing Moments

My vision: Be recognized as a writer that will work with the industry and would do what it takes to be that WRITER.

What I learned from doing this assignment is the depth and intriguing moments add more to the scripts.

Act 1

Intrigue Sisters bickering is the final straw.

Secret: Famly plan on locking the sisters up in the attic.

Covert agenda To look for a tablecloth

Conspiracy Dakota overhears the plan.

Scheme Grandma will send the sisters to the attic.

Act 2

Intrigue Blake blames Dakota for being in the attic.

Secret Dakota wants to end the feud

Scheme Blake is not planning on looking for the tablecloth.

Mystery: Why is Blake mad at Dakota?

Act 3

Intrigue Blake reveals that she saw Dakota kissing John at a high school dance.

Secret Dakota and John are getting marry on 4th of July.

Act 4

Intrigue The sisters fight over a guy.

Secret Dakota let out her wedding plans.

[Micki Hess]

Micki’s Emotional Moments

My vision: Be recognized as a writer that will work with the industry and would do what it takes to be that WRITER.

What I learned from doing this assignment is that emotions can play seriousness to comedy. Each act needs an emotional pull and reaction from the audience.

Act One:

Bonding: Making plans to end the feud between the sisters.

Courage: Dakota comes to a family event knowing her sister will be there.

Angry: Blake sees Dakota and makes snide remarks,

Act Two:

Surprise: The door is locked.

Moral Issues: Dakota wants to find the tablecloth and end the feud.

Brat: Blake refuses to help.

Act Three

Hurt: The sisters start fighting.

Funny: They uses pillows

Act Four

Happiness: Wedding

Forgiveness: They forgive each other

[Micki Hess]

Micki’s Reveals!

My vision: Be recognized as a writer that will work with the industry and would do what it takes to be that WRITER.

What I learned from doing this assignment is how useful setups and reveals are in the scripts.

Title: FIREWORKS

Act 1: Family wants the feud to end. Come up with a plan.

Inciting Incident: Dakota and Blake go up to the attic.

Act 2: Dakota looks for the tablecloth and looks through the highschool album.

Act 3: Dakota tells Blake she wants to end this feud. Blake accuses Dakota of being locked up in the attic.

Act 4: Dakota finds out it was Blake that caused the breakup and they start fighting.

Resolution: Dakota marries John.

PROTAGONIST: DAKOTA TANNER

PROTAGONIST JOURNEY= DAKOTA PJ #

ANTAGONIST: BLAKE RILEY

ANTAGONIST JOURNEY=BLAKE AJ #

DEEPER LAYER

Beginning:

DAKOTA—She picks up a wedding dress.

Dakota parks her car at the lake house, three cars parked in the circular drive

She carries her bags and dress into the house.

She overhears the parents’ and grandparents’ plans of ending the feud.

She keeps it to herself.

DAKOTA PJ #1 Dakota expresses that John will be here shortly.

BLAKE—-She wrote a letter to John in high school.

BLAKE AJ #1 Arrives at the lake house with her husband and children.

She sees Dakota and smirks. Her husband carries in the bags with the children following behind him.

Make a snarky remark to Dakota about not having a husband and children at her age.

Dakota leaves the room, tears stream down her cheeks.

Dakota reveals the engagement ring. She stares at it.

DEEPER LAYER: The family wants to end the feud with the sisters so there can be peace in the family.

SET UP The family will make plans to lock the girls up.

REVEAL Dakota will try to leave the attic.

BLAKE AJ #2 Starts a fight with Dakota.

Grandma May has Dakota shucking corn and Blake snapping green beans out on the porch.

Dakota rocks as she shucks the corn.

Blake gets angrier with each squeaky sound from the rocker.

Dakota smiles and hums with each corn shucked. She places the corn in a large bowl. The husks go into a large bag.

Blake reaches her limit, she dumps the husks all over Dakota.

Dakota shakes the corn hair and husks off.

Dakota grabs the bowl and runs into the house. Locks the door.

Blake pounds the door until her husband lets her in.

Inciting Incident:

DAKOTA—Goes up to the attic to look for the tablecloth with Blake.

Grandma May had enough with Dakota and Blake,

Grandma May looks for the special occasion tablecloth.

She makes Dakota and Blake go up to the attic for it.

BLAKE—She goes up to the attic with Dakota.

BLAKE AJ #3 Refuses to help and sits on the sofa, watching Dakota looking for the tablecloth.

DEEPER LAYER The tablecloth has a special meaning for Grandma May and she wants to find it.

DAKOTA PJ #2 Dakota goes through the boxes in a corner. Notices Blake sitting.

Blake sits down on the dusty old sofa that has seen better days.

Dakota heads over to one of the corners with a stack of boxes. She reaches for the top one and starts going through it.

Each box she goes through stacks neatly behind her.

Blake watches Dakota and gives her the evil eye.

Dakota notices Blake sitting there doing nothing.

Dakota asks for help and Blake laughs.

Dakota picks up a box and stacks it.

SET UP Dakota knows what the family is trying to do.

REVEAL Tablecloth is not in the attic in 4 Act.

Turning Point 1:

DAKOTA—Look for it and give up. Heads back down and the door is locked.

Dakota glances around and sees a lot of boxes with no label.

Dakota heads to the door.

It doesn’t open up. It is locked. She knocks on the door.

Grandma May talks aloud and lets them know they are locked up until the feud is over. If it takes the entire weekend.

Dakota slumps to the steps and reaches for the engagement ring.

She gets up and determines to find the tablecloth and end the feud.

DAKOTA PJ #3 She pulls the plug.

BLAKE—-Sits on the sofa and watches Dakota.

BLAKE AJ #4 She gets up and sees a CD player and CDs, she finds a mixed jam Dakota and John made. She plays it.

Blake gets up and finds a CD player and CDs.

Blake puts on a mixed songs CD and starts dancing.

Dakota informs Blake the door is locked and they can’t leave.

Blake turns up the volume

DEEPER LAYER: The songs hurt Dakota.

SET UP Dakota goes through boxes

REVEAL Grandma tells them they will stay there.

Act 2:

DAKOTA—Realizes they are locked up in the attic.

Dakota continues to look for the tablecloth.

Turn down the volume on the CD player.

Demands Blake to look for the tablecloth.

Blake slaps Dakota and yells at her.

Dakota slaps back.

Blake slaps harder, Dakota does the same.

Both faces are red.

Dakota demands what is going on with Blake.

Blake refuses to tell Dakota anything.

BLAKE—She replugs the CD player and puts her favorite CD in and starts dancing..

DEEPER LAYER This is Dakota’s chance—she blows it.

SET UP Dakota had enough and Blake refuses to tell Dakota what is wrong.

REVEAL She and Blake had a slapping contest.

Turning Point 2 / Midpoint:

DAKOTA—Finds her old high school album and a letter falls to the floor.

An old dusty high school album falls off the shelf.

Dakota picks it up.

Sits down on the sofa and looks through the album.

A picture falls out. Blake grabs it.

Dakota asks about it.

Blake refuses to answer.

Dakota sees John’s picture. Laughs.

Blake asks what is funny.

Dakota moves over so Blake can sit next to her.

Motorcycle rides up outside.

DAKOTA PJ #4 Dakota sits down and starts to cry.

BLAKE—She grabs the fallen letter.

BLAKE AJ #5 She mocks Dakato’s crying.

DEEPER LAYER: Family is sometimes not thicker than water.

SET UP Look at the pictures.

REVEAL Dakota is getting closer to the reason for the feud.

Act 3:

DAKOTA—A letter falls out.

DAKOTA PJ #5 She grabs the letter from Blake and sees the reason for the break-up.

BLAKE—Notice a motorcycle.

BLAKE AJ #6 Tells Dakota that she doesn’t deserve John, that he was hers to have.

DEEPER LAYER: Blake is jealous of Dakota and John’s high school relationship.

