[Nancy Kates]

Nancy Kates

What I learned from doing this assignment: my transformational journey needs more work, and I probably need to amp up the thriller elements for greater genre satisfaction .

Genre: Historical drama with thriller elements

Title: Bound by Ice

High Concept: A lesbian ice scientist fights homophobia and creeping fascism during the Cold War, finding undercover love while she searches for the truth about covert military plans.

Main Conflict: Between telling the truth (Lucy) and telling lies (the military) which also translates as a conflict between love and war. Her boss, Bader, doesn’t necessarily believe in the military’s lies, but his job requires him to enforce/protect them. Jenssen, her colleague, is the other antagonist.

Transformational Journey: Lucy, the protagonist, goes from fear to empowerment, losing her job but whistle-blowing on the evil, environmentally destructive plans of the military.

Opposition: From the military and from society’s homophobia, both personified by Lucy’s nasty colleague Jenssen, and by higher ups in the military.

Protagonist: Lucy Bledsoe is a lesbian science editor with a Ph.D., working at a Cold War research facility in Chicago that pioneers the use of ice cores to track climate change.

Context: The story takes place in 1961, and is based partly on real events.

[Nancy Kates]

Hi Folks–

My name is Nancy Kates, I live in Berkeley, CA, I have written drafts of two screenplays, and have studied screenwriting through various organizations and platforms, though I mostly work in documentary film, as a producer/director. I’m hoping to address the problems in my script, ie I know what is not working, but sometimes lack the confidence/skill to try to fix the problems…which are evident at the outline level. My screenwriting journey often feels like I’m trying to build a perfect house while learning carpentry–there are a lot of angles that go awry. In any event, hope to keep learning, growing, and transforming my script. Fun facts about me: I have dimples, and I own three plum trees.

[Nancy Kates]

Nancy Kates

I agree to the terms of this release form.

GROUP RELEASE FORM

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

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

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

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

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

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

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

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

This completes the Group Release Form for the class.

[Nancy Kates]

N. Kates Day 2 homework

What I learned from this: I need to keep working on the structural issues in my script, and I found that even a short brainstorm made a difference, though there is more work to be done. I’m finding more hope in this than I had….

Bound by Ice Structure

Log Line: Chicago, 1961. Lucy Bledsoe, a closeted lesbian scientist at a Cold War research facility, leads a double life. When she discovers dangerous military secrets, she risks her life, her lover and her job to reveal them.

Main Conflict: Between Lucy, as a closeted lesbian, and the homophobic society she lives in. The Army, which controls her research facility, exemplifies the problem, with its very stringent rules, so the secondary conflict is between Lucy, who decides to whistle-blow, and the Army.

Theme: Secrets can kill.

First version of structure:

1. Opening: a solitary figure walks in a vast empty snowfield, then disappears into a tunnel. A series of shots reveals a mysterious place: Camp Century, Greenland, a US army outpost built under the Greenland Ice Sheet. There is a shot of the drill room, containing the enormous drill that extracts ice cores for their research.

Then we see Lucy (protagonist) on the train to Chicago, heartbroken, with her dog, L’Forte. She has been abandoned by her NY girlfriend, Phyllis, who is going to marry a gay man. Lucy starts her job as an editor at SIPRE, a science lab run by the Army, editing scientific reports about ice core research. She swears an oath: any sign of “deviance” or impropriety will be grounds for dismissal (we see this with flashbacks of her life with Phyllis, so we know she is lying). Her boss, Henri Bader, shows her around and reminds her that she can’t violate the rules.

2. Inciting Incident: Lucy sees top-secret papers indicating the Army wants to put nuclear missiles at Camp Century, where SIPRE extracts its ice cores. One of the papers is a map showing a secret tunnel at the Camp. There is a code word: Project Iceworm.

3. By page 10, you know what the movie is about: her hunt for military secrets, combined with her own secret life as a lesbian in 1961.

4. First turning point at end of Act 1: She meets Charlie, an African-American cab driver and photographer, who will who will become her girlfriend during Act II. (on p 26)

During Act II, as Charlie and Lucy’s relationship heats up, Lucy becomes aware that she is under threat and under surveillance. Someone leaves lesbian novels on her desk, and a mysterious figure observes them out on dates. Jenssen, one of the scientists at SIPRE, takes an intense dislike of her when she corrects his work. Lucy goes on a date with one of the other scientists, Becker, to make things safter for her real life, and to ask him about Camp Century.

Charlie also faces many challenges—she gets beat up while photographing a Civil Rights protest, and has to bribe a police officer when she is pulled over for speeding.

5. Mid-Point: Bader gets a report from the FBI that Lucy has a girlfriend. He orders her to come to Greenland with him, to get her away from Charlie and to give him her smarts in the field. She will be the only woman at the remote Army camp, with over 100 male soldiers and scientists. He also insists that she end her affair with Charlie. Charlie is heartbroken, but gives Lucy a camera to take with her on her journey.

On the way to Greenland, Lucy sees another map of Camp Century, this one without the secret tunnels, and is intrigued. She settles into the rough environment, which is cold and a bit claustrophobic, and gets to work. She isn’t prepared for the amount of unwanted sexual attention she gets from the soldiers.

She sneaks out in the middle of the night and finds the secret tunnels, which contain train tracks. This is proof of Project Iceworm, the Army’s secret plan to put nuclear warheads under the Greenland ice. (Iceworm is a very dangerous idea: ice moves around and would deform the missiles, and Denmark, which owns Greenland, is a non- nuclear country.)

6. Second turning point at end of Act 2: Lucy goes back to photograph the secret tunnel. On her way back, she encounters Jenssen, who tries to take her camera and accuses her of spying for the Russians. He hits her, giving her a black eye and possibly breaking some ribs, but she fights him off enough to keep the camera.

7. Crisis: Bader demands to know what she is doing, and decides to send her home early, because of her injuries. Lucy hides the film, and Jenssen comes back and steals her camera, which is now empty.

8. Climax: She returns home to find her apartment in shambles: the FBI has taken a lot of incriminating stuff about her life as a lesbian. The jig is up. She goes into the office and is immediately fired for violating the oath she pledged when she was hired.

9. Resolution: Lucy begs Charlie for forgiveness, then gets her to develop the film and print images of the train tracks. Lucy sends them to the Chicago Tribune and the Danish consulate. There is a diplomatic shitstorm about the leaks and the Army also fires Bader. Charlie decides to go South to document the Civil Rights movement, and Lucy will go with her, at least for a short while. The final image is of them skating outside in Chicago

A chyron at the end of the film explains that 5,000 people lost jobs during the Cold War because of the “Lavender Scare,” the policy that kicked LGBTQ people out of federal employment. It also explains that the site of Camp Century, which was abandoned in 1966, is a looming environmental threat: nuclear and industrial waste left behind is expected to surface in the next 70 years, as the Greenland Ice Sheet melts.

Revised structure:

Opening: a solitary figure
walks in a vast empty snowfield, then disappears into a tunnel. A series
of shots reveals a mysterious place: Camp Century, Greenland, a US army
outpost built under the Greenland Ice Sheet. There is a shot of the drill
room, containing the enormous drill that extracts ice cores for their
research.

Then we see Lucy (protagonist) on the train to Chicago, heartbroken, with her dog, L’Forte. She has been abandoned by her NY girlfriend, Phyllis, who is going to marry a gay man. Lucy starts her job as an editor at SIPRE, a science lab run by the Army, editing scientific reports about ice core research. She swears an oath: any sign of “deviance” or impropriety will be grounds for dismissal (we see this with flashbacks of her life with Phyllis, so we know she is lying). Her boss, Henri Bader, shows her around and reminds her that she can’t violate the rules.

2. Inciting Incident: Lucy sees top-secret papers indicating the Army wants to put nuclear missiles at Camp Century, where SIPRE extracts its ice cores. One of the papers is a map showing a secret tunnel at the Camp. There is a code word: Project Iceworm.

By page 10, you know what the
movie is about: her hunt for military secrets, combined with her own
secret life as a lesbian in 1961.

First turning point at end of
Act 1: She meets Charlie (Charlene), an African-American cab driver and
photographer, who will who will become her girlfriend (on p 26)

During Act II, as Charlie and Lucy’s relationship heats up, Lucy becomes aware that she is under threat and under surveillance. Someone leaves lesbian novels on her desk, and a mysterious figure observes them out on dates. Jenssen, one of the scientists at SIPRE, takes an intense dislike of her when she corrects his work. Lucy goes on a date with one of the male scientists, Becker, to make things safter for her real life, and to ask him about Camp Century.

FBI Agent Phillips, who has been trailing Lucy and plants the novels on her desk, confronts Lucy, essentially blackmailing her. She will spy for him at SIPRE, or he will get her fired for violating the loyalty oath required for employment. Horrified, Lucy says no, but she is trapped.

Mid-Point: Bader gets a report
from the FBI that Lucy has a girlfriend. He orders her to come to
Greenland with him, to get her away from Charlie and to give him her
smarts in the field. She will be the only woman at the remote Army camp,
with over 100 male soldiers and scientists. He also insists that she end
her affair with Charlie. Charlie is heartbroken, but gives Lucy a camera
to take with her on her journey.

Phillips returns, telling Lucy she has no choice but to report to him about Camp Century when she gets back.

On the way to Greenland, Lucy sees another map of Camp Century, this one without the secret tunnels, and is intrigued. She settles into the rough environment, which is cold and a bit claustrophobic, and gets to work. She isn’t prepared for the amount of unwanted sexual attention she gets from the soldiers.

She sneaks out in the middle of the night and finds the secret tunnels, which contain train tracks. This is proof of Project Iceworm, the Army’s secret plan to put nuclear warheads under the Greenland ice. (Iceworm is a very dangerous idea: ice moves around and would deform the missiles, and Denmark, which owns Greenland, is a non-nuclear country.)

Second turning point , end of
Act 2: Lucy goes back to photograph the secret tunnel. On her way back,
she encounters Jenssen, who tries to take her camera and accuses her of
spying for the Russians. He hits her, giving her a black eye and possibly
breaking some ribs, but she fights him off enough to keep the camera.
Crisis: Bader demands to know
what she is doing, and decides to send her home early, because of her
injuries. Lucy hides the film, and Jenssen comes back and steals her
camera, which is now empty.
Climax: She returns home to
find her apartment in shambles: the FBI has taken a lot of incriminating lesbian
material. She goes into the office and is immediately fired for violating
the oath she initially pledged.

Phillips comes back, demanding information about Camp Century. She tells him to go to hell, since he no longer has the power over her that he did (ie has already lost her job). She tells him that one day, years from now, what he has done (spying on innocent US citizens) will be seen as a huge abuse of power.

Resolution: Lucy begs Charlie
for forgiveness, then gets her to develop the film and print images of the
train tracks. Lucy sends them to the Chicago Tribune and the Danish
consulate. There is a diplomatic shitstorm about the leaks; the Army also
fires Bader. Charlie decides to go South to document the Civil Rights
movement–Lucy will go with her, at least for a short while. The final
image is of them skating outside in Chicago

A chyron at the end of the film explains that 5,000 people lost jobs during the Cold War because of the “Lavender Scare,” the policy that kicked LGBTQ people out of federal employment.

Another card explains that the site of Camp Century, which was abandoned in 1966, is a looming environmental threat: nuclear and industrial waste left behind is expected to surface in the next 70 years, as the Greenland Ice Sheet melts.

[Nancy Kates]

Nancy Kates Logline and One Page

What I learned doing this assignment: the real-world facts of my story are hard to describe in simple terms.

BOUND BY ICE

Chicago, 1961: Lucy Bledsoe, a closeted lesbian scientist at a Cold War research facility, leads a double life. When she discovers dangerous military secrets, she risks her life, her lover and her job to reveal them.

