[Terrie Cooper Lee]

.

• This reply was modified 4 months, 3 weeks ago by  Terrie Cooper Lee.

[Terrie Cooper Lee]

Terrie’s Four Pitches – Draft 1
Elevator Pitch/ Pitch Fest Pitch
I’ve got a Sci-Fi comedy where an Alien crashes into an off-the-grid hippie’s outhouse. After they swap bodies, can they fix the spaceship and un-swap bodies before a nosy deputy discovers their secret?

Phone Pitch
Hi, this is Terrie Cooper Lee.
I have a sci-fi comedy called Freaky Fusion. Imagine the body-swap antics of Freaky Friday combined with the charm of Paul and the cosmic fun of Guardians of the Galaxy.
It’s about an alien who crashes into a hippie’s outhouse, leading to a body swap. They must work together to fix the spaceship and keep a nosy deputy from discovering their secret.

Query Letter
Hello (Producer’s Name). I think you might be interested in my Sci-Fi Comedy “Freaky Fusion” because you’ve produced some hilarious movies.
What happens when an alien crashes into a hippie’s outhouse?
After being thrown out of the Farmer’s Market for protesting plastic bags, Misa retreats to her off-the-grid haven. But her chill is short-lived when Bill, an alien, crash-lands his spaceship into her outhouse. Convinced she’s hallucinating, Misa ‘helps’ repair Bill’s ship—until an accident triggers a body swap. Now trapped in Bill’s deteriorating alien body, Misa must navigate an otherworldly transformation while dodging the suspicions of Deputy Rhoades.
Can a hippie and an alien survive a body swap long enough to fix a spaceship?
As Bill (in Misa’s body) struggles to pass as human, the duo enters a contest for environmentally friendly innovations, hoping to fund spaceship repairs. Their hopes are dashed when Misa’s family history as eco-villains surfaces, causes them to be tossed out of the contest. With Bill’s alien body breaking down, can they repair Bill’s ship before it’s too late? Misa may lose her life in Bill’s body, and Bill must decide whether to flee Earth or stay and help his unlikely new friend.
Can they fix the ship and un-swap bodies before time runs out?

If you are interested in this concept, I'd be happy to send you the script.

• This reply was modified 5 months, 3 weeks ago by  Terrie Cooper Lee.
• This reply was modified 5 months, 3 weeks ago by  Terrie Cooper Lee.
• This reply was modified 5 months, 3 weeks ago by  Terrie Cooper Lee.

[Terrie Cooper Lee]

Terrie’s Connection with the Audience
What I learned doing this assignment is to plan out how to create a connection with characters and also to plan out when to introduce characters. Interesting question – can you have some character show up a bit late?
1. Which characters are you going to INTENTIONALLY create a connection with the audience?
Valerie: the transformable character, Doc: the betraying character, Constable Bill: haven’t said much about him but he gets killed pretty early on and further motivates Valerie to pursue the case. It would be good to create a connection with Colton the change agent – so my question is if we don’t meet him early can that work?
2. With each character, tell us how you’ll use each of the four ways of connecting with the audience in the first 30 minutes of the movie.
Valerie
A. Relatability – drive into Marfa, terrible roads, uncomfortable
B. Intrigue – gets attacked driving back to home base
C. Empathy – told to kill the investigation, argues, takes heat from Doc about killing the investigation.
D. Likability – kind to Constable Bill who is obviously cognitively challenged
Doc
A. Relatability –
B. Intrigue –
C. Empathy – frustration with the system that won’t let Valerie investigate a murder
D. Likability – argues that the victim’s murder needs to be investigated regardless of Valerie’s orders
Colton
A. Relatability – angry at the government
B. Intrigue – living off the grid hiding from the government
C. Empathy – war injuries
D. Likability – he might not be likeable, he’s cranky and sarcastic and angry

• This reply was modified 5 months, 4 weeks ago by  Terrie Cooper Lee.

[Terrie Cooper Lee]

Terrie’s Transformational Structure
What I learned doing this assignment is that I can leverage AI to get decent first drafts. Elements of this would benefit from elevation. I embedded the gradients into my AI prompts as well as the transformational journey but I’m not sure I’m escalating things clearly enough. I’m also not sure my mid-point is strong enough. However, wow, glad I can use this tool.
Act 1: The Awakening
Opening:
Valerie, a decorated Texas Ranger, arrives in Marfa, a small border town, to investigate the brutal murder of a young woman. She gathers initial evidence but is told by her superiors that the victim is classified as a "non-citizen," making her death low priority. Valerie complies, terminating the investigation per regulations. However, Constable Bill secretly saves the evidence.
Inciting Incident:
While driving back to her base, Valerie is ambushed by unknown assailants. She defends herself skillfully, killing her attackers, but her autodrive vehicle leaves without her. Shaken, she commandeers the attackers’ vehicle and returns to Marfa, determined to find out why this case is being silenced.
Turning Point:
Valerie consults Doc, who provides compelling evidence the victim was indeed a citizen: her dental work, clothing, and pregnancy all suggest she was misclassified. Valerie begins to suspect a larger problem but clings to protocol, believing it’s a bureaucratic error she can fix through proper channels.
Act 2: The Revelation
New Plan:
Determined to uncover the truth without alerting her superiors, Valerie secretly continues her investigation. She connects the murder to a pattern of missing persons and systemic corruption in the government’s AI-driven "citizenship classification" program.
Plan in Action:
Valerie visits Colton, her former Army buddy living off the grid, for help. He reveals a treasure trove of evidence: the AI, touted as an impartial system, is controlled by a shadow government panel. It’s being manipulated to disenfranchise citizens, maximize profits for the elite, and suppress dissent.
Midpoint Turning Point:
Valerie is confronted with the horrifying realization that the government she once fought for is corrupt at its core. Despite Colton’s compelling evidence, she struggles to reconcile it with her belief in the system. She resolves to find concrete proof and return to Marfa.
Act 3: The Reckoning
Rethink Everything:
Valerie’s worldview begins to unravel. She tries to convince Doc to help her but is blindsided when he betrays her, tipping off the authorities about her unauthorized investigation. This leads to another ambush, forcing her to fight for her life and go completely rogue.
New Plan:
Realizing she can no longer operate within the system, Valerie resolves to take direct action against the shadow panel controlling the AI. She gathers supplies and intel with Colton’s help and infiltrates the compound of one of the panel leaders.
Turning Point (Major Failure):
Valerie discovers the depth of the conspiracy and its unrelenting control over every facet of society. The panel leader offers her a choice: join them and reap immense benefits, or face complete ruin. She refuses, exposing her commitment to justice but realizing she can’t single-handedly take down the system.
Act 4: The Resistance
Climax:
Valerie fights her way through elite security, using her military training and Texas Ranger skills to confront the panel leader. She kills him and exposes the conspiracy, but her evidence is quickly dismissed as irrelevant by the judiciary. The government spins the leader’s death as a random act of violence, undermining her efforts.
Resolution:
Despite the lack of systemic change, Valerie returns to Colton’s off-the-grid community, now fully aware of the uphill battle ahead. Inspired by the community’s resolve, she joins their resistance movement, vowing to fight for justice and democracy. Valerie has transformed into a principled warrior for freedom, embodying the ideals she once believed were inherent in the system.

• This reply was modified 6 months ago by  Terrie Cooper Lee.

[Terrie Cooper Lee]

Terrie’s Three Gradients
What I learned from this assignment. I tried both emotional gradients using chatgpt and decided to use the desired change gradient. This needs much more detail but moving forward.
1. What is the Emotional Gradient you’ll use? Desired change. I put both into Chatgpt and the forced change just was so much worse that I went with Desired almost by default.
2. For each emotion of that gradient:
Excitement
Action: arrives in Marfa to investigate a murder. She works on the case then her superiors tell her the victim is not a citizen and to stop the investigation.
Challenge: No local police support, isolate, no real ME
Weakness: She treats the case as just another case, handle it by the book.
Doubt
Action: She’s attacked on the drive back to her town. She returns to Marfa. Finds ‘Doc’ whose actually a veterinarian. Follows up on his hunch that’s she a citizen (not a vagrant and pregnant).
Challenge: Fights off an attack by two – are they assassins or just criminals?
Weakness: Thinks the victim was accidently mis identified – still believes in the government system.

Hope – this needs to be several scenes.
Action: Returns to her home. Decides to try to solve the case on her own regardless of being told to stand down.
Challenge: She’s told to drop the case but compelled to continue.
Weakness: Trying to do her regular job while investigating this case. As she finds out more about government corruption, she can’t accept that it’s intentional.

Discouragement
Action: Goes to see her old Army buddy Colton. He lives off the grid and is a conspiracy theorist.
Challenge: Her beliefs are challenged by all the evidence Colton provides about the government being corrupt.
Weakness: Insists on following up on her own, she doesn’t trust Colton’s fellow conspiracy nuts. This would be a good time for Doc to betray her.

Courage
Action: She gets final evidence as to who killed the victim. She confronts him. He’s also the head of the ‘panel’ that actually runs the AI but they just put in place what makes them the most money. She has to fight her way to him inner sanctum, requiring her to kill multiple bodyguards. He offers to let her off the hook, she’s a great cop she can keep her job and get more $ because she can’t win against him. She kills him.
Challenge: Accepting how deeply corrupt the government is.
Weakness: Won’t accept help or join in with Colton’s crew.

Triumph
Action: Returns to the off the grid community where Colton lives. They believe her, but the court ruled that her evidence was irrelevant. Become committed to fighting to change the government system.
Challenge: The only solution is fight for the rights of invididuals.
Weakness: Thinks once she exposed the murderer the system would change. Only Colton and his crew believe her.

• This reply was modified 6 months ago by  Terrie Cooper Lee.

[Terrie Cooper Lee]

Terrie’s Lead Characters
What I learned from this assignment is that the betraying character and the opposition are critically important. I hadn’t even remembered those from the first time I took this course. I, again, used AI (irony here) to move through this assignment pretty quickly. I took what I’d come up with for the Action class, and created prompts to brainstorm. I tended to keep what was closest to things I’d already come up with, but chatgpt added details and that really sped things up.
1. Tell us your transformational journey logline.
In a dystopian near future, a duty-bound Texas Ranger investigating a brutal murder uncovers a far-reaching government conspiracy, forcing her to transform from a by-the-book enforcer into a fearless leader fighting to restore justice and freedom to her country.
2. Tell us who you think might be your Change Agent and give a few sentences about how that character fits the role. Also, include: – Their vision: – Their past experience that fits that vision:
Colton – he’s a Disillusioned Mentor. He and Valerie served in the Army together. After sustaining severe injuries in the war, he was promised support (e.g., medical care, housing, or job placement) but the system was nearly impossible to work through. Now living off the grid, he’s spent years gathering evidence of the AI conspiracy. He’s something of a resistance figure. Valerie just figured he was nuts from his injuries but she comes around.
3. Tell us who you think might be your Transformable Character(s) and give a few sentences about how that character or characters fit the role.
Valerie – Texas Ranger. She fought and nearly died for her country. Possesses action skills from her years as a Calvery Scout (serving behind enemy lines). But, given all that she’s seen and experienced she’s just glad the war is over and putting in her time – do the job by the book. But when she was a scout she believed in her country believed the US democracy was worth dying for.

4. Tell us who or what you think might be The Oppression and give a few sentences about how The Oppression works in your story.
The oppression is the AI that runs what’s left of the US government – but it’s actually the committee that runs the AI that is the true oppression. The murder that Valerie is investigating and what she finds in that process is what forces her to push against the oppressive force.
5. Tell us who you think might be your Betraying Character and give a few sentences about how that character fits the role.
Doc who seems like an ally in the beginning as he’s the one that pushes her to investigate the murder even though the victim is classified as ‘not a citizen.’ But he can’t change – he’s a veterinarian at a state university – it’s about as good a gig as exists anymore. Without ‘the system’ his students can’t study and strive for a better life all that would be left is chaos. It’s a flawed system but he embedded in it and can’t see a way out.
Valerie’s superior at the Texas Rangers. What I envision is that early on he tells her to follow the rules and suppresses her efforts. Perhaps eventually he realizes Valerie has uncovered an important truth and comes around even at great cost to himself.

• This reply was modified 6 months ago by  Terrie Cooper Lee.

[Terrie Cooper Lee]

Terrie’s Transformational Journey
What I learned from this assignment is to leverage Chatgpt – wish I’d done so sooner. It gave me ideas for the transformational journey as well as the start and end points of the journey. I’ve got some homework to do (watch Robocop) but I certainly moved forward after not doing so for several days.
1. Tell us your logline for the transformational journey.
"In a dystopian near future, a duty-bound Texas Ranger investigating a brutal murder uncovers a far-reaching government conspiracy, forcing her to transform from a by-the-book enforcer into a fearless leader fighting to restore justice and freedom to her country."
2. Tell us what you see as the Old Ways.
By the book, follow protocol, detached but not unempathetic to individuals, pragmatic.
3. Tell us what you see as the New Ways.
Warrior for justice, defies authority regardless of personal cost, principled in action based on the US Constitution

• This reply was modified 6 months ago by  Terrie Cooper Lee.
• This reply was modified 6 months ago by  Terrie Cooper Lee.

[Terrie Cooper Lee]

Terrie’s Phone Pitch
What I learned from this is how to leverage chatgpt to create different versions of a pitch using the components I’ve pieced together. It’s convinced me that I need to start entering contests to hopefully gain some credibility.
1. Tell us which of the four strategies you are going to use to open your pitch:
• Lead with a High Concept.
• I’ve got zero credibility, no business hook and my title is good but probably not great.
2. Give us your script for phone call pitches, like I did above. Used the prompt to get these three. I would lead with Version 3. If that got me no where I’d try version 1. Although having great roles for actors is a marketable issue, since I have no track record, this is probably low-budget and aiming for A list isn’t realistic.
Version 1: Leading with the High Concept
Hi, this is Terrie Shaft.
I have a sci-fi comedy called Freaky Fusion about an alien who crashes into an off-the-grid hippie’s outhouse, triggering a body swap. Together, they must fix the spaceship and un-swap bodies before a nosy deputy discovers their secret.
It’s like Freaky Friday meets Paul with a dash of Guardians of the Galaxy.
________________________________________
Version 2: Leading with the Component of Marketability
Hi, this is Terrie Shaft.
I have a sci-fi comedy called Freaky Fusion that’s a dream for actors, featuring ultimate body-swap fun: each lead plays two characters—their original self and the other after they swap bodies. With the buzz around the Freaky Friday sequel, it’s the perfect time for this project.
It’s like Paul meets Guardians of the Galaxy with the humor and heart of Freaky Friday.
________________________________________
Version 3: Leading with the Comps
Hi, this is Terrie Shaft.
I have a sci-fi comedy called Freaky Fusion. Imagine the hilarious body-swap antics of Freaky Friday combined with the irreverent charm of Paul and the cosmic fun of Guardians of the Galaxy.
It’s about an alien who crashes into a hippie’s outhouse, leading to a body swap. They must work together to fix the spaceship and keep a nosy deputy from discovering their secret.

3. Give us a one or two sentence answer to the questions a producer may ask:
• What’s the budget range? Low budget $1-3 million. With the right choices and an all local cast could even come in under a million.
• Who do you see in the main roles? Actors with an Oklahoma connection: Josh Fadem as Bill the Alien. Laura Spencer could be fun as Misa, the angry off-the-grid hippy. Daryl Cox is an obvious choice for Deputy Rhoades.
• How many pages is the script? 99
• Who else has seen this? No one.
• Why do you think this fits our company? Your track record with comedies.
• How does the movie end? Misa (the human) loves the Earth too much to leave, even if being stuck in Bill’s deteriorating body means she’s going to die. Bill (the alien) pleads with her to leave. In their final repairs of Bill’s ship, they re-trigger the weird mechanism that caused the swap and miraculously unswap and Bill returns to his home planet.

• This reply was modified 6 months, 1 week ago by  Terrie Cooper Lee.
• This reply was modified 6 months, 1 week ago by  Terrie Cooper Lee.
• This reply was modified 6 months, 1 week ago by  Terrie Cooper Lee.

[Terrie Cooper Lee]

Terrie’s First Three Decisions
What I learned from this assignment is that this deeper level can turn my action thriller into something much better. I also think this is why I never fully sorted out an ending. I need the profound message to help me get the right ending.
1. What is your profound truth?
Everyone is a human being that has a right to be treated equal to other human beings.
2. What is the change your movie will cause with an audience?
Fight for democracy/self determination
3. What is your Entertainment Vehicle that you will tell this story through?
Action / political thriller that starts with a murder investigation.

• This reply was modified 6 months, 2 weeks ago by  Terrie Cooper Lee.

[Terrie Cooper Lee]

Terrie’s Analysis of Barbie

What I learned from this assignment was to look a bit deeper at the journey. Not just a character arc but taking a journey step by step. I sort of got this before and have actually given feedback to friends that their character arcs weren’t clear enough – now I realize they might have had an arc but they didn’t have a journey. Also, the main characters needs to take on the change, be proactive not just magically change. Barbie intentionally went to the real world, she though to repair the tear ended up transforming herself. She also rejected the opportunity to go back to status quo – is that essential to the transformation journey?

We are looking at this movie from the perspective of the change that occurs for the lead character and the audience.

1. What is the CHANGE this movie is about? What is the Transformational Journey of this movie?

Barbie becomes a fully formed woman – feeling all the feelings, needing a gynecologist! From living in a gilted world to living in the real world with all it’s complexities.

2. Lead characters:

Who is the Change Agent (the one causing the change) and what makes this the right character to cause the change?

Gloria – America Ferrara’s character

Who is the Transformable Character (the one who makes the change) and what makes them the right character to deliver this profound journey?

Barbie – she is stereotypical Barbie. Mattel turned her into the aspirational women (not the movie here, the toy), she looks perfect and can be anything! To a chick, Barbieland is a pretty cool world.

What is the Oppression?

Patriarchy/Mattel

3. How are we lured into the profound journey? What causes us to connect with this story?

We are lured by Barbie and her world. It’s freakin’ awesome! (If you are into Barbie). Then Barbie feels negative emotions, her day 2 is just not like day 1 she has PROBLEMS and starts to question what is going on? Which pretty much seems like every damn day to me.

4. Looking at the character(s) who are changed the most, what is the profound journey? From “old ways” to “new way of being.” Identify their old way: Identify their new way at the conclusion:

Barbie – living a comfortable existence in Barbie land, becomes a real woman

Ken – only happy if Barbie notices him to being Kenough!

Sasha – re-connects with her mother

Gloria experiences less change than the other characters as she’s the change agent, living as a real woman in a world that doesn’t fully appreciate a real woman.

5. What is the gradient the change? What steps did the Transformational Character go through as they were changing?

· Barbie has dark thoughts.

· Barbie is malfunctioning and must visit Weird Barbie – get weird when played with too hard in the real world. – seeks help for the problem, looking outside herself

· Travels to the real world.

· Experiences patriarchy for the first time. Told she set back feminism.

· Goes to Jail!

· Barbie says everything is backwards. Ken returns to Barbieland

· Meeting Ruth, her creator. the real world isn’t what she thought it was. It never is and that’s why it’s wonderful.

· Gets in Gloria’s car. ‘how are you here. You’re like an idea.’ It was Gloria’s drawings that brought on thoughts of death and cellulite! I came for you’ Those are your memories.

· Barbie turns back to save Barbieland and make it better. “I can practically feel my heels lifting!”

· why didn’t the brainwashing work on Barbie? Being exposed to the real world

· save the barbies. Pieces of a continuation of Gloria’s speech.

· It’s okay to cry. Not every night has to be girls night, I took you for granted (Barbie to Ken). There is no just ken! Time to discover who Ken is. Ken you have to figure out who you are without me. Maybe the things you go through make you. You aren’t you. “Ken is me!” We were only fighting because we didn’t know who we were.

· Barbie doesn’t want things to go back the way they were.

· Apologizing to weird Barbie and Ken for how they treated them earlier.

· Closes portal between the worlds. Barbie’s not in love with Ken, she’s not sure where she belongs. I don’t have an ending – Ruth tells her that’s the point. Barbie and Ruth take a walk. Saved Barbieland from patriarchy. Ideas live forever, humans not so much. (Ruth) Humans make up things like patriarchy & Barbie just has to deal with how uncomfortable it is. Then you die. Make meaning – become human.

· Wearing Birkenstock’s Barbie needs to see her gynecologist. – she’s fully human.

6. How is the “old way” challenged? What beliefs are challenged that cause a main character to shift their perspective…and make the change?

Barbies run Barbieland, even to the exclusion of the Kens. Barbie enters the real world to avoid becoming Weird Barbie. In the real world she experiences patriarchy which causes her to appreciate Barbieland. Barbieland gets sucked into patriarchy and they fight it. Eventually Barbie sees that not being fair to Kens and Weird Barbie aren’t right either.

7. What are the most profound moments of the movie?

Barbie has dark thoughts.

Barbie is malfunctioning and must visit Weird Barbie – get weird when played with too hard in the real world. – seeks help for the problem, looking outside herself

Goes to Jail!

Meeting Ruth, her creator.

why didn’t the brainwashing work on Barbie? Being exposed to the real world

Gloria’s speech.

We were only fighting because we didn’t know who we were.

Apologizing to weird Barbie and Ken for how they treated them earlier.

Ideas live forever, humans not so much. (Ruth) Humans make up things like patriarchy & Barbie just has to deal with how uncomfortable it is. Then you die. Make meaning – become human.

Wearing Birkenstock’s Barbie needs to see her gynecologist. – she’s fully human.

8. What are the most profound lines of the movie?

Gloria’s monologue. I know some people thought it was too long. An entire 2 hour movie of that would not be too long for me.

I can practically feel my heels lifting!”

I never wanted anything to change. That’s life, it’s all change. That’s terrifying.

Giving voice to the cognitive dissonance required to be a woman under the patriarchy robbed it of its power!

Humans make up things like patriarchy & Barbie just has to deal with how uncomfortable it is. Then you die. Make meaning

I’m here to see my gynecologist.

9. How does the ending payoff the setups of this movie?

Barbie now lives in the real world, abandoning the comfort of Barbieland to live a real life.

10. What is the Profound Truth of this movie?

Real life is messy but worth it. You can be what you want to be.

[Terrie Cooper Lee]

Terrie’s Pitch Fest Pitch
What I learned from this assignment is that I would want to tailor my pitch to the producer or at least to their marketing level. I think this could be mirco-budget with local cast, but a non local producer I’d need to take the initial suggestions from chatgpt and do more research. Suggesting A-listers at my level, I think would damage my credibility. I learned that Chat gpt would show me some of the websites it used to do its research. I learned I can ask chatgpt to suggest actors at a lower budget. I learned I can suggest an actor and chatgpt gave me back good logical reasons for why the actor was a fit, something that would help me pitch that actor to a producer.
1. Tell us your credibility. None.
2. Tell us your genre and title. Sci-Fi Comedy – Freaky Fusion
3. What is your one or two sentence hook?
When an Alien crashes into an off-the-grid hippie’s outhouse and they swap bodies, can they fix the spaceship and un-swap bodies before a nosy deputy discovers their secret?
4. Please give your one or two sentence answer to each of these questions:
• What is the budget range?
With local actors it could be micro-budget. If you want to go with rising stars probably 2-3 million.
• What actors do you like for the lead roles?
Local actors: Josh Fadem for Bill, Laura Spencer for Misa, and Darrly Cox for Deputy Rhoades.
• Give me the acts of the story.
Act 1: Misa, an off-the-grid recluse, is thrown out of the Farmer’s Market for protesting plastic bags and retreats to her rural haven. But her chill is short-lived when Bill, an alien, crash-lands his spaceship into her outhouse. Convinced she’s hallucinating, Misa ‘helps’ repair Bill’s ship—accidently triggering a body swap. Now trapped in Bill’s deteriorating alien body, Misa must navigate an otherworldly transformation while dodging the suspicions of Deputy Rhoades.

Act 2: As Bill (in Misa’s body) and Misa (in Bill’s body) struggle to function in their new bodies and not be detected they attempt to repair Bill’s spaceship. Deputy Rhoades, suspicious of Misa’s odd behavior, investigates at every opportunity.

Act 3: Short on funds, the duo enters a contest for environmentally friendly innovations. Their progress is derailed when Misa’s family’s history as eco-villains surfaces, causes them to be tossed out of the contest. With Bill’s alien body breaking down, tensions rise, and the stakes grow higher: Misa may lose her life in Bill’s body, and Bill must decide whether to flee Earth or stay and help his unlikely new friend. Misa (in Bill’s body) refuses Bill’s offer of leaving, preferring to die on her beloved planet Earth. A technology glitch in their final repairs unswaps their bodies and Bill returns to his home planet.

• This reply was modified 6 months, 2 weeks ago by  Terrie Cooper Lee.

[Terrie Cooper Lee]

Terrie’s Query Letter
What I learned from this assignment is how helpful Chatgpt can be for this type of work. I could write a query letter but it’s much more efficient to tweak the Chatgpt letter rather than start from scratch.

Title: Freaky Fusion
Genre: Sci-Fi Comedy

What happens when an alien crash-lands into a hippie’s outhouse?

Misa, an off-the-grid recluse, is thrown out of the Farmer’s Market for protesting plastic bags and retreats to her rural haven. But her chill is short-lived when Bill, an alien, crash-lands his spaceship into her outhouse. Convinced she’s hallucinating, Misa ‘helps’ repair Bill’s ship—until an accident triggers a body swap. Now trapped in Bill’s deteriorating alien body, Misa must navigate an otherworldly transformation while dodging the suspicions of Deputy Rhoades.

Can a hippie and an alien survive a body swap long enough to fix a spaceship?

As Bill (in Misa’s body) struggles to pass as human, the duo enters a contest for environmentally friendly innovations, hoping to fund their repairs. Their progress is derailed when Misa’s family’s history as eco-villains surfaces, causes them to be tossed out of the contest. With Bill’s alien body breaking down, tensions rise, and the stakes grow higher: Misa may lose her life in Bill’s body, and Bill must decide whether to flee Earth or stay and help his unlikely new friend.
Will they fix the ship and their lives before time runs out?

I’m posting these just to archive them.
Alternate Hooks:
Opening Hooks:
1. An alien crash-lands into a hippie’s life—literally—and everything changes.
2. What would you do if an alien stole your body by accident?
3. When an alien meets a hippie, the result is hilariously out of this world.
4. A spaceship crashes, a body swap happens—what could go wrong?
5. How does a hippie survive as an alien trapped in her own life?
Middle Hooks:
1. Can two misfits fix a spaceship before a nosy deputy catches on?
2. Swapping bodies is hard enough—fixing a spaceship makes it impossible.
3. When their eco-competition backfires, can they still save their lives?
4. A hippie and an alien must work together—or they’ll lose everything.
5. The clock is ticking—can they fix the ship before it’s too late?
Final Hooks:
1. Will their bond be enough to undo the swap and fix their mistakes?
2. Can an alien learn humanity—and help a hippie save herself?
3. Will they fix the ship—or will Misa be stuck as an alien forever?
4. Is Earth a lost cause—or can two outsiders prove otherwise?
5. Can saving each other’s lives help them save themselves?

• This reply was modified 6 months, 2 weeks ago by  Terrie Cooper Lee.
• This reply was modified 6 months, 2 weeks ago by  Terrie Cooper Lee.

[Terrie Cooper Lee]

1. Terrie Cooper Lee
2. 2 'completed', 2 in shitty first draft phase, 3 outline or less…
3. I've taken this class before but get stuck when I'm dissatisfied with parts of the script and not sure how to fix the issue. Hope this class will help me address those issues.
4. I have 4 horses. I compete at the equestrian sport of eventing.

• This reply was modified 6 months, 3 weeks ago by  Terrie Cooper Lee.

[Terrie Cooper Lee]

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.

[Terrie Cooper Lee]

Terrie’s High Concept/Elevator Pitch
What I learned from this assignment is that the AI prompts were very helpful. I still went back to what I’ve been using I can see I was pretty close to what was generated. I was feeling stuck and I wish I’d used the prompt sooner. I still need a clearer reason for Bill to have left his home planet. I’ve brainstormed, AI brainstormed, watch the genre still not satisfied.
Tell us your High Concept and Elevator Pitch.
1. To find your main hook, give us what is most unique about your lead character’s journey from a big picture perspective.
An earthling and alien swap bodies.
2. How can you tell it in the most interesting way possible?
• Dilemma – can they unswap bodies before discovery or death?
• Main Conflict – they need to unswap bodies before they are discovered
• What’s at stake? – their lives
• Goal/Unique Opposition – unswap bodies
2. Using the 10 Components of Marketability, what is your Elevator Pitch?
Here’s the top three. The last one is mine that I’ve been using for months. It’s 27 words. I guess I’d want to run these pitches by someone knowledgeable to know which is best to lead with.
When a hippie's outhouse becomes an alien crash site, a body swap forces them to work together to repair a spaceship and their lives.
An eco-warrior hippie and a stranded alien swap bodies. They must fix the spaceship and unswap bodies while staying one step ahead of a nosy deputy.
When an Alien crashes into an off-the-grid hippies outhouse and swap bodies, can they fix the spaceship and unswap bodies before a nosy deputy discovers their secret?

• This reply was modified 6 months, 3 weeks ago by  Terrie Cooper Lee.