Dakota tells Blake about John and his player ways in high school.

Blake listens.

Dakota tells Blake how he was asking all the girls to go out with him while he was with another girl.

Blake asks Dakota if he asked her to go out.

Dakota let Blake know that he had.

Dakota also tells Blake that he uses girls to put a notch on his belt.

Blake tells Dakota that she had a date with John.

Dakota knows.

Dakota tells Blake that their parents didn’t want Blake to date John. Since she was a freshman and he was a senior.

Dakota went to the dance to tell John.

Blake tells Dakota she went to the dance and saw her kissing John.

SET UP Blake and Dakota had a thing for John.

REVEAL Dakota protest little sister from a person that was going to hurt her.

Turning Point 3:

DAKOTA—Dakota tells Blake she wants to end the feud.

DAKOTA PJ #5 She finds out why John broke up with her.

BLAKE—She finds out that Dakota wants to end the feud.

BLAKE AJ #7 Still wants John and will fight even though she has a husband and children.

DEEPER LAYER You have to fight to get what you want.

Blake gets angry with Dakota for kissing John during the dance in high school.

Dakota told her she was protecting her baby sister.

Blake gets up and walks around the attic. Anger is building up.

Dakota explains her actions.

Blake accuses Dakota for her unhappiness at how she had to settle with her husband.

Dakota screams that it wasn’t her fault.

Blake tells Dakota she is lying. That she liked John and wanted to use her to get to him.

Dakota tells Blake this was a setup to stop the feud.

The family is tired of the fight between them.

SET UP The dance was Blake’s only chance to date John.

REVEAL The real reason for the feud.

Act 4 Climax:

DAKOTA—She reads the letter and now knows why John broke up with her. She tells Blake that she and John are having a baby.

DAKOTA PJ #6 Dakota starts yelling and laughing at the same time.

BLAKE—She and Dakota fight.

BLAKE AJ #8 Still wants John and will fight for him.

DEEPER LAYER: Dakota fights for her love, John

Dakota tells Blake that she is matter of fact getting married. This weekend during the fireworks.

Blake asks to whom and Dakota smiles.

Dakota says the owner to the motorcycle outside.

Blake goes over to the window and sees it.

She sees John with her husband and their dad.

Blake attacks Dakota.

Dakota attacks back.

Dakota falls to the floor, grabs her stomach.

Mutters something about the baby.

And asks Blake why Dakota has to be single for the rest of her life.

Blake says because she had a chance with John and it didn’t happen.

Dakota tells Blake she should be happy with her husband and children.

Dakota asks Blake to stand next to her during her wedding.

SET UP Dakota mutters about a baby and John.

REVEAL Dakota is marrying John and having his baby.

Resolution:

DAKOTA—-She marries John

BLAKE—She stands next to Dakota at the wedding.

DEEPER LAYER: Happinesses can happen if you truly want it.

Blake nods.

Dakota goes to the door and opens it up.

She lies about the door being locked.

They go downstairs and find the tablecloth on a chair next to the window.

They look at Grandma May and she shrugs her shoulders and smiles

Dakota walks toward John as the fireworks go off.

SET UP The door was not locked and the tablecloth was on the chair.

REVEAL Marriage and baby gender reveal.

[Micki Hess]

Micki’s Character Action Tracks!

My vision: Be recognized as a writer that will work with the industry and would do what it takes to be that WRITER.

What I learned from doing this assignment is matching actions and traits of the characters to be driven past their limitations. Each scene needs to drive the story forward.

EMPOWERED!!

This will have the new outline mixed in with the old outline. The new one will be in bold.

PROTAGONIST: DAKOTA TANNER

PROTAGONIST JOURNEY= DAKOTA PJ #

ANTAGONIST: BLAKE RILEY

ANTAGONIST JOURNEY=BLAKE AJ #

Beginning:

DAKOTA—She picks up a wedding dress.

Dakota parks her car at the lake house, three cars parked in the circular drive

She carries her bags and dress into the house.

She overhears the parents’ and grandparents’ plans of ending the feud.

She keeps it to herself.

DAKOTA PJ #1 Dakota expresses that John will be here shortly.

BLAKE—-She wrote a letter to John in high school.

BLAKE AJ #1 Arrives at the lake house with her husband and children.

She sees Dakota and smirks. Her husband carries in the bags with the children following behind him.

Make a snarky remark to Dakota about not having a husband and children at her age.

Dakota leaves the room, tears stream down her cheeks.

Dakota reveals the engagement ring. She stares at it.

DEEPER LAYER: The family wants to end the feud with the sisters so there can be peace in the family.

BLAKE AJ #2 Starts a fight with Dakota.

Grandma May has Dakota shucking corn and Blake snapping green beans out on the porch.

Dakota rocks as she shucks the corn.

Blake gets angrier with each squeaky sound from the rocker.

Dakota smiles and hums with each corn shucked. She places the corn in a large bowl. The husks go into a large bag.

Blake reaches her limit, she dumps the husks all over Dakota.

Dakota shakes the corn hair and husks off.

Dakota grabs the bowl and runs into the house. Locks the door.

Blake pounds the door until her husband lets her in.

Inciting Incident:

DAKOTA—Goes up to the attic to look for the tablecloth with Blake.

Grandma May had enough with Dakota and Blake,

Grandma May looks for the special occasion tablecloth.

She makes Dakota and Blake go up to the attic for it.

BLAKE—She goes up to the attic with Dakota.

BLAKE AJ #3 Refuses to help and sits on the sofa, watching Dakota looking for the tablecloth.

DEEPER LAYER The tablecloth has a special meaning for Grandma May and she wants to find it.

DAKOTA PJ #2 Dakota goes through the boxes in a corner. Notices Blake sitting.

Blake sits down on the dusty old sofa that has seen better days.

Dakota heads over to one of the corners with a stack of boxes. She reaches for the top one and starts going through it.

Each box she goes through stacks neatly behind her.

Blake watches Dakota and gives her the evil eye.

Dakota notices Blake sitting there doing nothing.

Dakota asks for help and Blake laughs.

Dakota picks up a box and stacks it.

Turning Point 1:

DAKOTA—Look for it and give up. Heads back down and the door is locked.

Dakota glances around and sees a lot of boxes with no label.

Dakota heads to the door.

It doesn’t open up. It is locked. She knocks on the door.

Grandma May talks aloud and lets them know they are locked up until the feud is over. If it takes the entire weekend.

Dakota slumps to the steps and reaches for the engagement ring.

She gets up and determines to find the tablecloth and end the feud.

DAKOTA PJ #3 She pulls the plug.

BLAKE—-Sits on the sofa and watches Dakota.

BLAKE AJ #4 She gets up and sees a CD player and CDs, she finds a mixed jam Dakota and John made. She plays it.

Blake gets up and finds a CD player and CDs.

Blake puts on a mixed songs CD and starts dancing.

Dakota informs Blake the door is locked and they can’t leave.

Blake turns up the volume

DEEPER LAYER: The songs hurt Dakota.

Act 2:

DAKOTA—Realizes they are locked up in the attic.

Dakota continues to look for the tablecloth.

Turn down the volume on the CD player.

Demands Blake to look for the tablecloth.

Blake slaps Dakota and yells at her.

Dakota slaps back.

Blake slaps harde, Dakota does the same.

Both faces are red.

Dakota demands what is going on with Blake.

Blake refuses to tell Dakota anything.

BLAKE—She replugs the CD player and puts her favorite CD in and starts dancing..

DEEPER LAYER This is Dakota’s chance—she blows it.

Turning Point 2 / Midpoint:

DAKOTA—Finds her old high school album and a letter falls to the floor.

An old dusty high school album falls off the shelf.

Dakota picks it up.

Sits down on the sofa and looks through the album.

A picture falls out. Blake grabs it.

Dakota asks about it.