Bound by Ice is a drama with thriller and romantic elements, based in part on the actual life of Lucy Bledsoe, a lesbian science editor working at a government-funded Cold War ice research facility in 1961-62. Her lab studies ice cores drilled at a secret US Army outpost in Greenland. Lucy is required to sign a government loyalty oath in order to take the job: if unmasked as a queer person, she could be fired from her job and thrown in jail for “subversion.” But then she falls in love with Charlene (Charlie), a butch African-American cab driver and photographer, and they embark on a secret, risky love affair. Later, Lucy discovers the Army’s dangerous military plan to store nuclear missiles under the ice in Greenland. Sent to work in the field, she finds proof of the plan, and other challenging information, and makes the agonizing choice to blow the whistle, risking her job, her relationship, and possibly her life.

Throughout the story, she faces the choice between her love of science and her love of women, trying to “have it all” in an era in a sexist era that did not welcome women into the sciences. If “having it all” was difficult for most women in the late 1950s/early 60s, it was nigh on impossible for lesbians of that period.

Adapted from the semi-fictional A Thin Bright Line, the historical facts of the story are sometimes harder to believe than its fictional elements:

In the late 1950s, the United States Army Corps of Engineers built an under-ice outpost, Camp Century, in a remote part of the Greenland Ice Sheet. Ice cores were drilled there by scientists from a Chicago-area center, the Snow Ice Permafrost Research Entity (SIPRE), which was pioneering the study of climate change through isotope analysis of ice cores. The Army also hoped to put mobile nuclear warheads on a railway system built under the ice, where ICBMs could quickly strike the USSR. This plan, Project Iceworm, was fortunately never implemented. However, Camp Century was powered by the world’s first portable nuclear reactor. In our story, Lucy also finds evidence that the reactor may be leaking, endangering the soldiers and scientists working there.

Lucy faces choices based on internal conflicts: does she forgo the pursuit of love in order to safeguard her career? Can she expose the ill-conceived military plan to put nuclear warheads under the Greenland ice without jeopardizing Army funding of the ice core research? By the end of the story, does blow the whistle, destroying her career and imperiling her beloved ice research.

Today, as the Greenland Ice Sheet melts, the nuclear, industrial and human waste left behind when it was closed are expected to surface in the next 50-80 years, creating a looming environmental disaster in Greenland in the 21^st century.

[Nancy Kates]

My name is Nancy Kates. 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

[Nancy Kates]

“Phone Booth” Thriller Conventions Nancy Kates

What I learned doing this assignment: the details of the thriller situation change, but the tropes are fairly consistent, which is why the genre is satisfying.

Unwitting but
Resourceful Hero: Stu Shepard
Dangerous
Villain: unnamed psychopath played by Kiefer Sutherland
High stakes: two
men are dead, several others threatened with death
Life and death
situations: yes, sniper is willing to kill anyone
This movie is
thrilling because? You don’t know how he’s going to get out of this
alive.

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

Big Mystery: who
is the guy torturing Stu, and why?
Big Intrigue: Same
thing, no clue as to why he is doing this.
Big Suspense: will
he make it out alive? Will the sniper kill Stu’s wife?

4. Anything else you’d like to say about what made this movie a great thriller? It’s truly suspenseful, even though it all takes place in the same location.

[Nancy Kates]

Seducing Actors Day 5 Nancy Kates character arcs

What I learned from doing this assignment: I had done a similar exercise a while back, but it was a good reminder that every scene has to build on the prior one, in terms of the arc and transformation of the characters.

Zoe

Issue: she’s controlling and sometimes lacks empathy. She’s a perfectionist.

Challenges: She is literally put into someone else’s shoes when she magically switches bodies with Marilyn. Marilyn’s life is full of incredible challenges for Zoe: she has three kids, a messy home life, little privacy. She is not straight and doesn’t want to sleep with Doug, Marilyn’s husband (though, it turns out, neither does Marilyn). She is initially annoyed and freaked out by the kids, but then she starts to make an effort, such as going roller-blading with the eldest, until she falls and breaks her arm, which makes all the other things she has to do even harder (technically she has broken Marilyn’s arm, but it’s the one she is using during most of the film).

Things get worse and worse for her, until she is forced to go through the fire with Marilyn and learn from her.

Transformations

Zoe finds her inner nurturer, and compassion for herself, Marilyn, her partner Heidi, and Marilyn’s kids. She even finds some for Doug, though she sees the worst of him, at times.

She starts to accept the messy imperfections of life and those around her, whereas before she was frustrated by them.

Marilyn

Issues: she a bit of a doormat and “good girl,” ie she takes care of others but rarely even asks herself what she wants, instead of what she’s “supposed” to want. She thinks others might not like her if she asserts her wants and needs. She’s a successful lawyer at work, but doesn’t have a lot of agency.

Challenges: She sees Zoe’s life as a vacation, ie no kids, perfect apartment and partner, less stress. But she is forced to try to take actions to reverse their predicament, and grows in the process of doing so. She also acts in ways that are not her typical “good girl” behavior, such as sleeping with Zoe’s partner while in Zoe’s body. She argues with Zoe, instead of being a doormat.

Transformation: she discovers that she likes being with women, and wants to act on it. She becomes more empowered in her relationships, especially with her husband.

[Nancy Kates]

Nancy Kates Day 4 Characterizations

What I learned: I can be more dramatic with the way I introduce characters, and in this case, dramatic means funnier.

MARILYN

You have a better solution?

ZOE

No, but maybe we should consult someone. You know all the woo-woo stuff, not me. Isn’t there a Santeria person in the Mission?

MARILYN

Yeah, of course, I have a Santeria priestess on speed dial. What was I thinking? Don’t you remember? We can’t tell anyone, even a priestess. I guess one priestess was enough.

Zoe sighs.

ZOE

Let’s go. It can’t hurt. I guess we should keep all this crap. We can be the Wiccan lost and found department.

MARILYN

You take it. Our place has a lot more room in the garage.

This sinks in for Zoe: she’s going to Marilyn’s.

ZOE

Oh, fuck.

INT. SANTERIA SHOP, MISSION DISTRICT

The botanica is filled with candles, sacred oils, beads, shells, amulets, sacred objects for altars, different types of incense, and other religious objects. YOLANDA, 67, a Latinx grandmother wearing a colorful Mexican dress, stands behind the counter.

YOLANDA

Buenos dias, ladies. How can I help you?

Marilyn and Zoe look at each other.

MARILYN

Hi. We were wondering if you could do a really powerful cleansing? Things have gotten a little screwed up for us, as friends. We’re trying to find healing.

YOLANDA

Let’s see. Can I ask what the issue is?

Zoe and Marilyn look at each other, not knowing what to say.

ZOE

I’m sorry, we can’t talk about it. It’s just very very bad. Trust me.

Yolanda sighs.

Zoe and Marilyn look at each other, wondering if they’ve made a mistake coming in here.

YOLANDA

I’m going to need something more than that, in order to work with. I’m not sure you even want a ritual. You have to really want this for it to work.

ZOE

I promise, we’re up for this.

YOLANDA

I dunno. The serious people get the full Santeria ritual, four hours, two thousand. You have to kill a rooster.

Marilyn is shocked.

MARILYN

We can’t do that. No way. Either part.

YOLANDA

I guess you’re not serious, are you?

ZOE

We don’t kill animals, and we can’t shell out. Is there something more reasonable?

YOLANDA

You think the gods are gonna respect you for getting the bargain basement cleansing? Pathetic.

ZOE

You know, we’re kind of fragile right now. Can we just get on with it?

YOLANDA

Okay. Are you healthy?

YOLANDA

Marital difficulties?

Marilyn and Zoe look at each other with compassion. Yolanda is slightly confused.

YOLANDA

You’re not partners, right?

Zoe and Marilyn vigorously shake their heads.

YOLANDA

I might need more information about the difficulties.

MARILYN

I’m sorry, but we just met you. We each have a partner, and there are issues with both of them, thanks.

Marilyn leans in to whisper to Zoe.

MARILYN

(whispering)

What do we say?

ZOE

(whispering)

Don’t worry, just keep going. We don’t have to tell her what’s going on here.

YOLANDA

How are your diets? Are you eating too much tofu?

Zoe can’t even answer this.

MARILYN

We eat well. I eat too much pizza, with my kids. She doesn’t: her body is a temple. (Mine is more like a drive-through). She exercises all the time.

ZOE

Don’t say things like that!

YOLANDA

And is this problem you’re having just with each other, or with someone or something else?

YOLANDA

Mis queridas, you don’t seem to agree about any of this. That will make it harder for the magic to work.

TIME LAPSE

Yolanda assembles candles, incense, herbs, amulets and other objects. Zoe and Marilyn lie on cots, side by side, while Yolanda blesses Marilyn and Zoe in a cleansing ritual. She chants in undecipherable Spanish, and waves the various objects over their bodies. They’re still lying on their cots when she finishes.

YOLANDA

Okay, per favor, stay there for a few minutes, to let your bodies absorb the healing.

Marilyn is half asleep, but Zoe only rests for a quick second before sitting up.

ZOE

Thanks so much! What do we owe you?

YOLANDA

That’ll be $325, no tax. I prefer Venmo, unless you want to pay in crypto?

Zoe and Marilyn register shock on their faces.

YOLANDA

This is nothing. Like I said, a full Santeria cleansing would be two grand, but you were too cheap –or wussy–for the rooster sacrifice.

Zoe and Marilyn pause to imagine a rooster sacrifice. This is not a happy thought for them.

ZOE

Correct. Let’s keep the roosters alive!

Zoe pulls out her phone and pays.

YOLANDA

One more thing. I sense that the ancestors are not happy with the two of you. Maybe you need to do something to appease them? Visit their graves? Make a donation?

MARILYN

Gracias, Señora.

YOLANDA

A dios.

They leave.

[Nancy Kates]

Seducing Actors Day 3 Dueling agendas homework Nancy Kates

What I learned from this: I need to remember this with every scene that I write, that each character has an agenda, and everyone is trying to get something that they want or need. It bakes in the conflict. I chose something really simple, but it still creates conflict.

Zoe character traits: smart, realistic, controlling, withholding

Her agenda is to get away with pretending to be Marilyn

Willow, age 3, is independent, willfull, and somehow senses that Zoe is in Marilyn’s body, ie is totally distrustful. (Three-year-olds don’t have much subtext.)

Her agenda is to get rid of Zoe and get her actual mother back

INT. MARILYN AND DOUG’S LIVING ROOM – NIGHT

Willow sits on the floor, surrounded by a sea of Peter’s Lego bricks. She picks up bricks, one at a time, and flings them toward the sofa.

Zoe (in Marilyn’s body) walks in, trips over a Lego, and winds up on the floor. Willow looks at her strangely, without sympathy, almost the way an angry teen might react.

Zoe piles the Legos into some semblance of order, then tries to take Willow’s hand, to lead her to her room. Willow pulls away.

WILLOW

I’m a big girl. I don’t need you.

INT. WILLOW’S ROOM – NIGHT

A typical room for a little girl, lots of yellow and stuffed animals and cozy corners and play spaces. Zoe reads Make Way for Ducklings to Willow, who refuses to snuggle.

ZOE

(reading)

“The ducklings liked the new island so much that they decided to live there. All day long they follow the swan boats and eat peanuts. And when night falls they swim to their little island and go to

sleep.”

And now you should sleep too, little duckling.

WILLOW

No. I don’t have to do what you say. You’re not my Mommy. Who are you?

ZOE (in Marilyn’s body)

Why would you say such a thing? I’m sure you’re tired, sweetie. Please be nice! It’s time for bed!

WILLOW

I want you to go away! I want my Mommy!

Zoe, alarmed, tries to remain calm.

Willow starts sobbing.

ZOE

It’s okay, little one. I’m right here.

Zoe puts her arm around Willow to comfort her, and Willow pushes her away. Willow sobs herself to sleep, finally, as Zoe watches her, exhausted, unable to help. She sits next to Willow for a long time, then turns out the light and leaves the room.