[Terrie Cooper Lee]

Terrie’s Synopsis Hooks
What I learned doing this assignment is that this is a good way to work baby steps to get a draft synopsis.
Freaky Fusion is a Sci – Fi comedy.
After getting thrown of out of the Farmer’s Market for fighting about plastic bags, Misa returns to her off the grid home to enjoy some home grown just in time for Bill to crash his spaceship into her outhouse. Misa knows Aliens don’t exist so she’s sure Bill is a hallucination. In the midst of ‘fixing’ Bill’s ship, Misa triggers a chain reaction – they swap bodies. They struggle to adapt to each other’s bodies. Misa’s odd behavior causes Deputy Rhoades to investigate Misa and her new friend at every opportunity. As Bill’s body fades, they get more desperate to repair Bill’s ship. Short of funds, they enter a contest for environmentally friendly products. They are kicked out when Misa’s family’s history as environmental criminals is revealed. Bill’s body, with Misa in it, continues to deteriorate. Does Bill return to his home planet in Misa’s body or let Misa leave in his body? One last repair triggers another chain reaction and they unswap bodies.
Freaky Fusion is Freaky Friday meets Men in Black. The leads have the fun of playing two characters – an angry hippie and confused alien.

• This reply was modified 6 months, 4 weeks ago by  Terrie Cooper Lee.

[Terrie Cooper Lee]

Terrie’s 10 Most Interesting Things
What I learned from this assignment is that I had more hooks than I thought. It was useful to set the assignment down and come back to it.
1. Go through your project and see which of these specific hooks you have:
1. Misa is lives an off the grid lifestyle and is angry at anyone who doesn’t act to save the planet
2. Bill is an alien.
3. Misa was thrown out of the Farmer’s Market for fighting about plastic bags
4. Bill comes out of suspended animation and breaks his spaceship’s toilet
5. Bill crashes into Misa’s outhouse – breaking his ship and stranding him on Earth
6. Bill and Misa swap bodies
7. Bill’s body is dying with Misa in it. Does Bill return to his home planet in Misa’s body or does he let Misa leave in his body hoping that the body will recover?
8. Deputy Rhoades is disturbed by Misa’s odd behavior and investigates at every opportunity.
9. Deputy Rhoades is hiding the fact that he is a recovering addict and thinks Misa needs rehab.
10. When Misa & Bill try to win a contest for environmentally friendly products, we find out that Misa’s family are environmental criminals.
11. They unswap bodies and Bill returns to his home planet.

• This reply was modified 7 months ago by  Terrie Cooper Lee.

[Terrie Cooper Lee]

Terrie Meet’s Producer/Manager
What I learned today that I need to get one more screenplay through the revision process before I reach out to managers.
ASSIGNMENT
Imagine you have two meetings set up — with a producer and then with a manager. What would you say and do differently based upon this model?
Answer two questions:
1. How will you present yourself and your project to the producer?
• Focus on my AI WIM screenplay, it’s marketability (familiar genre but new twist), it’s appeal to actors, it’s timeliness
2. How will you present yourself and your project to a manager?
• Focus on having three of rom-com (or buddy) comedies
• Focus on interest in paid assignments – willingness to focus on developing other’s ideas improving concepts and bringing them to fruition.

• This reply was modified 7 months, 1 week ago by  Terrie Cooper Lee.

[Terrie Cooper Lee]

Terrie’s Marketable Components
What I learned from this assignment is that I have several of the components – but that’s why I picked this project.
1. Tell us your current logline. An alien crashes into the home of an off-the-grid hippie and they accidentally swap bodies. Can they repair the spaceship and un-swap their bodies before Deputy Rhoades discovers their secret?
2. Look through the 10 Components of Marketability and pick a few that have the most potential for selling this script.
A. Unique = high concept. Body swap, but with an alien hasn’t been done
B. Great Title. Good title – Freaky Fusion calls to Freaky Friday.
C. True. – not that I know of
D. Timely = connected to a major trend or event – Freaky Friday sequel coming out
E. It’s a first. – no
F. Ultimate. – sort of, body swap with a non human
G. Wide audience appeal. – yes
H. Adapted from a popular book. – N/A
I. Similarity to a box-office success. Freaky Friday $20M budget against $160M Box office
J. A great role for a bankable actor. Both lead actors play two characters – their original character (hippie or alien) and the other when their bodies are swapped.
3. Do a quick brainstorm session about ways to elevate the components you chose for this script and tell us how you might pitch the script through those components.
I think these are pretty much as elevated as possible.

• This reply was modified 7 months, 1 week ago by  Terrie Cooper Lee.

[Terrie Cooper Lee]

Terrie’s Project and Market
1. Genre, Title, and Concept. Sci-Fi Comedy. Freaky Fusion. An Alien crashes into an off-the-grid hippies house and they swap bodies. Can they fix the spaceship and unswap bodies before Deputy Rhoades discovers their secret?
2. In one or two sentences, tell us what you think is most attractive about your story.
The concept – Body Swapping with an Alien seems like something that’s already been done but I can’t find it.
3. Tell us which you will target FIRST — managers, producers, or actor’s production company — and why you picked that target.
I’ll target producers first. I think a manager would want to see an inventory of marketable screenplays that I don’t have yet. The leads are actor bait but I can’t think of particular actors that stand out as the ‘one right’ actor for either lead. I’m one away from the best director in my state, in fact I made decisions on setting to make this shootable in my home state.
4. What I learned today is well I reminded myself I’ve been making decisions all along to make this shootable in my home state and the budget is flexible – meaning local actors, campy sets = cheap; name actors, better sets and costumes = bigger budget.

• This reply was modified 7 months, 1 week ago by  Terrie Cooper Lee.

[Terrie Cooper Lee]

Terrie’s Solved Character Problems!
Vision: Vision: I am paid to write screenplays that become successful movies. My process is so solid I can enjoy my equestrian hobby while exceeding expectations with my writing.
What I learned from doing this assignment is that I really get stuck if I can’t find a solution. My breakthrough is that I need to move on and keep making progress. I think the character journeys would be better if they were stronger but here I am MONTHs after finishing draft 1 stuck. I’ve brainstormed multiple times, used AI or myself and still haven’t got a better journey. So, finally I’m moving on.
A. Generic Lead Characters – no
B. Weak protagonist or antagonist – they fit the story.
C. Protagonist Too Good or Antagonist Too Bad – this is a buddy comedy so the leads are protagonist/antagonist against each other. Misa is clearly not too good. Bill is not that bad, he’s a confused alien.
D. Weak character intros – no
E. Characters not in action –there is lots of physical comedy. Dialog scenes mostly are conflict, arguments about actions.
F. Protagonist journey not strong – Misa is strong, Bill could be stronger.
G. All the characters seem the same – no
H. Lead characters not present – no

• This reply was modified 7 months, 2 weeks ago by  Terrie Cooper Lee.

[Terrie Cooper Lee]

Terrie’s Structure Solutions!
Vision: Vision: I am paid to write screenplays that become successful movies. My process is so solid I can enjoy my equestrian hobby while exceeding expectations with my writing.
What I learned from this assignment:
I got stuck because I really expected to fix each structure issue (honestly there are only 3). But when brainstorming multiple times didn’t work I just got stuck. Instead, I should have done 2 things: 1. Kept reading the script to stay close to the story even making simple changes would have been better than stewing. 2. Moved on much more quickly that I allowed myself. I know this is great process but I should have melded it more with my own process.
Changes:
1. Made the midpoint stronger / clearer I didn’t really what happened just made more of it.
2. I worked on my transformational journey using the transformational journey format for the rom-com class.
3. I think my third act turning point could be stronger.
4. Figured out the wound for one my antagonists.

• This reply was modified 8 months, 1 week ago by  Terrie Cooper Lee.

[Terrie Cooper Lee]

Terrie’s Romance Emotions Part 1
What I learned doing this assignment is that highlighting emotional content doesn’t come easily to me. So this exercise is very important to my development as a screenwriter.
I’ve embedded notes into my outline so just to save time I’ll skip putting details here.

[Terrie Cooper Lee]

Lesson 7: Incongruent Situations
What I learned from this is a technique to add comedy to a screenplay. These need more development and it would be good to work through this process again to find even more.
1. Misinterpretation
Sara and Austin’s Meet Cute
Sara (into phone)
I’ve been thinking about you and our appointment all morning. Seriously, I can’t wait to get my hands on you. This is going to make my day. And yours too! I promise.

Sara scans the counter, still just one barista.

Sara
I know it’s big, but I’m more than capable of handling large (clears her throat) ventures. You’re not backing out now?

Austin enters, putting on an apron. Fussing with things on the counter.

Sara
We’ll attack this head-on. No more hesitation. With my help, you can take control and make things happen. (Sara listens to her phone) This is the moment we’ve been preparing for. We’ve got all the tools we need. Once I get there with my help you’ll dive in and get it done. No more excuses. You’ve paid me already, let me do my job.

Austin
What can I…

Sara
You. You’re late. That’s why I’ve been in line so long. I might be late for my appointment with a very important client.
(into phone) I’ll be right there. Don’t back off, you need to keep this momentum.
(to Austin) I need a skinny latte. And it seems like you need to learn some organizational skills. Apparently, you’re chronically late for work.

Austin
This is not my real work.

Sara
How many times have I heard that. This is some sort of blow off job.

Austin
I make a great skinny latte.

Sara
And yet you aren’t actually making one.

Austin
You seem kind of strict.

Sara
That’s what I’m paid to be.

Austin
Sounds, interesting.

Sara
It is, it truly fascinates me. Coffee.

Austin
(as he makes her coffee)
So you charge by the hour?

Sara
Usually by the job. The client and I discuss his or her specific desires, we set up regular meetings. It’s important that both parties be clear about what works, parameters you might say. On my end, that understanding help me assist the client deeper issues that are blocking them from achieving his or her goals.

Austin
So chicks too?

Sara
Of course, why not? Everyone deserves help and guidance.

Austin
Seems like you could use some extra energy today so double shot, on me.

Sara
Thank you. That’s very sweet, but you still need to learn to be on time for important things.

2. Comedic surprise
When Sara is introduced to her first reality show client it’s Austin. Austin finds out she’s a productivity expert.

3. Wildly Inappropriate Response

He’ll do an entire art series around this type of stuff that is actually successful.

Host a "Procrastination Workshop" where they teach people creative ways to put off tasks and embrace their inner chaos.

Create a piece of art out of office supplies like sticky notes, paper clips, and coffee cups, proudly displaying it as a tribute to their “unconventional workspace.”

Deliberately ignore deadlines while hosting an extravagant “Inspiration Party” where guests do nothing but brainstorm and daydream.

Set up a “Distraction Station” in their studio with all kinds of quirky gadgets and toys, celebrating every time they get sidetracked.

Wear a “Chaos Is My Muse” T-shirt and insist on discussing how unstructured, spontaneous work is the true path to artistic greatness.

"I’d love to be more productive, but I’m too busy waiting for inspiration to strike. It’s very unreliable, you know."

"I appreciate the advice, but I work best in chaos. It's like organized messiness is my muse."

"Productivity is great and all, but sometimes the best ideas come when I’m completely off-track."

"I’ve found that my creative process thrives on spontaneity. Structure just gets in the way of my muse."

"Being productive sounds nice, but I prefer to let the art take its own course, even if it means a little procrastination."

4. Forced union of incompatible
Sara resists Austin as her client – he was late to his job and not a serious person. Conner the producer insists.
Austin has no interest in getting help from a productivity expert but his friend and gallery owner forces him, or she’ll drop him.

5. Embarrassment
When Sara enters Austin’ studio to talk about the show. A cameraman accompanies her. Some paint gets on her blouse. Austin tries to dab it off (her breast) she gets offended, steps back. Ends up pressing against a painting, get paint on more of her clothes. She spins around trying to see where it is on her back and butt. As she spins she trips into a paint tray. Now she’s really a mess. Austin gets her one of his shirts to change into. She changes comes out holding her blouse. This is silk! This stain has to be removed. Austin takes the blouse, grabs scissors, cuts out the stain, slaps it onto a painting. She’s horrified and angry, he’s happy he thinks it makes the painting. Asks to use her other clothes the same way.

6. Comedic Tragedy

They are being filmed or live and everything is falling apart – maybe Austin is resisting her techniques. Sara keeps trying to put a positive spin on things but nothing is working correctly.

• This reply was modified 9 months, 3 weeks ago by  Terrie Cooper Lee.

[Terrie Cooper Lee]

Terrie’s Plot
What I learned from this assignment is that many elements overlapped tracks. I’m not sure if this is normal. I’m also not sure I’m happy with this. My original 4 act structure focused more on Sara and Austin. Right now they could just as well end up buddies.
Act 1: Setup
o Opening:
o Introduction to Sara: We see Sara, a dynamic and charismatic productivity coach, filming a vlog. Her passion for helping people maximize their potential is evident. ST1: Squeeze the most out of each day!
o ST2: Meet Cute: Sarah is frustrated that it is taking too long to get her coffee, she has a schedule! One barista is late, as usual, ya’ know he’s an artist! AT2: Austin shows up. She lectures him on the impact of his lack of punctuality. He flirts and charms her, figures she just really needs coffee – gives her an extra expresso shot.
o Introduction to Conner: Conner, a shrewd and somewhat cynical TV producer, is introduced at a production meeting. He's looking for the next big hit and believes conflict is key to success.
o Inciting Incident:
o ST3: Sara Gets Her Chance: Sara is approached by Conner with an offer to star in her own reality show. The twist? Her first client will be an eccentric, disorganized artist named Austin.
o Turning Point:
o AT1: Sara Meets Austin: Sara meets Austin and is shocked by the chaotic state of his studio and life. Sara convinces him to participate in the show, seeing it as a chance to help him and prove her methods work. AT3: Austin only agrees because his friend and gallery owner will drop him if he doesn’t participate. Superior position: Audience knows but Sara doesn’t.
Act 2: Confrontation (Part 1)
4. New Plan:
o AT4 S$4: Reality show struggles: the show starts airing but ratings are low. Sara and Austin clash frequently over their differing approaches to life and work, leading to entertaining but unproductive segments.
o Attraction/flirting: Sara gives Austin a Makeover – for the sake of the show.
5. Plan in Action:
o Conner pressures Sarah to create more dramatic content, hinting that the show might get cancelled otherwise.
o Working through Issues/Differences – She’s into productivity – schedules – structure; He wants to create beauty to make people happy; She believes he’ll be happiest when he gets things done that are important to him!
o Self-Reflection: she too rigid in her approach she needs to allow fun to happen.
6. Midpoint Turning Point:
o After a disastrous episode where Sarah’s productivity techniques go hilariously wrong, Austin storms off the set. Once in his studio, he follows some of her advice and finishes a piece he’s been ignoring. It goes viral, bringing attention to Austin and the show.
o AT5: Self-Reflection: after trying some of Sara’s system, he’s been more creative and accomplishing more as an artist.
Act 3: Confrontation (Part 2)
o Rethink Everything:
o Attraction/Flirting: He makes a backdrop for her reality show set, logo, etc.
o They bond: Sara’s mom had cancer when she was 12 or 13 and Sara thought if she was ‘perfect’ her mom would get better – Sara made sure all the medicine on a perfect schedule, straight A’s at school, took care of the house. Austin was very close to his grandmother as she was dying, he used art to cheer her up. She supported him as an artistic creative person.
o ST5: Self-Reflection: she too rigid in her approach she needs to allow fun to happen. Sarah reevaluates her approach balancing productivity and creativity to better connect with Austin and the audience. ST6: Acceptance and Growth: she alters her productivity process to accommodate Austin’s need for spontaneity.
o Attraction / Flirting: they agree to argue but then act like they like working together for the sake of the show.
o ST7: Demonstrate the change: in an episode of her show she tells everyone how she is changing things because life also needs to be fun.
o New Plan:
o Sara and Austin collaborate to create a plan for the remaining episodes, to help anyone create meaningful progress and artistic breakthroughs.
o AT6: Acceptance and Growth: he realizes that Sara has helped him. It’s real not just a reality show.
o Turning Point: Huge Failure/Major Shift:
o A major conflict erupts during filming causing a temporary rift between Sarah and Austin. The shows future hangs in the balance as ratings start to dip.
o Denial – It’s not real it’s a reality show.
o Hate/Betrayal/All Hope is Lost – Reveal: Austin is only doing the show because if he doesn’t his gallery will drop him.
o The producer lies about the other person to each of them to create drama, such as Sara saying no one can make a living as an artist – creativity is for fun not $.

Act 4: Resolution
o Climax/Ultimate Expression of the Conflict:
o ST8: Reunion: Sara asks Austin to return for the final episode even if it is just to give their audience closure.
o AT7: AT8: Austin shows up on time for the last episode of the reality show! Gives her a piece of art (probably has a clock in it somewhere) – gives Sara credit for helping him be more focused on ART.
o The Big Reveal: In the season finale, Austin presents a new collection at a major gallery show. The event is a huge success, showcasing not only Austin’s art but also Sara’s impact on his life. The reality show garners high ratings and critical acclaim.
o Resolution:
o Love Happens – Austin completes the pieces for the upcoming art show and keeps his gallery owner happy. He realizes that Sara really helped him and that she only wants him to be successful. She realizes that she’s changed. Productivity is not one size fits all. She wants room for fun and spontaneity in her life.
o Happy Ending: The show is renewed for another season, and Sara and Austin have formed a genuine relationship. Conner is thrilled with the show's success but still looks for ways

• This reply was modified 10 months, 1 week ago by  Terrie Cooper Lee.

[Terrie Cooper Lee]

what is weird is that posted this over a week ago and it's gone now.
Terrie's Bigger Story
What I learned doing this assignment is that I'd already considered some of these issues. My concern is that my 4 act structure is not enough about the 'bigger story' and too much about the character's relationship.
1. Brainstorm at least 5 ideas for each of these and select the one or combination you like best for your bigger story. I used AI to brainstorm and decided to go with what I already had.
• A. What interesting world could this movie/show be set in?
A reality show. Sara has an opportunity to do a 7 episode reality show.
• B. What major conflict could be happening?
Sara is a social media influencer who posts about productivity. Austin is an artist who is struggling to get by, partly due to his chaotic work habits. Sara is a social media influencer who posts about productivity. Austin is an artist who is struggling to get by, partly due to his chaotic work habits. Austin only believes he can create when he’s inspired. Sara believes that being organized leads to greater opportunities to be inspired.
• C. What intriguing situation could these characters be engaged in?
Austin is the focus of Sara’s new reality show – Run Your Schedule, Win Your Life!
1. Brainstorm at least 5 ideas for each of these and select the one or combination you like best for your bigger story. I used AI to brainstorm and decided to go with what I already had.
• A. What interesting world could this movie/show be set in?
A reality show. Sara has an opportunity to do a 7 episode reality show.
• B. What major conflict could be happening?
Sara is a social media influencer who posts about productivity. Austin is an artist who is struggling to get by, partly due to his chaotic work habits. Austin only believes he can create when he’s inspired. Sara believes that being organized leads to greater opportunities to be inspired.
• C. What intriguing situation could these characters be engaged in?
Austin is the focus of Sara’s new reality show – Run Your Schedule, Win Your Life!
Genre: Romantic comedy
Concept: A struggling artist’s career gets a surprising boost when Sara, a viral productivity coach, takes him on as a client for her new reality show. As the coach introduces structure and order to the artist’s chaotic world, they both discover that love can be found in the most unexpected places, even in a meticulously planned schedule.

Characters:
• Sara: Social media influencer and productivity coach, passionate about helping people get more out of life.
• Austin: Talented but disorganized artist, struggling to produce enough work and facing the risk of being dropped by his gallery.
Act 1
• Opening:
o Introduce Austin’s chaotic lifestyle and struggles as an artist. Show his missed opportunities and the imminent threat of being dropped by his gallery.
o Introduce Sara’s structured, productive life as a social media influencer. She’s preparing for her new reality show.
• Inciting Incident:
o Sara’s team selects Austin as a participant for her new reality show. Austin didn’t apply – his friend and gallery owner did it without his knowledge. He reluctantly agrees, because otherwise his gallery will drop him.
• Turning Point:
o Sara’s initial interventions yield surprising positive results, such as Austin meeting his first deadline. However, these changes cause friction, as Austin feels his creative process is being stifled. Additionally, the constant presence of cameras makes Austin uncomfortable and self-conscious.
Act 2
• New Plan:
o Sara devises a more customized plan to help Austin without compromising his creativity. They set specific goals and milestones.
• Plan in Action:
o Austin and Sara work together, with Sara introducing new productivity techniques. They begin to see success, and Austin’s work improves. However, the reality show producers pressure them for more dramatic content, leading to manufactured conflicts and misunderstandings.
• Midpoint Turning Point:
o Austin experiences a breakthrough, creating a viral piece of art thanks to Sara’s methods. They celebrate the success together, growing closer in the process. The reality show’s ratings soar, but the increased attention starts to invade their personal lives.
Act 3
• Rethink Everything:
o The newfound closeness leads to personal conflicts. Austin feels Sara is taking too much credit for his success, or her methods cause a significant personal setback for him. The producers exploit this conflict for drama, making things worse.
• New Plan:
o They must reassess their approach. Sara realizes she needs to balance productivity with creative freedom, while Austin learns to appreciate structure. They agree to set boundaries with the reality show producers to protect their personal relationship.
• Turning Point: Huge Failure / Major Shift:
o The producer of the reality show threatens to find a different influencer for the show if Sara doesn’t push Austin harder to use her techniques. The producer wants it all – not just a reality show but branded content. Sara goes along with some of it, which threatens her professional identity and growing feelings for Austin. Sara & Austin have a falling out, and the show’s future is in jeopardy. The producers push for a dramatic confrontation, leading to an on-camera meltdown that goes viral for all the wrong reasons.
Act 4
• Climax / Ultimate Expression of the Conflict:
o In a pivotal moment, both must confront their fears and flaws. Austin needs to accept help and structure, while Sara must embrace flexibility and creativity. They must decide whether to prioritize the show and their careers or their feelings for each other. They confront the producers and demand changes to the show’s format to allow for a more authentic portrayal of their journey.
• Resolution:
o They find a balanced approach to life, blending creativity with productivity. They commit to a relationship that embraces both chaos and order. The reality show becomes a success, reflecting their new, harmonious dynamic. The final episodes focus on their genuine growth and connection, winning over the audience with authenticity.

• This reply was modified 10 months, 1 week ago by  Terrie Cooper Lee.

[Terrie Cooper Lee]

Terrie’s Her Journey / His Journey
What I learned doing this assignment is that creating a journey for each character increases the depth of the story.

Sara’s Transformational Journey:
1. Initial state: productivity coach that is driven to help people squeeze the most out of each day.
2. Meet-Cute moment: coffee shop – stuck waiting too long b/c a barista is late
3. Initial challenges: she’s focused on making her reality show a reality.
4. Major conflict / Obstacle: Austin, the person who is the focus of her show, is not cooperative, he doesn’t want to be part of it or change his ways.
5. Self-Reflection: she too rigid in her approach she needs to allow fun to happen.
6. Acceptance and Growth: she alters her productivity process to accommodate Austin’s need for spontaneity.
7. Demonstrate the change: in an episode of her show she tells everyone how she is changing things because life also needs to be fun.
8. Reunion: Austin comes back for the last episode and declares how much her process and her personally she means to him.
Austin’s Transformational Journey:
1. Initial state: gifted but unsuccessful artist.
2. Meet-Cute moment: working as a barista to get by, he serves Sara who lectures him on the need to be punctual for the sake of other people’s productivity.
3. Initial challenges: She’s the talent on a new reality show that his friend and gallery owner has set him up to be part of.
4. Major conflict / Obstacle: he doesn’t want to be part of any reality show.
5. Self-Reflection: after trying some of Sara’s system, he’s been more creative and accomplishing more as an artis.
6. Acceptance and Growth: he realizes that Sara has helped him. It’s real not just a reality show.
7. Demonstrate the change: he shows up and thanks Sara for all her help and gives her a piece of art (probably has a clock in it somewhere)
8. Reunion: He shows up on time for the last episode of the reality show – gives Sara credit for helping him be more focused on ART.

• This reply was modified 10 months, 2 weeks ago by  Terrie Cooper Lee.

[Terrie Cooper Lee]

Terrie Finished Act 4
actually I finished Saturday afternoon but this was my first chance to get to the forums and post.
What I learned is that I usually have a good vision of my endings but my 4th act is weak, needs more build up.
I hope I can improve these elements in the next draft.
I certainly celebrated being done.

[Terrie Cooper Lee]

Terrie’s continue act 4
focused on scenes and didn’t keep up with posting.

[Terrie Cooper Lee]

Terrie Start Act 4
I finished Act 4 pretty fast wasn’t looking at the assignments just getting scenes using my outline.

[Terrie Cooper Lee]

Terrie Finishing Act 3
What I learned from this assignment is to keep writing.
I haven’t been focused on the assignments, just one writing a certain number of scenes each day. 3 seems to be my max. Depending on other commitments I may only write 1. But even on a busy day I can write one.

[Terrie Cooper Lee]

Terrie’s Continuing Act 3
What I learned from this assignment is that I’m able to write more than I anticipate.
I’m still not ‘caught up’ but I’ve only 4 scenes left and there will be relatively short scenes.

[Terrie Cooper Lee]

Terrie Began Act 3
Vision: I am paid to write screenplays that become successful movies. My process is so solid I can enjoy my equestrian hobby while exceeding expectations with my writing.
What I learned from this assignment is to just keep a note file when I find story problems.
I wrote 3 scenes today. I won’t be done with draft 1 tomorrow but by following the high speed writing rules I’ve made great progress in a week. 3 scenes in one day is difficult for me but I’ve managed to do it a couple of times this week. Today was 7 pages. I’m getting better on relying on my outline.

• This reply was modified 10 months, 2 weeks ago by  Terrie Cooper Lee.

[Terrie Cooper Lee]

Terrie’s Complete Act 2
What I learned from this assignment is to focus on the outline.
I was further into act 2 than I realized but ready to move onto act 3

[Terrie Cooper Lee]

Terrie's Continuing Act 2
‘;m a well paid successful screenwriter whose movies make money. My process is so solid I can still enjoy my equestrian hobby.
What I learned from this assignment is to focus better and use a timer.
I actually wrote 3 scenes today which has been my goal for about a week. One scene was quite short which helped. I'm finding story problems but I'm not trying to fix them just keep notes in the script and a file.

• This reply was modified 10 months, 3 weeks ago by  Terrie Cooper Lee.
• This reply was modified 10 months, 3 weeks ago by  Terrie Cooper Lee.

[Terrie Cooper Lee]

Terrie’s Seven Stages of Love
What I learned doing this assignment is that some of this was easy but my meet-cute could use elevation.
1. Meet-Cute
Sarah is frustrated that it is taking too long to get her coffee, she has a schedule! One barista is late, as usual, ya’ know he’s an artist! Austin shows up. She lectures him on the impact of his lack of punctuality. He figures she just really needs coffee – gives her an extra expresso shot.

2. Attraction/Flirting
He makes a backdrop for her reality show set, logo, etc. She gives him a makeover (for the show).
For the sake of the show, they act like they like working together. Their interactions for the show – are they real or reality show?

3. Denial
It’s not real it’s a reality show.
4. Separation/Forced Together
Separation: it’s just for the show; Forced together: to complete the show
5. Working through Issues/Differences
She’s into productivity – schedules – structure; He wants to create beauty to make people happy; She believes he’ll be happiest when he gets things done that are important to him!
6. Hate/Betrayal/All Hope is Lost
He’s only doing the show because if he doesn’t his gallery will drop him. The producer lies about the other person to each of them to create drama, such as Sara saying no one can make a living as an artist – creativity is for fun not $.
7. Love Happens
Austin completes the pieces for the upcoming art show and keeps his gallery owner happy
He realizes that she really helped him and that she only wants him to be successful
She realizes that she’s changed. Productivity is not one size fits all. She wants room for fun and spontaneity in her life.

Bonding: Sara’s mom had cancer when she was 12 or 13 and Sara thought if she was ‘perfect’ her mom would get better – Sara made sure all the medicine on a perfect schedule, straight A’s at school, took care of the house. Austin was very close to his grandmother as she was dying, he used art to cheer her up. She supported him as an artistic creative person.

• This reply was modified 10 months, 3 weeks ago by  Terrie Cooper Lee.

[Terrie Cooper Lee]

Terrie’s Begun Act 2
Vision: I am paid to write screenplays that become successful movies. My process is so solid I can enjoy my equestrian hobby while exceeding expectations with my writing.
What I learned from this assignment is to just write and that some of my scenes are longer than I would have estimates which is good because I was worried about my draft being too short.
My experience is that it took me much longer than 10 minutes but I wrote a 4 page scene pretty quickly. I also skipped order and moved to a scene that I thought would be faster to write. and this is a good strategy for me.

• This reply was modified 10 months, 3 weeks ago by  Terrie Cooper Lee.