Blake refuses to answer.

Dakota sees John’s picture. Laughs.

Blake asks what is funny.

Dakota moves over so Blake can sit next to her.

Motorcycle rides up outside.

DAKOTA PJ #4 Dakota sits down and starts to cry.

BLAKE—She grabs the fallen letter.

BLAKE AJ #5 She mocks Dakato’s crying.

DEEPER LAYER: Family is sometimes not thicker than water.

Act 3:

DAKOTA—A letter falls out.

DAKOTA PJ #5 She grabs the letter from Blake and sees the reason for the break-up.

BLAKE—Notice a motorcycle.

BLAKE AJ #6 Tells Dakota that she doesn’t deserve John, that he was hers to have.

DEEPER LAYER: Blake is jealous of Dakota and John’s high school relationship.

Dakota tells Blake about John and his player ways in high school.

Blake listens.

Dakota tells Blake how he was asking all the girls to go out with him while he was with another girl.

Blake asks Dakota if he asked her to go out.

Dakota let Blake know that he had.

Dakota also tells Blake that he uses girls to put a notch on his belt.

Blake tells Dakota that she had a date with John.

Dakota knows.

Dakota tells Blake that their parents didn’t want Blake to date John. Since she was a freshman and he was a senior.

Dakota went to the dance to tell John.

Blake tells Dakota she went to the dance and saw her kissing John.

Turning Point 3:

DAKOTA—Dakota tells Blake she wants to end the feud.

DAKOTA PJ #5 She finds out why John broke up with her.

BLAKE—She finds out that Dakota wants to end the feud.

BLAKE AJ #7 Still wants John and will fight even though she has a husband and children.

DEEPER LAYER You have to fight to get what you want.

Blake gets angry with Dakota for kissing John during the dance in high school.

Dakota told her she was protecting her baby sister.

Blake gets up and walks around the attic. Anger is building up.

Dakota explains her actions.

Blake accuses Dakota for her unhappiness at how she had to settle with her husband.

Dakota screams that it wasn’t her fault.

Blake tells Dakota she is lying. That she liked John and wanted to use her to get to him.

Dakota tells Blake this was a setup to stop the feud.

The family is tired of the fight between them.

Act 4 Climax:

DAKOTA—She reads the letter and now knows why John broke up with her. She tells Blake that she and John are having a baby.

DAKOTA PJ #6 Dakota starts yelling and laughing at the same time.

BLAKE—She and Dakota fight.

BLAKE AJ #8 Still wants John and will fight for him.

DEEPER LAYER: Dakota fights for her love, John

Dakota tells Blake that she is matter of fact getting married. This weekend during the fireworks.

Blake asks to whom and Dakota smiles.

Dakota says the owner to the motorcycle outside.

Blake goes over to the window and sees it.

She sees John with her husband and their dad.

Blake attacks Dakota.

Dakota attacks back.

Dakota falls to the floor, grabs her stomach.

Mutters something about the baby.

And asks Blake why Dakota has to be single for the rest of her life.

Blake says because she had a chance with John and it didn’t happen.

Dakota tells Blake she should be happy with her husband and children.

Dakota asks Blake to stand next to her during her wedding.

Resolution:

DAKOTA—-She marries John

BLAKE—She stands next to Dakota at the wedding.

DEEPER LAYER: Happinesses can happen if you truly want it.

Blake nods.

Dakota goes to the door and opens it up.

She lies about the door being locked.

They go downstairs and find the tablecloth on a chair next to the window.

They look at Grandma May and she shrugs her shoulders and smiles

Dakota walks toward John as the fireworks go off.

[Micki Hess]

Micki’s New Outline Beats!

My vision: Be recognized as a writer that will work with the industry and would do what it takes to be that WRITER.

What I learned from doing this assignment is by going back to the concept and looking for the plot holes, realizing I was not following the concept. So the new outline reflects off the concept.

The new one line outline:

Title: FIREWORKS

Act 1: Family wants the feud to end. Come up with a plan.

Inciting Incident: Dakota and Blake go up to the attic.

Act 2: Dakota looks for the tablecloth and looks through the highschool album.

Act 3: Dakota tells Blake she wants to end this feud. Blake accuses Dakota of being locked up in the attic.

Act 4: Dakota finds out it was Blake that caused the breakup and they start fighting.

Resolution: Dakota marries John.

[Micki Hess]

Micki’s Beat Sheet – Draft 1

My vision: Be recognized as a writer that will work with the industry and would do what it takes to be that WRITER.

What I learned from doing this assignment is I feel overwhelmed. Then I put all the outline assignments in one file and it made it easier to do this assignment. Once I did that, it turned out to be easier. Still putting layers upon layers. I can start seeing the movie.

Title: FIREWORKS

PROTAGONIST

DAKOTA TANNER

PROTAGONIST JOURNEY= DAKOTA PJ #

ANTAGONIST

BLAKE RILEY

ANTAGONIST JOURNEY=BLAKE AJ #

DEEPER LAYER

Beginning:

DAKOTA—She picks up a wedding dress.

DAKOTA PJ #1 Dakota expresses she wants to end the feud with her parents and Grandma May. And John will be here shortly.

BLAKE—-She wrote a letter to John in high school.

BLAKE AJ #1 Arrives at the lake house with her husband and children.

DEEPER LAYER: Dakota wants to end the feud with her sister so she can have happiness in her life.

BLAKE AJ #2 Starts a fight with Dakota.

Inciting Incident:

DAKOTA—Goes up to the attic to look for the tablecloth with Blake.

BLAKE—She goes up to the attic with Dakota.

BLAKE AJ #3 Refuses to help and sits on the sofa, watching Dakota looking for the tablecloth.

DEEPER LAYER: The tablecloth has a special meaning for Dakota and she wants to find it.

DAKOTA PJ #2 Dakota goes through the boxes in a corner. Notices Blake sitting.

Turning Point 1:

DAKOTA—Look for it and give up. Heads back down and the door is locked.

DAKOTA PJ #3 She pulls the plug.

BLAKE—-Sits on the sofa and watches Dakota.

BLAKE AJ #4 She gets up and sees a CD player and CDs, she finds a mixed jam Dakota and John made. She plays it.

DEEPER LAYER: The songs hurt Dakota.

Act 2:

DAKOTA—Realizes they are locked up in the attic.

BLAKE—She replugs the CD player and puts her favorite CD in and starts dancing..

DEEPER LAYER This is Dakota chance—she blows it.

Turning Point 2 / Midpoint:

DAKOTA—Finds her old high school album and a letter falls to the floor.

DAKOTA PJ #4 Dakota sits down and starts to cry.

BLAKE—She grabs the fallen letter.

BLAKE AJ #5 She mocks Dakato’s crying.

DEEPER LAYER: Family is sometimes not thicker than water.

Act 3:

DAKOTA—A letter falls out.

DAKOTA PJ #5 She grabs the letter from Blake and sees the reason for the break-up.

BLAKE—Notice a motorcycle.

BLAKE AJ #6 Tells Dakota that she doesn’t deserve John, that he was hers to have.

DEEPER LAYER: Blake is jealous of Dakota and John’s high school relationship.

Turning Point 3:

DAKOTA—Dakota tells Blake she wants to end the feud.

DAKOTA PJ #5 She finds out why John broke up with her.

BLAKE—She finds out that Dakota wants to end the feud.

BLAKE AJ #7 Still wants John and will fight even though she has a husband and children.

DEEPER LAYER You have to fight to get what you want.

Act 4 Climax:

DAKOTA—She reads the letter and now knows why John broke up with her. She tells Blake that she and John are having a baby.

DAKOTA PJ #6 Dakota starts yelling and laughing at the same time.

BLAKE—She and Dakota fight.

BLAKE AJ #8 Still wants John and will fight for him.

DEEPER LAYER: Dakota fights for her family including her sister.