[Nancy Kates]

Nancy Kates Seducing Actors Day 2 subtext traits

What I learned from this assignment: I need to work on this further

ASSIGNMENT:
———-

Create subtext and loglines for your three main characters. Then
write a list of possible areas for subtext with each character.

Fill in this format for each character.

Name: Zoe

Traits: Smart, realistic, controlling, withholding

Subtext: Withholding

Character Logline: A middle-aged lesbian wants greater intimacy with her partner, but actually pushes her away all the time by her withholding and controlling behavior.

Name: Marilyn

Traits: kind/supportive, smart, good at reading people, spiritual, deceitful

Subtext: deceitful

A middle-aged wife and mother longs for another life, possibly as a lesbian, and is willing to act on her feelings (and hide them), even if her actions hurt others.

Doug

Traits: alleged super-Dad, spacy in the kitchen, male privilege, lying

Subtext: liar—he’s been cheating on Marilyn

A suburban father and husband, bored with his wife, decides to have a covert affair, and is fine with that, until he is unexpectedly discovered

[Nancy Kates]

Nancy Kates seducing actors Day 1 Character traits

What I learned from this: I don’t know certain details of my characters, even after spending a lot of time on them

1. Basic character traits: Zoe

What are 3 or 4 traits that this character consistently operates
out of? Usually, one of those traits needs to be unique to keep
the character from being cliche.

Smart

Tidy

Loving

realistic

2. Want/Need

What does this character want throughout this story? What is the
underlying need that is driving that want?

She wants to be closer to Heidi

3. Paradoxes (Warring elements)

What opposite values does this character have that creates an
internal conflict for them?

She wants to be good but is highly judgemental, ie pushes people away

4. Secret:

What are they hiding that ultimately could keep them from getting
their desire in this story?

Disdain for a lot of people around her

5. Flaw:

What weakness or dysfunction does this character have that makes
them human?

Super controlling, and not always empathetic enough

6. Special:

She’s a professor, good at reading texts and signs (but not necessarily people)

Highly logical

The thing that completely separates this character from all others.
It could be the part of them that is odd or intense or cool or profound.

Marilyn character traits

–kind

–smart

–good at reading people

–spiritually inclined/more open to growth than Zoe is

Want: to escape from her family/ freedom

Need: real partnership, or less stressful and conflicted partnership

Paradox: she either wants what she can’t have, or she doesn’t realize the good parts of what she has

Secret: she’s more interested in women than she will admit,

Flaw: is willing to act out, even if it hurts others (especially as she goes along, is a doormat at the beginning)

Special skills: herding children, compassion for others

Heidi

–a good businesswoman

–adventurous

–more playful than Zoe

Want: deeper connection, and also freedom to have casual connections

Need: greater intimacy and connection with Zoe

Secret: not sure. Maybe she has had an affair already, or done something outside the bounds of their agreements with each other

Flaw: selfishness—if she wants it, that’s justification enough

Special skills: managing people and projects

Seeing through Zoe’s defense mechanisms

[Nancy Kates]

Nancy Kates Pass 8 Cliché busting

What I learned from this assignment: I need to keep working on this. My biggest problem is that the story itself is kind of cliche, though fun. Nothing I came up with felt natural or anything short of preposterous, in part because the rest of the story is set in a realistic, if comedic world. I don’t think it’s going to become less cliche, no matter what device I use to cause them to switch bodies. Will keep working on it, however.

Cliché: magic that causes them to switch bodies

Purpose: to cause this radical and magical shift in the lives and consciousness of the two characters.

One difficulty here: the entire genre is a bit of a cliché, even though this is a fresh take on the genre. I haven’t entirely decided what the rules of this world are, ie it isn’t our world, because they can switch bodies, but that’s the only magical thing in the script. Everything else is fairly normal

3. Brainstorm 5 to 25 other ways to accomplish that purpose

–they fall into a vat of magic liquid of some kind

–they encounter an urban version of a wicked witch who puts a hex on them

–they encounter a crone in the woods, as in a fairy tale

–they eat a magical substance that someone has given them (ie cake, elixir, potion)

–they encounter a kid with a Harry Potter wand, only this one actually works to do spells

–they make a wish on an ordinary birthday cake and magic happens

–one of them has an epileptic fit or some sort of physical problem that triggers the switch

–they go to a building or place that has magical powers, ie walk a maze or something that transforms them

–same general plot but they go to a party that is wild, and end up on the beach with the Wiccan priestess, instead of seeking her out. The potion they drink has to be some sort of drug, and Marilyn has to make a wish that she could be someone else, ideally someone queer

–they find some sort of totemic object that creates the switch when Marilyn wishes on it. At the moment, it’s just a stone she throws in the fire. Could possibly be something else.

I’m
going to try doing the party one. It’s close to the other idea, but a little less
directed, ie the Wiccan Priestess is there on the beach, but they didn’t seek
her out, they just wandered outside to the beach. She can tell them that it is Midsummer/Litha,
and that their wishes may have more importance than on other nights. She might
also tell them that the punch they were drinking has been laced with MDMA.

[Nancy Kates]

Nancy Kates outlining Pass Seven: Setups and Payoffs

What I learned from this: I didn’t actually change my outline. I’m still thinking about this question. I will, I just need to ponder it for a while.

1. List ALL of the setup/payoff chains (SP Chains) from your story — One or two sentences per setup/payoff.

SP CHAIN 1: Body Switching

Setup: they have magically switched bodies
Payoff 1: they learn a lot about each other’s daily lives
Payoff 2:they screw up endlessly
Payoff 3: they finally overcome the obstacles to switch back

SP CHAIN 2: Zoe has endless trouble with the kids

Setup: Zoe is not very nurturing and doesn’t know how to parent
Payoff 1: she screws up everything, and causes youngest to doubt her validity
Payoff 2: in an effort to bond with the eldest, she breaks her (Marilyn’s) arm rollerblading
Payoff 3: she finally does become more parental, after she confronts Doug about his infidelity

SP Chain 3: Marilyn’s attraction to Heidi (and other women)

Setup: Ostensibly straight, Marilyn finds herself drawn to Heidi

Payoff 1: she kisses Heidi right off the bat

Payoff 2: she sleeps with Heidi

Payoff 3: she flirts with the nurse at the hospital

Payoff 4:she asks for an open relationship with Doug at the end

SP Chain 4: Zoe discovers that Doug is cheating

Setup: Zoe finds condoms in Doug’s bag

Payoff 1: she confronts him in couples counseling

Payoff 2: she comforts the kids when things get icky with Doug at home

Payoff 3: she blurts this out to Marilyn

2. Select a setup/payoff chain you want to make stronger.

That would be #4, Zoe’s accidental discovery of Doug’s infidelity

One of the difficulties here is that Zoe has choices to make, but they aren’t really helping her grow, ie this subplot mirrors Marilyn sleeping with Heidi, but doesn’t do that much for Zoe’s arc, except that she has one over on Marilyn when she is also angry at Marilyn. It also doesn’t move them toward solving their problem and switching their bodies back. It does help her have a little compassion for Doug, ironically. She loves Marilyn, but might not want to be married to her, either.

[I didn’t change my outline yet so am not posting it. Will keep thinking about this question]

[Nancy Kates]

Nancy Kates Outlining Day 12 Subplots

What I learned: I might need to think about this topic further. At the moment, the subplots are pretty well woven into the main plot, which is probably good, but they might be taking over, at times. I’m trying to strengthen Zoe’s part of the story, which still feels weaker than Marilyn’s.

I have double protagonists, and the key subplots are each person’s relationship to the other’s spouse. They’re really still very central to the main plot, however. I’m not 100 certain they are subplots, exactly.

1. Marilyn’s sexual attraction to Heidi and betrayal of Zoe

This subplot stems in part from Heidi’s frustration with her dormant sex life with Zoe. I may need to signal that Marilyn already has a crush on Heidi before the story begins, though she’s kind of in denial about it, and in denial about her attraction to women, in general.

Zoe is also in denial about Heidi’s request that they have an open relationship. She thinks it would be the end of things for them. She’s not really in touch with her own frustrations—she wants Heidi to be more present with her, instead of traveling all the time and staying at work.

Part of the difficulty with this subplot is that Zoe doesn’t get to have any say in it, and in some ways, neither does Heidi, since she doesn’t know she is actually sleeping with Marilyn for those few days.

One solution is that Marilyn can be starting to have these attractions even before they switch bodies, without making a huge deal of it. Zoe needs a way to grow in this subplot, too…haven’t quite figured that out yet, since she comes off as a bit of a victim, the way it is written.

2. Zoe’s discovery of Doug’s infidelity

This is supposed to be somewhat parallel to the Marilyn sleeping with Heidi subplot, but it isn’t, really, because it doesn’t do that much to help Zoe grow. What does help her is being with the children, so I need to add more scenes with them, including one where she sits down with them and explains that they as a couple are having some issues, but that it hopefully won’t impact the kids. This subplot is more about Zoe being part of a family system, rather than just about Doug’s infidelity, which of course impacts Marilyn in a huge way, but not Zoe as directly (it may have an impact in the moment but it isn’t actually her drama).

Day 12 outline Switcheroo

INT ZOE APT – DAY: everything has to be absolutely perfect in the apartment, at least visually. Reality is more complicated: her partner, Heidi wants to have an open relationship, since they’re not really having an active sex life. Zoe is angry about this, and wants to control things. She’s also tired of teaching—see her having annoying phone call with an overprivileged student. She fantasizes about another life, maybe as a restaurenteur. Something more creative than teaching undergrads English.

INT. MARILYN OFFICE and HOUSE – DAY: Marilyn gets a call from her daughter while at work. Flash to house: things are fairly chaotic. Marilyn is exhausted from helping everyone around her, including her work colleagues. She invites Zoe to a Wiccan ritual for Litha (summer solstice ritual); Zoe rolls her eyes at first, but reluctantly agrees to go with her. Zoe jokes that maybe a little Wiccan energy could reignite her dormant sex life with Heidi.

EXT. BEACH – NIGHT: Women gather for ritual around bonfire. There is a HEAD PRIESTESS dressed in wild outfit. Marilyn surprises herself by feeling some attraction to one of the other women in the circle…Zoe is the lesbian, not her. As the ritual goes along, she instructs them to find a stone, make a wish, and cast it into the fire, warning them that the fae folk (faeries) sometimes make mischief with these things. They all drink a potion, singing and dancing late into the night. They cast their stones and make wishes.

EXT.. BEACH – MORNING They wake up on the beach, alone. Everyone else from the ritual has gone home, and the fire is out. They are in each other’s bodies. They find a note from the Head Priestess: don’t tell anyone, and figure it out within 72 hours. Zoe asked what Marilyn wished for. The answer: to be someone else, possibly a lesbian. They totally freak out.

EXT BEACH – MORNING After a lot of discussion, they exchange keys, phones, information. Zoe tries to solve the problem with logic, decides they need to consult someone else.

INT SANTERIA SHOP MISSION DISTRICT – DAY: Before going home, they visit a Santeria practioner, hoping to undo what has happened. She asks them a lot of questions (past lives, tofu consumption), burns a few candles, and then gives up. She can’t help them.

INT MARILYN’S HOME – EVENING: Zoe (in Marilyn’s body) is completely out of her element, doesn’t know how to take care of the kids, feeds wheat to the gluten-free kid, contends with the youngest, who senses that this person is not really her mother, let’s the tween watch Stranger Things, but then Doug objects. Zoe calls Marilyn, in a massive panic.

INT ZOE’S APT. – DAY TO EVE: Marilyn (in Zoe’s body) is able to relax for the first time in ages. She takes a bubble bath in the spa tub, and leisurely makes dinner for herself and Heidi, which surprises Heidi when she returns home, since Zoe doesn’t really cook. Marilyn kisses Heidi hello, per Zoe’s instructions, and is surprised by how erotic she finds the kiss, which is actually quite chaste.