[Terrie Cooper Lee]

Terrie's Bigger Story
What I learned doing this assignment is that I'd already considered some of these issues. My concern is that my 4 act structure is not enough about the 'bigger story' and too much about the character's relationship. I’ve re generated the 4 act structure but using comedy rather than rom com as the genre. I think this gives a better bigger story structure and I’ll let the next lesson focus on their relationship.
1. Brainstorm at least 5 ideas for each of these and select the one or combination you like best for your bigger story. I used AI to brainstorm and decided to go with what I already had.
• A. What interesting world could this movie/show be set in?
A reality show. Sara has an opportunity to do a 7 episode reality show.
• B. What major conflict could be happening?
Sara is a social media influencer who posts about productivity. Austin is an artist who is struggling to get by, partly due to his chaotic work habits. Sara is a social media influencer who posts about productivity. Austin is an artist who is struggling to get by, partly due to his chaotic work habits. Austin only believes he can create when he’s inspired. Sara believes that being organized leads to greater opportunities to be inspired.
• C. What intriguing situation could these characters be engaged in?
Austin is the focus of Sara’s new reality show – Run Your Schedule, Win Your Life!

Genre: Romantic comedy
Concept: A struggling artist’s career gets a surprising boost when Sara, a viral productivity coach, takes him on as a client for her new reality show. As the coach introduces structure and order to the artist’s chaotic world, they both discover that love can be found in the most unexpected places, even in a meticulously planned schedule.

Characters:
• Sara: Social media influencer and productivity coach, passionate about helping people get more out of life.
• Austin: Talented but disorganized artist, struggling to produce enough work and facing the risk of being dropped by his gallery.
Act 1
• Opening:
o Introduce Austin’s chaotic lifestyle and struggles as an artist. Show his missed opportunities and the imminent threat of being dropped by his gallery.
o Introduce Sara’s structured, productive life as a social media influencer. She’s preparing for her new reality show.
• Inciting Incident:
o Sara’s team selects Austin as a participant for her new reality show. Austin didn’t apply – his friend and gallery owner did it without his knowledge. He reluctantly agrees, because otherwise his gallery will drop him.
• Turning Point:
o Sara’s initial interventions yield surprising positive results, such as Austin meeting his first deadline. However, these changes cause friction, as Austin feels his creative process is being stifled. Additionally, the constant presence of cameras makes Austin uncomfortable and self-conscious.
Act 2
• New Plan:
o Sara devises a more customized plan to help Austin without compromising his creativity. They set specific goals and milestones.
• Plan in Action:
o Austin and Sara work together, with Sara introducing new productivity techniques. They begin to see success, and Austin’s work improves. However, the reality show producers pressure them for more dramatic content, leading to manufactured conflicts and misunderstandings.
• Midpoint Turning Point:
o Austin experiences a breakthrough, creating a viral piece of art thanks to Sara’s methods. They celebrate the success together, growing closer in the process. The reality show’s ratings soar, but the increased attention starts to invade their personal lives.
Act 3
• Rethink Everything:
o The newfound closeness leads to personal conflicts. Austin feels Sara is taking too much credit for his success, or her methods cause a significant personal setback for him. The producers exploit this conflict for drama, making things worse.
• New Plan:
o They must reassess their approach. Sara realizes she needs to balance productivity with creative freedom, while Austin learns to appreciate structure. They agree to set boundaries with the reality show producers to protect their personal relationship.
• Turning Point: Huge Failure / Major Shift:
o The producer of the reality show threatens to find a different influencer for the show if Sara doesn’t push Austin harder to use her techniques. The producer wants it all – not just a reality show but branded content. Sara goes along with some of it, which threatens her professional identity and growing feelings for Austin. Sara & Austin have a falling out, and the show’s future is in jeopardy. The producers push for a dramatic confrontation, leading to an on-camera meltdown that goes viral for all the wrong reasons.
Act 4
• Climax / Ultimate Expression of the Conflict:
o In a pivotal moment, both must confront their fears and flaws. Austin needs to accept help and structure, while Sara must embrace flexibility and creativity. They must decide whether to prioritize the show and their careers or their feelings for each other. They confront the producers and demand changes to the show’s format to allow for a more authentic portrayal of their journey.
• Resolution:
o They find a balanced approach to life, blending creativity with productivity. They commit to a relationship that embraces both chaos and order. The reality show becomes a success, reflecting their new, harmonious dynamic. The final episodes focus on their genuine growth and connection, winning over the audience with authenticity.

Version 2:
Act 1:
• Opening: Introduce Austin, a talented but disorganized artist struggling to keep up with his commitments. He’s on the verge of being dropped by his gallery.
• Inciting Incident: Austin reluctantly agrees to participate in Sara’s reality show, seeing it as his last chance to save his career.
• Turning Point: Sara’s initial productivity interventions surprisingly yield positive results, but Austin feels his creative process is being stifled, leading to tension.
Act 2:
• New Plan: Austin decides to give Sara’s methods an honest try, determined to make the most of the opportunity despite his reservations.
• Plan in Action: Austin starts to see improvements in his productivity and begins producing more art. Sara and Austin start to bond, despite their initial friction.
• Midpoint Turning Point: Austin creates a viral piece of art thanks to Sara’s methods. They celebrate the success together, growing closer.
Act 3:
• Rethink Everything: The success puts more pressure on both Austin and Sara. Austin starts feeling that Sara is taking too much credit for his work. Sara is conflicted between her role as a coach and her growing feelings for Austin.
• New Plan: Austin decides to confront Sara about his feelings, while Sara re-evaluates her approach to helping Austin, realizing she needs to respect his creative process.
• Turning Point: Huge Failure / Major Shift: A major setback occurs – perhaps Austin’s latest work is heavily criticized, or a personal issue surfaces, causing a rift between them.
Act 4:
• Climax/Ultimate Expression of the Conflict: Austin and Sara have a pivotal confrontation where they must address their fears and flaws. They realize that to succeed, they need to find a balance between productivity and creativity.
• Resolution: Austin and Sara find a balanced approach to life, blending creativity with productivity. They decide to work together, respecting each other’s strengths and boundaries, and their partnership (both professional and personal) thrives.

• This reply was modified 10 months, 3 weeks ago by  Terrie Cooper Lee.
• This reply was modified 10 months, 3 weeks ago by  Terrie Cooper Lee.

[Terrie Cooper Lee]

Terrie’s Rom Com Project
What I learned from this assignment is that just filling in the blanks every day is progress.
Who is She?
Sara is a social media influencer that posts about productivity! She is about to get a reality TV show. She is passionate about productivity.
An opening: Sara recording a post announcing her Reality Show and asking for applicants to be the focus of the first season.
Who is He?
Austin is an artist. He is talented but disorganized and get distracted. He has missed out on shows because he couldn’t produce enough work and his gallery is about to drop him.
What makes them lovable?
Sara – she truly wants to help people be happy by getting more out of their life. She’s confident that she can help anyone improve their life by being more productive.
Austin – he’s talented but lacks confidence in his work. Which manifests by being distracted and disorganized in his approach to work.
What attracts them to each other?
Austin to Sara
He’s attracted to her confidence, even if a bit overwhelmed by it.
He hopes her approach can make him more successful

Sara to Austin
She believes he’ll be great for her reality show and that she can really help him.
He’s kind and believes art exists to make people happy.

Note: these are more how they fit working on the reality show, what is the romantic issues?
What needs does each fulfill for the other?
What need does Austin fulfill for Sara
First – someone that will make a great reality show! His kindness and spontaneity. Getting her back in touch with her feelings.
What need does Sara fulfill for Austin?
Help him get ready for a gallery show while promoting his art on her reality show. She helps him prioritize his need to create

• This reply was modified 11 months ago by  Terrie Cooper Lee.

[Terrie Cooper Lee]

Terrie’s Rom-Com Project
What I learned doing this assignment is that I was able to leverage AI prompts to work on most of these issues – picking and choosing what works. I found the two questions overlapped.
1. Starting with whatever idea you have, fill in the blanks to create a concept.
• Two People Who Belong Together: Their strengths compliment the others. They are both creative: Austin through his art and Sarah’s via innovative productivity techniques. They both experienced loss early in life – Sarah became a micro manager, Austin used art to cope.
• How Are They Separated: They view the reality show as strictly a professional interaction. Sarah needs an audience. Austin just wants to be in his studio painting. External pressures from the reality show and public expectations create additional stress and misunderstandings.
• What Forces Them together: Austin is the focus of Sarah’s New Reality Show – Run Your Schedule Win Your Life! Transform yourself and your life in Eight Weeks! Austin was set up by his best friend to be part of the reality show and he needs the money. Sarah’s scraping by as an influencer and productivity coach and this show will take her next level.
• Issues to be Resolved: Austin feels exploited and Sarah feels unappreciated, leading to a temporary separation. And, it’s just for the reality show it’s not for real.
• On Their Journey of Love: Determining what is real and what is Reality Show! Their journey progresses through the 8 weeks of the reality show.
2. Then fill in the blanks to create your conventions. Even though some of these are the same, it is worth looking at them in the context of the conventions.
• Experience of Falling In Love: They are both struggling but ambitious in their careers
• The Journey of Love: In the process of navigating the ups and downs of the reality show, they fall in love as they learn to compromise and support each other’s growth.
• Relationship Set-up: Austin is an artist who is the focus of Sarah’s new reality show.
• Issues each must Resolve: Austin: Needs to overcome self-doubt and fear of losing their artistic integrity, learning to embrace structure without feeling constrained. Sarah: Must confront her fear of losing control and learn to appreciate the value of flexibility and creativity in life. Both need to process grief from their past and realize how holding onto it has led to their career choices.
• Separation: It’s a Reality Show not reality. It’s a strictly professional arrangement. Her strict, regimented approach clashes with his free-spirited approach, creating tension and misunderstandings. The producer of the reality show creates conflict between them as often as possible.
• How will Comedy be Expressed: Odd couple / Opposites attract. On camera blunders. Misunderstandings of each other’s world. Misunderstandings caused by the producer.

[Terrie Cooper Lee]

Terrie’s Finished Act 1
Vision: I am paid to write screenplays that become successful movies. My process is so solid I can enjoy my equestrian hobby while exceeding expectations with my writing.
What I learned from doing this assignment is that my outline is too short. I found that scenes between the two leads are longer (in a good way) but their sole scenes are extremely short.

[Terrie Cooper Lee]

1. Name – Terrie Cooper Lee
2. How many scripts you’ve written? completely finished 2 past first draft – 1 more; partials 3
3. What you hope to get out of the class? A deep understanding of the rom com model and hopefully how to apply it to other forms (such as buddy comedies) that follow a similar model
4. Something unique, special, strange or unusual about you? I compete at the equestrian sport of 'eventing' and have 4 horses.

• This reply was modified 11 months ago by  Terrie Cooper Lee.

[Terrie Cooper Lee]

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

• This reply was modified 11 months ago by  Terrie Cooper Lee.

[Terrie Cooper Lee]

(Your Name) Next Act 1 Scenes

Vision: I am paid to write screenplays that become successful movies. My process is so solid I can enjoy my equestrian hobby while exceeding expectations with my writing.
What I learned is that I can write comedy scenes that are longer (5-6 pages) than some of my other scenes. That’s a good length for a comedy scene but overall I’m pretty sure my outline is too short.

[Terrie Cooper Lee]

Terrie’s High Act 1 First Draft Part 1
Vision: I am paid to write screenplays that become successful movies. My process is so solid I can enjoy my equestrian hobby while exceeding expectations with my writing.
What I learned from this assignment is that my outline is too short – which my feedback partner pointed out. I freaked out that my first act was around 10 pages. I wrote one comedy scene that I think closes Act 1 and managed and that scene ran 6 pages. So I’m around 16 pages for act 1 which is better but still too short. I need to make time to brainstorm ways to elevate my outline.

• This reply was modified 11 months, 1 week ago by  Terrie Cooper Lee.

[Terrie Cooper Lee]

Terrie’s High Speed Writing Rules
Vision: I am paid to write screenplays that become successful movies. My process is so solid I can enjoy my equestrian hobby while exceeding expectations with my writing.
What I learned from this assignment is it works. I knew it worked but I’m tired today. Regardless once I just jumped in and kept at it I wrote a 6 page scene. I know it needs to be elevated but it’s out there.

• This reply was modified 11 months, 1 week ago by  Terrie Cooper Lee.
• This reply was modified 11 months, 1 week ago by  Terrie Cooper Lee.

[Terrie Cooper Lee]

Terrie’s First Scene
Vision: I am paid to write screenplays that become successful movies. My process is so solid I can enjoy my equestrian hobby while exceeding expectations with my writing.
What I learned is to just get started. I thought I didn’t have time today but I made it work.

[Terrie Cooper Lee]

Hello everyone:
I’m Terrie. I’ve got a sci-fi/comedy with the title “Freaky Fusion Swap”.
Concept: An alien crashes into an off-the-grid hippie's house and they accidentally swap bodies.
If you’d like to exchange feedback with me, please let me know at:
writernm@yahoo.com

• This reply was modified 11 months, 3 weeks ago by  Terrie Cooper Lee.

[Terrie Cooper Lee]

Terrie’s Fascinating Scene Outline
Vision: I am paid to write screenplays that become successful movies. My process is so solid I can enjoy my equestrian hobby while exceeding expectations with my writing.
Concept: An alien crashes into an off-the-grid hippie's house and they accidentally swap bodies.
What I learned from this assignment is that AI can be helpful. I had trouble because my first pass the prompt was too large and it failed. Second time, it only created output for half of my outline. I was able to put in the second half and get good results. I could have save a great deal of time and just used the AI for this step as the AI results were very consistent with mine and filled in all my blanks in a useful manner.
1. INT. SPACESHIP – IT’S OUTER SPACE THERE’S NO DAY OR NIGHT
Bill, an alien, flying in his spaceship comes out hibernation. He breaks the spaceship toilet which causes a series of malfunctions.
Scene Arc: Starts with Bill coming out of hibernation and ends with a series of malfunctions on the spaceship.
Essence: An alien is coming to Earth. Introduce Bill and his incompetence with technology.
Conflict: Bill is having trouble flying the spaceship.
Subtext: Bill is not very competent at flying his spaceship
Hope/Fear: Hope that Bill gets his ship and intestines back under control. Fear he will crash and/or defecate?

Beginning: (Intrigue): Bill wakes up from hibernation in a sleek, futuristic spaceship and clumsily starts his routine.
Middle: (Uncomfortable Moment): Bill accidentally breaks the spaceship toilet, leading to a series of escalating malfunctions, all while panicking and trying to fix things.
Ending: (Major Twist): The spaceship begins to spiral out of control as Bill desperately tries to regain stability.

2. EXT. FARMER’S MARKET – DAY
Misa gets into a heated argument with a customer at the farmer’s market because the customer wanted a BAG! The argument escalates involving most of the Farmer’s Market. Deeper layer: do they think some alien is going to come and save the planet, those are movies! Deputy Rhoades gets everyone at the farmer’s market to calm down, gets everyone to not charge Misa. Deputy Rhoades, after reprimanding Misa, convinces her to go home, maybe drink some herbal tea.
Scene Arc: Starts with Misa arguing and ends with her going home.
Essence: Show Misa's confrontational nature and her extreme environmentalism.
Conflict: Misa v. the entire Farmer’s Market community
Subtext: Misa is angry.
Hope/fear: Hope that Misa calms down. Fear it will escalate to physical violence.

Beginning: (Suspense): Misa aggressively argues with a customer over using a plastic bag, attracting attention.
Middle: (Uncomfortable Moment): The argument escalates to involve several other market-goers, causing a chaotic scene.
Ending: (Superior Position): Deputy Rhoades calms the crowd and subtly hints at knowing Misa's troubled past, convincing her to go home and cool off.

3. INT. MISA’S OFF THE GRID HOME – DAY
Misa tends her plants, feeds her cat, and smokes weed. Misa’s off the grid home doesn’t look like much on the outside but is well-appointed with the highest quality, environmentally friendly everything.
Scene Arc: Starts with Misa alone and ends with her still alone.
Essence: Highlight Misa's solitary and eco-friendly lifestyle.
Conflict:
Subtext: Misa is affluent.
Hope/fear: Hope she’ll be left alone. Fear someone will interrupt her.

Beginning: (More Interesting Setting): Misa’s peaceful, eco-friendly home is revealed as she meticulously tends to her plants.
Middle: (Intrigue): Misa’s solitary rituals, like feeding her cat and smoking weed, showcase her commitment to her off-the-grid lifestyle.
Ending: (Suspense): Misa notices something unusual in the distance but dismisses it, returning to her solitude.

4. EXT. ROADWAY – DAY
Deputy Rhoades parked beside a road in his cruiser
5. INT. RHOADES’S POLICE CRUISER – DAY
Deputy Rhoades listens to meditation on his personal phone, deep breathing positive self-talk.

Scene Arc: Starts with Rhoades anxious and ends with him somewhat calm.
Essence: Deputy Rhoades’ coping mechanisms.
Conflict: Internal struggle with anxiety.
Subtext: Deputy Rhoades trying to manage anxiety.
Hope/fear: Hope he can relieve his anxiety. Fear he cannot.

Beginning: (Suspense): Deputy Rhoades sits anxiously in his cruiser, keeping an eye on the empty road.
Middle: (Internal Dilemma): He listens to meditation on his phone, battling his anxiety and trying to calm himself.
Ending: (Uncomfortable Moment): A sudden noise or movement outside the cruiser brings him back to high alert.

6. EXT. MISA’S OFF THE GRID HOME
Misa’s fancy energy efficient car parked by the house
Scene Arc: Establishes Misa’s home environment.
Essence: Show Misa's commitment to environmentalism.
Conflict: None.
Subtext: Misa values sustainability.
Hope/Fear: None.

Beginning: (More Interesting Setting): The scene opens with the sight of Misa’s energy-efficient car parked beside her off-the-grid home, highlighting her commitment to sustainability.
Middle: (Intrigue): Misa is seen maintaining her home’s solar power system emphasizing her dedication to an environmentally friendly lifestyle.
Ending: (Suspense): Misa glances out a window, sensing something amiss.

7. INT. MISA’S OUTHOUSE
Misa smoking a joint and looking out the outhouse window.
Scene Arc: Misa chilling.
Essence: Highlight Misa's desire for solitude.
Conflict: None
Subtext: Misa just wants to be alone.
Hope/fear: Hope she’ll be left alone. Fear someone will interrupt her.

Beginning: (More Interesting Setting): Misa relaxes in her uniquely designed, eco-friendly outhouse, enjoying a moment of solitude.
Middle: (Uncomfortable Moment): She hears strange noises outside, glances out the window with mild concern.
Ending: (Suspense): Dismissing it as her imagination, she resumes her relaxation, unaware of the impending disturbance.

8. EXT. MISA’S HOME – NIGHT
Bill’s spaceship cruises towards Misa’s property, crashes into Misa’s outhouse. Misa stumbles out. Bill exits his spaceship and really needs a bathroom. Misa stumbles out of the outhouse. She notices Bill. He runs behind a bush. She grabs her blow torch and heads to the spaceship. Bill, terrified, runs away. Misa calls him a hallucination. Bill is terrified because of Misa’s nonchalant attitude.
Scene Arc: Starts with Bill’s spaceship cruising and ends with Bill terrified.
Essence: Bill crashes into Misa’s outhouse. Bill and Misa’s first interaction.
Conflict: Her outhouse is trashed, Bill’s spaceship is broken.
Subtext: Misa doesn’t believe Bill is there.
Hope/fear: Hope Bill crashes somewhere safe. Fear Bill crashes into Misa’s property.

Beginning: (Suspense): Bill’s spaceship approaches Earth, heading toward Misa’s property. Middle: (Intrigue): The ship crashes into Misa’s outhouse, causing chaos and confusion.
Ending: (Misinterpretation): Misa confronts the spaceship with a blowtorch, assuming all of it is a hallucination as Bill hides in terror.

9. INT. BILL’S SPACESHIP
Misa enters the ship. Bill runs in, tries to stop her. She offers to fix the toilet. With her blow torch tries to fix the spaceship toilet. The heat triggers a device, which emits a beam that bounces off the toilet’s broken mirror. Bill’s body (with Misa) looks down, laughs hysterically, I’m way too high. She exits
Scene Arc: Starts with Misa and Bill in their own bodies, ends with them swapped.
Essence: Bill and Misa swap bodies.
Conflict: They are in the wrong bodies.
Subtext: How can they function?
Hope/fear: Hope Misa will fix the spaceship. Fear Misa will break it further.

Beginning (Suspense): Misa boldly enters the spaceship, determined to fix the toilet.
Middle: (Uncomfortable Moment): Bill panics and tries to stop her, but Misa’s high state leads to comical yet dangerous attempts at repair.
Ending: (Major Twist): The malfunctioning device causes a body swap, leaving Misa and Bill in each other’s bodies, adding to the confusion.

10. INT. MISA’S HOUSE – DAY
Bill’s body (with Misa) enters her home, passes out on the bed. Misa’s cat runs away.
Scene Arc: Starts with Bill’s body (with Misa in it) body awake and ends with them passed out.
Essence: Misa is really high and in Bill’s body.
Conflict: This is not Misa’s body.
Subtext: Misa doesn’t realize she’s body swapped
Hope/fear: Hope Misa realizes she’s swapped bodies. Fear she won’t and won’t unswap?

Beginning: (Suspense): Bill’s body (with Misa) stumbles into the house, disoriented.
Middle: (Uncomfortable Moment): The cat reacts fearfully to the unfamiliar presence, adding to the chaos.
Ending: (Cliffhanger): Bill’s body (with Misa) collapses on the bed, what will happen next.

11. INT. SPACESHIP
Misa’s body (with Bill) panics, tries to get the onboard computer working. Nope.
Scene Arc: Starts with Misa’s body (with Bill) panicking and ends with them still panicking.
Essence: Bill needs to get away.
Conflict: Can Misa’s body (with Bill) get the ship or at least the computer working?
Subtext: Misa’s body (with Bill) is stranded.
Hope/fear: Hope to get the onboard computer working. Fear can’t repair it.

Beginning: (Suspense): Misa’s body (with Bill) frantically tries to operate the spaceship’s computer. Middle: (Uncomfortable Moment): Bill’s lack of knowledge and panic cause several failed attempts at fixing the systems.
Ending: (Cliffhanger): The onboard computer remains unresponsive, increasing the tension and urgency.

12. INT. MISA’S HOUSE – DAY
Bill’s body (with Misa in it) goes to a mirror, as Misa’s body (with Bill) walks in. Still high!
Bill’s body (with Misa) is hungry, they try to cook food but clumsy. Misa’s body (with Bill) watches. Eventually, their inability to function with her kitchen pushes them over the edge. Misa doesn’t believe in aliens, in fact she hates the whole concept of aliens. Note: write this like a comedy sketch.

Scene Arc: Starts trying to cook. Ends with them realizing the seriousness of the problem.
Essence: Misa and Bill have trouble using the bodies they are in.
Conflict: Misa and Bill trying to control their bodies and failing.
Subtext: Misa still hasn’t accepted the body swap. She doesn’t believe in Aliens.
Hope/fear: Hope Misa will realize her body swapped. Fear Misa won’t.

Beginning: (Intrigue): Bill’s body (with Misa) looks in the mirror, confused by the reflection.
Middle: (Uncomfortable Moment): They struggle comically with basic tasks in the kitchen, highlighting the absurdity of their situation.
Ending: (Cliffhanger): Misa’s frustration boils over as she refuses to believe in aliens, even in the midst of undeniable evidence.

13. EXT. MISA’S HOUSE – DAY
They go over what happened trying to determine how they swapped. Try to go backwards through what happened the night before, literally backwards, walk backwards, talk backwards.
Scene Arc: Starts with them believing they can unswap their bodies. Ends with them realizing it won’t be easy.
Essence: Can they determine how they swapped?
Conflict: Can they figure out how to unswap their bodies?
Subtext: They are really stuck.
Hope/fear: Hope they can figure out how to unswap. Fear they’re stuck in the wrong body.

Beginning: (Suspense): They start retracing their steps from the previous night, trying to understand the body swap.
Middle: (Uncomfortable Moment): Their literal backward retracing leads to comical and awkward interactions.
Ending: (Cliffhanger): They realize that reversing the swap won’t be as simple as they hoped.

14. INT. BILL’S SPACESHIP – DAY
They try to fix the ship. Misa’s body (with Bill) seems to have no mechanical aptitude or understanding about his ship. Hints that no one is coming to find Bill. Bill’s body (with Misa) is angry with Misa’s body (with Bill) – Bill’s body throws tools at Misa’s body but then realizes she could damage her own body. Bill’s body (with Misa in it) starts to suffer from ‘Earth sickness’. Misa’s body (with Bill in it) claims it’s just an adjustment.
Scene Arc: Starts with them trying to fix the ship. Ends with them realizing they are on their own to figure out repairs.
Essence: The body swap causes problems.
Conflict: Can they fix the ship? Can they even get along?
Subtext: No one going to help them.
Hope/fear: Hope they can fix the spaceship. Fear they’ll damage it further.

Beginning: (Suspense): They attempt to repair the spaceship with little success.
Middle: (Uncomfortable Moment): Misa’s body (with Bill) struggles, causing frustration and a fight.
Ending: (Cliffhanger): Bill’s body (with Misa) begins showing symptoms of ‘Earth sickness.’

15. EXT. MISA’S HOUSE – DAY
Bill’s body (with Misa) has to teach Misa’s body (with Bill) how to drive.
Scene Arc: Starts with Misa’s body (with Bill) barely understanding the car ends with Misa’s body (with Bill) driving.
Essence: Misa’s body (with Bill) needs to do the driving.
Conflict: Misa’s body (with Bill) can’t seem to drive.
Subtext: They can’t get caught.
Hope/fear: Hope Bill can learn to drive. Fear he won’t be able to drive.

Beginning: (Intrigue): Misa’s body (with Bill) barely understanding the car, creating a sense of uncertainty.
Middle: (Uncomfortable Moment): Misa’s body (with Bill) struggles hilariously to drive, causing both frustration and awkwardness.
Ending: (Suspense): Misa’s body (with Bill) starts driving but with signs of trouble ahead.

16. INT. MISA’S HOUSE – DAY
To avoid suspicion, Misa needs to go to the Farmer’s Market to earn money for repairs. To hide Bill’s body (with Misa in it) they wear a Big Foot costume as a disguise.
Scene Arc: Begin in Misa’s house, end with them ready to leave for the Farmer’s Market.
Essence: Trying to keep things normal.
Conflict: If anyone sees Bill’s body something terrible will happen.
Subtext: The authorities will harm Bill’s body if it’s seen.
Hope/fear: Hope the disguise will work. Fear it won’t work.

Beginning: (External Dilemma) Go to the Farmer’s Market to get money or keep hiding at Misa’s?
Middle: (Character changes radically) Bill’s body (with Misa) wears the Big Foot costume
End: (Cliff hanger) Will the disguise work?

17. EXT. ROAD – DAY
Deputy Rhoades pulls them over. Deputy Rhoades accuses them of being drunk or high but Misa’s body (with Bill) passes the breathalyzer. Can’t hassle Bill’s body because it’s against the law to harass Big Foot.
Scene Arc: Starts with them being pulled over. Ends with them continuing to town.
Essence: Deputy Rhoades suspects something.
Conflict: Being pulled over and subjected to sobriety tests.
Subtext: They are in danger.
Hope/fear: Hope they can fool Deputy Rhoades. Fear he’ll find out their secret.

Beginning: (Suspense): They get pulled over by Deputy Rhoades.
Middle: (Uncertainty): Misa’s body (with Bill) tries to pass the sobriety tests, with each step raising tension about whether they will succeed.
Ending: (Superior Position): They pass the tests and continue to town, but we know Deputy Rhoades is still suspicious.

18. EXT. FARMER’S MARKET – DAY
The Big Foot costume causes hilarious confusion at the farmer’s market. Misa’s body (with Bill) is a good, if goofy as he tries to imitate feminine qualities, salesman. Farmer’s Market manager confronts them tries to remove Big Foot’s head.
Scene Arc: Starts with them at the Farmer’s Market. Ends with them leaving disguise intact.
Essence: They need to pretend to be normal and earn money for repairs.
Conflict: The farmer’s market manager hates Misa and goes after her.
Subtext: Misa has caused problems in the past.
Hope/fear: Hope the trip will be a success. Fear they will be found out.

Beginning: (More interesting setting): Arriving at the lively farmer’s market in the Big Foot costume.
Middle: (Misinterpretation): Misa’s body (with Bill) makes goofy sales attempts, leading people to think it’s a marketing stunt.
Ending: (Surprise): The market manager tries to remove the Big Foot head, creating panic for them.

19. EXT. FARMER’S MARKET PARKING LOT – DAY
Deputy Rhoades notices Misa’s body (Bill in it) acting odd, uncoordinated. He suspects drug use – confronts them should Misa’s body (with Bill) be driving?
Scene Arc: Starts with them safely leaving. Ends with them convincing Deputy Rhoades all is well.
Essence: Deputy Rhoades finds Misa’s behavior suspicious.
Conflict: Deputy Rhoades tries to get Misa’s body to not drive.
Subtext: Deputy Rhoades is onto something.
Hope/fear: Hope Misa’s body (with Bill) passes the sobriety check. Fear will fail it.

Beginning: (Suspense): Deputy Rhoades spots them acting odd as they leave the market.
Middle: (Mislead / Reveal): Rhoades suspects drug use and tries to intervene, creating tension. Ending: (Uncertainty): They manage to convince Rhoades all is well, but just barely.