Resolution:

DAKOTA—-She marries John

BLAKE—She stands next to Dakota at the wedding.

DEEPER LAYER: Happinesses can happen if you truly want it.

[Micki Hess]

Micki’s Deeper Layer!

My vision: Be recognized as a writer that will work with the industry and would do what it takes to be that WRITER.

What I learned from doing this assignment is that there are layers upon layers to a story telling. To make a story more powerful, you have to peel back each layer and put them back together to make the story more meaningful and draw the audience into the story.

TITLE: FIREWORKS

Surface Layer:

Dakota doesn’t know why Blake is alway angry at her. Every time they get together, Blake starts arguing with Dakota.

Deeper Layer:

Blake is envious of Dakota’s relationship with John. Blake wants John to love her and if she can’t have John, neither is Dakota.

Major Reveal:

Dakota reads the letter that Blake wrote to John right before the graduation.

Influences Surface Story:

Dakota loves her younger sister and always overlooks Blake’s flaws. Blake causes the break-up.

Hints:

The way Blake talks about the break-up John. Dakota tries to ask about why Blake is always angry.

Changes Reality:

Dakota realizes that Blake was the one that causes the breakup by telling John a lie.

PROTAGONIST

DAKOTA TANNER

Beginning:

She picks up a wedding dress.

Inciting Incident:

Goes up to the attic to look for the tablecloth with Blake.

Turning Point 1:

Looks for it and gives up. Heads back down and the door is locked.

Act 2:

Goes through the boxes and notices Blake sitting on the sofa.

Turning Point 2 / Midpoint:

Finds her old high school album.

Act 3:

A letter falls out.

Turning Point 3:

Dakota tells Blake she wants to end the feud.

Act 4 Climax:

She reads the letter and now knows why John broke up with her.

Resolution:

She marries John

Antagonist

BLAKE RILEY

Beginning:

She wrote a letter to John in high school.

Inciting Incident:

She goes up to the attic with Dakota.

Turning Point 1:

Sits on the sofa and watches Dakota.

Act 2:

Finds a cd player with CDs and starts dancing.

Turning Point 2 / Midpoint:

She grabs the fallen letter.

Act 3:

Sees a motorcycle pulling up in the driveway.

Turning Point 3:

She finds out that Dakota wants to end the feud.

Act 4 Climax:

She and Dakota fight.

Resolution:

She stands next to Dakota at the wedding.

[Micki Hess]

Micki’s Character Structure

My vision: Be recognized as a writer that will work with the industry and would do what it takes to be that WRITER.

What I learned from doing this assignment is that outlines can be helpful.

Title: FIREWORKS

PROTAGONIST

DAKOTA TANNER

Beginning:

She picks up a wedding dress.

Inciting Incident:

Goes up to the attic to look for the tablecloth with Blake.

Turning Point 1:

Looks for it and gives up. Heads back down and the door is locked.

Act 2:

Goes through the boxes and notices Blake sitting on the sofa.

Turning Point 2 / Midpoint:

Finds her old high school album.

Act 3:

A letter falls out.

Turning Point 3:

Dakota tells Blake she wants to end the feud.

Act 4 Climax:

She reads the letter and now knows why John broke up with her.

Resolution:

She marries John

Antagonist

BLAKE RILEY

Beginning:

She wrote a letter to John in high school.

Inciting Incident:

She goes up to the attic with Dakota.

Turning Point 1:

Sits on the sofa and watches Dakota.

Act 2:

Finds a cd player with CDs and starts dancing.

Turning Point 2 / Midpoint:

She grabs the fallen letter.

Act 3:

Sees a motorcycle pulling up in the driveway.

Turning Point 3:

She finds out that Dakota wants to end the feud.

Act 4 Climax:

She and Dakota fight.

Resolution:

She stands next to Dakota at the wedding

[Micki Hess]

Micki’s Supporting Characters

My vision: Be recognized as a writer that will work with the industry and would do what it takes to be that WRITER.

What I learned from doing this assignment is important to have supporting and background characters with a reason to be in the script.

Title FIREWORKS

A script that’s contained at a lake house.

SUPPORTING CHARACTERS:

Grandma Mae Tanner

Papa Hank Tanner

Brody Riley

BACKGROUND CHARACTERS (MINORS ROLES)

Brody and Blake Riley’s children:

Madison Riley

Anna Riley

Colton Riley

Minster Allen Harper

Guests attending wedding

Support 1:

Name: Grandma Mae Tanner

Role: Grandmother who raised the sisters

Main purpose: To help to end the feud. She offers life advice and wisdom to others and some humor.

Value: With her wisdom and advice to the sisters in hopes of ending the feud and having peace in the family.

Support 2:

Name: Papa Hank Tanner

Role: Grandfather helped raise the sisters.

Main purpose: He makes sure everyone is having a good time celebrating the 4th.

Value: He accidentally sets off the fireworks that might cause a small fire.

Support 3:

Name: Brody Riley

Role: Blake enduring husband

Main purpose: Taking care of the children while his wife is settling a feud with her sister.

Value: He is there to help with the children and help put out the small fire and support for his wife, Blake.

[Micki Hess]

Micki’s Character Profiles Part 2

My vision: Be recognized as a writer that will work with the industry and would do what it takes to be that WRITER.

What I learned from doing this assignment is that well developed characters draw actors, producers, directors and importantly, the audience to the movie. Each assignment has put a layer to the characters’ profiles.

Lead Character Name: DAKOTA TANNER

Role: Protagonist

The High Concept: She wants to end the feud while locked up in the attic. She tells her sister why and doesn’t care if she approves or not.

This character’s journey:.To marry the man of her life and end the feud with her sister.

The Actor Attractors for this character:.

What about this role would cause an actor to want to be known for it?

This is a teacher that loves and puts others before herself. She has a chance at happiness when she ends the feud with her sister.

What makes this character one of the most interesting characters in your story?

She is easy going until you get her pissed off. Keeping a secret from her younger sister.

What are the most interesting actions the Lead could take in the script?

The realization that she has to fight for her happiness and for the man she loves. She tries to end the feud with her sister.

How can you introduce this role in a way that could sell it to an actor?

Rides on a motorcycle with her man and is cool as a cucumber around her sister.

What could be this character’s emotional range?

Nice, friendly, to outrage anger.

What subtext can the actor play?

She is keeping the fact that she is marrying her high school sweetheart, the person that her sister caused a break-up with.

What’s the most interesting relationship this character can have?

John Grant, he knows Dakota wants peace between her sister.

How will this character’s unique voice be presented?

Love for her family, anger, and finally happiness.

What could make this character special and unique?

She deeply cares for her sister and her family. With the understanding that she deserves to be happy and have joy in her life.

Role in the Story: Protagonist- she wants to end the feud and marries the man of her dreams.

Age range and Description: She’s in her late twenties-early thirties, dresses casual, messy bun, with a small heart inked on her left shoulder.

Core Traits:

Intelligent

Sassy

Lovable

Secretive

Motivation; She is tired of the feud and resilience of being jealous of her sister. She wants a husband also to have her own children.

Want: Be happy

Need: To end the feud to be happy.

Wound: Her broken heart

Likability: She cares for her sister, always protecting her.

Relatability: We all have one sibling we try to protect from the harsh world.

Empathy: We see the struggle she has with her own wants.

Character Subtext:

She doesn’t want to go on in life with the joy of a family.

Character Intrigue:

Secret: Hides the engagement ring

Deception: Plans on being lock up in the attic

Flaw:

Afraid of hurting her sister’s feelings.

Values:

Love and family

Character Dilemma:

Staying quiet versus center of attention

Lead Character Name: BLAKE RILEY

Role: Antagonist

The High Concept:. Blake lives an unhappy life with her husband and children because she believes she settled just to be married.

This character’s journey: She wants her sister, Dakota, to be miserable for the rest of her life. She is jealous and hurtful.