INT MARILYN’S BEDROOM – NIGHT: Zoe (in Marilyn’s body) sleeps as far away from Doug as is humanly possible, which is sort of easy because they have a king-sized bed. His snoring keeps her awake, and at least one child knocks every three hours. It’s a nightmare.

INT MARILYN’S HOUSE – MORNING: Zoe (in Marilyn’s body) tries to serve breakfast and get the kids ready for school, but is totally clueless about their routine. Doug brings up various issues and complaints from couples counseling. Zoe dresses as Marilyn and gets in her car to go to work, but secretly heads off to meet Marilyn, leaving Doug with the task of getting the kids to school. He is annoyed.

INT ZOE’S APT. – MORNING: Marilyn (in Zoe’s body) noses around Zoe’s apartment, looking for anything that could help them. She pulls a bunch of philosophy books off the shelves, and starts going through them. Then she finds Heidi’s Tarot deck and tries to use it, though she has no idea how to read the cards. She’s enjoying this break from her regular life.

EXT PARKING LOT – DAY They meet up to talk about what to do, which quickly becomes a huge argument. Zoe dismisses Marilyn’s approach, which is to find a spiritual solution, clinging to her own sense of logic and order; Marilyn is not really on board with Zoe’s approach, either.

INT ZOE’S APT – DAY: They decide to work from Zoe’s apartment—Heidi will be out all day. Marilyn coaches Zoe through a work call that she totally flubs. Marilyn admits she loves Zoe’s carefree life: Zoe gets angry and leaves. Exhausted, Marilyn orders a fancy dinner in for herself and Heidi.

INT. ZOE’S APT – NIGHT: Heidi is enthralled by the dinner and unexpected sparks from Marilyn (in Zoe’s body). After dinner, Marilyn rests her head on Heidi’s lap, on the couch. They start making out, and this leads them to the bedroom, where they have wild, passionate sex. Marilyn tries to tell Heidi she is not who she thinks she is; Heidi senses something is really strange, but doesn’t listen. Marilyn acts out various fantasies that Zoe would not have thought of…Heidi finds this very compelling. [midpoint for Marilyn]

INT MARILYN’S HOUSE – NIGHT: Zoe (in Marilyn’s body) is a lot calmer about the evening routine. She reads to Willow after dinner, who goes along with it, even though she still doesn’t trust Zoe. She has a sweet moment tucking Peter into bed. Doug gives her a fantastic foot massage, and reminds her about their upcoming couples’ counseling appointment.

INT MARILYN’S HOUSE – THE NEXT DAY: Zoe (in Marilyn’s body) rifles through Doug’s shoulder bag while he’s in the shower, trying to find out more about him. She discovers some condoms, which seem to be clear indications that he is cheating on Marilyn. This is an “oh, fuck” moment for Zoe. What should she do? Confront him, since he thinks she is Marilyn? Tell Marilyn?

INT/EXT MARILYN’S HOUSE – AFTERNOON: After school, Gwen, the eldest, announces she’s going roller blading. Zoe (in Marilyn’s body) decides to join her. Gwen is very confused: Marilyn has no idea how to skate, and tries to dissuade Zoe, who is much more athletic than Marilyn. Doug is out of the house, playing tennis with a friend. After rolling down the sidewalk for a while, a child in a nearby house loses control of a ball that rolls directly into Zoe’s path, causing her to crash. Her arm is broken. Gwen starts to run back to the house to call Doug, but Zoe stops her: only Marilyn can take her to the hospital. Zoe frantically calls Marilyn. Gwen is really sweet to Zoe, thanking her for trying to roller blade with her. It’s a bonding moment. Marilyn swoops in to bring Zoe to the ER. [this is the midpoint for Zoe]

INT. ER – EARLY EVENING: The two women flub their way through the intake process, with Marilyn giving Zoe pertinent details of her medical history. The intake nurse is pretty confused by this performance, which is a bit like Abbott and Costello go to the hospital. The nurse openly flirts with Marilyn (in Zoe’s body), which amuses Marilyn and irritates Zoe. What is going on with Marilyn?

INT. ZOE’S CAR – NIGHT: Marilyn (in Zoe’s body) drives Zoe back to her house. Both of them are angry with each other—Marilyn accuses Zoe of being lax, and breaking her arm…in pain, Zoe feels vulnerable, and realizes how little control she actually has, over anything. Subtext: Marilyn feels mighty guilty that she slept with Heidi, though tries to deflect about how things are going for her.

INT. ZOE’S APT. – NIGHT: Heidi asks Marilyn (in Zoe’s body) about something they discussed in couple’s counseling. Marilyn pretends to have forgotten, which really puzzles Heidi. She frantically texts Zoe, who is too busy with the kids to respond. Gwen makes fun of Zoe for her terrible roller blading, but the other kids and Doug are actually really sweet about it. Doug makes dinner and tries to pamper her.

INT ZOE’S HOUSE – DAY: Marilyn works remotely. She starts to take care of something that is the responsibility of one of her coworkers, then realizes she really doesn’t have to, and tells him off. She shocks herself.

INT: ZOE’S APT. – DAY: They’re working together again from Zoe’s place. Marilyn holds up a bag of psychedelic mushrooms, hoping that taking them would somehow reverse the spell. Zoe refuses to ingest any, but only after Marilyn swallows her share. Zoe is incredibly angry: Marilyn is now out of commission for the rest of the day. They talk about how to find the High Priestess, before Marilyn gets too weird. They don’t even know her name. Zoe gets on social media and finds a photo, then uses it to search. The woman’s name is Josephine D’Angelo. She’s a realtor in South San Francisco, when she’s not doing Wiccan stuff. Marilyn coaches Zoe about couples counseling with Doug, and admits they haven’t been intimate in a year. Zoe asks her why she stays. Marilyn talks about the kids, then asks why Zoe never had any, which is a vulnerable moment for Zoe.

INT.DR. SCHWART’S OFFICE – DAY: Doug and Zoe (in Marilyn’s body) go to couples counseling. He starts complaining about her disorganization with dinner and the kids, and other things on his mind. After a while, Zoe has had enough: Doug has essentially been lying (to Marilyn and Dr. Schwartz) during the whole couples counseling process, and she abruptly confronts Doug about the condoms. They have a huge fight. He admits he is seeing someone on the side. Dr. Schwartz is shocked: she hadn’t seen this coming. Doug expresses remorse. Zoe is supposed to be angry on Marilyn’s behalf, and is to some degree, and yet also has compassion for Doug.

INT. RUTH’S OFFICE -DAY: Heidi and Marilyn (in Zoe’s body) go see Ruth, their hippie Mamma lesbian couples therapist. Her office is full of books about Tantric sex and psychology. Marilyn is still tripping a little bit. Heidi happily recounts their sexual breakthrough, which causes Marilyn to giggle uncontrollably, until she admits taking mushrooms. Heidi and Ruth are shocked: buttoned-up Zoe would never take mushrooms. Heidi wonders: does she know Zoe at all? Marilyn pleads for patience, since she has sort of ruined the session.

INT. ZOE’S APT – NEXT MORNING: Marilyn (in Zoe’s body) wakes up in Heidi’s arms, overwhelmed with desire again. They make love passionately, then, guilt-stricken, Marilyn texts Zoe.

INT. MARILYN’S HOUSE – DAY. Things are really weird—Doug is furious with Zoe (in Marilyn’s body), even though he’s the one who cheated, and has been lying about everything. Zoe is beside herself, having to deal with all of this, plus her broken arm. The kids realize that the parents are not speaking to each other, but don’t know why. Zoe is angry at Marilyn, again, for being clueless, and also feels guilty about discovering something that Marilyn didn’t know. She sits down with the three kids, to make sure they don’t feel scared, and is honest with them: she’s having some difficulties with Doug, but it shouldn’t impact their lives. This is a breakthrough moment for Zoe. She might not have done this the way Marilyn would, but she was kind, nurturing, parental, and really comforting to the children.

INT. CAR – DAY: They drive to South San Francisco to find the High Priestess.

EXT JOSEPHINE’S OFFICE: They ring the doorbell, but Josephine is not around. They leave her a note, urgently requesting a ritual session with her. Overcome with guilt, Marilyn (in Zoe’s body) confesses to sleeping with Heidi, and they have another massive fight. Marilyn points out that Zoe and Heidi had been experiencing lesbian bed death, ie maybe this is actually going to help Zoe in the long run, if they ever undo the magic. In the heat of the moment, Zoe decides to tell Marilyn that Doug is having an affair, and that she confronted him at Dr. Schwartz’s. Marilyn is angry at Zoe for telling her, and for doing the confrontation for her. After they calm down, they brainstorm some other ideas for undoing the switch, but realize they need Josephine, the high priestess. Zoe accuses Marilyn of being a doormat with Doug: Marilyn accuses Zoe of being a control freak, and lacking empathy.

INT. CAR – DAY (CONTINUOUS): Marilyn profusely apologies for sleeping with Heidi, and admits she had no idea that lesbian sex would be so hot. This makes Zoe angry all over again. Marilyn points out that even Doug would not expect sex from Zoe (in Marilyn’s body), ie she’s off the hook for that. Zoe gets a frantic call from Peter’s school: he has chicken pox. She drops off Marilyn and rushes back to Alameda to fetch him. After tucking Peter into bed, she ignores Doug, and tries to make sense of the texts, emails and phone calls from Marilyn’s office that have been blown off. She texts back, claiming a family emergency (which is kind of true, actually).

INT. MARILYN’S HOUSE – NIGHT: Josephine calls Zoe back, and agrees to meet with them the next day. Zoe texts Marilyn, relieved. She has more nice moments with the kids. The youngest one has decided to accept this fake Marilyn as good enough, for now.

INT. JOSEPHINE’S APT. – DAY: The whole place is like a Wiccan altar on steroids. Josephine ushers them in, introduces herself, and asks them how she can help. Both Marilyn and Zoe are sputtering, then Marilyn somewhat angrily accuses Josephine of causing the body switch. Josephine smiles gently, and says it wasn’t her, but it could have been the fairies. She asks if one of them made a wish that could have contributed to the situation…and Marilyn confesses that she did. Josephine acts like a therapist, asking each of them, in turn, what she has learned from living in each other’s body. Zoe talks about finding her inner nurturer and letting go of some of her control freak tendencies, though she’s still angry at Marilyn’s betrayal. She also admits that it was wonderful to connect with the children, and nurture them a bit. Marilyn speaks about becoming more empowered to follow her desires, and to take care of herself, instead of everyone else. She apologizes, again, for hurting Zoe: it wasn’t about Heidi, it was about desire. Josephine nods. The two women suddenly feel quite ill, and rush to the bathroom. After each of them throws up, they look at each other and realize they’ve undone the magic, and are back in their own bodies. They rejoice. Rejoining Josephine, she talks about the profound gifts of this learning experience. They roll their eyes at her.

INT. MARILYN’S HOUSE – NIGHT: Marilyn and Doug have a very tentative conversation about their marriage. Doug shows deep regret. Marilyn admits that she also cheated, but makes it sound like that only happened because she found out about his infidelities. She asks for an open marriage, and hints that she might be bisexual.

INT. ZOE’S APT. – NIGHT: Zoe has a deep talk with Heidi, telling her she still believes in their partnership, and talking about all of Heidi’s great qualities. She admits that she’s been too controlling, and also that she fantasizes about chucking her teaching career for something more fun, which surprises Heidi. Zoe seems much more relaxed, and eager to reconnect physically with Heidi. She broaches the subject of possibly adopting a child, which they haven’t talked about in ages.

Zoe and Marilyn text each other to set up their own counseling session with Dr. Schwartz, as friends again, at least sort of.

[Nancy Kates]

Nancy Kates Actions and Reactions pass

What I learned: my outline is slowly getting better, and it takes a while!

Concept: two friends, one straight, the other lesbian, switch bodies through a magical experience. Chaos ensues

Protagonist goals: to undo the switch, but to grow and overcome their flaws in order to do so

Character Arc: Zoe, who is controlling and not always empathetic, needs to let go of control, gain empathy, and become more nurturing.