20. EXT. MISA’S PROPERTY – DAY

Deputy Rhoades ‘investigates’ Misa’s property.
Scene Arc: Starts with Deputy Rhoades on the property snooping around. Ends with him leaving, (note: need a funny reason).
Essence: Deputy Rhoades suspects something is going on.
Conflict: Will Deputy Rhoades see Bill’s body or the spaceship?
Subtext: Deputy Rhoades doesn’t want to be seen.
Hope/fear: Hope Deputy Rhoades will go away. Fear Deputy Rhoades will see Bill’s body.

Beginning: (Intrigue): Deputy Rhoades snoops around the property.
Middle: (Suspense): He gets dangerously close to discovering Bill’s body or the spaceship.
Ending: (Surprise): Deputy Rhoades leaves abruptly, raising more questions.

21. INT. MISA’S HOUSE – DAY

Bill’s body (with Misa in it) is physically struggling. Misa’s body (with Bill) shares that Bill’s body can’t live long on Earth. He’s been sabotaging repairs. On his home planet, he’s just a janitor who wasn’t allowed to join spaceforce. Shift their focus on fixing Bill’s spaceship.
Scene Arc: Begins with them focused on unswapping bodies. Ends with them focused on repairing Bill’s spaceship.
Essence: Bill’s body will get sicker and die.
Conflict: Misa’s body (with Bill) has sabotaged repairs and Misa’s been getting sicker.
Subtext: Bill starting to care about Misa.
Hope/fear: Hope Bill’s body (with Misa) gets better. Hope they fix the ship. Fear Bill’s body with die. Fear they can’t fix the ship.

Beginning: (Suspense): Bill’s body (with Misa) is visibly getting sicker.
Middle: (Internal Dilemma): Misa’s body (with Bill) reveals sabotage due to feeling useless, causing a shift in focus.
Ending: (Uncertainty): They decide to fix the spaceship, unsure if they can succeed in time.

22. INT. MISA’S WORKSHOP – DAY
Bill and Misa work together in Misa’s lab to create a product for the Earth Day festival to win the best product contest and buy supplies to fix the ship. Bill shares that most planet’s dominant species trash their planet. Misa shares her fear of people’s belief in aliens – they think aliens will come fix everything.
Scene Arc: Begins with them working in the lab. Ends with them increasing their understanding of each other.
Essence: They must figure out how to fix the spaceship on their own.
Conflict: Are the new products good enough? Can they win? Can they fix the ship?
Subtext: Bill and Misa bond.
Hope/fear: Hope they can fix the ship. Fear that they can’t and Bill’s body is stuck on Earth.

Beginning: (Intrigue): They begin working on a new product for the Earth Day festival.
Middle: (Character changes radically): Bill shares insights about other planets, showing unexpected depth.
Ending: (Hope / Fear): They bond and hope to win the contest but fear their efforts may fall short.

23. EXT. EARTH DAY FESTIVAL – STAGE – DAY
Misa’s body (with Bill) explains the products at the Earth Day festival and makes hilarious mistakes. Bill’s body (with Misa) in the Big Foot costume is there. During the presentation, they are confronted by attendees at the festival about the environmental damage caused by Misa’s family’s businesses – accused of hypocrisy for creating ‘good products.’ They don’t win best product.
Scene Arc: Misa’s body (with Bill) presenting their products. Ends with them losing and Misa shamed.
Essence: They compete for best product.
Conflict: Misa is a fraud her family is wealthy from poisoning Earth.
Subtext: Nothing Misa can do will compensate for what her family did.
Hope/fear: Hope they win the prize. Fear they don’t win the prize.

Beginning: (Misinterpretation): Misa’s body (with Bill) makes hilarious mistakes during the presentation.
Middle: (Betrayal): Attendees accuse Misa of hypocrisy, family is wealthy from businesses that created environmental damage, leading to a tense confrontation.
Ending: (Uncertainty): They don’t win the prize, leaving Misa feeling ashamed and uncertain about how to proceed.

24. EXT. EARTH DAY FESTIVAL PARKING LOT – DAY
The representative for a major retailer (that Misa’s hates) finds them. The retailer wants to stock the products. Bill’s body (with Misa) in the Big Foot costume tries to scare the rep. Misa’s body (with Bill) grabs Bill’s body (with Misa) dressed as Big Foot. They step away from the rep and argue. Without the money, Misa will die in his body!
Scene Arc: Starts with them leaving. Ends with them having money for repairs.
Essence: They get the funds to buy supplies to repair the spaceship.
Conflict: Will Misa accept the order from a company she hates?
Subtext: Bill desperate to fix his ship.
Hope/fear: Hope Misa will accept the money. Fear she will not.

Beginning: (Intrigue): The retailer approaches with an offer.
Middle: (Uncomfortable Moment): Bill’s body (with Misa) in the Big Foot costume tries to scare the rep.
Ending: (External Dilemma): Bill & Misa argue about accepting money from a hated company, needing funds for repairs.

25. EXT. EARTH DAY FESTIVAL PARKING LOT – DAY
Bill’s body (with Misa) passes out in the parking lot. Deputy Rhoades confronts them. Concludes that Big Foot is a bad influence on Misa, they are both using drugs. He suggests rehab. It worked for him! Misa’s body (with Bill) says they will talk about. Deputy Rhoades helps get Bill’s body (with Misa, in Big Foot costume) into the car.
Scene Arc: From happily leaving the festival. Ends with them needing help to get Bill’s body in the car.
Essence: Bill’s body is getting very sick.
Conflict: Deputy Rhoades thinks Misa’s body should go immediately to rehab.
Subtext: Deputy Rhoades thinks it’s substance abuse because he suffered from it.
Hope/fear: Can they convince Deputy Rhoades to let them leave or not?

Beginning: (Suspense) Bill’s body (with Misa) collapses in the parking lot.
Middle: (Misinterpretation /Reveal) Deputy Rhoades thinks substance abuse is the cause and suggests rehab. Deputy Rhoades was in rehab
Ending: (Cliffhanger): They barely manage to get Bill’s body (with Misa) into the car, with Rhoades helping them.
26. INT. SPACESHIP – DAY
Bill and Misa fix the spaceship.
Scene Arc: Starts with the ship not working. Ends with the ship working.
Essence: The fix the spaceship.
Conflict: Will their plan for repairs work. Can the work together to get it done?
Subtext: Bill is taking responsibility for getting the ship repaired.
Hope/fear: Hope the repairs work. Fear they will not.

Beginning: (Suspense): They start working on the ship with urgency.
Middle: (Uncertainty): Each step of the repair process has potential for failure, keeping them on edge.
Ending: (Hope / Fear): The ship finally works, but will it hold up?

27. EXT. MISA’S PROPERTY – DAY
Deputy Rhoades snoops around Misa’s property. They test the spaceship and get it to lift off. Deputy Rhoades sees the spaceship and Bill’s actual body. He starts to run away. Deputy Rhoades comes back. Bill and Misa convince him to keep it to themselves and they won’t tell anyone about his rehab episode. He exits when he gets a call.
Scene Arc: Starts with Deputy Rhoades suspicion about Misa’s sobriety. Ends with him helping repair a spaceship and keeping their secret.
Essence: Deputy Rhoades finds out about Bill.
Conflict: Deputy Rhoades has conflict about what he sees and what it means for his sobriety. Bill and Misa are afraid of what he will do now that he’s found out.
Subtext: Bill and Misa afraid of what Deputy Rhoades will with his new knowledge.
Hope/fear: Hope Deputy Rhoades will keep their secret. Fear he will tell the authorities.

Beginning: (Suspense): Rhoades starts snooping again, closer than ever to the truth.
Middle: (Mislead / Reveal): He sees the spaceship and Bill’s actual body, running away in shock. Ending: (Cliffhanger): Bill and Misa convince him to keep their secret, but his exit call leaves their fate uncertain.

28. EXT. MISA’S PROPERTY – DAY
Scene Arc: Misa’ body (with Bill) offers to stay on Earth and let Bill’s body (with Misa) leave rather than have her die in his body from Earth’s harmful effects. Bill’s body (with Misa) refuses to leave. She loves Earth too much.
Scene Arc: Starts with Bill offering to let Misa leave. Ends with Misa refusing to leave Earth.
Essence: Bill offers to save Misa.
Conflict: Bill’s body (with Misa) is sick
Subtext: Bill blames himself for Misa’s illness.
Hope/fear: Hope Bill’s body (with Misa) will leave. Fear Bill’s body (with Misa) will die.

Beginning: (Intrigue): Misa’s body (with Bill) offers to let Bill’s body (with Misa) so she won’t die.
Middle: (Internal Dilemma): Misa struggles with the decision, loving Earth too much to leave.
Ending: (Hope / Fear): Misa decides to stay but fears the consequences of her choice.

29. INT. BILL’S SPACESHIP – DAY
Bill’s body (with Misa) tests the repaired spaceship toilet, causing sparks that reverse the swap.
Scene Arc: Start with swapped bodies. Ends with unswapped bodies.
Essence: They unswap bodies.
Conflict: Bill wants Misa to leave in his body.
Subtext: They can both be in the right place.
Hope/fear: The swap worked/they are stuck in the wrong body.

Beginning: (Suspense) Will Misa’s body (with Bill) leave.
Middle: (Surprise) The toilet sparks, unexpectedly reversing the swap.
End: (Character changes radically) They unswap bodies.

30. EXT. MISA’S PROPERTY – DAY
Bill and Misa exchange hugs and tears.
Scene Arc: From being together to being apart.
Essence: Bill and Misa say goodbye.
Conflict: none.
Subtext: They care about each other.
Hope/fear:

Beginning: (Intrigue): They prepare to say goodbye, emotions running high.
Middle: (Uncomfortable Moment): The farewell is emotional, awkward, and heartfelt.
Ending: (Suspense): They part ways, uncertain of what the future holds.

31. INT. BILL’S SPACESHIP
Bill flies home willing to face punishment for his bad deeds and earning his place on his planet’s spaceforce and promises to keep aliens away from Earth (note: this needs to be set up better)
Scene Arc: From Bill entering his spaceship to Bill flying away.
Essence: Bill leaves Earth
Conflict: Can he make the trip home?
Subtext: Bill is willing to face the consequences for his actions
Hope/fear: Bill is safely on his way/ Something happens to Bill

Beginning: (Suspense): Bill enters his spaceship, ready to leave
Middle: (Uncertainty): Bill is tense as he enters his flight plan home.
Ending: (Hope / Fear): Bill successfully leaves Earth, hopeful but uncertain about his return home.

32. EXT. FARMER’S MARKET – DAY
Misa seeks out the manager of the farmer’s market asking to work together on environmental issues.
Scene Arc: From Misa being alone to reaching out to others to help save Earth.
Essence: Misa reaches out to others to help Earth
Conflict: Misa and the Farmer’s Market manager don’t get along.
Subtext: Misa needs to work with others to achieve her goals
Hope/fear: The farmer’s market manager will be receptive/ The manager will be nasty to Misa.

Beginning: (Suspense): Misa approaches the manager, tension high.
Middle: (Uncomfortable Moment): The conversation is awkward, with their past issues lingering.
Ending: (Hope / Fear): Misa proposes working together, hoping for a positive response but fearing rejection.

• This reply was modified 11 months, 3 weeks ago by  Terrie Cooper Lee.

[Terrie Cooper Lee]

Lesson 9 Mod 4 – Scene Requirements
What I learned with this assignment is that I’m finding lots of holes in the action, found something to cut, and need to work on some details. This step helped improve things. However, the AI completely changed my story – went very ET in the middle then a completely different ending. I made a second pass after adding in the scene arcs (I missed that in the assignment). Again about halfway through completely changed the outline. Until then it made no changes. If I had more time I might be able to use the AI for each act but it was pretty weird. I honestly don’t see the value of the AI for this.
INT. SPACESHIP – IT’S OUTER SPACE THERE’S NO DAY OR NIGHT
Bill, an alien, flying in his spaceship comes out hibernation. He breaks the spaceship toilet which causes a series of malfunctions.
Scene Arc: Starts with Bill coming out of hibernation and ends with a series of malfunctions on the spaceship.
Essence: An alien is coming to Earth. Introduce Bill and his incompetence with technology.
Conflict: Bill is having trouble flying the spaceship.
Subtext: Bill is not very competent at flying his spaceship
Hope/Fear: Hope that Bill get his ship and intestines back under control. Fear he will crash and/or defecate?

EXT. FARMER’S MARKET – DAY
Misa gets into a heated argument with a customer at the farmer’s market because the customer wanted a BAG! The argument escalates involving most of the Farmer’s Market. Deeper layer: do they think some alien is going to come and save the planet, those are movies! Deputy Rhoades gets everyone at the farmer’s market to calm down, gets everyone to not charge Misa. Deputy Rhoades, after reprimanding Misa, convinces her to go home, maybe drink some herbal tea.
Scene Arc: Starts with Misa arguing and ends with her going home.
Essence: Show Misa's confrontational nature and her extreme environmentalism.
Conflict: Misa v. the entire Farmer’s Market community
Subtext: Misa is angry.
Hope/fear: Hope that Misa calms down. Fear it will escalate to physical violence.

INT. MISA’S OFF THE GRID HOME – DAY
Misa tends her plants, feeds her cat, and smokes weed. Misa’s off the grid home doesn’t look like much on the outside but is well-appointed with the highest quality, environmentally friendly everything.
Scene Arc: Starts with Misa alone and ends with her still alone.
Essence: Highlight Misa's solitary and eco-friendly lifestyle.
Conflict:
Subtext: Misa is affluent.
Hope/fear: Hope she’ll be left alone. Fear someone will interrupt her.

EXT. ROADWAY – DAY
Deputy Rhoades parked beside a road in his cruiser
INT. RHOADES’S POLICE CRUISER – DAY
Deputy Rhoades listens to meditation on his personal phone, deep breathing positive self-talk.

Scene Arc: Starts with Rhoades anxious and ends with him somewhat calm.
Essence: Deputy Rhoades’ coping mechanisms.
Conflict: Internal struggle with anxiety.
Subtext: Deputy Rhoades trying to manage anxiety.
Hope/fear: Hope he can relieve his anxiety. Fear he cannot.

EXT. MISA’S OFF THE GRID HOME
Misa’s fancy energy efficient car parked by the house
Scene Arc: Establishes Misa’s home environment.
Essence: Show Misa's commitment to environmentalism.
Conflict: None.
Subtext: Misa values sustainability.
Hope/Fear: None.

INT. MISA’S OUTHOUSE
Misa smoking a joint and looking out the outhouse window.
Scene Arc: Misa chilling.
Essence: Highlight Misa's desire for solitude.
Conflict: None
Subtext: Misa just wants to be alone.
Hope/fear: Hope she’ll be left alone. Fear someone will interrupt her.

EXT. MISA’S HOME – NIGHT
Bill’s spaceship cruises towards Misa’s property, crashes into Misa’s outhouse. Misa stumbles out. Bill exits his spaceship and really needs a bathroom. Misa stumbles out of the outhouse. She notices Bill. He runs behind a bush. She grabs her blow torch and heads to the spaceship. Bill, terrified, runs away. Misa calls him a hallucination. Bill is terrified because of Misa’s nonchalant attitude.
Scene Arc: Starts with Bill’s spaceship cruising and ends with Bill terrified.
Essence: Bill crashes into Misa’s outhouse. Bill and Misa’s first interaction.
Conflict: Her outhouse is trashed, Bill’s spaceship is broken.
Subtext: Misa doesn’t believe Bill is there.
Hope/fear: Hope Bill crashes somewhere safe. Fear Bill crashes into Misa’s property.

INT. BILL’S SPACESHIP
Misa enters the ship. Bill runs in, tries to stop her. She offers to fix the toilet. With her blow torch tries to fix the spaceship toilet. The heat triggers a device, which emits a beam that bounces off the toilet’s broken mirror. Bill’s body (with Misa) looks down, laughs hysterically, I’m way too high. She exits
Scene Arc: Starts with Misa and Bill in their own bodies, ends with them swapped.
Essence: Bill and Misa swap bodies.
Conflict: They are in the wrong bodies.
Subtext: How can they function?
Hope/fear: Hope Misa will fix the spaceship. Fear Misa will break it further.

INT. MISA’S HOUSE – DAY
Bill’s body (with Misa) enters her home, passes out on the bed. Misa’s cat runs away.
Scene Arc: Starts with Bill’s body (with Misa in it) body awake and ends with them passed out.
Essence: Misa is really high and in Bill’s body.
Conflict: This is not Misa’s body.
Subtext: Misa doesn’t realize she’s body swapped
Hope/fear: Hope Misa realizes she’s swapped bodies. Fear she won’t and won’t unswap?

INT. SPACESHIP
Misa’s body (with Bill) panics, tries to get the onboard computer working. Nope.
Scene Arc: Starts with Misa’s body (with Bill) panicking and ends with them still panicking.
Essence: Bill needs to get away.
Conflict: Can Misa’s body (with Bill) get the ship or at least the computer working?
Subtext: Misa’s body (with Bill) is stranded.
Hope/fear: Hope to get the onboard computer working. Fear can’t repair it.

INT. MISA’S HOUSE – DAY
Bill’s body (with Misa in it) goes to a mirror, as Misa’s body (with Bill) walks in. Still high!
Bill’s body (with Misa) is hungry, they try to cook food but clumsy. Misa’s body (with Bill) watches. Eventually, their inability to function with her kitchen pushes them over the edge. Misa doesn’t believe in aliens, in fact she hates the whole concept of aliens. Note: write this like a comedy sketch.

Scene Arc: Starts trying to cook. Ends with them realizing the seriousness of the problem.
Essence: Misa and Bill have trouble using the bodies they are in.
Conflict: Misa and Bill trying to control their bodies and failing.
Subtext: Misa still hasn’t accepted the body swap. She doesn’t believe in Aliens.
Hope/fear: Hope Misa will realize her body swapped. Fear Misa won’t.

EXT. MISA’S HOUSE – DAY
They go over what happened trying to determine how they swapped. Try to go backwards through what happened the night before, literally backwards, walk backwards, talk backwards.
Scene Arc: Starts with them believing they can unswap their bodies. Ends with them realizing it won’t be easy.
Essence: Can they determine how they swapped?
Conflict: Can they figure out how to unswap their bodies?
Subtext: They are really stuck.
Hope/fear: Hope they can figure out how to unswap. Fear they’re stuck in the wrong body.

INT. BILL’S SPACESHIP – DAY
They try to fix the ship. Misa’s body (with Bill) seems to have no mechanical aptitude or understanding about his ship. Hints that no one is coming to find Bill. Bill’s body (with Misa) is angry with Misa’s body (with Bill) – Bill’s body throws tools at Misa’s body but then realizes she could damage her own body. Bill’s body (with Misa in it) starts to suffer from ‘Earth sickness’. Misa’s body (with Bill in it) claims it’s just an adjustment.
Scene Arc: Starts with them trying to fix the ship. Ends with them realizing they are on their own to figure out repairs.
Essence: The body swaps causes problems.
Conflict: Can they fix the ship? Can they even get along?
Subtext: No one going to help them.
Hope/fear: Hope they can fix the spaceship. Fear they’ll damage it further.

INT. MISA’S HOUSE – DAY
To avoid suspicion, Misa needs to go to the Farmer’s Market to earn money for repairs. To hide Bill’s body (with Misa in it) they wear a Big Foot costume as a disguise.
Scene Arc: Begin in Misa’s house, end with them ready to leave for the Farmer’s Market.
Essence: Trying to keep things normal.
Conflict: If anyone sees Bill’s body something terrible will happen.
Subtext: The authorities will harm Bill’s body if it’s seen.
Hope/fear: Hope the disguise will work. Fear it won’t work.

EXT. MISA’S HOUSE – DAY
Bill’s body (with Misa) has to teach Misa’s body (with Bill) how to drive.
Scene Arc: Starts with Misa’s body (with Bill) barely understanding the car ends with Misa’s body (with Bill) driving.
Essence: Misa’s body (with Bill) needs to do the driving.
Conflict: Misa’s body (with Bill) can’t seem to drive.
Subtext: They can’t get caught.
Hope/fear: Hope Bill can learn to drive. Fear he won’t be able to drive.

EXT. ROAD – DAY
Deputy Rhoades pulls them over. Deputy Rhoades accuses them of being drunk or high but Misa’s body (with Bill) passes the breathalyzer. Can’t hassle Bill’s body because it’s against the law to harass Big Foot.
Scene Arc: Starts with them being pulled over. Ends with them continuing to town.
Essence: Deputy Rhoades suspects something.
Conflict: Being pulled over and subjected to sobriety tests.
Subtext: They are in danger.
Hope/fear: Hope they can fool Deputy Rhoades. Fear he’ll find out their secret.

EXT. FARMER’S MARKET – DAY
The Big Foot costume causes hilarious confusion at the farmer’s market. Misa’s body (with Bill) is a good, if goofy as he tries to imitate feminine qualities, salesman. Farmer’s Market manager confronts them tries to remove Big Foot’s head.
Scene Arc: Starts with them at the Farmer’s Market. Ends with them leaving disguise intact.
Essence: They need to act normal and earn money for repairs.
Conflict: The farmer’s market manager hates Misa and goes after her.
Subtext: Misa has caused problems in the past.
Hope/fear: Hope the trip will be a success. Fear they will be found out.

EXT. FARMER’S MARKET PARKING LOT – DAY
Deputy Rhoades notices Misa’s body (Bill in it) acting odd, uncoordinated. He suspects drug use – confronts them should Misa’s body (with Bill) be driving?
Scene Arc: Starts with them safely leaving. Ends with them needing convincing Deputy Rhoades all is well.
Essence: Deputy Rhoades finds Misa’s behavior suspicious.
Conflict: Deputy Rhoades tries to get Misa’s body to not drive.
Subtext: Deputy Rhoades is onto something.
Hope/fear: Hope Misa’s body (with Bill) passes the sobriety check. Fear will fail it.

EXT. MISA’S PROPERTY – DAY

Deputy Rhoades ‘investigates’ Misa’s property.
Scene Arc: Starts with Deputy Rhoades on the property snooping around. Ends with him leaving, need a funny reason.
Essence: Deputy Rhoades suspects something is going on.
Conflict: Will Deputy Rhoades see Bill’s body or the spaceship?
Subtext: Deputy Rhoades doesn’t want to be seen.
Hope/fear: Hope Deputy Rhoades will go away. Fear Deputy Rhoades will see Bill’s body.

INT. MISA’S HOUSE – DAY

Bill’s body (with Misa in it) is physically struggling. Misa’s body (with Bill) shares that Bill’s body can’t live long on Earth. He’s been sabotaging repairs. On his home planet, he’s just a janitor who wasn’t allowed to join spaceforce. Shift their focus on fixing Bill’s spaceship.
Scene Arc: Begins with them focused on unswapping bodies. Ends with them focused on repairing Bill’s spaceship.
Essence: Bill’s body will get sicker and die.
Conflict: Misa’s body (with Bill) has sabotaged repairs and Misa’s been getting sicker.
Subtext: Bill starting to care about Misa.
Hope/fear: Hope Bill’s body (with Misa) gets better. Hope they fix the ship. Fear Bill’s body with die. Fear they can’t fix the ship.

INT. MISA’S WORKSHOP – DAY
Bill and Misa work together in Misa’s lab to create a product for the Earth Day festival to win the best product contest and buy supplies to fix the ship. Bill shares that most planet’s dominant species trash their planet. Misa shares her fear of people’s belief in aliens – they think aliens will come fix everything.
Scene Arc: Begins with them working in the lab. Ends with them increasing their understanding of each other.
Essence: They must figure out how to fix the spaceship on their own.
Conflict: Are the new products good enough? Can they win? Can they fix the ship?
Subtext: Bill and Misa bond.
Hope/fear: Hope they can fix the ship. Fear that they can’t and Bill’s body is stuck on Earth.

EXT. EARTH DAY FESTIVAL – STAGE – DAY
Misa’s body (with Bill) explains the products at the Earth Day festival and makes hilarious mistakes. Bill’s body (with Misa) in the Big Foot costume is there. During the presentation, they are confronted by attendees at the festival about the environmental damage caused by Misa’s family’s businesses – accused of hypocrisy for creating ‘good products.’ They don’t win best product.
Scene Arc: Misa’s body (with Bill) presenting their products. Ends with them losing and Misa shamed.
Essence: They compete for best product.
Conflict: Misa is a fraud her family is wealthy from poisoning Earth.
Subtext: Nothing Misa can do will compensate for what her family did.
Hope/fear: Hope they win the prize. Fear they don’t win the prize.

EXT. EARTH DAY FESTIVAL PARKING LOT – DAY
The representative for a major retailer (that Misa’s hates) finds them. The retailer wants to stock the products. Bill’s body (with Misa) in the Big Foot costume tries to scare the rep. Misa’s body (with Bill) grabs Bill’s body (with Misa) dressed as Big Foot. They step away from the rep and argue. Without the money, Misa will die in his body!
Scene Arc: Starts with them leaving. Ends with them having money for repairs.
Essence: They get the funds to buy supplies to repair the spaceship.
Conflict: Will Misa accept the order from a company she hates?
Subtext: Bill desperate to fix his ship.
Hope/fear: Hope Misa will accept the money. Fear she will not.

EXT. EARTH DAY FESTIVAL PARKING LOT – DAY
Bill’s body (with Misa) passes out in the parking lot. Deputy Rhoades confronts them. Concludes that Big Foot is a bad influence on Misa, they are both using drugs. He suggests rehab. It worked for him! Misa’s body (with Bill) says they will talk about. Deputy Rhoades helps get Bill’s body (with Misa, in Big Foot costume) into the car.
Scene Arc: From happily leaving the festival. Ends with them needing help to get Bill’s body in the car.
Essence: Bill’s body is getting very sick.
Conflict: Deputy Rhoades thinks Misa’s body should go immediately to rehab.
Subtext: Deputy Rhoades thinks it’s substance abuse because he suffered from it.
Hope/fear: Can they convince Deputy Rhoades to let them leave or not?

INT. SPACESHIP
Bill and Misa fix the spaceship.
Scene Arc: Starts with the ship not working. Ends with the ship working.
Essence: The fix the spaceship.
Conflict: Will their plan for repairs work. Can the work together to get it done?
Subtext: Bill is taking responsibility for getting the ship repaired.
Hope/fear: Hope the repairs work. Fear they will not.

EXT. MISA’S PROPERTY – DAY
Deputy Rhoades snoops around Misa’s property. They test the spaceship and get it to lift off. Deputy Rhoades sees the spaceship and Bill’s actual body. He starts to run away. Deputy Rhoades comes back. Bill and Misa convince him to keep it to themselves and they won’t tell anyone about his rehab episode. Deputy Rhoades helps with the final repairs. He exits when he gets a call.
Scene Arc: Starts with Deputy Rhoades suspicion about Misa’s sobriety. Ends with him helping repair a spaceship and keeping their secret.
Essence: Deputy Rhoades finds out about Bill.
Conflict: Deputy Rhoades has conflict about what he sees and what it means for his sobriety. Bill and Misa are afraid of what he will do now that he’s found out.
Subtext: Bill and Misa afraid of what Deputy Rhoades will with his new knowledge.
Hope/fear: Hope Deputy Rhoades will keep their secret. Fear he will tell the authorities.

EXT. MISA’S PROPERTY – DAY
Scene Arc: Misa’ body (with Bill) offers to stay on Earth and let Bill’s body (with Misa) leave rather than have her die in his body from Earth’s harmful effects. Bill’s body (with Misa) refuses to leave. She loves Earth too much.
Scene Arc: Starts with Bill offering to let Misa leave. Ends with Misa refusing to leave Earth.
Essence: Bill offers to save Misa.
Conflict: Bill’s body (with Misa) is sick
Subtext: Bill blames himself for Misa’s illness.
Hope/fear: Hope Bill’s body (with Misa) will leave. Fear Bill’s body (with Misa) will die.

INT. BILL’S SPACESHIP – DAY
Bill’s body (with Misa) tests the repaired spaceship toilet, causing sparks that reverse the swap.
Scene Arc: Start with swapped bodies. Ends with unswapped bodies.
Essence: They unswap bodies.
Conflict: Bill wants Misa to leave in his body.
Subtext: They can both be in the right place.
Hope/fear: The swap worked/they are stuck in the wrong body.

EXT. MISA’S PROPERTY – DAY
Bill and Misa exchange hugs and tears.
Scene Arc: From being together to being apart.
Essence: Bill and Misa say goodbye.
Conflict: none.
Subtext: They care about each other.
Hope/fear:

INT. BILL’S SPACESHIP
Bill flies home willing to face punishment for his bad deeds and earning his place on his planet’s spaceforce and promises to keep aliens away from Earth (note: this needs to be set up better)
Scene Arc: From Bill entering his spaceship to Bill flying away.
Essence: Bill leaves Earth
Conflict: Can he make the trip home?
Subtext: Bill is willing to face the consequences for his actions
Hope/fear: Bill is safely on his way/ Something happens to Bill

EXT. FARMER’S MARKET – DAY
Misa seeks out the manager of the farmer’s market asking to work together on environmental issues.
Scene Arc: From Misa being alone to reaching out to others to help save Earth.
Essence: Misa reaches out to others to help Earth
Conflict: Misa and the Farmer’s Market manager don’t get along.
Subtext: Misa needs to work with others to achieve her goals
Hope/fear: The farmer’s market manager will be receptive/ The manager will be nasty to Misa.