The Actor Attractors for this character.:

What about this role would cause an actor to want to be known for it?

That she is a spit-fire with anger issues against her sister for stealing her guy during high school. She breaks them up so she can have him, which backfires on her.

What makes this character one of the most interesting characters in your story?

The irony is that she is married with three children and is unhappy with her life, even though her family lives comfortably where she gets to stay at home.

What are the most interesting actions the Lead could take in the script?

She gets locked up in the attic with her sister and they argue and have a physical fight. And finds out her sister has kept a secret from her.

How can you introduce this role in a way that could sell it to an actor?

She and her sister race to the house as they did when they were kids. While her family watches and shakes their heads. .

What could be this character’s emotional range?

Brat to anger to accept her life.

What subtext can the actor play?

She wants the feud to keep going because she is upset that she settled.

What’s the most interesting relationship(s) this character can have?

Her sister, Dakota and high school crush, John, and her husband, Will Riley

How will this character’s unique voice be present?

By being sniding, controlling through caring that she can muster up.

What could make this character special and unique?

Her dramatic high school scheming to get what she wants.

Role in the Story: Antagonist – she wants to keep the feud going.

Age range and Description: She is two years younger than Dakota. She has the latest hairstyle and makeup and clothing.

Core Traits:

Lovable

Angry

My way or the highway

Manipulative

Motivation: Her anger towards Dakota keeps her happy

Want: Keep the feud going.

Need: Understanding why the feud must keep going.

Wound: Misunderstanding

Likability: She thinks she did the right thing

Relatability: We all have that one sibling that does mean things and accepts them.

Empathy: She wants love and doesn’t realize she has it with her husband and children.

Character Subtext:

She knows why John broke up with Dakota and she is quite proud of it

Character Intrigue:

Hidden agenda: she wrote the letter in hopes John would be hers.

Flaw:

Say the wrong thing at the right opportunity.

Values:

Ambitious, pettiness, and selfish

Character Dilemma:

Center of attention versus staying quiet

Lead Character Name: JOHN GRANT

Role: TRIANGLE

The High Concept: A biker who wants to marry his high school sweetheart and tries to make peace with the sisters.

This character’s journey: He will get married to his gal of his dreams.

The Actor Attractors for this character:

What about this role would cause an actor to want to be known for it?

A man that loves his high school sweetheart and likes his bike (motorcycle), athletic built, with some tats.

What makes this character one of the most interesting characters in your story?

His quick wit and laughter

What are the most interesting actions the Lead could take in the script?

He will bring some wit and dry humor while trying to end the feud

How can you introduce this role in a way that could sell it to an actor?

He rides a bike and has a good sense of humor.

What could be this character’s emotional range?

Happiness, understanding and joy

What subtext can the actor play?

His patience between the sisters and their family.

What’s the most interesting relationship(s) this character can have?

Dakota, his love interest, her sister, Blake and her family

How will this character’s unique voice be present?

Through his laughter, his actions and emotions.

What could make this character special and unique?

His sense of humor and love

Role in the Story: He is the triangle

Age range and Description: Same age as Dakota, rugged outdoor type of guy with some inks and rides a bike.

Core Traits:

Humor

Honest

Slow to anger

Easy going

Motivation: To bring the sisters back together and marries one of them.

Want: Dakota

Need: Dakota

Wound: He broke her heart once and vowed not to break her heart again.

Likability: He wants to bring peace to his love.

Relatability: We were all there with broken hearts and didn’t understand why it happened.

Empathy: He truly loves Dakota.

Character Subtext:

He wants peace between the feuding sisters, though he was lied to.

Character Intrigue:

Conspiracy: he’s the one that locks the sisters up.

Flaw:

Love for Dakota

Values:

Honesty, love, family

Character Dilemma:

Follow his heart versus letting someone lie to him

[Micki Hess]

Micki’s Character Profiles Part 1

My vision: Be recognized as a writer that will work with the industry and would do what it takes to be that WRITER.

What I learned from doing this assignment is it can be exciting making characters come alive with these lessons. Getting to the very core of their being. The deeper you go the better the development and round the characters get.

Lead Character Name: DAKOTA TANNER

Role: Protagonist

The High Concept: She wants to end the feud while locked up in the attic. She tells her sister why and doesn’t care if she approves or not.

This character’s journey:.To marry the man of her life and end the feud with her sister.

The Actor Attractors for this character:.

What about this role would cause an actor to want to be known for it?

This is a teacher that loves and puts others before herself. She has a chance at happiness when she ends the feud with her sister.

What makes this character one of the most interesting characters in your story?

She is easy going until you get her pissed off. Keeping a secret from her younger sister.

What are the most interesting actions the Lead could take in the script?

The realization that she has to fight for her happiness and for the man she loves. She tries to end the feud with her sister.

How can you introduce this role in a way that could sell it to an actor?

Rides on a motorcycle with her man and is cool as a cucumber around her sister.

What could be this character’s emotional range?

Nice, friendly, to outrage anger.

What subtext can the actor play?

She is keeping the fact that she is marrying her high school sweetheart, the person that her sister caused a break-up with.

What’s the most interesting relationship this character can have?

John Grant, he knows Dakota wants peace between her sister.

How will this character’s unique voice be presented?

Love for her family, anger, and finally happiness.

What could make this character special and unique?

She deeply cares for her sister and her family. With the understanding that she deserves to be happy and have joy in her life.

Role in the Story: Protagonist- she wants to end the feud and marries the man of her dreams.

Age range and Description: She’s in her late twenties-early thirties, dresses casual, messy bun, with a small heart inked on her left shoulder.

Core Traits:

Intelligent

Sassy

Lovable

Secretive

Motivation; She is tired of the feud and resilience of being jealous of her sister. She wants a husband and to have her own children.

Want: Be happy

Need: To end the feud to be happy.

Wound: Her broken heart

Likability: She cares for her sister, always protecting her.

Relatability: We all have one sibling we try to protect from the harsh world.

Empathy: We see the struggle she has with her own wants.

Lead Character Name: BLAKE RILEY

Role: Antagonist

The High Concept:. Blake lives an unhappy life with her husband and children because she believes she settled just to be married.

This character’s journey: She wants her sister, Dakota, to be miserable for the rest of her life. She is jealous and hurtful.

The Actor Attractors for this character.:

What about this role would cause an actor to want to be known for it?

That she is a spit-fire with anger issues against her sister for stealing her guy during high school. She breaks them up so she can have him, which backfires on her.

What makes this character one of the most interesting characters in your story?

The irony is that she is married with three children and is unhappy with her life, even though her family lives comfortably where she gets to stay at home.

What are the most interesting actions the Lead could take in the script?

She gets locked up in the attic with her sister and they argue and have a physical fight. And finds out her sister has kept a secret from her.

How can you introduce this role in a way that could sell it to an actor?

She and her sister race to the house as they did when they were kids. While her family watches and shakes their heads. .

What could be this character’s emotional range?

Brat to anger to accept her life.

What subtext can the actor play?

She wants the feud to keep going because she is upset that she settled.

What’s the most interesting relationship(s) this character can have?

Her sister, Dakota and high school crush, John, and her husband, Will Riley

How will this character’s unique voice be present?

By being sniding, controlling through caring that she can muster up.

What could make this character special and unique?

Her dramatic high school scheming to get what she wants.

Role in the Story: Antagonist – she wants to keep the feud going.

Age range and Description: She is two years younger than Dakota. She has the latest hairstyle and makeup and clothing.

Core Traits:

Lovable

Angry

My way or the highway

Manipulative

Motivation: Her anger towards Dakota keeps her happy

Want: Keep the feud going.

Need: Understanding why the feud must keep going.

Wound: Misunderstanding

Likability: She thinks she did the right thing

Relatability: We all have that one sibling that does mean things and accepts them.