Marilyn, who takes care of everyone else and puts herself last, needs to become more aware of her own wants and needs and act on them, ie stop putting herself last.

Main conflict: they are angry with each other and the situation. They have to stop arguing long enough to work together to solve their problem.

Actions and reactions

Marilyn: Takes care of everyone

Zoe: fails at taking care of kids

Marilyn Kisses Heidi

Zoe: Edges away from Doug

Marilyn: Decides she likes Zoe’s life, which is easier than her own

Zoe: angry with Marilyn, hates Marilyn’s life

Marilyn: Consults Tarot and philosophy books to solve switch

Zoe: uses rationality to try to solve problem

Marily: Seduces Heidi

Zoe: discovers Doug is cheating

Marilyn Takes mushrooms to find solution

Zoe: warms up to kids/charmed by them

Marilyn: makes couples counseling useless by taking mushrooms

Zoe: confronts Doug during couples counseling

Marilyn: Confesses to Z she slept with Heidi

Zoe: Confesses to Marilyn that Doug has been cheating, and

that she confronted him

Emotional moments for Zoe:

–feeling out of control with Marilyn’s kids

–resenting Doug’s needs and shirking from his advances

–being angry at Marilyn for not preparing her to deal with kids

–being angry at Marilyn for trying intuitive and “woo-woo” solutions to their problem, and also being angry that Marilyn likes Zoe’s life so much. Zoe hates Marilyn’s life.

–finding joy and sweetness in connections with the kids

–breaking her/Marilyn’s arm (vulnerability)

–being angry with Marilyn about the magic mushrooms

–realizing that she can’t control everything, and is actually exhausted trying to do so

Emotional moments for Marilyn:

–realizing how nice it is to escape the children and Doug

–realizing she has the hots for Heidi, and that she’s allowed to follow her heart/desires/needs

–responding to Zoe’s anger about how Marilyn loves Zoe’s life

–mushrooms as gateway to her true wants and needs

–sleeping with Heidi and experiencing true sexual bliss, possibly for the first time

–feeling deep regret and shame over betraying Zoe

–sobbing during their reconciliation

Day 11 outline

INT ZOE APT – DAY: everything has to be absolutely perfect before the inciting incident. Reality is more complicated: Heidi wants to have an open relationship, since they’re not really having an active sex life. Zoe is angry about this, wants to control things. She’s also tired of teaching—see her having annoying phone call with an overprivileged student. She fantasizes about another life, maybe as a restaurenteur.

INT. MARILYN OFFICE and HOUSE – DAY: Marilyn gets a call from her daughter while at work. Flash to house: things are fairly chaotic. Marilyn is exhausted from helping everyone around her, including her work colleagues. She invites Zoe to a Wiccan ritual for Litha (summer solstice ritual); Zoe rolls her eyes at first, but reluctantly agrees to go with her. Zoe jokes that maybe a little Wiccan energy could reignite her sex life with Heidi.

EXT. BEACH – NIGHT: Women gather for ritual around bonfire. There is a HEAD PRIESTESS dressed in wild outfit. As the ritual goes along, she instructs them to find a stone, make a wish, and cast it into the fire, warning them that the fae folk (faeries) sometimes make mischief with these things. They all drink a potion, singing and dancing late into the night. They cast their stones and make wishes.

EXT.. BEACH – MORNING They wake up on the beach, alone. Everyone else from the ritual has gone home, and the fire is out. They are in each other’s bodies. They find a note from the Head Priestess: don’t tell anyone, and figure it out within 72 hours. Zoe asked what Marilyn wished for. The answer: to be someone else. They totally freak out.

EXT BEACH – MORNING After a lot of discussion, they exchange keys, phones, information. Zoe tries to solve the problem with logic, decides they need to consult someone else.

INT SANTERIA SHOP MISSION DISTRICT – DAY: Before going home, they visit a Santeria practioner, hoping to undo what has happened. She asks them a lot of questions (past lives, tofu consumption), burns a few candles, and then gives up. She can’t help them.

INT MARILYN’S HOME – EVENING: Zoe (in Marilyn’s body) is completely out of her element, doesn’t know how to take care of the kids, feeds wheat to the gluten-free kid, contends with the youngest, who senses that this person is not really her mother, let’s the tween watch Stranger Things, but then Doug objects. Zoe calls Marilyn, in a massive panic.

INT ZOE’S APT. – DAY TO EVE: Marilyn (in Zoe’s body) is able to relax for the first time in ages. She takes a bubble bath in the spa tub, and leisurely makes dinner for herself and Heidi, which surprises Heidi when she returns home, since Zoe doesn’t really cook. Marilyn kisses Heidi hello, per Zoe’s instructions, and is surprised by how erotic she finds the kiss, which is actually quite chaste.

INT MARILYN’S BEDROOM – NIGHT: Zoe (in Marilyn’s body) sleeps as far away from Doug as is humanly possible, which is sort of easy because they have a king-sized bed. His snoring keeps her awake, and at least one child knocks every three hours. It’s a nightmare.

INT MARILYN’S HOUSE – MORNING: Zoe (in Marilyn’s body) tries to serve breakfast and get the kids ready for school, but is totally clueless about their routine. Doug brings up various issues and complaints from couples counseling. Zoe dresses as Marilyn and gets in her car to go to work, but secretly heads off to meet Marilyn, leaving Doug with the task of getting the kids to school. He is annoyed.

INT ZOE’S APT. – MORNING: Marilyn (in Zoe’s body) noses around Zoe’s apartment, looking for anything that could help them. She pulls a bunch of philosophy books off the shelves, and starts going through them. Then she finds Heidi’s Tarot deck and tries to use it, though she has no idea how to read the cards. She’s enjoying this break from her regular life.

EXT PARKING LOT – DAY They meet up to talk about what to do, which quickly becomes a huge argument. Zoe dismisses Marilyn’s approach, which is to find a spiritual solution, clinging to her own sense of logic and order; Marilyn is not really on board with Zoe’s approach, either.

INT ZOE’S APT – DAY: They decide to work from Zoe’s apartment—Heidi will be out all day. Marilyn coaches Zoe through a work call that she totally flubs. Marilyn admits she loves Zoe’s carefree life: Zoe gets angry and leaves. Exhausted, Marilyn orders a fancy dinner in for herself and Heidi.

INT. ZOE’S APT – NIGHT: Heidi is enthralled by the dinner and unexpected sparks from Marilyn (in Zoe’s body). After dinner, Marilyn rests her head on Heidi’s lap, on the couch. They start making out, and this leads them to the bedroom, where they have wild, passionate sex. Marilyn tries to tell Heidi she is not who she thinks she is; Heidi senses something is really strange, but doesn’t listen. Marilyn acts out various fantasies that Zoe would not have thought of…Heidi finds this very compelling. [midpoint for Marilyn]

INT MARILYN’S HOUSE – NIGHT: Zoe (in Marilyn’s body) is a lot calmer about the evening routine. She reads to Willow after dinner, who goes along with it, even though she still doesn’t trust Zoe. She has a sweet moment tucking Peter into bed. Doug gives her a fantastic foot massage, and reminds her about their upcoming couples’ counseling appointment.

INT MARILYN’S HOUSE – THE NEXT DAY: Zoe (in Marilyn’s body) rifles through Doug’s shoulder bag while he’s in the shower, trying to find out more about him. She discovers some condoms, which seem to be clear indications that he is cheating on Marilyn. This is an “oh, fuck” moment for Zoe. What should she do? Confront him, since he thinks she is Marilyn? Tell Marilyn?

INT/EXT MARILYN’S HOUSE – AFTERNOON: After school, Gwen, the eldest, announces she’s going roller blading. Zoe (in Marilyn’s body) decides to join her. Gwen is very confused: Marilyn has no idea how to skate, and tries to dissuade Zoe, who is much more athletic than Marilyn. Doug is out of the house, playing tennis with a friend. After rolling down the sidewalk for a while, a child in a nearby house loses control of a ball that rolls directly into Zoe’s path, causing her to crash. Her arm is broken. Gwen starts to run back to the house to call Doug, but Zoe stops her: only Marilyn can take her to the hospital. She frantically calls Marilyn, who gets in the car to bring her to the ER. [this is the midpoint for Zoe]

INT. ER – EARLY EVENING: The two women flub their way through the intake process, with Marilyn giving Zoe pertinent details of her medical history. The intake nurse is pretty confused by this performance, which is a bit like Abbott and Costello go to the hospital.

INT. ZOE’S CAR – NIGHT: Marilyn (in Zoe’s body) drives Zoe back to her house. Both of them are angry with each other—Marilyn accuses Zoe of being lax, and breaking her arm…in pain, Zoe feels vulnerable, and starts to realize how little control she actually has. Subtext: Marilyn feels mighty guilty that she slept with Heidi, though tries to deflect about how things are going for her.

INT. ZOE’S APT. – NIGHT: Heidi asks Marilyn (in Zoe’s body) about something they discussed in couple’s counseling. Marilyn pretends to have forgotten, which really puzzles Heidi. She frantically texts Zoe, who is too busy with the kids to respond. Gwen makes fun of Zoe for her terrible roller blading, but the other kids and Doug are actually really sweet about it. Doug makes dinner.

INT ZOE’S HOUSE – DAY: Marilyn works remotely. She starts to take care of something that is the responsibility of one of her coworkers, then realizes she really doesn’t have to, and tell shim off. She shocks herself.

INT: ZOE’S APT. – DAY: Marilyn holds up a bag of psychedelic mushrooms, hoping that taking them would somehow reverse the spell. Zoe refuses to ingest any, but only after Marilyn swallows her share. Zoe is incredibly angry: Marilyn is now out of commission for the rest of the day. They talk about how to find the High Priestess, before Marilyn gets too weird. They don’t even know her name. Zoe gets on social media and finds a photo, then uses it to search. The woman’s name is Josephine D’Angelo. She’s a realtor in South San Francisco, when she’s not doing Wiccan stuff. Marilyn coaches Zoe about couples counseling with Doug, and admits they haven’t been intimate in a year. Zoe asks her why she stays. Marilyn talks about the kids, then asks why Zoe never had any, which is vulnerable for Zoe.

INT.DR. SCHWART’S OFFICE – DAY: Doug and Zoe (in Marilyn’s body) go to couples counseling. He starts complaining about her disorganization with dinner and the kids. Zoe has had enough, ie Doug has essentially been lying during their whole couples counseling process, and confronts Doug about the condoms. They have a huge fight. He admits he is seeing someone on the side. Dr. Schwartz is shocked: she hadn’t seen this coming. Doug expresses remorse. Zoe is supposed to be angry on Marilyn’s behalf, and is to some degree, and yet also has compassion for Doug.

INT. RUTH’S OFFICE -DAY: Heidi and Marilyn (in Zoe’s body) go see Ruth, their hippie Mamma lesbian lesbian couples therapist. Her office is full of books about Tantric sex and psychology. Marilyn is still tripping a little bit. Heidi happily recounts their sexual breakthrough, which causes Marilyn to giggle uncontrollably, until she admits taking mushrooms. Heidi and Ruth are shocked: buttoned-up Zoe would never take mushrooms. Heidi wonders: does she know Zoe at all? Marilyn pleads for patience.

INT. ZOE’S APT – NEXT MORNING: Marilyn (in Zoe’s body) wakes up in Heidi’s arms, overwhelmed with desire again. They make love passionately, then, guilt-stricken, Marilyn texts Zoe.

INT. MARILYN’S HOUSE – DAY. Things are really weird—Doug is furious with Zoe (in Marilyn’s body), even though he’s the one who cheated, and has been lying about everything. Zoe is beside herself, having to deal with all of this, plus her broken arm. The kids realize that the parents are not speaking to each other, but don’t know why. Zoe is angry at Marilyn, again, for being clueless, and also feels guilty about discovering something that Marilyn didn’t know.