• This reply was modified 11 months, 3 weeks ago by  Terrie Cooper Lee.

[Terrie Cooper Lee]

Terrie’s Intriguing Moments
Vision: I am paid to write screenplays that become successful movies. My process is so solid I can enjoy my equestrian hobby while exceeding expectations with my writing.
Concept: An alien crashes into an off-the-grid hippie's house and they accidentally swap bodies.
What I learned from this assignment is that I’m not sure necessarily how to distinguish emotional moments from intrigue. They seem intertwined and somewhat overlapping to me. But the AI found some that I didn’t label as intrigue so I’ve augmented my answer. I also found that the AI had a tendency to reveal things too early to add the intrigue but that would take away from other aspects.
Act 1:
Intrigue – Bill’s Spaceship Malfunctions
Scene: Bill is in his spaceship, and the broken toilet starts a cascade of malfunctions.
Intriguing Moment: The audience is introduced to Bill’s predicament as he desperately tries to fix the toilet, leading to a series of bizarre and comedic spaceship malfunctions. The chaotic environment and unusual alien technology create an air of mystery about Bill’s competence and the state of his ship.

Superior Position – The Crash
Scene: Bill crashes into Misa’s outhouse.
Intriguing Moment: The audience sees the impending crash before it happens, creating anticipation. Misa thinks it’s a hallucination, while Bill’s sheer terror and confusion provide a humorous contrast, heightening the comedic tension

Mystery – why is Deputy Rhoades meditating on the job
Cover-Up – Body Swap Incident
Scene: The body swap happens in the outhouse.
Intriguing Moment: After swapping bodies, Misa (in Bill’s body) and Bill (in Misa’s body) struggle to grasp what happened. Misa dismisses it as a hallucination while Bill panics, leading to a series of hilarious miscommunications. The audience knows the truth, but the characters don’t, creating a superior position scenario.
Act 2:
Secret – Bill’s body’s illness is worse than he lets on

Hidden Identity – Farmer’s Market Chaos
Scene: Misa’s body (with Bill) and Bill’s body (with Misa) at the farmer’s market.
Intriguing Moment: Bill (in Misa’s body) becomes an unexpectedly good salesman, while Misa (in Bill’s body) struggles to navigate human customs. Their hidden identities cause hilarious confusion, especially when Misa (in Bill’s body) wears a Bigfoot costume to avoid recognition.

Cover up/ Scheme – when Deputy Rhoades pulls them over
Scene: Deputy Rhoades interacts with Misa (in Bill’s body).
Intriguing Moment: Deputy Rhoades becomes suspicious of Misa’s odd behavior, thinking she’s on drugs. Misa (in Bill’s body) must scheme to avoid suspicion, leading to comedic situations where she over-explains her actions, making things worse.
Superior Position – we know it’s an alien in the Big Foot costume, but Deputy Rhoades doesn’t

Act 3:
Scheme – Winning Deputy Rhoades’ Trust
Scene: Deputy Rhoades interacts with Misa (in Bill’s body).
Intriguing Moment: Deputy Rhoades becomes suspicious of Misa’s odd behavior, thinking she’s on drugs. Misa (in Bill’s body) must scheme to avoid suspicion, leading to comedic situations where she over-explains her actions, making things worse.

Scheme – Winning the Festival
Scene: They compete at the Earth Day festival.
Intriguing Moment: Misa (in Bill’s body) and Bill (in Misa’s body) must scheme to win the best product competition. Their attempts to outdo other vendors lead to hilarious situations, especially when they must keep their body swap a secret.

Hidden identity / Conspiracy – Confrontation on Stage
Scene: On stage at the festival.
Intriguing Moment: During their presentation, they are confronted about Misa’s family’s environmental crimes. The conspiracy about her family’s wealth is exposed, adding tension. The reveal shocks the audience and jeopardizes their chance to win, increasing the stakes.

Cover up – hiding Bill’s alien body
Cover agenda – Deputy Rhoades wants Misa in rehab
Intriguing Moment: Bill and Misa must work together to convince Rhoades they aren’t on drugs. The comedic dialogue and absurd explanations to cover up their body swap create a tense yet funny scene.

Act 4:
Cover up – Bill, Misa and Deputy Rhoades work together to hide that an alien visited Earth
Intrigue – Repairing the Spaceship
Scene: All three characters work on the spaceship.
Intriguing Moment: With the funds and parts from the retailer, they fix the spaceship. The process is filled with comedic errors and near-misses. The intrigue lies in whether they can finish before Bill’s body (with Misa) deteriorates further.
Final Twist – Accidental Reversal
Scene: Testing the spaceship toilet.
Intriguing Moment: Just as they are about to part ways, Bill’s body (with Misa) tests the repaired spaceship toilet, causing a spark that reverses the swap. The comedic twist resolves the main conflict while leaving room for future misadventures, ending on a light and humorous note.

• This reply was modified 11 months, 4 weeks ago by  Terrie Cooper Lee.

[Terrie Cooper Lee]

Terrie’s Emotional Moments
Vision: I am paid to write screenplays that become successful movies. My process is so solid I can enjoy my equestrian hobby while exceeding expectations with my writing.
Concept: An alien crashes into an off-the-grid hippie's house and they accidentally swap bodies.
What I learned from this assignment is that I’ve done pretty good job of embedding emotions. My concern is playing up the comedy – I wonder if that should be one of the emotions? The AI was interesting I caught one thing but I had more than the AI, perhaps if I’d used my beat sheet instead of my 4 act structure.
Act 1:
Surprise: Bill breaks the toilet in his spaceship
Excitement/Trigger Wound: Hippie girl picks a fight with a customer, and it escalates.
Surprise: Deputy Rhoades looks tough but backs off
Surprise: Deputy Rhoades using a meditation app in his cruiser.
Surprise: Bill crashes into Misa’s outhouse
Bonding: Misa tries to help fix the spaceship toilet since the alien and spaceship are just part of a hallucination.
Surprise: They swap bodies

Act 2:
Distress: They’ve swapped bodies!
Comedy: trying to unswap
Distress: no on is coming to help Bill
Distress: Bill’s body starts to get sick
Courage: they dress up Bill’s body and go to the farmer’s market
Comedy: Misa’s body with Bill must drive
Surprise: Deputy Rhoades pulls them over
Comedy: Bill’s body in a Big Foot costume at the farmer’s market
Success: Misa’s body with Bill is actually a good salesperson
Hidden weakness: Bill’s body starts to get sick – but passes it off as an adjustment
Excitement: Farmer’s Market manager tries to remove the head off the Big Foot costume

Act 3:
Excitement: Deputy Rhoades sneaking around Misa’s property
Distress/Hidden weakness: Bill’s body gets more sick
Wound/Betrayal: Bill really is a janitor on his home planet, he wasn’t allowed to join space force
Hidden Weakness: Bill’s body will suffer and die on earth
Bonding: Bill and Misa work together to repair his ship and her outhouse
Success: Work together to improve her products for Earth Day festival
Bonding: over Misa’s fear of people’s belief in Aliens – they aren’t going to come and fix our planet for us.
Courage: Misa’s body (with Bill) gives a good Earth Day presentation
Emotional dilemma/Wound: Misa’s family’s past environmental actions are revealed to all
Distress: Bill’s body gets sicker
Success: Retailer wants the product
Dilemma: Misa thinks this retailer doesn’t do enough for the environment, but they need the $ to get parts to fix the ship
Love: Bill convinces Misa to take the $
Distress: Bill’s body collapses
Courage/ Wound: Deputy Rhoades went through rehab – he wants to help Misa

Act 4:
Success: they fix the spaceship and the outhouse
Surprise: Deputy Rhoades see the ship and Bill’s body!
Emotional dilemma: Rhoades run away or confront his demons.
Bonding: they all work together to repair the ship
Sacrifice/Love: Misa’s body (with bill) offers to stay and let Misa (in his body) leave so she won’t die.
Emotional Dilemma: Bill’s body (with Misa) refuses to leave earth
Surprise: they unswap
Love: teary goodbye
Courage: Bill flies home knowing he will face punishment
Courage: Misa calls the Farmer’s Market manager to make amends and work together

• This reply was modified 11 months, 4 weeks ago by  Terrie Cooper Lee.

[Terrie Cooper Lee]

Terrie’s Reveals!
What I learned from doing this assignment is well, it’s hard to say. I went through the steps and I can’t find any new reveals to work in. I added a reveal into my outline right before I posted assignment 5. Either I’m integrating all of these lessons and using my understanding to incorporate these important things naturally, or I’m not understanding something. I’m move forward and maybe I’ll think of some new things to add as we move forward.

[Terrie Cooper Lee]

Terrie’s Character Action Tracks!
I can see I still need some improvement but this elevated the initial draft. Running it through the AI mostly came up with what I already had but it caught a couple of things that I’d improved on the character profiles that needed to be integrated into the beat sheet.
Act 1:
Opening
P2-1: Bill flying in his spaceship comes out hibernation. He breaks the spaceship toilet which causes a series of malfunctions. Bill doesn’t handle the malfunctions well.
P1-1: Misa gets into a heated argument with a customer at the farmer’s market because the customer wanted a BAG! The argument escalates involving most of the Farmer’s Market. Deeper layer: do they think some alien is going to come and save the planet, those are movies!
A-1: Deputy Rhoades gets everyone at the farmer’s market to calm down, gets everyone to not charge Misa. Deputy Rhoades, after reprimanding Misa, convinces her to go home, maybe drink some herbal tea.
P1-2: Misa drives home a super high efficiency car. Tends her plants, feeds her cat, and smokes weed.
Deeper layer: Misa’s off the grid home doesn’t look like much on the outside but is well-appointed with the highest quality, environmentally friendly everything.
A-2: Deputy Rhoades parked beside a road in his cruiser listens to meditation on his personal phone, deep breathing positive self-talk.
Inciting Incident
P1-3 & P2-2: Bill crashes into Misa’s outhouse. Bill REALLY needs a bathroom. Misa thinks it’s hilarious, sends him behind a bush. She grabs her blow torch and heads to the spaceship. Bill, terrified, runs away, she calls him a hallucination. Bill is terrified because of Misa’s nonchalant attitude.
Turning Point
P1-4 & P2-3: Misa rolls with it and offers to fix the toilet, enters the ship, Bill runs in after her. With her blow torch tries to fix the spaceship toilet. The heat triggers a device, which emits a beam that bounces off the outhouse’s broken mirror and they swap bodies. Bill’s body (with Misa) looks down, laughs hysterically, I’m way too high. Goes into her home, the cat runs away, Bill’s body (with Misa) collapses on the bed. Misa’s body (with Bill) panics, tries to get the onboard computer working. Nope.
Act 2:
P1-5 & P2-4: New plan – The next morning, they realize the swap has occurred. Bill’s body (with Misa in it) goes to a mirror, just as Misa’s body (with Bill) walks in. Bill’s body (with Misa) is HUNGRY, but is very clumsy in Bill’s body. Misa’s body (with Bill) watches. Bill’s body (with Misa) still in denial. Her inability to function with her kitchen pushes her over the edge. This really happened. We need to unswap bodies. The plan: figure out what caused the swap. Deeper layer: Misa doesn’t believe in aliens, in fact she hates the whole concept of aliens. Note: write this like a comedy sketch.
P1-6 & P2-5: Plan in action – They struggle comically with their swapped bodies' quirks. They go over what happened trying to determine how they swapped. Try to go backwards through what happened the night before, literally backwards, walk backwards, talk backwards.
Deeper layer: Bill seems to have no mechanical aptitude or understanding about his ship.
Deeper layer: Bill hints that no one is coming to find him.
P1-7 & P2-6: Bill’s body (with Misa) is angry with Misa’s body (with Bill) – Bill’s body throws tools at Misa’s body but then realizes she could damage her own body. But, how could Bill not know how his ship functions. Without help how can they unswap bodies?
P1- 8 & P2-7: Bill’s body (with Misa in it) starts to suffer from ‘Earth sickness’ – stomach ache, nausau. Misa’s body (with Bill in it) claims it’s just an adjustment. Deeper layer: they’re lying.
Midpoint Turning Point
P1-9 & P2-8. Misa’s body (Bill in it) and Bill’s body (Misa in it) go to the farmer’s market to earn money and avoid suspicion. To hide Bill’s body (with Misa in it) they wear a Big Foot costume as a disguise. Bill’s body (with Misa) has to teach Misa’s body (with Bill) how to drive.
A-3: Deputy Rhoades pulls them over on the way to the Farmer’s Market because of crappy driving. Deputy Rhoades accuses them of being drunk or high but Misa’s body (with Bill) passes the breathalyzer. Can’t hassle Bill’s body because it’s against the law to harass Big Foot.
P1-10 & P2-9: The Big Foot costume causes hilarious confusion at the farmer’s market. Misa’s body (with Bill) is actually a good, if goofy as he tries to imitate feminine qualities, salesman. Bill’s body (Misa in it) is angry that Misa’s body (Bill in it) is better at selling her products. They buy some products, everyone loves the Big Foot costume.
P1 –11: Misa’s body (with Bill) is being nice to everyone. The Farmer’s Market manager confronts them tries to remove Big Foot’s head.
A-4: Deputy Rhoades notices Misa’s body (Bill in it) acting odd, sometimes needing help from Big Foot (Bill’s body with Misa) to walk down steps and such. He suspects drug use. He offers to provide assistance, should Misa’s body (with Bill) be driving?
Act 3: Rethink everything
A-5: Deputy Rhoades ‘investigates’ Misa sneaks around her property but doesn’t catch onto the body swap.

P1-12 & P2-10: Bill’s body (with Misa in it) is struggling – shaking, vomits, weird alien body stuff. Misa’s body (with Bill) shares that Bill’s body can’t live long on Earth – too much sun, too much vitamin D the bones will start to fuse. It won’t get better. Admits he’s been sabotaging repairs. On his home planet, he’s really just a janitor who wasn’t allowed to join space force. They must give up trying to unswap and focus on fixing Bill’s spaceship. They brainstorm and plan what they can try, how to get parts?
New plan – The ship requires an expensive part, and the only chance for the money is to win best product at the upcoming Earth Day festival.
P1-13 & P2-11: They work together in Misa’s lab (crafted from refuse) to finalize the items for the Earth Day festival, improving her products. Misa's body (with Bill) gains a newfound appreciation for nature and environmental activism and understanding of Misa’s love for Earth. Misa’s body (with Bill) is motivated to help not just for the money but to help Earth. He shares that most planet’s dominant species trash their planet.
Deeper layer: Misa shares her fear of people’s belief in aliens – humans don’t care about Earth because they think aliens will come fix everything. Bill’s body (with Misa) learns about the challenges of space travel. Instead of constantly fighting, they work together.
P1-14 & P2-12: Bill’s body (with Misa) in the Big Foot costume and Misa’s body (with Bill) attends. As usual Misa gets mad about the environmental impact of the festival – don’t these people care about Earth?
Turning Point: Huge failure / Major shift
P1-15 Misa’s body (with Bill) explains the products at the Earth Day festival and makes hilarious mistakes. Bill’s body (with Misa) in the Big Foot costume is there. During the presentation, they are confronted by attendees at the festival about the environmental damage caused by Misa’s family’s businesses – accused of hypocrisy for creating ‘good products.’ They don’t win best product.
P2-13 Bill’s body (with Misa) is getting worse, they have to leave. The representative for a major retailer (that Misa’s hates) finds Misa’s body (with Bill) in the parking lot. They want to stock the products, which provides the needed money. Bill’s body (with Misa) in the Big Foot costume tries to scare the rep, because you know Big Foot.
P1-16: Misa’s body (with Bill) grabs Bill’s body (with Misa) dressed as Big Foot pulls away from the rep and convinces Bill’s body (with Misa) to accept the money, otherwise she will die in his body!
P1-17, P2-14 & A6: Bill’s body (with Misa) passes out in the parking lot after they leave the representative. Deputy Rhoades confronts them. Concludes that Big Foot is a bad influence on Misa, they are both using drugs. He suggests rehab. It worked for him! Misa’s body (with Bill) says she’ll think about it. Deputy Rhoades helps get Bill’s body (with Misa, in Big Foot costume) into the car.
Act 4:
Climax/Ultimate expression of the conflict –
P1-17 & P2-14: They fix the spaceship with the parts purchased with the money.
A7: Deputy Rhoades is snooping around Misa’s property.
P1-18 & P215: They test the spaceship and get it to lift off.
A8: Deputy Rhoades sees the spaceship and Bill’s actual body. He starts to run away. Did he fall off the wagon and not realize it?
P1-19 & P2-16 & A-9: Deputy Rhoades comes back, he must confront his demons! Bill and Misa convince him to keep it to themselves and they won’t tell anyone about his rehab episode. Deputy Rhoades helps with the final repairs.
Resolution –
P1-20: Misa’ body (with Bill) offers to stay on Earth and let Bill’s body (with Misa) leave rather than have her die in his body from Earth’s harmful effects.
P1-21: & P2-17: Bill’s body (with Misa) refuses to leave. She loves Earth too much. As they're about to part ways, a final comedic twist occurs: Bill’s body (with Misa) tests the repaired spaceship toilet, causing sparks that reverse the swap.
P1-22 & P2-18: Both shocked they exchange hugs and tears.
P2-19: Bill flies home willing to face punishment for his bad deeds and earning his place on the space team and promises keep other aliens away from Earth and earn his way onto the space force of his planet. (note: this needs to be set up better)
P1-23: Misa calls the manager of the farmer’s market asking to work together on environmental issues related to the farmer’s maker.

• This reply was modified 12 months ago by  Terrie Cooper Lee.

[Terrie Cooper Lee]

Terrie’s Beat Sheet – New Outline Beats
What I learned from this assignment is reviewing the outline allowed me to clean up and move things around to improve the flow.
Act 1:
Opening
P2-1: Bill flying in his spaceship comes out hibernation. He breaks the spaceship toilet which causes a series of malfunctions.
P1-1: Misa gets into a heated argument with a customer at the farmer’s market over environmental concerns. The argument escalates involving many at the Farmer’s Market. Deeper layer: do they think some alien is going to come and save the planet, those are movies!
A-1: Deputy Rhoades gets everyone at the farmer’s market to calm down, convinces Misa to go home, maybe drink some herbal tea.
P1-2: Misa goes home and smokes weed.
Deeper layer: Misa’s off the grid home doesn’t look like much on the outside but is well-appointed with the highest quality, environmentally friendly everything.
A-2 Deeper layer: Deputy Rhoades parked beside a road in his cruiser listens to meditation on his personal phone, deep breathing positive self-talk.
Inciting Incident
P1-3 & P2-2: Bill crashes into Misa’s outhouse. Bill REALLY needs a bathroom. Misa thinks it’s all a hallucination, sends him behind a bush and goes along with trying to fix the spaceship with her blow torch. Bill is terrified because of Misa’s nonchalant attitude.
Turning Point
P1-4 & P2-3: In the process of trying to fix the spaceship toilet they trigger a device, which emits a beam that bounces off the outhouse’s broken mirror and they swap bodies. Misa dismisses it as part of her hallucination. Bill panics.
Act 2:
P1-5 & P2-4: New plan – The next morning, they realize the swap has occurred, they both freak out. They need to unswap bodies. The plan: figure out what caused the swap. Deeper layer: Misa doesn’t believe in aliens, in fact she hate the whole concept of aliens.
P1-6 & P2-5: Plan in action – They struggle comically with their swapped bodies' quirks. They go over what happened trying to sort of the reason for the swap.
Deeper layer: Bill seems to have no mechanical aptitude or understanding about his ship.
Deeper layer: Bill hints that no one is coming to find him.
P1-7 & P2-6: Bill’s body (with Misa) is angry with Bill how could he be so irresponsible to not know how his ship functions Bigger freak out without help how can they unswap bodies?
P1- 8 & P2-7: Bill’s body (with Misa in it) starts to suffer from ‘Earth sickness’. Misa’s body (with Bill in it) claims it’s just an adjustment. Deeper layer: they’re lying.
Midpoint Turning Point
P1-9 & P2-8. Misa’s body (Bill in it) and Bill’s body (Misa in it) go to the farmer’s market to earn money and avoid suspicion. To hide Bill’s body (with Misa in it) they wear a Big Foot costume as a disguise.
A-3: Deputy Rhoades pulls them over on the way to the Farmer’s Market.
P1-10 & P2-9: The Big Foot costume causes hilarious confusion at the farmer’s market. Misa’s body (with Bill) is actually a good, if goofy, salesman. Bill’s body (Misa in it) is angry that Misa’s body (Bill in it) is better at selling her products.
P1 –11: Misa’s body (with Bill) surmise’s people care about Misa but they notice she’s being nice and it threatens to blow their cover.
A-4: Deputy Rhoades notices Misa’s body (Bill in it) acting odd and suspects drug use. His concern for the community stoner deepens his involvement and offers compassion to them.
Act 3: Rethink everything
A-5: Deputy Rhoades ‘investigates’ Misa sneaks around her property but doesn’t catch onto the body swap.

P1-12 & P2-10: Bill’s body (with Misa in it) is struggling. Misa’s body (with Bill) shares that Bill’s body can’t live long on Earth – too much sun, too much vitamin D the bones will start to fuse. It won’t get better. Admits he’s been sabotaging repairs. They must give up trying to unswap and focus on fixing Bill’s spaceship. They brainstorm and plan what they can try, how to get parts?
New plan – The ship requires an expensive part, and the only chance for the money is to win best product at the upcoming Earth Day festival.
P1-13 & P2-11: They work together to finalize the items for the Earth Day festival Misa's body (with Bill) gains a newfound appreciation for nature and environmental activism and understanding of Misa’s love for Earth.
Deeper layer: Misa shares her fear of people’s belief in aliens – humans don’t care about Earth because they think aliens will come fix everything. Bill’s body (with Misa) learns about the challenges of space travel. Instead of constantly fighting, they work together.
P1-14 & P2-12: Bill’s body (with Misa) and Misa’s body (with Bill) attends in the Big Foot costume. As usual Misa gets mad about the environmental impact of the festival – don’t these people care about Earth?
Turning Point: Huge failure / Major shift
P1-15 Misa’s body (with Bill) explains the products at the Earth Day festival and makes mistakes. They are confronted by attendees at the festival about the environmental damage caused by her family’s businesses – accused of hypocrisy for creating ‘good products.’ They don’t win best product.
P2-13 Bill’s body (with Misa) is getting worse. However, a major retailer (that Misa’s hates) that has a representative at the Earth Day festival wants to stock the products and provide the needed money.
P1-16: Misa’s body (with Bill) convinces Bill’s body (with Misa) to accept the money, otherwise she will die in his body!
P2-14: Bill’s body (with Misa) passes out in the parking lot of the Festival. Deputy Rhoades confronts them. Concludes that Big Foot is a bad influence on Misa, they are both using drugs. He suggests rehab. It worked for him!
P1-17: Misa’s body (with Bill) says she’ll think about it.
Act 4:
Climax/Ultimate expression of the conflict –
P2-14:
P1-17 & P2-14: They fix the spaceship with the funds and expertise.
P1-18 & P2-15 & A-7: Deputy Rhoades sees Bill’s actual body and freaks out. Did he fall off the wagon and not realize it? Bill and Misa convince him to keep it to themselves and they won’t tell anyone about his rehab episode.
Resolution –
P1-19 & P2-16:- They fix the spaceship with the funds and expertise.
P1-20: Misa’ body (with Bill) offers to stay on Earth and let Bill’s body (with Misa) leave rather than have her die in his body from Earth’s harmful effects.
P1-21: & P2-17: Bill’s body (with Misa) refuses to leave. She loves Earth too much. As they're about to part ways, a final comedic twist occurs: Bill’s body (with Misa) tests the repaired spaceship toilet, causing sparks that reverse the swap.
P2-18:Bill returns home willing to face punishment for his bad deeds and earning his place on the space team and promises keep other aliens away from Earth and pay for his mistakes. (note: this needs to be set up better)
P1-22: Misa recommits to working with others to save her beloved planet – Bill points out you can’t do it alone.

• This reply was modified 1 year ago by  Terrie Cooper Lee.
• This reply was modified 1 year ago by  Terrie Cooper Lee.

[Terrie Cooper Lee]

Terrie’s Beat Sheet – Draft 1
What I learned from this assignment is the pulling the pieces together this way allowed me to see where I could enhance some things. I also think one of my characters needs a stronger arc but I’ll have to address that as I move forward.
Act 1:
Opening
P2-1: Bill comes out hibernation, flying in his spaceship. Breaks the spaceship toilet which causes a series of malfunctions.
P1-1: Misa gets into a heated argument with a customer at the farmer’s market over environmental concerns. Deeper layer: do they think some alien is going to come and save the planet, those are movies!
A-1: Deputy Rhoades gets everyone at the farmer’s market to calm down, convinces Misa to go home, maybe drink some herbal tea.
P1-2: Misa goes home and smokes weed.
Deeper layer: Misa’s off the grid home is well-appointed with the highest quality, environmentally friendly everything.
A-2 Deeper layer: Deputy Rhoades in his cruiser with meditation on his personal phone, deep breathing positive self-talk.
Inciting Incident
P1-3 & P2-2: Bill crashes into Misa’s outhouse. Misa thinks it’s all a hallucination goes along with trying to fix the spaceship with her blow torch. Bill is terrified because of Misa’s nonchalant attitude.
Turning Point
P1-4 & P2-3: In the process of trying to fix the spaceship toilet they trigger a device, which emits a beam that bounces off the outhouse’s broken mirror and they swap bodies. Misa dismisses it as part of her hallucination. Bill panics.
Act 2:
P1-5 & P2-4: New plan – The next morning, they realize the swap has occurred, they both freak out. They need to unswap bodies. The plan: figure out what caused the swap.
P1-6 & P2-5: Plan in action – They struggle comically with their swapped bodies' quirks. They go over what happened trying to sort of the reason for the swap.
Deeper layer: Bill seems to have no mechanical aptitude or understanding about his ship.
Deeper layer: Bill hints that no one is coming to find him.
P1-7 & P2-6: Bill’s body (with Misa) is angry with Bill how could he be so irresponsible to not know how his ship functions Bigger freak out without help how can they unswap bodies?
P1- 8 & P2-7: Bill’s body (with Misa in it) starts to suffer from ‘Earth sickness’. Misa’s body (with Bill in it) claims it’s just an adjustment.
Midpoint Turning Point
P1-9 & P2-8. Misa’s body (Bill in it) and Bill’s body (Misa in it) go to the farmer’s market to earn money and avoid suspicion. To hide Bill’s body (with Misa in it) wears a Big Foot costume as a disguise.
A-3: Deputy Rhoades pulls them over on the way to the Farmer’s Market.
P1-10 & P2-9: The Big Foot costume causes hilarious confusion at the farmer’s market. Misa’s body (with Bill) is actually a good, if goofy, salesman. Bill’s body (Misa in it) is angry that Misa’s body (Bill in it) is better at selling her products.
A-4: Deputy Rhoades notices Misa’s body (Bill in it) acting odd and suspects drug use. His concern for the community stoner deepens his involvement and offers compassion.
P1 –11: Misa’s body (with Bill) surmise’s people care about Misa but they notice she’s being nice and it threatens to blow their cover.
A-4: Deputy Rhoades notices Misa’s body (Bill in it) acting odd and suspects drug use. His concern for the community stoner deepens his involvement and offers compassion.
P1 –12: Misa’s body (with Bill) shares that his body can’t live long on Earth – too much sun, too much vitamin D the bones in Bill’s body will start to fuse. It won’t get better. Admits he’s been sabotaging repairs.
Act 3: Rethink everything
A-5: Deputy Rhoades ‘investigates’ Misa sneaks around her property but doesn’t catch onto the body swap.

P2-10: Bill’s body (with Misa in it) is deteriorating so they give up trying to unswap and focus on fixing Bill’s spaceship. They brainstorm and plan what they can try, how to get parts?
New plan – The ship requires an expensive part, and the only chance for the money is to win best product at the upcoming Earth Day festival.
P1-13 & P2-11: They work together to finalize the items for the Earth Day festival Misa's body (with Bill) gains a newfound appreciation for nature and environmental activism and understanding of Misa’s love for Earth.
Deeper layer: Misa shares her fear of people’s belief in aliens – humans don’t care about Earth because they think aliens will come fix everything. Bill’s body (with Misa) learns about the challenges of space travel. Instead of constantly fighting, they work together.
P1-14 & P2-12: Bill’s body (with Misa) attends in the Big Foot costume. As usual she gets mad about the environmental impact of the festival – don’t these people care about Earth?
Turning Point: Huge failure / Major shift
P2-12 Misa’s body (with Bill) explains the products at the Earth Day festival and makes mistakes. They don’t win best product.
P1-15 Bill’s body (with Misa) is starting to hurt. However, a major retailer (that Misa’s hates) that has a representative at the Earth Day festival wants to stock the products and provide the needed money.
P2-13: Misa’s body (with Bill) must convince Bill’s body (with Misa) to accept the money, otherwise she will die in his body!
Act 4:
Climax/Ultimate expression of the conflict –
A-6: Deputy Rhoades, noticing Misa’s odd behavior (with Bill in the body), suspects drug use and suggests rehab. It worked for him!
P1-16: Misa’s body (with Bill) says she’ll think about it.
P1-17 & P2-14:- They fix the spaceship with the funds and expertise.
P1-18 & P2-15 & A-7: Deputy Rhoades sees Bill’s actual body and freaks out. Did he fall of the wagon and not realize it! Bill and Misa convince him to keep it to themselves and they won’t tell anyone about his rehab episode.
Resolution –
P1-19 & P2-16:- They fix the spaceship with the funds and expertise.
P1-20: Misa’ body (with Bill) offers stay on Earth and let Bill’s body (with Misa) leave rather than have her die in his body from Earth’s harmful effects.
P1-21: & P2-17: Bill’s body (with Misa) agrees to leave. As they're about to part ways, a final comedic twist occurs: Bill’s body (with Misa) tests the repaired spaceship toilet, causing sparks that reverse the swap.
P2-18:Bill returns home with home willing to face punishment for his bad deeds and earning his place on the space team and promises keep other aliens away from Earth.
P1-22: Misa recommits to working with others to save her beloved planet.