Empathy: She wants love and doesn’t realize she has it with her husband and children.

Lead Character Name: JOHN GRANT

Role: TRIANGLE

The High Concept: A biker who wants to marry his high school sweetheart and tries to make peace with the sisters.

This character’s journey: He will get married to his gal of his dreams.

The Actor Attractors for this character:

What about this role would cause an actor to want to be known for it?

A man that loves his high school sweetheart and likes his bike (motorcycle), athletic built, with some tats.

What makes this character one of the most interesting characters in your story?

His quick wit and laughter

What are the most interesting actions the Lead could take in the script?

He will bring some wit and dry humor while trying to end the feud

How can you introduce this role in a way that could sell it to an actor?

He rides a bike and has a good sense of humor.

What could be this character’s emotional range?

Happiness, understanding and joy

What subtext can the actor play?

His patience between the sisters and their family.

What’s the most interesting relationship(s) this character can have?

Dakota, his love interest, her sister, Blake and her family

How will this character’s unique voice be present?

Through his laughter, his actions and emotions.

What could make this character special and unique?

His sense of humor and love

Role in the Story: He is the triangle

Age range and Description: Same age as Dakota, rugged outdoor type of guy with some inks and rides a bike.

Core Traits:

Humor

Honest

Slow to anger

Easy going

Motivation: To bring the sisters back together and marries one of them.

Want: Dakota

Need: Dakota

Wound: He broke her heart once and vowed not to break her heart again.

Likability: He wants to bring peace to his love.

Relatability: We were all there with broken hearts and didn’t understand why it happened.

Empathy: He truly loves Dakota.

[Micki Hess]

Micki’s Likability/Relatability/Empathy

My vision: Be recognized as a writer that will work with the industry and would do what it takes to be that WRITER.

What I learned from doing this assignment is building characters that the audience can connect to with emotions.

Movie: FIREWORKS

Dakota Tanner (Protagonist)

Likability: She cares for her sister, always protecting her.

Relatability: We all have one sibling we try to protect from the harsh world.

Empathy: We see the struggle she has with her won wants.

Blake Riley (Antagonist)

Likability: She thinks she did the right thing

Relatability: We all have that one sibling that does mean things and accepts them.

Empathy: She wants love and doesn’t realize she has it with her husband and children.

[Micki Hess]

Micki’s Character Intrigue

My vision: Be recognized as a writer that will work with the industry and would do what it takes to be that WRITER.

What I learned from doing this assignment is challenging and rewarding. Exploring the characters’ deepness. Diving into their world is bringing them to life.

TITLE: FIREWORKS

Character Name: DAKOTA TANNER

Role: Protagonist

Hidden agendas: Marrying her high school sweetheart, John Grant

Competition: Her married sister, who had a crush on John when in high school.

Conspiracies: Wants to end the feud with her sister.

Secrets: Marrying John on 4th of July

Deception: Ending the feud so she can get married and get the family involved.

Unspoken Wound: It deeply hurt her when John broke up with her on graduation day. And didn’t know why.

Secret Identity: Has none.

Character Name: BLAKE RILEY

Role: Antagonist

Hidden agendas: Wants to keep her sister miserable for the rest of her life. When she had John break up with Dakota because she told him that Dakota was pregnant by another guy.

Competition: Her sister and family.

Conspiracies: If she can’t have John, her sister sure as hell will not get him.

Secrets: Telling John a lie about Dakota

Deception: She wanted John

Unspoken Wound: Stood-up on prom night by her then boyfriend.

Secret Identity: Saboteur

[Micki Hess]

Micki’s Subtext Characters

My vision: Be recognized as a writer that will work with the industry and would do what it takes to be that WRITER.

What I learned from doing this assignment is really fun to do. It is like a jigsaw puzzle putting pieces together. And seeing the characters coming alive.

I am EMPOWERED!

With your example movie, give us the following answers for the character with the most subtext:

Movie Title: SISTERS

Character Name: KATE ELLIS

Subtext Identity: THE ONE WHO THROWS OUTRAGE PARTIES

Subtext Trait: IRRESPONSIBLE-LOSER

Subtext Logline: Kate is the one that parties, the last party at her parents’ home, Kate becomes the party mom, which she does at first and then starts partying.

Possible Areas of Subtext:

She goes out to get some more alcohol and finds her sister’s phone, and scrolls and sees that her sister knows where Hailey, Kate’s daughter, was at. She goes back and confronts her sister and a huge fight breaks out between the sisters.

MOVIE: FIREWORKS

Character Name:

DAKOTA TANNER

Subtext Identity:

She wants to marry the man of her dreams

Subtext Traits:

Hiding something-Afraid to say-Secret

Subtext Logline:

She wants to end the feud while locked up in the attic. She tells her sister why and doesn’t care if sister approves or not.

Possible Areas of Subtext:

With her sister, Blake and her love interest John Grant.

Character Name:

BLAKE RILEY

Subtext Identity:

Doesn’t want her sister to be happy for costing Blake the man of her life.

Subtext Trait:

Sneaky-<b style=”font-family: inherit; font-size: inherit;”>Undercover-<b style=”font-family: inherit; font-size: inherit;”>Scheming-<b style=”font-family: inherit; font-size: inherit;”>Devious

Subtext Logline:

Blake lives an unhappy life with her husband and children because she believes she settled just to be married.

Possible Areas of Subtext:

In the attic with her sister, arguing and throwing items at Dakota. She confesses she is the reason that John broke up with Dakota.

[Micki Hess]

Micki’s Actor Attractors!

My vision: Be recognized as a writer that will work with the industry and would do what it takes to be that WRITER.

What I learned from doing this assignment is fun, and tedious work, well worth it. So while doing this assignment, dig deeper into the characters.

I am EMPOWERED!

ACTOR ATTRACTOR TEMPLATE

Movie title: FIREWORKS

Lead Character Name: DAKOTA TANNER

Role: Protagonist

What about this role would cause an actor to want to be known for it?

This is a teacher that loves and puts others before herself. She has a chance at happiness when she ends the feud with her sister.

What makes this character one of the most interesting characters in your story?

She is easy going until you get her pissed off. Keeping a seret from her younger sister.

What are the most interesting actions the Lead could take in the script?

The realization that she has to fight for her happiness and for the man she loves. She tries to end the feud with her sister.

How can you introduce this role in a way that could sell it to an actor?

Rides on a motorcycle with her man and is cool as a cucumber around her sister.

What could be this character’s emotional range?

Nice, friendly, to outrage anger.

What subtext can the actor play?

She is keeping the fact she is marrying her high school sweetheart, the person that her sister caused a break-up.

What’s the most interesting relationship this character can have?

John Grant, he knows Dakota wants peace between her sister.

How will this character’s unique voice be presented?

Love for her family, anger, and finally happiness.

What could make this character special and unique?

She deeply cares for her sister and her family. With understanding that she deserves to be happy and have joy in her life.

Movie title: FIREWORKS

Lead Character Name: BLAKE RILEY

Role: Antagonist (yunger sister)

What about this role would cause an actor to want to be known for it?

That she is a spit-fire with anger issues against her sister for stealing her guy during high school. She breaks them up so she can have him, which backfires on her.

What makes this character one of the most interesting characters in your story?

The irony is that she is married with three children and is unhappy with her life, even though her family lives comfortably where she gets to stay at home.

What are the most interesting actions the Lead could take in the script?

She gets locked up in the attic with her sister and they argue and have a physical fight. And founds out her sister has keep a secret from her

How can you introduce this role in a way that could sell it to an actor?

She and her sister race to the house as they did when they were kids. While her family watches and shakes their heads. .

What could be this character’s emotional range?

Brat to anger to accept her life.

What subtext can the actor play?

She wants the feud to keep going because she is upset that she settled.

What’s the most interesting relationship(s) this character can have?

Her sister, Blake, knows how to use the “poor me” button.