INT. CAR – DAY: They drive to South San Francisco to find the High Priestess.

EXT JOSEPHINE’S OFFICE: They ring the doorbell, but Josephine is not around. They leave her a note, urgently requesting a ritual session with her. Overcome with guilt, Marilyn (in Zoe’s body) confesses to sleeping with Heidi, and they have another massive fight. Marilyn points out that Zoe and Heidi had been experiencing lesbian bed death, ie maybe this is actually going to help Zoe, if they ever undo the magic. In the heat of the moment, Zoe decides to tell Marilyn that Doug is having an affair, and that she confronted him at Dr. Schwartz’s. Marilyn is angry at Zoe for telling her, and for doing the confrontation for her. They brainstorm some other ideas for undoing the switch, but realize they need Josephine, the high priestess. Zoe accuses Marilyn of being a doormat with Doug: Marilyn accuses Zoe of being a control freak, and lacking empathy.

INT. CAR – DAY (CONTINUOUS): Marilyn profusely apologies for sleeping with Heidi, and admits she had no idea that lesbian sex would be so hot. This makes Zoe angry all over again. Marilyn points out that even Doug would not expect sex from Zoe (in Marilyn’s body), ie she’s off the hook for that. Zoe gets a frantic call from Peter’s school: he has chicken pox. She drops off Marilyn and rushes back to Alameda to fetch him. After tucking Peter into bed, she ignores Doug, and tries to make sense of the texts, emails and phone calls from Marilyn’s office that have been blown off. She texts back, claiming a family emergency (which is kind of true, actually).

INT. MARILYN’S HOUSE – NIGHT: Josephine calls Zoe back, and agrees to meet with them the next day. Zoe texts Marilyn, relieved.

INT. JOSEPHINE’S APT. – DAY: The place is like an altar on steroids. Josephine ushers them in, introduces herself, and asks them how she can help. Both Marilyn and Zoe are sputtering, then Marilyn somewhat angrily accuses Josephine of causing the body switch. Josephine smiles gently, and says it wasn’t her, but it could have been the fairies. She asks if one of them made a wish that could have contributed to the situation…and Marilyn confesses that she did. Josephine acts like a therapist, asking each of them, in turn, what she has learned from living in each other’s body. Zoe talks about finding her inner nurturer and letting go of some of her control freak tendencies, though she’s still angry at Marilyn’s betrayal. She also admits that it was wonderful to connect with the children, and nurture them a bit. Marilyn speaks about becoming more empowered to follow her desires, and to take care of herself, instead of everyone else. She apologizes, again, for hurting Zoe: it wasn’t about Heidi, it was about desire. Josephine nods. The two women suddenly feel quite ill, and rush to the bathroom. After each of them throws up, they look at each other and realize they’ve undone the magic, and are back in their own bodies. They rejoice. Rejoining Josephine, she talks about the profound gifts of this learning experience. They roll their eyes at her.

INT. MARILYN’S HOUSE – NIGHT: Marilyn and Doug have a very tentative conversation about their marriage. Doug shows deep regret. Marilyn admits that she also cheated, but makes it sound like that only happened because she found out about his infidelities. She asks for an open marriage, and hints that she might be bisexual.

INT. ZOE’S APT. – NIGHT: Zoe has a deep talk with Heidi, telling her she still believes in their partnership, and talking about all of Heidi’s great qualities. She admits that she’s been too controlling, and also that she fantasizes about chucking her teaching career for something more fun, which surprises Heidi. Zoe seems much more relaxed, and eager to reconnect physically with Heidi. She broaches the subject of possibly adopting a child, which they haven’t talked about in ages.

Zoe and Marilyn text each other to set up their own counseling session with Dr. Schwartz, as friends again.

[Nancy Kates]

Nancy Kates Proseries 81 Numbers 3 and 4

What I learned from this assignment: I’m probably doing better on dilemmas and theme than some of the other Necessary questions. I’m still working on the outline, ie can’t repost it today but will try to post it for Day 11, as I am trying to catch up here.

Concept: Two middle-aged friends, one straight (Heidi) the other lesbian (Zoe) eat a magical substance and switch bodies. They are forced to live as the other person while they work out how to undo the switch. Chaos ensues.

Plot: Metamorphosis

Emotional dilemmas (there are two protagonists, each needs one)

How does it first show up for Zoe?

Zoe (in Marilyn’s body) discovers that Doug is cheating on Marilyn. She doesn’t know what to do. Should she confront him? Tell Marilyn? She doesn’t want to interfere in their marriage or make things worse, but also feels loyal to Marilyn. She wants to defend Marilyn’s interests.

Buildup for Zoe: (in Marilyn’s body) she decides to confront Doug, but wait to tell Marilyn (not the wisest approach, actually)

Zoe’s choice and loss

Zoe (in Marilyn’s body) blurts out during their couples’ counseling session that she knows Doug is cheating, shocking both Doug and Dr. Schwartz, their therapist. She doesn’t know if this was the right thing to do, and she doesn’t know how to tell Marilyn. Ie Marilyn might be almost as angry at Zoe for doing this as she will be at Doug for cheating on her. What is the right thing to do if one is in the unchartered territory of inhabiting someone else’s body? Zoe’s loss is potentially losing Marilyn’s trust, or at least causing Marilyn to be angry with her. She also antagonizes Doug, who deserves it, but isn’t going to be easy to live with after this episode.

Marilyn’s dilemma

Marilyn (in Zoe’s body) discovers that she likes kissing Heidi, Zoe’s partner, and is tempted to go further. Her dilemma is that this would mean sleeping with her best friend’s partner. Her secondary dilemma is that she really likes Zoe’s life, which is so much easier and less stressful than her life with Doug.

Buildup for Marilyn:

She admits to Zoe that she isn’t that keen to switch back right away, which angers Zoe. She starts to give in to her desire for Heidi–this is part of her arc of growth but has serious consequences.

Marilyn Choice and Loss

At the midpoint, Marilyn (in Zoe’s body) sleeps with Heidi, and is ecstatic about it. She isn’t really thinking about the consequences, just acting on her desires and feelings in the moment. This is new territory for her, but she risks losing Zoe as a friend, having betrayed her trust. She has also betrayed Heidi, who senses something is radically different, but doesn’t know that this isn’t actually Zoe.

Theme: To know yourself (and another), walk a mile in someone else’s shoes.

I’m not sure what both sides of this theme actually means…??? The entire story is the manifestation of the theme: in each other’s bodies and lives, the two protagonists are forced to confront their own limitations, learn from the other and her circumstances, and grow. It is the growth that will allow them to undo the magic and return to their own bodies and lives.

The climax is a fight–the theme is really highlighted in the resolution, when each woman admits where she has gone astray, and what she has learned by being the other person. There is more work to be done at the end of the story–the two friends will also go to couples counseling, to try to work through their mutual betrayals, but each has learned a lot through the adventure of being in the other’s body and life.

[Nancy Kates]

Nancy Kates Day 9

[Please note that I haven’t changed my outline yet, I’m just responding to the questions. I’m kind of behind at the moment, so thought it was better to do something, rather than get even further behind]

What I learned from this assignment: I’ve been focusing on character development, more than the topics of this assignment (dramatic question and main conflict).

Concept: A straight woman (Marilyn) and her best friend, a lesbian (Zoe) eat a magic substance and switch bodies. Chaos ensues.

The dramatic question arises at the time the switch happens, at least initially: will they get back into their own bodies? A more thoughtful dramatic question emerges, though, which is “will they do enough growth individually to overcome their flaws and “win” back their own bodies and lives?

The question increases in intensity as they keep trying various ideas about how to undo the magic. In other words, they keep failing, using wrong thinking, while also screwing things up as they pretend to be each other, but don’t always know how to fake being the other person. Their difficulties get worse and worse as things go along.

The dramatic question gets answered in the resolution, when they show that they have each changed and grown, and are allowed to switch back.

There are two main conflicts: they are at loggerheads with each other, and they are also fighting the forces that put them in each other’s body, though they aren’t entirely clear what these magical forces are, exactly.

Specifically, Zoe is mad because she hates Marilyn’s life, and, conversely, because Marilyn kind of loves Zoe’s life, to the point that she is temporarily unwilling to switch back. They’re also in conflict with themselves (should Zoe tell Marilyn about her husband’s infidelity? Can she learn to be less controlling with Marilyn’s children?). Marilyn is frustrated that Zoe doesn’t appreciate her partner as much as she should. [I need to work on this conflict more from Marilyn’s point of view]

Scenes of conflict:

–they meet to try to undo the switch. Zoe uses logic, Marilyn reads Tarot cards.

–Marilyn takes magic mushrooms to try to get herself into a state that will intuitively show her the answer. Zoe is angry and thinks this is totally useless, ie Marilyn has left everything to Zoe to solve or figure out.

–Zoe is angry at Marilyn because Doug wants to sleep with her, and because Marilyn’s kids are impossible. Zoe also has no idea what they’ve been talking about in couples counseling.

–Marilyn is angry at Zoe for having an easier life than she does, and for taking Heidi for granted.

Crisis at the end of Act II/beginning of Act III: Marilyn confesses to Zoe that she slept with Heidi (in Zoe’s body), and loved it. This sets off a huge fight–Zoe feels betrayed, and Marilyn starts to see that her newfound empowerment has caused grave harm to their friendship. In retaliation, Zoe tells Marilyn that she discovered that Doug has been cheating on her. She hadn’t wanted to tell her, but feels okay about it after Marilyn’s revelation.

[Nancy Kates]

Nancy Kates Story Logic Web for “Switcheroo”

Two middle aged friends, one lesbian, the other straight, eat a magic cake and switch bodies. Chaos ensues.

Lead characters: Zoe, 46, lives in San Francisco with her partner, Heidi. Zoe is controlling and has trouble empathizing with others, at times.

Marilyn, 45, lives in Alameda, CA (more suburban) with her husband Doug and their three children. She lacks empowerment, and is always taking care of others instead of herself.

Plot: Metamorphisis. Each woman must stop fighting with the other, learns something from her and living her life, grow, and work with the other in order to return to her own body and real life.

Character Arc: Zoe becomes more nurturing, less controlling and more empathetic.

Marilyn becomes more assertive, and learns to value her own needs, as well as those of others.

Main conflict: They’re both angry with each other because of the switch in bodies, inability to switch back, and inability to handle the other’s existence, though Zoe is more angry than Marilyn. Zoe is also angry because Marilyn sees Zoe’s life as much easier than her own, ie a sort of existential vacation,and there is a moment in which Marilyn doesn’t want to switch back.

Dramatic question: will each woman learn enough about herself and her flaws to become a better version of herself, which will allow them to switch back? Can they learn from each other’s lives?

Dilemmas: Zoe discovers that Doug is cheating on Marilyn, and is a bit stuck about whether or not to tell her, and confront him (as Marilyn). Marilyn’s dilemma is that once she is in Zoe’s body, she finds herself really attracted to Zoe’s partner, and eventually sleeps with her (as Zoe). Her dilemma is first with herself–is this unethical to cheat on your best friend with her partner, if you’re temporarily in her body? And then whether or not and how to tell Zoe about seducing her partner.

Theme: To know thyself (and another), try walking a mile in someone else’s shoes.

Outline

1. Ordinary world

Zoe kisses Heidi goodbye as Heidi leaves for a business trip, wheelie in tow. Their light-filled San Francisco apartment is impeccable. She works on a journal article from her home office, piled with books and papers but still a calm and restful space. Marilyn is at work at her law firm when her daughter calls. Flash to her suburban house: the place is a mess, with toys and clothes strewn everywhere. Marilyn caters to her colleagues and her kids, via text. She writes to Zoe to set up a coffee date for Zoe’s birthday

2. Inciting incident

Zoe and Marilyn meet at a very hip cafe. Their barista is non-binary, with lots of attitude. They order the “extra special chocolate cake”–with coffee, it’s $47, but the best cake either of them have ever tasted. As they walk toward their cars, a “Shazaam” moment happens, and they discover they have switched bodies. They freak out.