• This reply was modified 1 year ago by  Terrie Cooper Lee.

[Terrie Cooper Lee]

Terrie’s Deeper Layer
Vision: I am paid to write screenplays that become successful movies. My process is so solid I can enjoy my equestrian hobby while exceeding expectations with my writing.
Concept: An alien crashes into an off-the-grid hippie's house and they accidentally swap bodies.
What I learned from doing this assignment is I’d already been trying to work some of this in, but it made me realize that I need to withhold some things to improve the story.
Misa
• Surface Layer: wants to save the planet
• Deeper Layer: Misa's reclusive lifestyle stems from estrangement from a family deeply involved in industrial pollution and she refuses to take any money from them.
• Major Reveal: During the Earth-Day festival she’s called out as fraud!
• Influences Surface Story: her personal off-the-grid home while environmentally friendly has many tricked out features (this is also a hint). She’s polished when interacting with wealthy influential people.
• Hints: claims to have no family but evidence otherwise. She’s educated.
• Changes Reality: it’s not enough for her to live in an environmentally-friendly manner she needs to offset her family’s environmental degradation.
Bill
• Surface Layer: wants to return home
• Deeper Layer: he stole a spaceship and left to avoid punishment for an error he made so he actually doesn’t want to leave
• Major Reveal: when his body (with Misa in it) starts to deteriorate he realizes his body can’t stay and suddenly ‘knows’ exactly what is needed to repair his ship.
• Influences Surface Story: his efforts to fix his ship are insincere.
• Hints: breaks something when he tries to fix things, claim ignorance on how his ship works
• Changes Reality: he’s not such a nice guy, he isn’t owning up to his mistakes

Deputy Rhoades
• Surface Layer: Follow the law and everything will be okay!
• Deeper Layer: He is an alcoholic in recovery.
• Major Reveal: when he tries to convince Misa (with Bill in the body) to go to rehab – it helped him!
• Influences Surface Story: He seems to be investigating Misa looking for reasons to arrest her but actually he’s concerned about her mental and physical health.
• Hints: at the Farmer’s Market he convinces everyone to calm down then uses some breathing techniques on himself.
• Changes Reality: He’s a concerned officer who really wants to serve and protect his community.

Misa (Protagonist 1)
• Beginning: Misa is an angry, reclusive hippie live in a well-appointed off-the-grid home with her marijuana plants. She shuns human contact, distrusts authority, technology, and mainstream society. Gets into an altercation with a customer at the Farmer’s market and is sent home.
• Inciting Incident: Bill’s spaceship crashes into her home – she assumes it’s a hallucination. She tries to help him fix his spaceship. Bill is pretty inept, actually breaks something else while attempting to fix it.
• Turning Point 1: Bill and Misa switch bodies. Misa assumes it’s part of the hallucination.
• Act 2: Misa (now in Bill’s body) and Bill (in Misa’s body) struggle with their new circumstances. they need to figure out what causes the swap so they can unswap bodies. Misa's frustration grows as she realizes Bill is not equipped to fix the ship or understand Earth.
• Turning Point 2 / Midpoint: Misa needs to attend the farmer’s market to avoid suspicion. Misa dresses up as a bigfoot to accompany Bill (in her body) to sell products. Realizing Bill's body cannot survive on Earth for long, they need to fix the spaceship urgently. Bill (in Misa’s body) learns to navigate human customs and starts to appreciate Misa's passion for the environment. Despite Misa’s clumsiness (because Bill is operating the body), he is a good salesman at the farmer’s market.
• Act 3: Misa (with Bill in the body) must attend the Earth Day festival – winning would provide the $ to get the parts for Bill’s spaceship. Misa (with Bill in the body) works with Bill (with Misa in the body) to improve Misa’s products. Misa (with Bill in the body) sabotages a repair. Bill (with Misa in the body) confronts him.
• Turning Point 3: Misa’s products don’t win the festival prize – in fact she’s called out for the damage her family’s business has done to the environment. However, they obtain retail distribution and the money to fix Bill’s ship. Misa (with Bill in the body) owns that Bill doesn’t want to return to his home planet, he is avoiding a punishment. Deputy Rhoades suspects Misa (in Bill’s body) of drug use, adding pressure. They must work together to convince him otherwise and avoid exposing their secret.
• Act 4 Climax: Bill & Misa work to repair the ship. Deputy Rhoades sees Bill’s body. Misa in Bill’s body tells Deputy Rhoades something only she would know. Bill (in Misa’s body) offers to let Misa keep his body so she can leave and survive.
• Resolution: After a final comedic twist that reverses the body swap, Misa returns to her body. She embraces her role in helping others and becomes a catalyst for positive change, working to heal the planet.
Bill
• Beginning: Bill is flying along, comes out of hibernation really needs a toilet, but he breaks it! Figures, he’s always seen as expendable and clumsy. He lacks confidence and is generally considered a failure by his peers.
• Inciting Incident: Bill’s spaceship crashes into Misa’s home. Bill panics – he’s been seen! Bill says he needs to fix his ship, but he’s pretty inept, actually breaks something else while attempting to fix it.
• Turning Point 1: Bill switches bodies with Misa. Further panic!
• Act 2: Bill and Misa try to figure out what causes the body swap so they can unswap. Misa (in Bill’s body) starts to suffer from Earth sickness.
• Turning Point 2 / Midpoint: Misa in Bill’s body attends the farmer’s market dressed as Bigfoot.
• Act 3: Bill’s body (with Misa in it) attends the Earth Day festival hoping to win enough to get parts to fix the ship. Bill and Misa must work together. Misa (in Bill’s body) is infuriated that he was sabotaging the repairs. Does he want his body to die with her in it?
• Turning Point 3: Misa’s products don’t win the prize. Bill (with Misa in his body) is very smooth at presenting the products, despite the big foot costume and manages to obtain retail distribution providing the money to fix Bill’s ship. Misa (in Bill’s body) must stay hidden to avoid exposing their secret but still work together.
• Act 4 Climax: Bill and Misa repair the ship. Misa (in Bill’s body) is failing. Deputy Rhoades sees Misa (in Bill’s body) but she tells Deputy Rhoades something only she would know so he doesn’t report the sighting.
• Resolution: Bill and Misa accidentally unswap bodies. Bill returns to his planet with newfound confidence and empathy. He promises to make amends and keep other aliens away from Earth, ready to prove his worth.

Deputy Rhoades
• Beginning: After secretly completing a stint in rehab, he returns to work sober but struggles with self-doubt about his effectiveness. Rhoades encounters Misa at the farmer’s market and diffuses the situation, sending her home with a warning.
• Turning point 1: Deputy Rhoades stops his cruiser to engage in deep breathing and self talk to calm his nerves.
• Turning Point 2 / Midpoint: He notices Bill (in Misa’s body) acting odd and suspects drug use. His concern for the community stoner deepens his involvement.
• Act 3: “follows up” with Misa, investigating her behaviors
• Turning Point 3: Rhoades' suspicions grow, and he confronts Bill (in Misa’s body), offering rehab advice revealing his own experiences.
• Act 4 Climax: See’s Bill’s body – worries he’s somehow fallen off the wagon without knowing.
• Resolution: agrees to keep Misa & Bill’s secret. He remains dedicated to his role but with a new understanding of compassion and second chances, continuing his journey of personal redemption.

• This reply was modified 1 year ago by  Terrie Cooper Lee.

[Terrie Cooper Lee]

Terrie’s Character Journey Structure
Vision: I am paid to write screenplays that become successful movies. My process is so solid I can enjoy my equestrian hobby while exceeding expectations with my writing.
Concept: An alien crashes into an off-the-grid hippie's house and they accidentally swap bodies.
What I learned from doing this assignment is that’s is really beneficial to realize that some characters’ journey may start before the start of the screenplay; however chatgpt won’t recognize that. I actually found myself confused at the structure I created per the assignment was not consistent with the structure the AI was instructed to create.
Misa (Protagonist 1)
• Beginning: Misa is an angry, reclusive hippie living off the grid with her cats and marijuana plants. She shuns human contact, distrusts authority, technology, and mainstream society. Gets into an altercation with a customer at the Farmer’s market and is sent home.
• Inciting Incident: Bill’s spaceship crashes into her home – she assumes it’s a hallucination. She tries to help him fix his spaceship.
• Turning Point 1: Bill and Misa switch bodies. Misa assumes it’s part of the hallucination.
• Act 2: Misa (now in Bill’s body) and Bill (in Misa’s body) struggle with their new circumstances. they need to figure out what causes the swap so they can unswap bodies. Misa's frustration grows as she realizes Bill is not equipped to fix the ship or understand Earth.
• Turning Point 2 / Midpoint: Misa needs to attend the farmer’s market to avoid suspicion. Misa dresses up as a bigfoot to accompany Bill (in her body) to sell products. Realizing Bill's body cannot survive on Earth for long, they need to fix the spaceship urgently. Bill (in Misa’s body) learns to navigate human customs and starts to appreciate Misa's passion for the environment. Despite Misa’s clumsiness (because Bill is operating the body), he is a good salesman at the farmer’s market.
• Act 3: Misa (with Bill in the body) must attend the Earth Day festival – winning would provide the $ to get the parts for Bill’s spaceship. Misa (with Bill in the body) works with Bill (with Misa in the body) to improve Misa’s products.
• Turning Point 3: Misa’s products don’t win the festival prize but get retail distribution and the money to fix Bill’s ship. Deputy Rhoades suspects Misa (in Bill’s body) of drug use, adding pressure. They must work together to convince him otherwise and avoid exposing their secret.
• Act 4 Climax: Bill & Misa work to repair the ship. Deputy Rhoades sees Bill’s body. Misa in Bill’s body tells Deputy Rhoades something only she would know. Bill (in Misa’s body) offers to let Misa keep his body so she can leave and survive.
• Resolution: After a final comedic twist that reverses the body swap, Misa returns to her body. She embraces her role in helping others and becomes a catalyst for positive change, working to heal the planet.
Bill
• Beginning: Bill is flying along, comes out of hibernation really needs a toilet, but he breaks it! Figures, he’s always seen as expendable and clumsy. He lacks confidence and is generally considered a failure by his peers.
• Inciting Incident: Bill’s spaceship crashes into Misa’s home. Bill panics – he’s been seen!
• Turning Point 1: Bill switches bodies with Misa. Further panic!
• Act 2: Bill and Misa try to figure out what causes the body swap so they can unswap.
• Turning Point 2 / Midpoint: Misa in Bill’s body attends the farmer’s market dressed as Bigfoot.
• Act 3: Bill’s body (with Misa in it) attends the Earth Day festival hoping to win enough to get parts to fix the ship. Bill and Misa must work together.
• Turning Point 3: Misa’s products don’t win the prize but obtain retail distribution providing the money to fix Bill’s ship. Misa (in Bill’s body) must stay hidden to avoid exposing their secret but still work together.
• Act 4 Climax: Bill and Misa repair the ship. Misa (in Bill’s body) is failing. Deputy Rhoades sees Misa (in Bill’s body) but she tells Deputy Rhoades something only she would know so he doesn’t report the sighting.
• Resolution: Bill and Misa accidentally unswap bodies. Bill returns to his planet with newfound confidence and empathy. He promises to make amends and keep other aliens away from Earth, ready to prove his worth.

Deputy Rhoades
• Beginning: After secretly completing a stint in rehab, he returns to work sober but struggles with self-doubt about his effectiveness. Rhoades encounters Misa at the farmer’s market and diffuses the situation, sending her home with a warning.
• Turning Point 2 / Midpoint: He notices Bill (in Misa’s body) acting odd and suspects drug use. His concern for the community stoner deepens his involvement.
• Act 3: “follows up” with Misa, really investigating her
• Turning Point 3: Rhoades' suspicions grow, and he confronts Bill (in Misa’s body), offering rehab advice based on his own experiences.
• Act 4 Climax: See’s Bill’s body – worries he’s somehow fallen off the wagon without knowing.
• Resolution: agrees to keep Misa & Bill’s secret. He remains dedicated to his role but with a new understanding of compassion and second chances, continuing his journey of personal redemption.

• This reply was modified 1 year ago by  Terrie Cooper Lee.

[Terrie Cooper Lee]

Terrie’s Supporting Characters
Vision: I am paid to write screenplays that become successful movies. My process is so solid I can enjoy my equestrian hobby while exceeding expectations with my writing.
What I learned from doing this assignment is that I haven’t thought about supporting characters AT ALL. I can spin this as a positive, this can be done with a relatively small cast although there are two crowd type scenes.
• Supporting Characters: Nancy, farmer’s market manager; Wade, marketing dude from national retailer;
• 5 lines or under: cashier at hardware store; people buying products from Misa at the farmer’s market
• Background Characters: vendors and customers at farmer’s market; people at Earth Day festival
Support 1:
• Name: Nancy
• Role: Manager of the Farmer’s Market where Misa sells her wares
• Main purpose: Has to force Misa to leave after being rude to customers. Call Deputy Rhoades.
• Value: Allows audience to experience Misa’s inability to function in society
Support 2:
• Name: Wade
• Role: Marketing rep for a national natural foods retail chain
• Main purpose: provide funds to Misa and Bill. Demonstrate that Bill (in Misa’s body) has gained social skills.
• Value: Demonstrate that Bill (in Misa’s body) has gained social skills.

• This reply was modified 1 year ago by  Terrie Cooper Lee.

[Terrie Cooper Lee]

Terrie’s Character Profiles Part 2
Vision: I am paid to write screenplays that become successful movies. My process is so solid I can enjoy my equestrian hobby while exceeding expectations with my writing.
Concept: An alien crashes into an off-the-grid hippie's house and they accidentally swap bodies.
What I learned from doing this assignment is I’m glad I had some much work done on these characters. It’s a relief to see it come together.
Misa:
7. Character Subtext: Subtext Identity: an angry off the grid hippie / Human in an Alien's Body
Subtext Trait: hostile, judgmental as Misa/ fearful of being discovered as Bill
Subtext Logline: an off the grid hippie that is angry that others don’t care enough about Mother Earth but must navigate life in an alien body.
Possible Areas of Subtext: lectures people about environmental issues, picks fight with those that don’t behave in environmentally correct ways / as Bill kind gentle and confused.
Hiding Something: Misa has to conceal her human thoughts and emotions while in Bill’s body to avoid exposing the body swap, creating tension and humor.
Secret: Misa is secretly struggling to maintain her humanity while adapting to an alien’s physiology and technology.
Lying: Misa often lies about her strange behaviors and mistakes in Bill’s body, attributing them to her “alien” nature.
8. Character Intrigue: Hidden agendas: help repair Bill’s ship
Competition: she competes (in her head) with the other vendor’s at the farmer’s market for who is the most environmentally friendly.
Conspiracy: she believes it’s conspiracy to get people to believe in Aliens who will save earth so people will keep spending spending spending, than help save the planet!
Secrets: doesn’t want anyone to believe in aliens they aren’t going to save us! It’s a cop out from good behavior.
Deception: hides Bill & his space ship
Unspoken Wound: Misa once accidently caused a forest fire.
Secret Identity: much of the movie really Bill in Misa’s body
How this character’s subtext might show up: Fights with everyone about environmental behavior, all the time and she knows more and does better than everyone. Hide Bill’s weird alien ways. Try to emulate Misa’s behavior so body swap won’t be detected.
9. Flaw: Her antagonism often leads her to reject help or collaboration, even when it would benefit her.
10. Values: She believes in environmental sustainability, personal freedom, and living authentically.
11. Character Dilemma: should she save Bill or kill him and hide his ship?
Bill:
7. Character Subtext: Subtext Identity: stranded alien / Alien in a Human Body
Subtext Trait: Bill hides his deep shame about his incompetence and fears he will never be good enough for his people.
/ Hiding his true identity while trying to fix his ship and learn human customs.
Subtext Logline: a stranded alien that is terrified of being discovered / Bill is an alien who must navigate human life in Misa's body while secretly trying to repair his ship.
Possible Areas of Subtext: hides, avoids contact with others
Hiding Something: Bill constantly has to hide his alien knowledge and abilities to avoid detection, creating numerous misunderstandings and comedic situations.
Afraid to Say: Bill fears revealing his true identity to anyone, worried about how humans will react and if they will prevent him from fixing his ship and returning home.
8. Character Intrigue: Hidden agendas: get respect on his home planet; leave Earth as soon as possible, without getting attached to humans or their customs.
Competition/unspoken wound: finished last in flight school
Conspiracies:
Secrets: his mission on Earth was actually a punishment for a mistake he made in flight school.
Deception: pretends to be more knowledgeable about Earth and human customs to avoid looking completely inept, leading to comedic situations.
Unspoken Wound: Bill carries the emotional trauma of being a constant failure in his society, which affects his confidence and decisions.
Secret Identity: much of the time he’s Misa in bill’s body.
This character’s subtext might show up when he gets defensive when Misa asks questions about his flying how to fix his ship, what life is like on his home planet.
Secret: Bill is secretly attempting to repair his spaceship while learning human customs and maintaining Misa’s life without raising suspicion.
Lying: Bill frequently lies about his odd behavior, attributing it to Misa’s eccentricities, to cover up his alien mistakes.
Withholding: Bill withholds his true emotions and thoughts about humans, struggling internally with his growing empathy for them.
9. Flaw: His lack of self-confidence leads him to make poor decisions and avoid taking responsibility.
10. Values: Bill values learning, exploration, and, eventually, the importance of connections and empathy.
11. Character Dilemma: can he trust Misa?
Deputy Rhoades
7. Character Subtext: Subtext Identity: Rhoades hides his fear of relapsing and the ongoing struggle to stay sober, which colors his interactions with others.
Subtext Trait: Concealing his struggles with addiction and a deep-seated mistrust of unconventional lifestyles. suspects everyone of being an addict; wants to help.
Subtext Logline: uses his official role as a deputy to investigate possible addicts. Deputy Rhoades is a recovering addict who hides his struggle and mistrust while trying to uncover the truth about Misa and Bill’s unusual behavior.
Possible Areas of Subtext: investigates Misa because he thinks she’s an addict that needs help.
Hiding Something: Rhoades hides his past struggles with addiction and rehab from the community, fearing it might undermine his authority.
Secret: Rhoades secretly attends support meetings and uses techniques from rehab to maintain his sobriety.
Lying: He often lies about his whereabouts when attending these support meetings or when his addiction issues resurface.
Withholding: He withholds his personal experiences with addiction and his true feelings about the odd occurrences he’s investigating, maintaining a tough, skeptical exterior.
8. Character Intrigue: Hidden agendas: improve the mental health of everyone in his community
Secrets: spent time in rehab
Deception: He deceives the townspeople about the severity of his past addiction, pretending to have had a minor issue compared to the reality.
9. Flaw: His suspicion and rigidity often alienate him from those he’s trying to protect, causing him to misjudge and create conflict unnecessarily.
10. Values: He believes in law and order, personal redemption, and the importance of community safety.
11. Character Dilemma: reveal his time in rehab or will it undermine his authority

• This reply was modified 1 year ago by  Terrie Cooper Lee.

[Terrie Cooper Lee]

Terrie’s Character Profiles Part 1
Vision: I am paid to write screenplays that become successful movies. My process is so solid I can enjoy my equestrian hobby while exceeding expectations with my writing.
Concept: An alien crashes into an off-the-grid hippie's house and they accidentally swap bodies.
What I learned from doing this assignment is I’m glad I had some much work done on these characters.
Misa:
A. The High Concept. An alien crashes into an off-the-grid hippie's house and they accidentally swap bodies.
B. This character’s journey. At the beginning Misa is an angry, reclusive hippie who shuns human contact, living in isolation with her cats and marijuana plants. She's distrustful of authority, technology, and mainstream society, finding solace only in her self-imposed exile. By becoming Bill and seeing Earth through his eyes, Misa transforms into someone more open-minded and compassionate. She learns the value of connection and cooperation, realizing that her off-the-grid lifestyle was a form of escapism. She embraces her role in helping others and becomes a catalyst for positive change to heal the planet.
C. The Actor Attractors for this character.
1. Known for Role: This an opportunity to play two characters – Misa an angry, reclusive hippie and when Bill swaps into her body Misa’s a hapless alien. This role showcases an actor's range from anger and reclusive to openness and compassion, confused, scared, highlighting their ability to portray a complex character arcs.
2. Most Interesting Character: She helps an alien! Misa is a character full of contradictions—angry yet vulnerable, reclusive yet longing for connection. Her journey from a distrustful hippie to a compassionate catalyst is a captivating arc that actors would find intriguing to explore. Of course, this actor is also going to have their body taken over by an alien and experience Earth for the first time.
3. Interesting Actions: Help fix the ship. Learns to work with others. When Bill is in her body, must hide being an alien and learn human customs, causing unintentional chaos and develop a unique relationship with Bill.
4. Introduction: Looks like a chill hippie girl but ends up in a verbal fight with most of the farmer’s market and gets thrown out of the farmer’s market.
5. Emotional Range: Fear, anger, Happy, Shock, Disbelief, Kindness, Love
6. Subtext: She’s angry at humans secretly hopes that aliens will show up and save the planet or at least all the assholes (most of the planet) flies away. As she evolves she learns to value her planet and even the humans. When Bill is in Misa’s body the subtext revolves around themes of self-worth, acceptance, and the universal desire for connection, offering the actor opportunities to convey vulnerability and resilience beneath the comedic surface.
7. Interesting Relationships: Her friendship with Bill the alien, which grows to platonic love through shared experiences. Her relationship with Deputy Rhoades evolves from distrust to appreciating his commitment to their community.
8. Unique Voice: Her chill off the grid lifestyle espousing peace and love philosophy via hippie slang but not getting along with anyone.
9. Special: Her deep love of the earth and her kindness to Bill the alien. Skills: making healing salves and lotions.

1. Role in the Story: Protagonist
2. Age range and Description: female, 30’s, Caucasian, light hair in dreads, lean – she would never eat more than necessary to help protect the limited resources of the planet!
3. Core Traits: angry, environmentally conscious, reclusive, resourceful, antagonistic
4. Motivation; Want/Need: Save the planet!
5. Wound: she once started a forest fire
6. Likability: she helps Bill fix his ship, hides him rather than contact the authorities. Relatability: trying to always ‘do the right thing’ makes her crazy.
Empathy: her outhouse was destroyed and her home damaged when Bill crashed.
Bill:
A. The High Concept. An alien crashes into an off-the-grid hippie's house and they accidentally swap bodies.

B. This character’s journey. Bill is a hapless alien who's always been considered expendable. He's clumsy, lacks confidence, and is generally seen as a failure by his peers. By the end of the story, Bill has transformed into a more confident, empathetic, and understanding being. He learns valuable lessons about human emotions, bonds, and responsibility, ultimately gaining the courage to return to his home planet, excel in flight school and prove his worth.
C. The Actor Attractors for this character.
1. Known for Role: Comedic opportunity to play two characters in one –Bill a loveable hapless alien whose body gets taken over by Misa an angry hippie chick. Many opportunities for physical comedy. Bill is a scared alien, then Misa takes over his body.
2. Most Interesting Character: He's an alien! His body gets taken over by a human. He’s not a very capable being in the beginning. Bill’s evolution from a clumsy outsider to a courageous and understanding being is compelling, providing the actor with opportunities for physical comedy, emotional depth, and heartfelt moments.
Interesting Actions: Bill crashes his ship and must find a way fix his ship. When Misa is in this body he needs to be hidden so no one detects him. Eventually develops a bond with Misa.
4. Introduction: Bill is flying along, needs the toilet, breaks it, which causes a chain reaction and a crash. Bill’s chaotic introduction, sets up the comedic tone and the character's incompetence in alien skills.
5. Emotional Range: Scared, Confident, Shock, Kindness, Love, Empathy
6. Subtext: Bill is terrified of being found out – we know what earthlings do to aliens right? This is true for when Bill is Bill and when Misa is in Bill’s body. When Misa is in Bill’s body themes of escapism, fear of connection, and personal growth, allowing the actor to subtly convey internal conflicts and motivations.
7. Interesting Relationships: His friendship with Misa, which evolves to platonic love. Respect for Deputy Rhoades.
8. Unique Voice: His fear, confusion, and alien innocence while attempting to navigate earth customs. Alien mannerisms and quirks.
9. Special: Bill’s uniqueness is tied to his dual-identity. Bill's special quality lies in his ability to bring chaos and humor to every situation.

1. Role in the Story: protagonist
2. Age range and Description: Male of indeterminate age because he’s an alien. Short hair, lean, skin color altered by makeup
3. Core Traits: kind, frightened, impulsive, spunky
4. Motivation; Want/Need: Fix his space ship/ Gain the confidence to go back to his home planet
5. Wound: finished last in flight school and seen as expendable
6. Likability: he’s kind and nice and scared.
Relatability: he’s stuck on strange planet – people can relate to being a stranger and out of place.
Empathy: his ship is broken, how can get home? He’s in danger of being discovered.
Deputy Rhoades
A. The High Concept. An alien crashes into an off-the-grid hippie's house and they accidentally swap bodies.
B. This character’s journey. Deputy Rhoades' journey involves being uncertain if he can be an effective deputy after spending time in rehab.

C. The Actor Attractors for this character.
1. Known for Role: This role offers an actor the opportunity to portray a complex antagonist with a mix of suspicion, personal struggles, and a moral compass. It's not a typical "villain" but a character with depth and conflicting motivations.
2. Most Interesting Character: Deputy Rhoades' journey of uncovering the truth while battling his own demons adds depth to the antagonist role.
3. Interesting Actions: Rhoades' actions involve investigating the body swap, dealing with personal challenges, and confronting ethical dilemmas. His journey intersects with the protagonists, leading to confrontations and revelations.
4. Introduction: Deputy Rhoades is introduced as a determined, by the book law enforcement officer at the farmer’s market when Misa gets in a fight with, well, everyone. He starts out tough, the chides himself for the behavior, gets everyone to engage in breathing exercises to deescalate. Convinces everyone to not press charges against Misa, calms her and sends her home.
5. Emotional Range: Confusion, Shock, Kindness, introspection, redemption, self-doubt
6. Subtext: The actor can play on the subtext of authority versus personal integrity, exploring the character's internal conflicts and motivations.
7. Interesting Relationships: His kindness and concern for the community stoner who seems to be possessed.
8. Unique Voice: He adopts a tough guy look and attitude but actually abhors violence. Maybe cites Ghandi frequently.
9. Special: Deputy Rhoades' special quality lies in his role as a catalyst for change, driving the narrative forward through conflict and resolution in the midst of his inner conflicts and moral dilemmas.
1. Role in the Story: antagonist
2. Age range and Description: 40s, male, big guy – solid not fat, super clean cut.
3. Core Traits: suspicious, protective,
4. Motivation; Want/Need: Get Misa into rehab / Be confident in his own recovery
5. Wound: addiction nearly cost him everything
6. Likability: doesn’t arrest Misa.
Relatability: has a job that isn’t always easy.
Empathy: recovering addict

• This reply was modified 1 year ago by  Terrie Cooper Lee.

[Terrie Cooper Lee]

Terrie’s Likeability / Relatability / Empathy
Vision: I am paid to write screenplays that become successful movies. My process is so solid I can enjoy my equestrian hobby while exceeding expectations with my writing
What I learned from this assignment is that I need to make it clear how much Misa is risking by helping Bill rather than contacting the authorities and how much danger Bill is in.
Misa – protagonist
• Likability: she helps Bill fix his ship, hides him rather than contact the authorities
• Relatability: trying to always ‘do the right thing’ makes her crazy
• Empathy: her outhouse was destroyed and her home damaged when Bill crashed.
Bill – protagonist
• Likability: he’s kind and nice and scared.
• Relatability: he’s stuck on strange planet – people can relate to being a stranger and out of place
• Empathy: his ship is broken, how can get home? He’s in danger of being discovered.
Deputy Rhoades
• Likability: doesn’t arrest Misa
• Relatability: has a job that isn’t always easy
• Empathy: recovering addict

• This reply was modified 1 year ago by  Terrie Cooper Lee.
• This reply was modified 1 year ago by  Terrie Cooper Lee.