How will this character’s unique voice be present?

By being sniding, controlling through caring that she can muster up.

What could make this character special and unique?

Her dramatic high school scheming to get what she wants.

[Micki Hess]

Micki’s Actor attractors for SISTERS (2015)

My vision: Be recognized as a writer that will work with the industry and would do what it takes to be that WRITER.

What I learned from doing this assignment is fun and challenging. I had fun re-watching this movie a dozen or so.. This time, I look at the main character and see how she clicks.

I am EMPOWERED!

Movie Title: SISTERS (2015)

Lead Character Name: KATE ELLIS (TINA FEY)

1. Why would an actor WANT to be known for this role?

Party-hardy gal, who is irresponsible with job and family. She gets kicks out of the house and heads to her parents.

2. What makes this character one of the most interesting characters in the movie?

She goes from irresponsible to trying to be a responsible person, then converting back to her old self.

3. What are the most interesting actions the Lead takes in the movie?

Kate becomes a party mom where she can’t drink or do drugs. After a phone call, Kate starts partying.

4. How is this character introduced that could sell it to an actor?

She dyes a man’s eyebrows, which are removed when she wipes it off, while on the phone with her sister.

5. What is this character’s emotional range?

She has a mixture of emotions when she discovers that her family doesn’t believe in her. Disappointment of her parents, upset with her sister. Mad at her daughter for hiding. She ends up restoring the home.

6. What subtext can the actor play?

She is hiding the fact she has no job and no home and is broke.

7. What’s the most interesting relationship this character has?

Her sister, Maura Ellis, who is a nurse, They have one more party at their parents’ home. They invite their friends from the past.

8. How is this character’s unique voice presented?

Through the party, house being sold, and saving her daughter from a sink-hole.

9. What makes this character special and unique?

Her journey of transformation: responsible person, who learns to be trustworthy.

[Micki Hess]

Micki’s Genre Conventions

My vision: Be recognized as a writer that will work with the industry and would do what it takes to be that WRITER.

What I learned from doing this assignment is taking time to think about the story and Conventions of Comedy. By not rushing doing the assignment and looking into each Act, I can see the characters coming more alive.

I am EMPOWERED!

CONVENTIONS OF COMEDY

PURPOSE: To entertain the audience with a story packed with

laughter-inducing moments.

CONGRUENCE: Some aspect of the journey, world, characters, or

perspective is incongruent in a way that causes the audience to laugh. The

unconventional pairing of two things, people, or situations in an way that

causes laughter.

MECHANICS OF COMEDY: Specific devices are used to induce laughter:

Primarily, the Setup / Punchline. Also, devices like toppers, running gags,

sight and prop humor. This also includes comedic situations like “Fish out

of water,” Incongruent Pairings, Hilarious Purpose, Absurd situation,

Misinterpretation, etc..

COMEDIC PROTAGONIST(S): Whether deliberately funny or the ‘straight

man’ of the story, the Protagonist triggers countless amusing situations

through their incongruent perspectives, choices and reactions to events.

STRONG STORY: Comedy is not enough. You need a story that keeps us

engaged throughout the movie.

Title: FIREWORKS

Genre: Comedy

Concept:

Let the fireworks begin; a worn-out family is fed-up with the sisters’ feud; so they plan to lock them up until the feud is over during the holiday.

Act 1: 25 to 30 pages — Set up and see Old Ways.

Opening:

A long road with bends and trees along the side. Turn onto a side road and travel down the windy road. .

A two story home with an attic window sits along the lake. The couple, Dakota and John, get out of the car and head inside the house.

Another car arrives with a man, Doug, a woman, Blake, and two children, Tom and Leah.

A long road with bends and trees along the side. Turn onto a side road and travel down the windy road. .

A two story home with an attic window sits along the lake.

Both sisters arrive at the same time. They see each other and race to the house. Blake fumbles with the door, keeps locking the door.

Dakota goes to the other door and enters the kitchen, where Grandma May cuts up some carrots, with pots on the stove with steam coming out.

Dakota and Blake shuck corn, racing.

Inciting Incident:

Dakota and Blake start arguing. And asks to find a tablecloth in the attic.

Blake sees John at the table. She turns to Dakota and asks how dare her to bring him here.

Dakota dumps the corn on Blake.

Grandma May has enough.

She asks them to go to the attic to find tablecloth

Turning Point:

They get locked in the attic.

They head to the attic. Once they enter it, Grandma May locks them in there. And let them know they would not be getting out until they settle their disagreement.

Act 2: 20 to 30 pages — Challenge the Old Ways.

New plan:

Find the tablecloth and get out of the attic.

Blake sits down on an old sofa, dust rises from it. She wipes her hand.

Dakota looks for the tablecloth. She notices Blake not helping. She grabs a pillow and throws it at Blake. Blake grabs the pillow and starts hitting Dakota with it. Dakota finds a boxing glove and puts it on. She takes a swing at Blake, who ducks and Blake hits Dakota again with the pillow.

Grandma May talks to John about the feud.

Plan in action:

Dakota finds her senior year album and leaves through it. Remembering John and the breakup.

Dakota stops and starts moving boxes around to look for the tablecloth. Came up on a box with her name on it. She opens it up and looks through it.

Blake is on the other side of the attic and goes through boxes and notices Dakota looking at a book.

Dakota came to a picture of her and John as the senior class Prom King and Queen. Notices John’s handwriting, My lovely Queen, Love John.

Midpoint Turning Point:

Blake grabs it and starts ripping it up. Dakota yank the book from her.

Blake tries to grab the high school album. Dakota sits on it. Blake tries to make Dakota stand up to get it. Blake pulls Dakota off the sofa and Dakota hits the floor.

Grandma May and John and the kids look up.

Act 3: 20 to 30 pages — With Midpoint change, Profound moments that give us new ways.

Rethink everything:

Dakota realizes that Blake is not going to let her have happiness.

Dakota gets up off the floor and sees Blake tear the album up.

Dakota grabs the album.

Blake laughs at Dakota. And taunts Dakota about her dead husband.

New plan:

Revealing that she has the right to be happy as anyone else.

Dakota realizes Blake is a heartless sister. Dakota needs to make her happinesses.

Turning Point: Huge failure / Major shift:

Blake reveals that John cheated on Dakota while they were dating.

Dakota doesn’t believe Blake.

Blake finds a letter from John. He tells Blake he loves her, not Dakota.

Blake brags how John cheated on Dakota while they were dating.

Dakota doesn’t believe Blake.

Blake shows a letter from John.

Dakota tears up, as she reads the letter. She looks at the writing and picks up a torn picture. Dakota looks at the handwriting, it looks like John’s.

Dakota falls to the floor, sobbing.

Act 4: 25 pages — Test the change in this character! Prove New Ways!

Climax/Ultimate

expression of the conflict:

Dakota grabs Blake and slaps her. The sisters fight.

Dakota says she is marrying John with or without Blake standing next to her.

Dakota gets up. She picks up the letter.

Grandma May and John look up at the ceiling.

Grandma May sips her coffee.

Dakota tells Blake she is going to marry John, no matter what.

And the letter was from the past and has nothing to do with the future.

And she tells Blake that she is having his baby.

Dakota tells Blake she has forgiven , and for everything, and she is no longer mad at her.

Tells her she wants her younger sister to stand next to her.

Resolution:

Dakota marries John with Blake standing next to her sister as the fireworks explode in the night sky.

Blake holds up the tablecloth and smiles. She wants to end the feud, just doesn’t know how to end it..

Grandma May let the ladies out of the attic. Blake hands the tablecloth to Grandma May.

Blake apologizes.

Dakota and John get married as the fireworks explode in the night sky.

[Micki Hess]

Micki’s 4 Act Transformational Structure

My vision: Be recognized as a writer that will work with the industry and would do what it takes to be that WRITER.