3. By page 10 (possibly a few pages later), they return to the cafe. It’s closed, but the barista has left them a note: they have 72 hours to figure it out, and if they tell anyone, it will be permanent. They decide to switch phones, keys and lives until they figure it out.

Fun and games in Act 1: Zoe cannot handle taking care of Marilyn’s kids, including the youngest, who somehow senses she is not actually her mother. She gets dinner all wrong, not being much of a cook, and keeps her distance from Doug, who wants to connect physically before they go to sleep. Marilyn takes a bubble bath, makes a nice dinner for Heidi, who is heading back from her trip. Heidi is shocked by the dinner: Zoe doesn’t really cook. When Marilyn kisses Heidi hello, she’s surprised by how much she likes it (Marilyn’s Act 1 turning point)

4. Act 1 turning point

Zoe rifles through Doug’s bag and finds some condoms, which seem to indicate that he’s having an affair. She doesn’t know what to do, either about telling Marilyn (or not) or confronting Doug.

Act II fun and games

The women consult a Santeria priest, who grills them with ridiculous questions (do they know who they were in past lives, what is their average weekly tofu consumption?) but doesn’t get anywhere with the ritual she performs. Marilyn consults Zoe’s philosophy books and Heidi’s Tarot deck, which are also not helpful. She is enjoying the respite from family life, ie starts to see living as Zoe as a sort of vacation. Zoe tries to use logic to solve their problem, but cannot. They have a big fight, Zoe leaves.

5. Midpoint: Marilyn (in Zoe’s body) orders a great dinner in, tired after fighting with Zoe. Heidi loves it. They start kissing, and wind up having really hot sex. Marilyn has never experienced anything like this. She’s in heaven, but also feels guilty.

Zoe starts to see why people have children. She reads to Willow, the youngest, even though Willow is sort of on to her, and has a nice moment with Peter, the middle child, tucking him into bed.

Zoe and Marilyn meet at Zoe’s apartment to work on how to switch back. Marilyn has purchased some magic mushrooms, hoping that they’ll provide the answers they need. Zoe refuses to have them, but only after Marilyn takes hers. They have another fight: Marilyn will be useless all day, while Zoe will be forced to work on their problem alone. Marilyn tries to coach Zoe about couples counseling; Zoe hides the information about Doug’s affair from Marilyn.

6. Act II turning point. Zoe (in Marilyn’s body) and Doug go to couple’s counseling. He launches into something they had discussed the week before when Zoe unexpectedly confronts him about the condoms in his bag. Doug, who has been successfully lying to Marilyn and to their therapist Dr. Schwartz, is floored. Dr. Schwartz has no idea how to handle this situation, either.

Marilyn (as Zoe) and Heidi also go to couples counseling–Marilyn is still a little bit high from the mushrooms. Heidi feels like they’re making huge progress on their “lesbian bed death,” but still struggles with Zoe’s control issues. Laughing, Marilyn complains a bit about Heidi’s endless business trips. When the hippie-dippy therapist, Ruth, and Heidi confront her, she admits she’s on mushrooms. Heidi freaks out–Zoe would never take psychedelics, because of her need for control. Does she know Zoe at all?

The next morning, Marilyn seduces Heidi again. She had no idea that lesbian sex was so great!

7. Crisis. The two women go back to the cafe, trying to figure out what to do before the clock runs out. It’s still closed. They brainstorm more ideas about how to reverse the switch. On a deserted street, Marilyn confesses to sleeping with Heidi, and to enjoying Zoe’s life more than her own, which triggers another massive fight. Exasperated, Zoe tells Marilyn that Doug has been having an affair, and tells her that she is unable to stick up for herself. Marilyn retorts that Zoe is controlling, and lacks even enough empathy to keep this news to herself. Zoe gets an emergency call (ie for Marilyn) that Peter has chicken pox, and rushes off to his school.

8. Marilyn calls to apologize, and vows to work with Zoe to fix their problem. They agree to go back to the cafe in the morning.

9. Resolution: They rush to the cafe in the morning, which is finally open again, and angrily confront the barista. The barista calmly asks them how things have been going, as if they, too, are in couples counseling with the barista. Each woman speaks from the heart about the complications of the other’s life. Zoe talks about finding her inner nurturer and letting go of some of her control freak tendencies; she had no idea how impossible parenting was. Marilyn says she’s been empowered to follow her own desires, even the ones she didn’t know she had, instead of just taking care of everyone else. She apologizes for hurting Zoe. Zoe suddenly feels ill and rushes to the bathroom. Recovering, she looks in the mirror and discovers that she’s back in her own body. The two women rejoice. The barista shrugs off their anger at all of this, and talks about the profound gifts and wisdom brought by the magic cake. Zoe and Marilyn roll their eyes.

10. Coda. Back in Alameda, Marilyn and Doug have a tentative, angry but honest conversation about their marriage. Doug expresses deep regret, and Marilyn admits that she also cheated, though after he did. She also says she might be bisexual. In San Francisco, Zoe has a newfound appreciation of Heidi, and seems much more relaxed.

[Nancy Kates]

Nancy Kates Pass #2 Story Logic Web

What I learned from this assignment: I had a hard time with this, not because I think things were so great with my outline, just that it created a lot of anxiety, and I didn’t get that far with thinking it through…I’m working on it, but thought I should post something rather than wait until tomorrow (!)

Existing:

Concept: Two middle aged friends, one lesbian, one straight with husband and kids, each magic cake and switch bodies and lives. Chaos ensues.

Lead Characters:

Zoe, 46, lesbian, partnered with Heidi, no children, is somewhat controlling and has empathy issues.

Marilyn, 45, is married to Doug, with three kids, is not very empowered, sometimes has self-esteem struggles, and is always taking care of everyone else, sometimes at her own expense.

Plot: Transformation. Each woman must change and grow in order to undo the magic and return to her own body and life.

Character Arcs:

Zoe becomes more nurturing and empathetic, and gives up some of her need to control (which is ultimately based on fear and anxiety).

Marilyn becomes more assertive, and learns to value her needs as much as she values those of others.

Main conflict: They’re mad at each other because they’re stuck in each other’s lives and bodies, and don’t know how to switch back, though Zoe is much angrier than Marilyn.

Dramatic question: will they be able to figure out how to undo the voodoo and get back to their own bodies and lives?

Dilemmas

Zoe’s dilemma is that she discovers that Doug is cheating on Marilyn. Does she confront him, since he thinks she is Marilyn? This isn’t her problem to solve. Does she tell Marilyn? She does confront Doug in Act II, but telling Marilyn is more difficult.

Marilyn’s dilemma is that she sees Zoe’s body and life as a vacation from her kids, and wants to sleep with Heidi, Zoe’s partner. Then she does, and doesn’t know if or how to tell Zoe. Is it okay to sleep with your best friend’s wife if the wife thinks you are the friend?

Theme: In order to grow (and understand another), walk a mile in someone else’s shoes.

Thoughts about the Story Logic Web:

Plot: this is as much a Metamorphosis story as a transformation, though the differences are not crystal clear to me. The body switching isn’t exactly a curse, but close enough–it’s an externally imposed reality that takes work and growth to unwind. The two protagonists are not romantic partners, but they need each other as antagonists in order to grow, undo the magic and return to their own lives.

Dramatic question: this seems to need the most work. The existing question (will they be able to undo the switch) is not very interesting. Or at least this genre is generally in the realm of comedy, so of course they have to switch back by the end of the story. I guess there is something kind of dumb about the genre of body-switching films, which I’m hoping to elevate slightly by making the straight woman prefer life as a lesbian. So the real question is more how they will change and grow (and impact each other), and less about will they prevail over the magic. The humor comes from their failures to undo the magic, and their real lack of info about the details of the other person’s day-to-day life. A deeper dramatic question is whether they will each learn enough about their own limitations to become better versions of themselves. And therefore return to their own bodies.

The “After” version:

Concept: Two middle aged friends, one lesbian, the other straight, eat magic cake and switch bodies and lives. Chaos ensues.

Lead characters:

Zoe, 46, lesbian, partnered with Heidi, has control issues and lacks empathy

Marilyn, 45, married to Doug, three kids, is not empowered, sometimes has self-esteem issues, and is always taking care of everyone around her, but not herself

Plot: Metamorphosis. The two women need to stop fighting, work together, learn something from being in the other’s body and life, grow, and overcome the magic that created the switch.

Character arcs:

Zoe becomes more nurturing, less controlling, and more empathetic

Marilyn becomes more empowered and assertive, and learns to value her needs as much as she does those of other people

Central conflict: They’re mad at each other because they don’t know how to handle each other’s life, and don’t know how to undo the switch. Zoe is also angry at Marilyn for preferring Zoe’s life to her own, and not wanting to switch back.

Dramatic question: will each woman learn more about herself and her flaws, grow from being in the other’s body and life, and become a better version of herself? (Which will undo the magic and allow them to return to their own body)

Theme: To know thyself or another, try walking a mile in someone else’s shoes.

[I will keep working on the plot points, not there yet!]

[Nancy Kates]

Nancy Kates first pass outlining assignment for SWITCHEROO

What I learned from this: it was hard, and even though I spent a lot of time on it, I’m not sure I really got that far. Though imagining scenes is kind of fun. I would like to be more efficient with this homework.

Concept: Two good friends, one lesbian and partnered, the other straight, married with three kids, eat magic cake and switch bodies. After a lot of conflict, they discover that they must learn to work together and become more like the other in order to overcome their situation and return to their lives.

Plot: Transformation/quest. Each woman has a quality that the other one lacks, and each must grow and transform toward the quality they lack, in order to undo the switch and allow them to return to their own bodies.

Existing Outline:

1. Marilyn and Zoe meet at a cafe for Zoe’s 46th birthday. Marilyn complains about Doug, her husband. They order a fancy chocolate cake, which is insanely expensive, but also the best chocolate cake they’ve ever had.

2. Inciting incident: They leave the cafe, and SHAZAAM! They discover they have switched bodies.

3. By page 10 (possibly a couple of pages later, really) they go back to the cafe, now closed, and find a note telling them that they can’t tell anyone, and they have only 72 hours to figure out how to correct the switch, or it will become permanent.

4. Turning Point at the end of Act 1: Zoe (in Marilyn’s body) looks through Doug’s shoulder bag and finds condoms, which seems to indicate that he’s having an affair, ie cheating on Marilyn.

Marilyn’s Act 1 turning point: she discovers she really likes kissing Heidi, Zoe’s partner. She doesn’t know what to do about it, particularly because Zoe and Heidi are experiencing “lesbian bed death. “

5. Midpoint: Zoe starts to soften a bit towards the kids, enjoying cuddling with them, etc.

6. Act II turning point: Marilyn (in Zoe’s body) sleeps with Heidi, and really enjoys it.

7. Crisis: Marilyn confesses to Zoe that she slept with Heidi. They have a huge fight. Marilyn is tempted to stay in Zoe’s body, which is also infuriating for Zoe.

8. Marilyn apologizes, they vow to work together to get themselves back into their own bodies. Each starts to appreciate the other a bit more.

9. Resolution

They return to the cafe, which is finally open again, as the clock runs out on the 72 hours… and confront the barista. The barista asks what each has learned about the other’s life, like a couples counselor for them as friends.

Zoe runs to the bathroom, because she feels ill. When she looks in the mirror, she is back in her own body.

The friends hug in relief, the barista smiles at them in congratulations.

Character Arcs for the two protagonists:

Marilyn’s problem is not valuing herself enough. she spends all her time and energy taking care of others, as a mother, wife, and even at work. She doesn’t fully value herself.

Biggest fear: that if she changes, she might fail, and she’ll also let everyone else down

Completion of her arc: she starts to value herself more, prioritizing her wants and needs

Zoe’s problem: she’s very controlling. Everything has to be perfect. She’s not terribly empathetic

Biggest fear: losing control, chaos

Completion of her arc: she loosens control, and becomes more empathetic.