[Terrie Cooper Lee]

Terrie’s Character Intrigue
Vision: I am paid to write screenplays that become successful movies. My process is so solid I can enjoy my equestrian hobby while exceeding expectations with my writing
What I learned from this assignment I got some good insight into one character. I’m struggling a bit with the difference between intrigue and subtext – they seem very intertwined.
Character Name: MISA
Role: protagonist off the grid hippie
Hidden agendas: help repair Bill’s ship; Misa has a secret plan to build a sustainable off-the-grid community but feels it will never succeed due to societal pressures.
Competition: she competes (in her head) with the other vendor’s at the farmer’s market for who is the most environmentally friendly.
Conspiracy: she believes it’s conspiracy to get people to believe in Aliens who will save earth so people will keep spending spending spending, than help save the planet!
Secrets: doesn’t want anyone to believe in aliens they aren’t going to save us! It’s a cop out from good behavior.
Deception: hides Bill & his space ship
Unspoken Wound: Misa’s anger stems from a childhood trauma related to environmental destruction that deeply affected her family.

Secret Identity: much of the movie really Bill in Misa’s body
Give us an idea of how that character’s subtext might show up in your movie.
Fights with everyone about environmental behavior, all the time and she knows more and does better than everyone. Hide Bill’s weird alien ways. Try to emulate Misa’s behavior so body swap won’t be detected.
Character Name: Bill
Role: protagonist – alien that crash landed
Hidden agendas: get respect on his home planet; leave Earth as soon as possible, without getting attached to humans or their customs.
Competition/unspoken wound: finished last in flight school
Conspiracies:
Secrets: his mission on Earth was actually a punishment for a mistake he made in flight school.
Deception: pretends to be more knowledgeable about Earth and human customs to avoid looking completely inept, leading to comedic situations.
Unspoken Wound: Bill carries the emotional trauma of being a constant failure in his society, which affects his confidence and decisions.
Secret Identity: much of the time he’s Misa in bill’s body.

Give us an idea of how that character’s subtext might show up in your movie.
Gets defensive when Misa asks questions about his flying how to fix his ship, what life is like on his home planet.
Character Name: Deputy Rhoades
Role: antagonist
Hidden agendas: improve the mental health of everyone in his community
Competition:
Conspiracies:
Secrets: spent time in rehab
Deception: He deceives the townspeople about the severity of his past addiction, pretending to have had a minor issue compared to the reality.
Unspoken Wound:
Secret Identity:
Give us an idea of how that character’s subtext might show up in your movie.
He tries to help everyone even when it’s not needed. Tries to send people to meditation practice/yoga/group therapy rather than bust them. Tries to get Misa to rehab.

• This reply was modified 1 year ago by  Terrie Cooper Lee.

[Terrie Cooper Lee]

Terrie’s Subtext Characters
Vision: I am paid to write screenplays that become successful movies. My process is so solid I can enjoy my equestrian hobby while exceeding expectations with my writing.
Concept: An alien crashes into an off-the-grid hippie's house and they accidentally swap bodies.
What I learned from this assignment is that I had some decent subtext already built into my characters but this is still worthwhile as I clarified some elements and got some good ideas for one character.
Example movie – I’m skipping this b/c I repeating the class.
3. For your two leads, brainstorm these answers:
• Character Name: Misa
• Subtext Identity: an angry off the grid hippie / Human in an Alien's Body
• Subtext Trait: hostile, judgmental as Misa/ fearful of being discovered as Bill
• Subtext Logline: an off the grid hippie that is angry that others don’t care enough about Mother Earth but must navigate life in an alien body.
• Possible Areas of Subtext: lectures people about environmental issues, picks fight with those that don’t behave in environmentally correct ways / as Bill kind gentle and confused.
• Hiding Something: Misa has to conceal her human thoughts and emotions while in Bill’s body to avoid exposing the body swap, creating tension and humor.
• Secret: Misa is secretly struggling to maintain her humanity while adapting to an alien’s physiology and technology.
• Lying: Misa often lies about her strange behaviors and mistakes in Bill’s body, attributing them to her “alien” nature.
• Withholding: Misa withholds her true feelings about the alien experience, fearing it might reveal the body swap and jeopardize their mission to fix the ship.
• Character Name: Bill
• Subtext Identity: stranded alien / Alien in a Human Body
• Subtext Trait: fearful / Hiding his true identity while trying to fix his ship and learn human customs.
• Subtext Logline: a stranded alien that is terrified of being discovered / Bill is an alien who must navigate human life in Misa's body while secretly trying to repair his ship.
• Possible Areas of Subtext: hides, avoids contact with others
• Hiding Something: Bill constantly has to hide his alien knowledge and abilities to avoid detection, creating numerous misunderstandings and comedic situations.
• Afraid to Say: Bill fears revealing his true identity to anyone, worried about how humans will react and if they will prevent him from fixing his ship and returning home.
• Secret: Bill is secretly attempting to repair his spaceship while learning human customs and maintaining Misa’s life without raising suspicion.
• Lying: Bill frequently lies about his odd behavior, attributing it to Misa’s eccentricities, to cover up his alien mistakes.
• Withholding: Bill withholds his true emotions and thoughts about humans, struggling internally with his growing empathy for them.
•
• Character Name: Deputy Rhoades
• Subtext Identity: addict in recovery with trust issues
• Subtext Trait: Concealing his struggles with addiction and a deep-seated mistrust of unconventional lifestyles.
• suspects everyone of being an addict; wants to help.
• Subtext Logline: uses his official role as a deputy to investigate possible addicts. Deputy Rhoades is a recovering addict who hides his struggle and mistrust while trying to uncover the truth about Misa and Bill’s unusual behavior.
• Possible Areas of Subtext: investigates Misa because he thinks she’s an addict that needs help.
• Hiding Something: Rhoades hides his past struggles with addiction and rehab from the community, fearing it might undermine his authority.
• Afraid to Say: He’s afraid to admit his distrust of people who live unconventional lifestyles, like Misa, fearing it might seem prejudiced or unprofessional.
• Secret: Rhoades secretly attends support meetings and uses techniques from rehab to maintain his sobriety.
• Lying: He often lies about his whereabouts when attending these support meetings or when his addiction issues resurface.
• Withholding: He withholds his personal experiences with addiction and his true feelings about the odd occurrences he’s investigating, maintaining a tough, skeptical exterior.

• This reply was modified 1 year ago by  Terrie Cooper Lee.

[Terrie Cooper Lee]

Terrie’s Actor Attractors
Vision: Vision: I am paid to write screenplays that become successful movies. My process is so solid I can enjoy my equestrian hobby while exceeding expectations with my writing.
Concept: An alien crashes into an off-the-grid hippie’s house and they accidentally swap bodies.
What I learned from this assignment is that I need both leads to experience love, that emotion is missing but was in the 3 movies that I watched in my subgenre. It is not necessarily romantic love but love shows up in all three. I also learned that it’s tough to keep the character’s straight as I’ve got them in two bodies!
Misa
1. Known for Role: This an opportunity to play two characters – Misa an angry, reclusive hippie and when Bill swaps into her body Misa’s a hapless alien. This role showcases an actor’s range from anger and reclusive to openness and compassion, confused, scared, highlighting their ability to portray a complex character arcs.
2. Most Interesting Character: She helps an alien! Misa is a character full of contradictions—angry yet vulnerable, reclusive yet longing for connection. Her journey from a distrustful hippie to a compassionate catalyst is a captivating arc that actors would find intriguing to explore. Of course, this actor is also going to have their body taken over by an alien and experience Earth for the first time.
3. Interesting Actions: Help fix the ship. Learns to work with others. When Bill is in her body, must hide being an alien and learn human customs, causing unintentional chaos and develop a unique relationship with Bill.
4. Introduction: Looks like a chill hippie girl but ends up in a verbal fight with most of the farmer’s market and gets thrown out of the farmer’s market.
5. Emotional Range: Fear, anger, Happy, Shock, Disbelief, Kindness, Love
6. Subtext: She’s angry at humans secretly hopes that aliens will show up and save the planet or at least all the assholes (most of the planet) flies away. As she evolves she learns to value her planet and even the humans. When Bill is in Misa’s body the subtext revolves around themes of self-worth, acceptance, and the universal desire for connection, offering the actor opportunities to convey vulnerability and resilience beneath the comedic surface.
7. Interesting Relationships: Her friendship with Bill the alien, which grows to platonic love through shared experiences. Her relationship with Deputy Rhoades evolves from distrust to appreciating his commitment to their community.
8. Unique Voice: Her chill off the grid lifestyle espousing peace and love philosophy via hippie slang but not getting along with anyone.
9. Special: Her deep love of the earth and her kindness to Bill the alien. Skills: making healing salves and lotions.

Bill
1. Known for Role: Comedic opportunity to play two characters in one –Bill a loveable hapless alien whose body gets taken over by Misa an angry hippie chick. Many opportunities for physical comedy. Bill is a scared alien, then Misa takes over his body.
2. Most Interesting Character: He’s an alien! His body gets taken over by a human. He’s not a very capable being in the beginning. Bill’s evolution from a clumsy outsider to a courageous and understanding being is compelling, providing the actor with opportunities for physical comedy, emotional depth, and heartfelt moments.
Interesting Actions: Bill crashes his ship and must find a way fix his ship. When Misa is in this body he needs to be hidden so no one detects him. Eventually develops a bond with Misa.
4. Introduction: Bill is flying along, needs the toilet, breaks it, which causes a chain reaction and a crash. Bill’s chaotic introduction, sets up the comedic tone and the character’s incompetence in alien skills.
5. Emotional Range: Scared, Confident, Shock, Kindness, Love, Empathy
6. Subtext: Bill is terrified of being found out – we know what earthlings do to aliens right? This is true for when Bill is Bill and when Misa is in Bill’s body. When Misa is in Bill’s body themes of escapism, fear of connection, and personal growth, allowing the actor to subtly convey internal conflicts and motivations.
7. Interesting Relationships: His friendship with Misa, which evolves to platonic love. Respect for Deputy Rhoades.
8. Unique Voice: His fear, confusion, and alien innocence while attempting to navigate earth customs. Alien mannerisms and quirks.
9. Special: Bill’s uniqueness is tied to his dual-identity. Bill’s special quality lies in his ability to bring chaos and humor to every situation.

 
Deputy Rhoades
1. Known for Role: This role offers an actor the opportunity to portray a complex antagonist with a mix of suspicion, personal struggles, and a moral compass. It’s not a typical “villain” but a character with depth and conflicting motivations.
2. Most Interesting Character: Deputy Rhoades’ journey of uncovering the truth while battling his own demons adds depth to the antagonist role.
3. Interesting Actions: Rhoades’ actions involve investigating the body swap, dealing with personal challenges, and confronting ethical dilemmas. His journey intersects with the protagonists, leading to confrontations and revelations.
4. Introduction: Deputy Rhoades is introduced as a determined, by the book law enforcement officer at the farmer’s market when Misa gets in a fight with, well, everyone. He starts out tough, the chides himself for the behavior, gets everyone to engage in breathing exercises to deescalate. Convinces everyone to not press charges against Misa, calms her and sends her home.
5. Emotional Range: Confusion, Shock, Kindness, introspection, redemption, self-doubt
6. Subtext: The actor can play on the subtext of authority versus personal integrity, exploring the character’s internal conflicts and motivations.
7. Interesting Relationships: His kindness and concern for the community stoner who seems to be possessed.
8. Unique Voice: He adopts a tough guy look and attitude but actually abhors violence. Maybe cites Ghandi frequently.
9. Special: Deputy Rhoades’ special quality lies in his role as a catalyst for change, driving the narrative forward through conflict and resolution in the midst of his inner conflicts and moral dilemmas.

• This reply was modified 1 year ago by  Terrie Cooper Lee.

[Terrie Cooper Lee]

Terrie’s Actor Attractors for Lost City
I write screenplays that get turned into crowd pleasing successful films using a process that allows me to enjoy my equestrian hobby.
What I learned doing this assignment is that for RomComs the best moments happen in scenes with both characters (sleepless in Seattle defies that convention). They even created a prologue opening to let us meet both leads simultaneously.
So I cheated a bit – I’ve done this assignment twice in other classes so I’m using an old one. Also, I just watched 2 movies in my subgenre. However, I so behind in this class this will help me catch up.

Actor Attractors:

Movie: The Lost City – a Rom/Com with action elements
Lead Character: Loretta

1. Why would an actor WANT to be known for this role?
Not sure Sandra Bullock needs to be known for this role – but Loretta is successful, extremely intelligent woman who aids her own rescue.
2. What makes this character one of the most interesting characters in the movie?
She is complicated – she is a widow, a hugely successful romance novelist (which they have a supporting character talk about how that’s the most lucrative genre), extremely intelligent but dealing with grief and now sure what to do next with her life.
3. What are the most interesting actions the Lead takes in the movie?
She solves the translation of the hieroglyphics. Aids in saving herself from the evil billionaire.
4. How is this character introduced that could sell it to an actor?
There are really two introductions. One her writing the novel with her book leads Dash &, romance action scene with both of them that is a rip off of Indiana Jones. Then she deletes the scene. This lets us meet the two main characters in scene one in a funny way. Once she deletes the scene we cut to her at her writing desk and we get her full introduction. It’s a great introduction – we see her alone struggling to finish her latest novel and hear her agent on voice mail discussing get it done, deadline, etc. Give us all the backstory we need from believable voice mails and watch her struggle to get her work done.
5. What is this character’s emotional range?
Sad, angry, happy, frustrated, shy, frightened, awkward
6. What subtext can the actor play?
Her attraction to Alan, her grief. I think the intellect is out there not subtext. Feelings of failure & selling out when she switched to romance writing when her academic book wasn’t published.
7. What’s the most interesting relationships this character has?
With Alan she’s the boss but she is hurting and needs help. She’s intellectual he’s physical.
8. How is this character’s unique voice presented?
She has extensive knowledge of archeology and uses archeological terms but also sophisticate language frequently.
9. What makes this character special and unique?
Her intellect, being able to translate the hieroglyphics
10. (Fill in a scene that shows the character fulfilling much of the Actor Attractor model.)
She tells Alan she’s done writing and he can transition to the shirt on phase of his modeling career and she can be left alone. He argues – she could visit ancient Greece, she says no she can’t, he says because your afraid to fly? No, it’s ancient. He tells her she’s human mummy. Mummies are human. Again, we get some insights into both characters with this scene.

Lead Character: Alan
1. Why would an actor WANT to be known for this role?
It’s a gender spin on the dumb blonde, he’s the gorgeous cover model not too bright. Allows Channing to show off his comedic skills.
2. What makes this character one of the most interesting characters in the movie?
Despite not being too bright he really wants to help Loretta and be more than a pretty face. He gets some great comedic moments.
3. What are the most interesting actions the Lead takes in the movie?
Lots of comedic moves but he goes all in to save Loretta even though he is basically incompetent.
4. How is this character introduced that could sell it to an actor?
He’s in the prologue sort of opening in his Dash character. When we meet Alan it seems this part was written with Channing in mind. He opens on stage strutting his stuff for the nearly 100% female audience. Thanks to Loretta’s clumsiness he falls off the stage and losses his wig.
5. What is this character’s emotional range?
Confused, happy, in love, hurt, confident, jealous
6. What subtext can the actor play?
He’s kind, loving, and caring – shown by his yoga/meditation retreat activities.
7. What’s the most interesting relationships this character has?
With Loretta he’s subservient to her but wants to be useful and helpful to her.
8. How is this character’s unique voice presented?
The mistakes he makes – verbal vocabulary mistakes, physical mistakes.
9. What makes this character special and unique?
His underlying sweetness and eagerness to save Loretta
10. (Fill in a scene that shows the character fulfilling much of the Actor Attractor model.)
Scene between them. He calls her out for taking the map fragment it will get them killed. She’s looking for a volcano but she didn’t clue him in he thought he was saving her. She points out he’s not Dash which hurts him. Cuts him down, saying he just came to LA and he’s just a not very successful model and just luck he got her cover.
He comes back- he’s from Sarasota discusses his background. Admits being embarrassed by the first book cover, but then one day a woman yelled out hey Dash and it made her happy to see him. Why be embarrassed for making someone happy? Don’t be mean to people who love your books. Ends: you of all people shouldn’t judge a book by it’s cover.

So this scene gives us insight into both characters.

Inciting incident is the kidnapping which happens at 15 min.

[Terrie Cooper Lee]

Terrie’s Genre Conventions
Vision: I am paid to write screenplays that become successful movies. My process is so solid I can enjoy my equestrian hobby while exceeding expectations with my writing.
Concept: An alien crashes into an off-the-grid hippie’s house and they accidentally swap bodies.
What I learned from this assignment:
1. I went back to my notes for my 3 referent movies and dug deep to develop conventions for my narrow genre which helped me flesh out parts of the story and determine where certain things need to occur.
2. I really am getting frustrated that my AI results do not look anything like Hal’s – I spend so much time trying to make sure I’m using the prompts correctly and falling further and further behind.
My current 4 act structure:
Act 1:
• Opening – Bill is flying in his spaceship. Breaks the spaceship toilet which causes a series of malfunctions. Meanwhile, Misa gets into a heated argument with a customer at the farmer’s market over environmental concerns. Deputy Rhoades tells her to calm down go home, maybe drink some herbal tea.
• Inciting Incident – Bill crashes into Misa’s outhouse. Misa thinks it’s all a hallucination goes along with trying to fix the toilet with her blow torch. Bill is terrified of her because of her nonchalant attitude.
• Turning Point – In the process of trying to fix the spaceship toilet they trigger a device, which emits a beam that bounces off the outhouse’s broken mirror and they swap bodies. Misa dismisses it as part of her hallucination. Bill panics.
Act 2:
• New plan – The next morning, still in each other’s bodies, freaks out and realize they need to unswap bodies. The plan: figure out what caused the swap.
• Plan in action – They struggle comically with their swapped bodies’ quirks. Bill has no mechanical aptitude and doesn’t seem to understand his ship. Bill lets it slip he had gone rogue. No one is coming to find him. Misa’s is angry with Bill how could he be so irresponsible! Bigger freak out without help how can they unswap bodies?
• Midpoint Turning Point – Bill (Misa’s body) and Misa (Bill’s body) go to the farmer’s market to earn money. Bill’s (in Misa’s body) is actually a good, even if goofy, salesman.Bill’s body). Misa (Bill’s body) wears a Big Foot costume as a disguise which causes hilarious confusion at the farmer’s market. Misa (Bill’s body) is angry that Bill (Misa’s body) is better at selling her products. Deputy Rhoades sees Bill (Misa’s body) acting odd accuses her of doing hard drugs offers compassion. Misa (Bill’s body) Bill (Misa’s body) surmise’s people care about Misa but they notice she’s being nice and it threatens to blow their cover. Bill shares that his body can’t live long on Earth – too much sun, too much vitamin D the bones in his body will start to fuse.

Act 3:
• Rethink everything – with Deputy Rhoades concern, and Bill’s body not be able to handle earthy, they have to fix the space ship. They brainstorm and plan what they can try, how to get parts.
• New plan – They need an expensive part to try to fix the ship and the only chance for the money is to win best product at the upcoming Earth Day festival. They have to work together to finalize the items for the Earth Day festival. Bill (in Misa’s body) gains a newfound appreciation for nature and environmental activism, while Misa (in Bill’s body) learns about the challenges of space travel. Instead of constantly fighting, Bill and Misa start to work together. Misa (Bill’s body) attends in the Big Foot costume. As usual she gets mad about the environmental impact of the festival – don’t these people care about Earth?
• Turning Point: Huge failure / Major shift – Due to Bill (in Misa’s body) trying to explain the products, they don’t win best product. Bill’s body is starting to hurt. However, a major retailer (that Misa’s hates of course) that has a representative at the Earth Day festival wants to stock her products and provide the needed money.
Act 4:
• Climax/Ultimate expression of the conflict – Deputy Rhoades, noticing Bill’s odd behavior (in Misa’s body), suspects drug use and suggests rehab. It worked for him! Bill and Misa work together to convince Rhoades otherwise. Deputy Rhoades sees Bill’s actual body and freaks out. They convince him it’s from stress.
• Resolution – They fix the spaceship with the newfound funds and expertise. Bill agrees to stay in Misa’s body and let Misa in his body leaves rather than have her die from Earth’s harmful effects. However, just as they’re about to part ways, a final comedic twist occurs: Misa (in Bill’s body) tests the repaired spaceship toilet, causing sparks that reverse the swap. Bill returns home intent on making amends for going rogue and earning his place on the space team. He promises to lie and keep other aliens away from Earth. Misa recommits to working with others to save her beloved planet.

• This reply was modified 1 year ago by  Terrie Cooper Lee.

[Terrie Cooper Lee]

Terrie’s 4 Act Transformational Structure – Lesson 5
What I learned from doing this assignment is:
1. If you’re stuck, watch movies in your very specific genre (with a pen, paper and stopwatch).
2. I massively changed my structure between the 3 act and 4 act lessons, due to #1. So the AI generated 4-act structure didn’t work and it seems like a waste of time pick at that and revise my 3-act just to use the prompt. Instead, I revised my prompt asking AI to improve my 4-act structure.
Concept: An alien crashes into an off-the-grid hippie's house and they accidentally swap bodies.
My version with some improvements from the AI chat.
Act 1:
• Opening – Bill is flying in his spaceship. Breaks the spaceship toilet. Misa gets in a huge fight with a customer (of hers) at the farmer’s market where she is selling homemade salves. They don’t care about the environment enough! Deputy Rhoades tells her to calm down go home, maybe drink some herbal tea.
• Inciting Incident – Bill crashes into Misa’s outhouse. Misa thinks she’s super high and it’s all a hallucination goes along with trying to fix the toilet. Bill is terrified of her because she seems unbothered by an alien appearing at her house and she’s super handy with a blow torch.
• Turning Point – in the process of trying to fix the space ship toilet they trigger something and they swap bodies. Misa thinks is part of her hallucination. Bill freaks out.
Act 2:
• New plan – the next morning Misa freaks out too! They have to unswap their bodies. The plan: figure out what caused the swap.
• Plan in action – Comedic moments as they both struggle with their new bodies. Bill has no mechanical aptitude and doesn’t seem to understand his ship. Bill lets it slip he was off course, actually had gone rogue. No one is coming to find him. Misa’s is angry with Bill how could he be so irresponsible! They both freak out are they stuck in these bodies.
• Midpoint Turning Point – Bill (Misa’s body) must attend the local festival or people will get concerned. Misa (Bill’s body) attends in a Big Foot costume. As usually she gets mad about the environmental impact of the festival – don’t these people care about Earth. Deputy Rhoades sees Bill (Misa’s body) acting odd accuses her of doing hard drugs offers compassion. Misa (Bill’s body) Bill (Misa’s body) surmise’s people care about Misa but they notice she’s being nice and it threatens to blow their cover.
Act 3:
• Rethink everything – with Deputy Rhoades being so concerned, they have to fix the space ship. They brainstorm and plan what they can try, how to get parts.
• New plan – they need money to get parts to repair the spaceship. Bill (Misa’s body) will have to go to the farmer’s market to earn money. Bill’s (in Misa’s body) good, but goofy with the customers. Misa (Bill’s body) has to go to town as well to find the right type of part. In the Big Foot costume causes hilarious confusion at the farmer’s market. Bill and Misa start to work together instead of constantly fighting.
• Turning Point: Huge failure / Major shift – they try to fix the ship but Earth doesn’t have the right parts. They need to better hide the ship and keep Misa (Bill’s body) disguised as Big Foot. Maybe when one of them dies they will get the right body back. Or can they try fix just one thing?
Act 4:
• Climax/Ultimate expression of the conflict – Deputy Rhoades tries to convince Bill (Misa’s body) to go to rehab. It worked for him! Bill and Misa work together to convince Rhoades Bill (Misa’s body) is fine. Deputy Rhoades sees Bill’s actual body and freaks out. They convince him it’s a flashback and he just needs to rest.
• Resolution – They get the spaceship computer working, then it helps them fix the ship. They get the toilet working. Misa (Bill’s body) tests it by peeing into the toilet and sparks fly their bodies change back. Bill and Misa realize how much they will miss each other. Bill flies home intent on making amends for going rogue and earning his place on the space team. He promises to lie and keep other aliens away from Earth. Misa better appreciates the uniqueness of Earth and recommits to working with others to save her beloved planet.
Results from revised prompt:
Results:
Your 4-Act Transformational Structure looks like it captures the essence of your story well, but here are a few tweaks and suggestions to enhance the transformational journeys of your lead characters, Bill and Misa:
Act 1:
• Opening: Keep Bill's space adventure as is, and perhaps add a brief glimpse into Misa's daily life to establish her character and surroundings.
• Inciting Incident: Bill's crash into Misa's outhouse is perfect. Emphasize Misa's disbelief and confusion at first.
• Turning Point: Instead of just triggering the body swap, this could also be a moment where Misa and Bill start to understand each other's perspectives a bit. Maybe Misa shows a moment of compassion or curiosity towards Bill's panic.
Act 2:
• New Plan: Make the urgency of returning to their own bodies clearer. Misa and Bill should actively seek a solution rather than just reacting to the situation.
• Plan in Action: Highlight their initial struggles in each other's bodies. Perhaps Misa (in Bill's body) inadvertently causes chaos at the farmer's market, and Bill (in Misa's body) struggles to fit in at the local festival.
• Midpoint Turning Point: Instead of just the festival scene, consider adding a moment where they bond over a shared experience or realization, laying the groundwork for their collaboration.
Act 3:
• Rethink Everything: Make the decision to fix the spaceship more deliberate. Show Misa and Bill actively brainstorming and planning.
• New Plan: Incorporate scenes where they work together effectively, showcasing their growing understanding and teamwork.
• Turning Point: Instead of a major failure, consider a moment where their progress is threatened, but they overcome it through their combined skills and newfound bond.
Act 4:
• Climax: Intensify the conflict with Deputy Rhoades. Perhaps he discovers their secret and threatens to expose them, forcing Bill and Misa to come up with a clever solution together.
• Resolution: Keep the resolution with the spaceship and body swap, but add a final moment of reflection for both characters, showing how they've changed and what they've learned from their experience.
These adjustments should help amplify the transformational journeys of both Bill and Misa while maintaining the comedic and heartfelt elements of your sci-fi comedy.

• This reply was modified 1 year, 1 month ago by  Terrie Cooper Lee.

[Terrie Cooper Lee]

Terrie’s Subtext Plot
Terrie’s Subtext Plot

Vision: I am paid to write screenplays that become successful movies. My process is so solid I can enjoy my equestrian hobby while exceeding expectations with my writing.

What I learned from doing this assignment is to keep a separate file with all my prompts and save that to make it easier to tweak the parameters and re-run. I also found that how I was thinking of someone hides who they are and major cover up overlap.
Concept: An alien crashes into an off-the-grid hippie’s house and they accidentally swap bodies.

The subtext plots I’ve chosen are:
1. Someone Hides Who They Are
2. The Fish Out of Water
With a touch of
3. Competitive Agendas
I’m not sure these are even subtext plots – the first two are sort of the main story. Someone hides who they are: they have to hide Bill (the alien) and that he’s in Misa’s body and Misa is in Bill’s body. This creates all sorts of complications and possible comedic situations. Fish Out of Water: Bill is on Earth so he’s exactly that and constantly bubbling about and of course they are in each other’s bodies so they have that physical fish out of water as well. I think a bit of competitive agenda between Bill and Misa would keep their relationship interesting.
Here’s what the AI chose when asked which 2 are the funniest:
The two subtext plots that lend themselves most to comedy in your sci-fi screenplay are:
1. The Fish Out of Water:
• This subtext plot is inherently comedic because it puts Bill, an alien, into situations where he must navigate human life without understanding its nuances. Similarly, Misa, now in Bill’s alien form, faces challenges that play into the absurdity of their predicament. The comedic potential arises from their misunderstandings, mishaps, and attempts to adapt to their new identities.
2. A Major Cover-Up:
• This subtext plot adds comedy through the sheer absurdity of Bill and Misa trying to cover up their body swap and Bill’s alien identity while repairing the spacecraft. Their efforts lead to humorous situations, close calls, and comedic misunderstandings as they try to keep their secret from others. The comedic elements stem from the challenges they face and the creative solutions they come up with to maintain their cover.
These two subplots provide ample opportunities for comedic moments, physical humor, witty dialogue, and situational comedy, making them well-suited for a sci-fi comedy screenplay.
So agreement on Fish out of Water. But the AI comes back with Major Cover Up. I think to me Someone Hides Who They Are seemed more consistent with this story. I don’t consider this ‘a set of strategies are put in place to cover up a crime, scandal, conspiracy or history of illegal or disturbing actions. The subtext comes from the planning, schemes, lies, and every action they take to do the cover-up.’
Competitive agendas can still be worked in to create conflict and tension between the main characters.

• This reply was modified 1 year, 1 month ago by  Terrie Cooper Lee.

[Terrie Cooper Lee]

Terrie’s Transformational Journey
Vision: I am paid to write screenplays that become successful movies. My process is so solid I can enjoy my equestrian hobby while exceeding expectations with my writing.