What I learned from doing this assignment is understanding my character and her arc, internal and external journey and old and new ways. It is like having a chart of the character and coming alive in the script.

I am EMPOWERED!

Title: FIREWORKS

Genre: Comedy

Concept:

Let the fireworks begin; a worn-out family is fed-up with the sisters’ feud; so they plan to lock them up until the feud is over during the holiday.

Title: FIREWORKS

Genre: Comedy

Concept:

Let the fireworks begin; a worn-out family is fed-up with the sisters’ feud; so they plan to lock them up until the feud is over during the holiday.

Arc Beginning: People Pleaser Put others before her needs and wants.

Arc Ending: Self Pleaser

Internal Journey: Meek and seeking approval to Strong and no approval

External Journey: Standing up for what she wants.

Old Ways:

Protect sister’s feelings

Try to please everyone

Deny herself of happiness

Vowed to be a widow for the rest of her life.

Live her life for everyone but herself.

New Ways:

No longer denying her feelings

No longer vowed to be widow

Her happiness means the world to her

Live her life for herself

No longer protecting her sister’s feelings

Act 1: 25 to 30 pages — Set up and see Old Ways.

Opening:

A long road with bends and trees along the side. Turn onto a side road and travel down the windy road. .

A two story with an attic window sits along the lake. The couple gets out of the car and heads inside the house.

Inciting Incident:

Sisters start arguing. And asks to find a tablecloth in the attic.

Turning Point:

They get locked in the attic.

Act 2: 20 to 30 pages — Challenge the Old Ways.

New plan:

Find a the tablecloth and get out of the attic.

Plan in action:

Find her senior year album and leafs through it. Remembering John and the breakup.

Midpoint Turning Point:

Blake grabs it and starts ripping it up. Dakota yank the book from her.

Act 3: 20 to 30 pages — With Midpoint change, Profound moments that give us new ways.

Rethink everything:

Dakota realizes that Blake is not going to let her have happiness.

New plan:

Revealing that she has rights to be happy as anyone else.

Turning Point: Huge failure / Major shift:

Blake reveals that John cheated on Dakota while they were dating.

Dakota doesn’t believe Blake.

Blake finds a letter from John. He tells Blake her loves her not Dakota.

Act 4: 25 pages — Test the change in this character! Prove New Ways!

Climax/Ultimate

expression of the conflict:

Dakota grabs Blake and slaps her. The sisters fight.

Dakota says she is marrying John with Blake without Blake standing next to her.

Resolution:

Dakota marries John with Blake standing next to her sister as the fireworks explode in the night sky.

[Micki Hess]

Micki’s Transformational Journey

My vision: Be recognized as a writer that will work with the industry and would do what it takes to be that WRITER.

What I learned from doing this assignment is subtexts can build tensions and drive the script into a spiral of secrets and misunderstandings between the characters.

I am EMPOWERED!

Title: FIREWORKS

Genre: Comedy

Concept:

Let the fireworks begin; a worn-out family is fed-up with the sisters’ feud; so they plan to lock them up until the feud is over during the holiday.

3. Someone Hides Who They Are

When the plot is about a person who is hiding, subtext opportunities are everywhere.

Dakota falls in love with her high school sweetheart, John, and they break-up because of her sister, Blake’s crush on John.

They meet up again and want to get married. Dakota wants to end the feud with her sister.

4. The Fish Out of Water

While this is a comedy plot, it can also be used for other genres. Put the lead character in a place they don’t belong and watch the subtext brew.

Dakota hates to confront her younger sister, Blake. She does want to end the feud and will do anything, including being locked up in the attic with Blake to resolve the feud so she can ask Blake to be her Matron of Honor at the wedding.

On the surface: They are trying to be nice to each other.

Under the surface: They do not want to be around each other.

On the surface: They act like a family.

Under the surface: They are destroying their relationship as sisters.

[Micki Hess]

Micki’s Transformational Journey

My vision: Be recognized as a writer that will work with the industry and would do what it takes to be that WRITER.

What I learned from doing this assignment is understanding my character and her arc, internal and external journey and old and new ways. It is like having a chart of the character and coming alive in the script.

I am EMPOWERED!

Title: FIREWORKS

Genre: Comedy

Concept:

Let the fireworks begin; a worn-out family is fed-up with the sisters’ feud; so they plan to lock them up until the feud is over during the holiday.

Arc Beginning: People Pleaser

Arc Ending: Self Pleaser

Internal Journey: Meek and seeking approval to Strong and no approval

External Journey: Standing up for what she wants.

Old Ways:

Protect sister’s feelings

Try to please everyone

Deny herself of happiness

Vowed to be a widow for the rest of her life.

Live her life for everyone but herself.

New Ways:

No longer denying her feelings

No longer vowed to be widow

Her happiness means the world to her

Live her life for herself

No longer protecting her sister’s feelings

[Micki Hess]

Micki’s Intentional Lead Characters

CUT!!!

ACTION!!!

My vision: Be recognized as a writer that will work with the industry and would do what it takes to be that WRITER.

What I learned from doing this assignment is coming up with loglines and uniqueness with each character. I can see them with their unique quality.

I am EMPOWERED!

Concept:

Let the fireworks begin; a worn-out family is fed-up with the sisters’ feud; so they plan to lock them up until the feud is over during the holiday.

Character: DAKOTA TANNER (protagonist)

Logline: Widow who falls in love with her highschool sweetheart, John Grant.

Unique: Dakota has put her sister Blake’s feelings before her own, now she has a chance of happiness.

Character: BLAKE RILEY (antagonist)

Logline: Who holds a grudge against Dakota, her sister, and her old high school crush, John Grant.

Unique: She doesn’t want her sister marrying John Grant. Even though she’s married with children.

Character: John Grant (love interest)

Logline: His love for Dakota has not wavered through the years..

Unique: He didn’t knows about Blake’’s crush on him during high school. His eyes were only on Dakota.

• This reply was modified 2 years, 11 months ago by  Micki Hess.

[Micki Hess]

Micki’s Title, Concept, and Character Structure!

My vision: Be recognized as a writer that will work with the industry and would do what it takes to be that WRITER.

What I learned from doing this assignment is choosing which character structure this will belong to. It falls into two different ones, with this screenplay, it is clear that it is a protagonist versus antagonist. I am EMPOWERED!

Title: FIREWORKSCharacter Structure: Protagonist versus Antagonist.Genre: Comedy

High Concept:

Let the fireworks begin; a worn-out family is fed-up with the sisters’ feud; so they plan to lock them up until the feud is over during the holiday.

• This reply was modified 2 years, 11 months ago by  Micki Hess.

[Micki Hess]

Hello, Everyone,

Hi, my name is Michale, I go by Micki. I have written six scripts, none option, YET! I have not being writing since July, had four eyes surgeries, now I can see.

I hope to get out of the class is ways to write intriquing, incredible and breathtaking mixed with laughter in my scripts. I am so excited to write again.

Something unique, special, strange or unusual about me: I can toe snap, it is like a snapping your fingers, this is a newly found. I did thins while on the phone with my husband and we both laugh. I am bit strange, I do keep my strangeness to myself.

I can’t wait for this class to start. See you all around.

[Micki Hess]

“I, Michale (Micki) Hess agree to the terms of this release form.”

GROUP RELEASE FORM

As a member of Writing Incredible Movies, 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, through social media, or in any other way that would make those processes, teleconferences, videos, 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 reply was modified 3 years ago by  Micki Hess.

[Micki Hess]

We gave Charlie to a local Zoo that teaches about reptiles. He has passed away in the Eighties. Nobody told me of what caused his death.

[Micki Hess]

Yes I would like to exchange with you, Linda.

Mine is authormicki@gmail.com

• This reply was modified 2 years, 8 months ago by  Micki Hess.

[Micki Hess]

Hi, Kate, it is great to see you here.