INT ZOE APT: everything has to be absolutely perfect before the inciting incident

INT. MARILYN HOUSE things are fairly chaotic before they go to the cafe

INT CAFE They encounter the non-binary barista, eat the cake, and pay the exhorbitant bill

EXT CAFE They switch bodies, then discover the cafe is closed, but they have 72 hours to switch back. They can’t tell anyone.

EXT CAFE they exchange keys, phones, information

INT MARILYN’S HOME: Zoe is completely out of her element, doesn’t know how to take are of the kids, feeds wheat to the gluten-free kid, contends with the youngest, who senses that this person is not really her mother

INT ZOE’S HOUSE: Marilyn is able to relax for the first time in ages. She takes a bubble bath, and leisurely makes dinner for herself and Heidi, which surprises Heidi, since Zoe doesn’t really cook

INT MARILYN’S BEDROOM: Zoe sleeps as far away from Doug as is humanly possible, which is sort of easy because they have a king-sized bed. His snoring keeps her awake, and at leat one child knocks every three hours. It’s a nightmare.

INT MARILYN’S HOUSE: Zoe rifles through Doug’s shoulder bag while he’s in the shower, trying to find out more about him. She discovers some condoms, which seem to be clear indications that he is cheating on Marilyn.

INT. ZOE’S HOUSE: Heidi asks Marilyn (in Zoe’s body) about something they discussed in couple’s counseling. Marilyn pretends to have forgotten, which really puzzles Heidi. She frantically texts Zoe, who is too busy with the kids to respond.

INT. MARILYN’S HOUSE: Zoe reaches a breaking point with the children, and calls Marilyn, totally freaked out. She is angry that she has to deal with the kids, and gets mad at Marilyn. Marilyn talks her down. Zoe starts to find small things about the kids endearing (but it takes a while). She tries to channel her inner nurturer, which is hard to find.

INT ZOE’S HOUSE: Marilyn works remotely. She starts to take care of something that is the responsibility of one of her coworkers, then realizes she really doesn’t have to, and tell shim off. She shocks herself.

INT. MARILYN’S HOUSE: Zoe (in Marilyn’s body) confronts Doug about the condoms. They have a huge fight. He admits he is seeing someone on the side. He expresses remorse. Zoe is supposed to be angry, and yet has some compassion for Doug.

INT. ZOE’S HOUSE: After Zoe loses her shit at her, Marilyn decides to act on her feelings for Marilyn, and seduces her after dinner. She’s ecstatic.

The two characters need a climactic scene where they fight but then have to take on the characteristic they’re missing. Haven’t figured this out yet.

After they return to their own bodies, Marilyn confronts Doug again, this time as herself. They take their conflict to couples counseling.

[Nancy Kates]

Nancy Kates basic plot outline

What I learned: I’m still working on this, and feel a bit overwhelmed by the need to write the outline in detail at this early juncture. But it is helpful.

Concept: Two good friends, one lesbian, the other straight, eat magic cake and switch bodies. After a lot of conflict, they discover that they must work together in order to overcome what has happened to them.

Opening: the two women meet at a cafe. Marilyn complains about Doug, Zoe admits she likes it when her partner, Heidi, travels for business. They order fancy chocolate cake because it’s Zoe’s 46th birthday. The bill is insanely high.

Inciting incident. After leaving the cafe, there’s a “shazaam” moment, and the women switch bodies. They freak out and return to the cafe, which is now closed. They find a note: they can’t tell anyone what has happened, or the change will be permanent, and they need to figure out how to reverse it within 72 hours, or it will be permanent for that reason.

During Act 1, we learned that neither couple is having much sex. Zoe explains lesbian bed death to Marilyn.

Turn at the end of Act 1: Zoe discovers that Doug is cheating on Marilyn, and doesn’t know what to do. Marilyn discovers that she likes kissing Heidi, Zoe’s partner, and is tempted to sleep with Heidi. Marilyn loves the break she’s getting from her kids. She doesn’t want to go back, at least not yet.

Midpoint: Zoe starts to enjoy taking care of the kids, but is increasingly desperate to get back to her life. They try various things, which do not work.

Turn into Act III: Marilyn sleeps with Heidi. She’s in heaven.

Crisis: Marilyn admits that she slept with Heidi. Zoe is furious. The have a huge fight. It feels like all is lost, and they’ll never get back to their own bodies/lives.

Climax: Zoe consults a shaman, in a desperate attempt to get some answers. The shaman asks what’s she’s learned, and why she is there without her friend. Marilyn finds Zoe and begs for forgiveness. They work together to figure it out.

Resolution: they return to the cafe, which has been closed in prior visits. The clock is running out. They confront the barista who sold them the magic cake, who defends themselves…the cake merely granted a wish, in this case Marilyn’s wish to be someone else. the barista is like a couple’s counselor for the two friends. Marilyn and Zoe talk about what they’ve learned from being in the other’s life and body, and express newfound appreciation for each other. Zoe goes to the bathroom, thinking she is going to be ill, then looks in the mirror, and realizes she is back in her own skin.

Coda: Marilyn confronts Doug about his affair, then suggests she might be okay with an open relationship, as she has a newfound interest in women. Zoe goes home to Heidi and makes love passionately with her.

[Nancy Kates]

Nancy Kates Proseries 81 Necessary Questions

What I learned from this assignment: the conflict was harder to define than the dramatic question, and I might need to spend more time honing the answers to these questions.

Concept: Two middle aged friends, one hetersexual with a husband and three children, the other lesbian and partnered, eat some magical cake and switch bodies. They are forced to pretend to be each other while they work out how to undo the “Switcheroo”

Dramatic Question: how did this switch happen, and will they figure out how to undo the switch before it becomes permanent, after 72 hours?

Dramatic Conflict: The friends are furious with each other and at loggerheads during much of the story, unable to work together because they’re too busy trying to be each other, and doing an iffy job of it. They will have to overcome their differences and work together in order to undo the magic that has transported each into each other’s body.

Dilemma: There are two protagonists, and they have slightly different dilemmas, under the main existential dilemma of being trapped in someone else’s body. Zoe discovers that Marilyn’s husband has been cheating on Marilyn, and is stuck about whether or not to reveal this hurtful information to her friend. Neither option seems wise.

Marilyn’s dilemma is that she discovers that she loves lesbian sex, and finds being in her friend’s life and body a fantastic vacation and adventure. She doesn’t actually want to switch back, at least not until close to the deadline. She’s torn between her desires and her wish not to be a total jerk to her best friend (by sleeping with her partner).

Theme: We barely know each other, and we’d do well to walk a mile in the other’s shoes.

[Nancy Kates]

Nancy Kates Plots #2

What I learned from this assignment: the second set of plots doesn’t exactly map onto my concept, at least not without tweaking or combining them. I didn’t realize we were supposed to write them as loglines, either.

Metamorphosis: The body-switching that Marilyn and Zoe go through is slightly different than a curse, but operates the same way. Instead of a love interest that serves as an antagonist to the main character, the two protagonists serve as antagonists to each other, teaching the other person about what they lack and need, as a prerequisite for working together to solve their mutual problem, ie finding the key that will return them to their own lives.

Transformation: This feels like the closest to my concept: each of the two protagonists must learn and grow in order to overcome the emergency she finds herself in,hopefully becoming a better and more self-aware person in the process, as well as a better friend. The friendship will be deeply challenged by the events of the story, but remain intact by the end, albeit somewhat tattered and frayed.

[Nancy Kates]

Nancy Kates Proseries 81 Dramatic Plots #1

What I learned: doing this is kind of fun, in the same way that all the brainstorming exercises are…there are many many different ways to tell a story, just as there are many ways to think about and modify a story concept.

Quest plot: This scenario maps fairly well to my concept, ie that two women have switched bodies, and have to learn something and grow in order to be able to switch back. It’s not exactly looking for the Holy Grail, but close enough…the trials and tribulations they face are very close to home, with each other’s spouses, children and professional lives, not dragons and monsters. The object of their respective quests is self awareness, as well as greater understanding and compassion for each other and the other’s life circumstances. Each woman has to find something in the other that she can emulate, in order to come together to solve the riddle, ie how to undo the magic that created the situation.

Escape plot: My story is about two people stuck in each other’s body, so they do literally need to escape, but it’s an escape story in which there are no clear avenues for escape. They must go through a lot of picaresque adventures in order to work together to figure out the solution. there’s a deeply oppressive quality to being stuck in the wrong body, even if one of the characters actually enjoys it. Framing the plot this way also allows the whole story to work as a metaphor. We are all “stuck” in our bodies and our circumstances, even if the circumstances are mostly of our own choosing. By finding themselves in each other’s bodies, they see where they’re stuck in their own, and where the path to greater freedom might lie.

[Nancy Kates]

What I learned doing this assignment:

1. this website will not let me paste from another document (!!!!)

2. My characters are foils for each other, and have opposite internal needs–as the story moves along, they have to grow in the direction of each other’s strengths, in order to undo what has happened to them.

Concept: Switcheroo (comedy) os the story of two best friends who eat a magical substance and find themselves switched into each other’s body. Chaos ensues.

Character Structure: Buddy story/romantic comedy

Lead characters:

Marilyn (heterosexual, married with three kids) spends most of her time taking care of others, and is worn down by taking care of her children, sometimes without what she wants from her husband (equal parenting efforts). She actually enjoys being in her friend Zoe’s life/body, a break she sees as a sort of existential vacation.

Zoe (lesbian, partnered, no kids) seems to have the perfect life with her partner, Heidi: they’re carefree, financial stable, and enjoy fantastic vacations and other pleasures. Zoe lacks empathy, and needs to develop a nurturing side in order to survive as Marilyn when they switch bodies. The kids, initially, drive her nuts.

How character structure plays out:

Each character needs to learn some of the qualities she lacks, that the other has, in order to grow, which is the prerequisite for undoing the magic and returning to their own bodies. They need to grow and change, in order understand themselves and each other. One complication arises: Marilyn is so enamored of Zoe’s life without children that she doesn’t want to switch back, which creates enormous conflict with Zoe, in addition to the general conflict of the situation itself. This is a buddy movie that frequently separates the buddies, ie they phone and text to try to solve problems, more than spending time together. The engine of the story–the switch–sets them against each other, even though they need to work together to solve their shared problem.

[Nancy Kates]

Hi Folks–

I learned a lot from the opening teleconference, including that I need breaks!

–learning and open mindset with facilitate growth

–kaizen concept, baby steps toward improving skills

–this model is about freedom from traditional or harsh criticism, in order to foster healthy identity and support people learning professional level skills

–the importance of partnering with others at your level to exchange feedback

–the importance of mastering each skill and module, rather than focusing on the content

–how to use the “easy approach/ Jim’s method” that includes breaks for processing each step, which should mean spending 60-90 min per assignment, instead of hours and hours

–that a lot of myths about Hollywood and screenwriting are just myths

–how to think about first drafts: discovering, exploring, flowing

middle drafts: solving problems, elevating quality

–final drafts for wordsmithing, details, and making things absolutely perfect

—-that ScreenwritingU has a unique feedback structure, no feedback for the first nine days of each module, that you are trying to learn the model and how to use it, ie each person learns by giving feedback, because they think about how to use the model

–we’re encouraged to turn in all the assignments and give a lot of feedback to others

[Nancy Kates]

I agree to the terms of the confidentiality agreement.–Nancy Kates

[Nancy Kates]

Hi Folks–

My name is Nancy Kates. I’ve written two scripts so far, though neither is entirely completed.

I’m hoping to hone my skills and take them to the next level–I think I have decent ideas, but I’m weak in some areas, particularly trying to get inside the heads of my protagonists.

Something about me: I’ve had a career making serious documentaries, and also like to tell jokes, so my mid-life crisis seems to be about trying to learn comedic narrative screenwriting.