What I learned doing this assignment is that I need to keep several files with the prompts and differing responses and be prepared to modify the prompts and re-run the AI until I get something that it satisfactory. I’m still struggling with what to do myself/by hand and when to just re run the AI.
This is a buddy comedy so I’ve got two protagonists.
1. Protagonist’s Character Arc
Arc Begins: Misa is an angry, reclusive hippie who shuns human contact, living in isolation with her cats and marijuana plants. She’s distrustful of authority, technology, and mainstream society, finding solace only in her self-imposed exile.
Arc Ends: By the end of the story, Misa has transformed into someone more open-minded and compassionate. She learns the value of connection and cooperation, realizing that her off-the-grid lifestyle was a form of escapism. She embraces her role in helping others and becomes a catalyst for positive change.
2. Internal/External Journey
Internal Journey: Misa’s internal journey involves overcoming her fear of connection and learning to trust others. She confronts her deep-seated anger and discovers empathy and understanding, particularly through experiencing Bill’s perspective.
External Journey: Externally, Misa’s journey involves navigating the challenges of living in Bill’s alien body while evading detection and resolving the chaos caused by the body swap. She learns to adapt to new situations and collaborate with unlikely allies.
3. Old Ways vs. New Ways
Old Ways: Misa’s old ways include her avoidance of responsibility, her distrust of authority figures like Deputy Rhoades, and her reluctance to engage with the outside world. She sees herself as a victim of society rather than an active participant.
New Ways: By the end, Misa adopts a more proactive approach to life. She takes responsibility for her actions, forms genuine connections with others, and embraces her role in shaping her destiny. She no longer hides from society but actively contributes to it.

1. Protagonist’s Character Arc
Arc Begins: Bill is a hapless alien who’s always been considered expendable. He’s clumsy, lacks confidence, and is generally seen as a failure by his peers.
Arc Ends: By the end of the story, Bill has transformed into a more confident, empathetic, and understanding being. He learns valuable lessons about human emotions, bonds, and responsibility, ultimately gaining the courage to excel in flight school and prove his worth.
2. Internal/External Journey
Internal Journey: Initially, Bill struggles with understanding human emotions and customs. Through the body swap and his experiences in Misa’s body, he learns to appreciate and navigate these complexities, leading to personal growth and emotional maturity.
External Journey: Bill’s external journey involves navigating Earth’s customs, repairing his spaceship, and dealing with the investigation by Deputy Rhoades. These challenges force him to adapt, learn, and eventually collaborate with Misa to overcome obstacles.
3. Old Ways vs. New Ways
Old Ways: Bill’s old ways include being clumsy, lacking confidence, and seeing himself as expendable. He doesn’t understand human emotions and struggles with basic tasks, like fixing things or interacting with authorities.
New Ways: By the end, Bill becomes more confident, understanding, and responsible. He appreciates human emotions, learns to work collaboratively, and gains skills in problem-solving and handling challenges.

[Terrie Cooper Lee]

Vision: I am paid to write screenplays that become successful movies. My process is so solid I can enjoy my equestrian hobby while exceeding expectations with my writing.

What I learned doing this assignment is that need to just follow the steps. I also need to be prepared to rewrite what the AI generates to better incorporate my vision. Also, I will need to ensure that the two antagonists serve as protagonists for each other. That they clash and challenge each other throughout the story.
Title = freaky fusion swap
Genre = sci-fi comedy
High Concept = An alien crashes into an off-the-grid hippie’s house and they accidentally swap bodies.

Give us a logline (one sentence answer) for your protagonist, antagonist, and triangle character (if you have one) to the question, “What makes this character fit my concept and title powerfully?”
3. Tell us what makes each of these characters unique. These two steps will look like this:
• Character: Bill – protagonist1.
• Logline: Bill is an alien whose spaceship crashes into earth and swaps bodies with Misa.
• Unique: He graduated last in his flight school class and got sent on this mission because he’s expendable.
• Character: Misa – protagonist2.
• Logline: Misa lives off the grid and swaps bodies with Bill when he crashes into her home.
• Unique: Misa hates all rules and authority figures, math, and plastic but loves her cats and marijuana plants.
• Character: Deputy Rhoades – antagonist
• Logline: Deputy Rhoades regularly checks on Misa as he suspects her of a variety of illegal activities.
• Unique: spent time in rehab

Attempt 2:
ChatGPT
Title: Freaky Fusion Swap
Please create the lead characters for this [genre] feature screenplay about [concept] and these [characters]. For this story, please give us two Protagonists, and an Antagonist. Please tell us their [journey] and what makes them [unique].
PROTAGONIST: This is the character the story is about. They are going on the Transformational Journey (next lesson) and the audience will feel deeply connected to them. Often, the concept gives their overall journey.
ANTAGONIST: This character’s whole purpose is to disrupt the Protagonist’s journey. They may be their enemy who is trying to kill them or friend who doesn’t want them to succeed because it will ruin their friendship.
INTENTIONAL = What makes this character perfect to deliver the story powerfully — such as their background, profile, skills, connections, education, position, or some special way they contribute to the story? The character serves the story, genre, concept, and theme, and plays their role in the story. Drives the story and delivers on the arc of the story.
With each character, tell us the following: Character: Role: Journey: Unique: Intentional: Genre = sci-fi comedy Title = Freaky Fusion Swap Concept = An alien crashes into an off-the-grid hippie’s house and they accidentally swap bodies. Characters = Character 1: Bill – protagonist1. Logline: Bill is an alien whose spaceship crashes into earth and swaps bodies with Misa. Unique: He graduated last in his flight school class and got sent on this mission because he’s expendable. Character 2: Misa – protagonist2. Logline: Misa lives off the grid and swaps bodies with Bill when he crashes into her home. Unique: Misa hates all rules and authority figures, math, and plastic but loves her cats and marijuana plants. Character 3: Deputy Rhoades – antagonist Logline: Deputy Rhoades regularly checks on Misa as he suspects her of a variety of illegal activities. Unique: spent time in rehab

Character 1: Bill (Protagonist 1)
Role: Alien whose spaceship crashes into Earth.
Journey: Bill’s journey revolves around understanding humanity and Earth’s customs as he navigates life in Misa’s body. He starts as a clueless outsider but gradually learns empathy and the value of human connections. He transforms from wanting to hide on earth to realizing he needs to return to his home planet.
Unique: Bill’s unique aspect is his incompetence and lack of conventional alien skills. He often creates chaos unintentionally, making his journey both humorous and heartfelt.
Intentional: Bill’s background as a low-performing graduate from flight school adds humor and relatability to his character, making him an endearing and comedic protagonist perfect for a sci-fi comedy.
Character 2: Misa (Protagonist 2)
Role: Off-the-grid hippie living in a remote area.
Journey: Misa’s journey is about embracing responsibility and understanding the importance of rules and structure, all while dealing with the bizarre situation of being in an alien’s body.
Unique: Misa’s disdain for authority and love for unconventional things like marijuana plants and her cats make her a quirky and rebellious character. Her journey involves reconciling her free-spirited nature with the responsibilities that come with Bill’s alien identity. She transforms from wanting to be alone with her cats to needing to connect with other humans.
Intentional: Misa’s unique lifestyle and personality clash with Bill’s alien nature, creating comedic and poignant moments that drive the story’s themes of acceptance and personal growth.
Character 3: Deputy Rhoades (Antagonist)
Role: Local deputy suspicious of Misa’s activities.
Journey: Deputy Rhoades’ journey involves uncovering the truth about Misa and Bill’s body swap while dealing with personal struggles, possibly related to his time in rehab.
Unique: Deputy Rhoades’ background in law enforcement and his personal challenges add depth to his character, making him more than just a typical antagonist. His suspicions and actions create obstacles for Bill and Misa, adding tension and conflict to their journey.
Intentional: Deputy Rhoades’ role as an antagonist serves to heighten the stakes and provide a catalyst for character development in both Bill and Misa. His presence adds a layer of intrigue and danger to the sci-fi comedy narrative, keeping the audience engaged and invested in the story’s twists and turns.
 

[Terrie Cooper Lee]

Vision: I am paid to write screenplays that become successful movies. My process is so solid I can enjoy my equestrian hobby while exceeding expectations with my writing.

What I learned doing this assignment is that I’d forgotten about this step and also about the ‘buddy movie’ character structure. I’m glad to see it similar to rom-com that’s a genre I’ve written before.

Title = freaky fusion swap

Genre = sci-fi comedy

High Concept = An alien crashes into an off-the-grid hippie’s house and they accidentally swap bodies.

Character structure: Buddy Movie because I can’t imagine them ending up together at the end.

[Terrie Cooper Lee]

Terrie’s Synopsis for Producer Interview

What I learned from this assignment is I can see how a writer could really help a busy producer. I’ve got the bones of a story here but talking it through with a writer will be valuable by bringing in a second set of creative eyes to work out problems.

Title: Only Humans Kill

(this seems more like horror title than action so probably needs to be changed)

Genre: Action

Logline: In the near future, when a Texas Ranger investigates a murder, she uncovers a plot by the cabal controlling the government.

Hero: Valerie – she’s a veteran and Texas Ranger.

Demand for action: She’s up against the AI that controls the US

Mission: Identify and capture who killed the ‘vagrant’ in Marfa

Antagonist: The AI that is used to create US government policy – but really the cabal that runs the AI

Escalating Action: as she gets closer to finding the killer and discovering who controls the government.

Note: In this future, state and federal level government are skeletal, cities are the main governing level – some are wealthy others impoverished. Citizens tithe to the city to retain citizenship. Don’t tithe – no longer a citizenship – you’re a vagrant. Beyond the city level government policies are executed by an Artificial Intelligent system – supposedly based on the constitution and extant laws.

Synopsis:

Opening – futuristic car driving through West Texas desert. Valerie is talking to her supervisor via the car’s built in communication system – it’s a self-driving vehicle. The car pulls up to a barrier that encircles a city. The barrier is haphazardly built. She gets out. Speaks to the hipster guard. She pulls her hand over the right hip and her badge appears. Valerie is a Texas Ranger. Hipster chick with blond dreds hops on her bedazzled scooter, Valerie follows in her vehicle.

Constable Bill (veteran, limp, head injury compromised) meets them. Shows Valerie a dead body – woman, attractive, young. “Doc” is there. He’s a veterinarian from Alpine, a real M.E. is too far away. Doc and Valerie exchange ‘did you serve’ ‘yes’ ‘sorry’ he was a combat medic.

She examines the body, scans the weapon (a sculpting knife). And the scan is electronically recorded in 3D sent to her squad (she uses her gloved hands to make the recording). Constable Bill bags the knife to keep it even though Valerie says it’s not necessary any investigation will be done via the 3D image. A Marfa resident takes an artsy polaroid of the victim Constable Bill reprimands them, they take off. Valerie heaves a baton at them, catches them in the knee. They go down. Constable Bill seized the polaroid and bags it.

Valerie is informed that the victim is a vagrant (not an actual citizen anyone can lose citizenship for not paying taxes, criminal activity, etc.) So, she’s told case closed, return to Austin. Doc pulls her aside as she leaves the scene. He tells Val that the victim wasn’t a vagrant. Val can’t investigate a crime when there’s no victim, vagrants are citizens, no investigation, she has no choice but to close the case and return to Austin.

Inciting Incident – Val heading east to Austin. In the middle of nowhere desert a postal van is broken down. She’s flagged down, and she pulls over to help. When she steps out of her car, on the passenger side, the postal worker shoots her. She falls behind her car. The postal worker comes around to check that she’s dead. When he leans down she knifes him, pulls his body on hers. Another man comes out of the postal van and around to Val’s car, she pulls a gun, using the first person as a shield, and shoots postal worker #2. Val finds a dead real postal worker in the back of a postal van. Something comes across a comm system, she disguises her voice says a ok. Back at her vehicle, it won’t unlock. It leaves without her. She hops in the postal van and drives back to Alpine to see Doc.

She and Doc have a conversation in the pig barn about the victim was pregnant. She heads back to Austin in the postal van.

First Turning Point at end of Act 1 –

Valerie lives in a run down part of Austin. A physical key not scanner. She’s attacked in her apartment. She fights them off. Her apartment is embedded with weapons she planted – due to her paranoia based on her military service.

Mid-Point – At the Ranger’s HQ someone is at her desk. Her identity was closed. He thought she was dead -her car came back without her, the car reported you dead so, you’re dead. Finally, she gets it, she is better off ‘dead’ in this situation. She goes off grid to her military buddy, a paraplegic, conspiracy nutjob who lives in an EMF free zone – somewhere in Texas. Gives him the polaroid of the victim which he scans and cuts out just enough to run facial recognition – if he’s doing this maybe he’s not emf sensitive just hides there to avoid being found. His search turns up pictures of the victim with the head of the transportation panel. But they were hidden, not current, someone tried to scrub her. He buddy keeps back ups. So, the killing was just a bad romance. Note: Panels are basically the different cabinets of the fed govt but a panel approves / disapproves actions that the AI recommends. Val’s friend points out it’s not the AI it’s who runs the AI.

Second Turning Point at end of Act 2 – Valerie investigates and track downs the victim’s meth-head mom. Mom get drugs to keep her mouth shut. Valerie waits until Mom is super high then searches and find the evidence Mom has (this could be better, maybe Mom’s got something filed with an attorney). The victim found out her lover was rigging bids. His wife is the daughter of the head of the Treasury panel. The scheme was created by the 3 of them – the transport head, his wife and her father. The father signs off, funnels $ back to them. Roads aren’t repaired, small contractors aren’t paid, they end up bankrupt can’t pay taxes which turns them into vagrants with no citizenship rights. She interviews the head of the transport panel about the victim, maybe he’d like to know what happened to her. He lies about everything. When she leaves, she ends up in a car chase.

Act 3 Crisis – Goes back to the meth head mom or her pal in off the grid. Turns up the actual physical evidence. An action scene needed here. Presents the evidence to a judge she knows and gets a secret warrant to arrest. She wants to take down the entire scheme, the judge tells her to take the win.

Act 3 – Climax – Valerie goes to arrest the Panel member. Fights her way into his inner sanctum by killing his private security detail.

Resolution – the villain tries to buy her off. What would she want with money? She doesn’t even exist, not just a vagrant but a ghost. All she has is her integrity. She drops him off in jail. He dies in jail.

[Terrie Cooper Lee]

Terrie’s Producer Interview Experience

What I learned doing this assignment is that getting a new perspective can help – not just with story ideas but with the energy I have for a story.

When we talked as if I were the producer the ideas and validation I got for what was working and what was missing was very valuable. If I were a producer, establishing a connection with a writer who ‘got’ my story would be an essential part of the process. When we switched sides, I hope I was able to give some valuable ideas. Knowing genre conventions is invaluable for this process. I’d need more time with the story to really dig in and create value.

[Terrie Cooper Lee]

Terrie’s 10 most interesting things

What I learned from this assignment is that I need to build more interest into my script. Also, the journey is a bit lop-sided I need to give more attention on James.

Most interesting things:

1. Paige is a US Marshal behavioral analyst;

2. James has bought into too many conspiracy theories but he’s a witness that must be protected.

3. Paige takes down a perp, but she knows him! Turns out he’s her ex. But, he’s not a perp he’s a witness.

4. Paige and James go on the run after getting shot at, again, on the way to testify.

5. Paige hates James, but she has to protect him.

6. James is terrified he’ll be hurt, or worse, if he testifies but he knows it’s the right thing.

7. It’s not James that is in danger, it’s really Paige that they are after

8. Paige hates James but forgives him for what happened before.

G. Character betrayals? – need to work on this!

The villain is ??? a marshal? A deputy from Paige’s past?

[Terrie Cooper Lee]

Terrie’s Rom-Com Writing Sample

What I learned from this assignment is to think about what can stand alone and to be certain to clean up any character introductions.

Genre: Rom-Com

Title: Chemical Reactions

This sample is from 1^st Act. Scott, a Chemical Engineering graduate student, has been denied a promised spot on Dr. Raster’s research team. Scott’s broke, alone, and desperate for a shower.

EXT. CAMPUS/GYM PARKING LOT – DAY

Late model Fiesta. In the back seat, SCOTT (male, mid-twenties) bleary, throws back a blanket. Sits up. Fumbles for his glasses, pushes them in place. Opens a door. Extracts himself. Shakes his legs.

Scott’s T-shirt: “I Do All of My Own Chemical Engineering Stunts”. He looks down at his rumpled shelf. Wrinkles his nose, scrunches his face, yuck. Limps to the trunk.

Opens the trunk. Some clothes fall onto the ground. The trunk is a jumble of textbooks and clothes. He digs out a gym bag.

Int. Campus gym – contINUOUS

Scott strolls past the front desk, flashes an ID card at the DESK CLERK (male, early 20’s, massive body-builder).

DESK Clerk

I need to see that.

Scott keeps walking. The Desk Clerk comes around the desk. Blocks Scott.

DESK CLERK (cONT’D)

I need to swipe your card.

Scott hands his ID to the desk clerk.

DESK CLERK (cONT’D)

This is a student ID. I need your gym card.

Clerk hands it back. Scott pulls his wallet from his pocket, looks inside.

SCOTT

Oops, guess I forgot it. Come on, this one time.

The Desk Clerk stares down Scott. Scott scampers out.

Int. campus gym – a few minutes later

A gaggle of females (undergraduates, 18-22) head to the front desk. Scott tries to slide in behind them.

The Desk Clerk shouts at Scott.

DESK CLERK

I see you.

Scott spins around and heads out.

Ext. Campus gym/back of building – conTINUOUS

Scott examines the back of the building. Spots an open window, high up. Scott jumps, trying to reach it. Nope.

Scott scopes out the trees. Climbs one. From the limb he peers through an open window.

Int. Campus gym/women’s locker room – cONTINUOUS

Women in various states of undress.

EXT. CAMPUS gYM/BACK OF BUILDING – CONTINUOUS

Scott edges out on the limb. He sees partly into the showers.

Scott shimmies further out. It breaks. Scott thumps to the ground. He pops up unhurt.

EXT. CAMPUS/GYM PARKING LOT – A FEW MINUTES LATER

Scott at the Fiesta’s open trunk. He folds ping pong balls into foil. Pockets a lighter. Grabs his gym bag. Sits on the trunk lid to close it. Heads back to the gym.

Ext. Campus gym/front entrance – conTINUOUS

Scott scans the area. A few students mill around. None notice him. He steps near a trash can. Holds the lighter to the foil.

Scott drops the device. Steps away. Colorful smoke spews out, envelops the gym entrance. Several students notice. One STUDENT runs into the gym.

The student re-appears with the Desk Clerk. They head toward the smoke. Scott casually heads into the gym.

The smoke dissipates. The Desk Clerk picks up some smoke bomb remnants. Exchanges shrugs with the student. The Desk Clerk heads back to the gym.

Int. campus gym – conTINUOUS

Scott wanders through the weight machine area. He notices a VERY ATTRACTIVE WOMAN (early 20’s) working out. He takes another step and sees PAUL pseudo-working out next to her.

Paul, mid-20’s, the confidence of perfect hair and a good physique, chats easily with the very attractive women. Paul quits pretending to work out, hands a business card to the very attractive woman. Scott heads to the locker room.

Int. CAMPUS GYM/lounge area – LATER

Scott, damp hair, stops to tie a sneaker. His clean T-shirt reads: “Trust Me I’m A Chemical Engineer.” Paul sits on a couch, phone to ear, laptop open.

PAUL

AJAX. Scouring powder?

(listens)

Asynchronous, huh?

Paul rolls his eyes at Scott, exasperated.

SCOTT

I can probably fix that if you want.

Paul concedes the laptop to Scott.

PAUL

(into his phone)

Talk to my. Tech guy.

Scott takes Paul’s phone. Nods as he types. A page appears, filled with pictures of beautiful twenties-something women.

SCOTT

Whoa.

(into the phone)

We’re good here.

Scott disconnects. Returns Paul’s phone.

PAUL

Thanks…

SCOTT

Scott. This is your website?

PAUL

Runs as an app too.

Ext. Campus/GYM PARKING LOT – day

Paul and Scott stroll through the lot.

SCOTT

It’s legal?

PAUL

Absolutely. Trust me, I’m in law school. It’s a way for people to meet. I interview the women, make sure they look like their pictures, and they’re actually students —

SCOTT

— and of age?

PAUL

Sure. And I check out the men. Everyone’s who they say they are.

SCOTT

But it’s rich older guys, looking to hook up with younger women?

PAUL

And that part is none of my business. So you got my site back up fast.

SCOTT

I used to keep my own site running. It’s not hard. If it was maybe I could find an actual job.

PAUL

The technology stuff is not for me.

Scott and Paul notice a sexy woman walking by. Paul catches her eye. They exchange flirtatious looks.

PAUL (CONT’D)

More into the people side of things. Work for me, be my tech guy. Give you whatever fancy title you want.

SCOTT

Any high school kid can do what I did.

At Scott’s Fiesta.

PAUL

Until that kid’s mom figures out what’s on my site. And the commercial developers do not appreciate my business model.

Paul peers inside the Fiesta. Passenger seat stuffed with Scott’s belongings. The back seat covered with a pillow and blankets.

PAUL (cONT’D)

Roommate issues? You need to keep everything in your car?

INT. Campus LAB – DAY

Liquid bubbles in a beaker over a Bunsen burner. Smoke plumes float up. Standing at the table, JESSICA (mid-twenties, grad student) engulfed by protective gear, her hair in an sloppy pony tail.

The door CREAKS. Jessica jumps. Scott enters. His T-shirt: “Keep Calm And Be A Chemical Engineer.“

SCOTT

Hey, sorry Jess.

JESSICA

You any good with thermite?

SCOTT

It’s my favorite metal.

Jessica hands Scott safety glasses. They approach the table as the thermite burns. When it finishes, Jessica drops more thermite in a beaker. Adds a fuse and a cell phone.

JESSICA

Step back.

Scott does. Jessica lights the fuse. The phone bursts into flames.

SCOTT

What’d the phone do?

JESSICA

Dropped calls and missed texts.

SCOTT

Totally deserves it.

They watch it burn. Enthralled.

SCOTT (CONT’D)

Got any liquid nitrogen?

Jessica nods, goes to a refrigerated unit.

SCOTT (CONT’D)

Wait. What if Raster finds out?

JESSICA

I’m not telling her.

Scott pours thermite on a raised metal platform. Jessica brings a glass beaker, places it below, directly on the table.

SCOTT

Do you like working for her?

JEssica

With the research money she brings in? I want to be her.

Jessica pours liquid nitrogen into a large beaker.

SCOTT

Not enough dollars to help me. Any advice on how to get on her good side?

JESSICA

What good side?

Scott places a fuse in the thermite, gets a starter. Jessica points to her protective vest.

JESSICA (CONT.)

Allow me.

Jessica lights the fuse. Both transfixed. The thermite burns. Drops into the beaker of liquid nitrogen.

SCOTT

That’s always been my favorite. There was this one time…

The beaker explodes. Flames spread across the table.

SCOTT (CONT’D)

Maybe we should have done this outside.

The flames expand onto the floor. They step back.

Jessica’s phone emits a Darth Vader ringtone. Reads a text.

JESSICA

Raster. She’s here. Put this out. I’ll stall her

Jessica rushes to the lab door. Yanks it open.

SCOTT

Pee works.

JESSICA

T. M. I.

Jessica run out of the lab.

SCOTT (O.S.)

Here’s to you Dr. Raster.

A stream of pee douses the flames.

INT. HALLWAY – cONTINUOUS

Jessica races to the elevator. Door opens. She presses the button for every floor. Runs across the hall to a staircase. Strips off her protective gear. Drops it in the stairwell. Races down the steps.

Her T-shirt has four check boxes and a phrase after each: “Single, In A Relationship, It’s Complicated, In Chemical Engineering”. A check mark next to the final phrase.

INT. HALLWAY first floor – cONTINUOUS

Dr. Raster (fifties, short hair, dressed in a little too much Land’s End) at the elevator bay. Jessica careens around a corner, nearly mows down Raster.

JESSICA

Hi. So did you hear the one about how the white bear dissolved in water?

RASTER

Because it was polar.

JESSICA

Oh, you heard it.

RASTER

I’ve heard them all. What did you do to my lab?

JESSICA

Just some chemical reactions.

RASTER

I’m going to get a cup of coffee. When I get back, the chemical reactions in my lab will be cleaned up.

INT. gym/weight area – day

Scott spots Paul as he performs chest presses. Scott’s T-shirt: “Chemical Engineering Is My Superpower, What’s Yours?” Paul finishes his set. Sits up. Scans the gym, notices an attractive woman.

Paul

Think she’d want to list with me?

SCOTT

List, that’s what you call it? You walk up, hey ma’am, I’m Paul how about offering yourself, I mean list yourself, on my amazing app where really rich dudes – –

PAUL

– – grad school’s expensive.

SCOTT

I know, the bursar’s office keeps reminding me.

Paul settles back. Starts another set. Beside them a female body builder, with a female spotter, also performs chest presses. Her bar loaded with far more weight than Paul’s.

The female body builder finishes her set. Sits up. Her shirt: “TITLE IX.“ Paul stops mid-set. Sits up.

PAUL

Women.

SCOTT

I guess you can’t have too many.

PAUL

Not, more. Men. Equal opportunity. List men, let the women come to us.

SCOTT

So now you’re gonna scope out hot guys?

Scott walks over to a MALE BODY BUILDER performing concentration curls with massive dumbbells.

SCOTT (CONT’D)

Hey, dude, you’re good looking, how about – –

The Male Body Builder stands. Towers over Scott. Scott retreats a step.

BODY BUILDER

You’re not my type, but your friend sure could be.

SCOTT

Let me introduce you.

[Terrie Cooper Lee]

Terrie Meets Producer/Manager

What I learned today is that a producer is most interested in that one screenplay, a manager is most interested in a writer with longevity and capable to creating many scripts.

1. How will you present yourself and your project to the producer?

The focus would be on this one screenplay – how can it be improved so it can be made into a movie? What changes could help make it more marketable? Work together to craft the screenplay into what works for that producer.

2. How will you present yourself and your project to a manager?

The focus is on my abilities as a writer. This one screenplay is an example of what I can do. Work together to create a career. Elevating current screenplay still applies but also – what’s next? What do I have besides this one that might be marketable.

For both:

Be professional, focus on working together to achieve mutual goals (get the screenplay made, get a deal for this screenplay, develop concepts). Solve problems don’t make them.

[Terrie Cooper Lee]

Terrie’s Specialty – Terrie’s Key Business Decisions

What I learned doing this assignment is:

1. Give us the decisions that are in your current High Budget script:

Genre
– rom com
Title
– Chemical Reaction
Concept
– To pay for graduate school, a geek agrees to be the sugar-boy
for a rich woman, then meets the girl of his dreams and must choose
between love and success.
Audience
– under 25, mostly female
Budget
– $5-$10 M not really high budget but I think it’s the most marketable of
my completed screenplays
Lead
Characters – Scott – chem eng grad student; Jess(ica) – Scott’s lab partner;
Elizabeth – successful independent attorney, fed up with dating she seeks
an arrangement with Scott; Professor Raster – Scott and Jess’ professor who
tries to steal their invention.
Journey
/ Character Arc –
Scott
goes from weak to strong as he goes from depending on Elizabeth to work
with Jess as an equal, taking on Raster and winning!

When Scott is denied a spot on Raster’s research team he scrambles for ways to get by; Elizabeth agrees to support him in exchange for a physical relationship; Scott falls for Jessica; when Scott and Jess try to sell a formula for a stain remover, Raster blocks them; Scott ends things with Elizabeth to be with Jessica; Scott and Jessica take on Raster and win!

Opening
/ Ending – To impress a cute girl, Scott blows up a garbage can during a
high school assembly; Scott and Jessica blow up her home lab but are ready
to ‘go again’.

2. Tell us which of those decisions you could improve to make your script more marketable?

I’m not 100% sure on the title but haven’t been able to find another one.

Budget could be lower if a producer goes for broad comedy approaches for the chemistry lab gags (smoke, flashes of light) or higher if use more elaborate/realistic effects.

[Terrie Cooper Lee]

Terrie’s Specialty – Action Rom-Com –

What I learned doing this assignment is that it takes a great deal of time to break down a movie properly but it’s worth it. I need to break down many more movies in this genre. Also, there’s a difference between box office good and being on a list of top movies.

Specialty: Rom – com ; rom – com with action

Rom-com with action seems very current (Lost City & Shotgun Wedding) but also not new (Romancing the Stone, True Lies)

Genre: Rom-Com Action

Title: Scott Pilgram v. The World

I think the main narrative is the rom-com, the action seems secondary (but mostly meets the genre conventions: action escalates through the movie, antagonist, etc.). In hindsight, even though this is on lots of ‘best’ lists this wasn’t a big box office success so probably not a great choice but analyzing it is still valuable.

Purpose: Scott and Romana end up together

Journey of Love: the meet-cute is that Scott sees Romona a dream “the girl of his dreams”, they break up because she goes back to an ex and he seems to go back to an ex. They end up together.

Issues: Both Scott and Romana have issues with exes, Scott started seeing Romona without ending things with a current girlfriend. Ramona has several exes that seem follow her that Scott ‘fights’ throughout the movie. There is even a line about “personal growth” in the climatic scene, Scott has to fight for himself (personal growth) not for Romona.

Separation: They stop seeing each other because of issues with exes.

Comedy: huge throughout. Using a video game vibe complete with one screen points, etc. funny lines, etc.

I have a full outline but I’m behind on this course so rather than cut it up for this post I’m moving on.

[Terrie Cooper Lee]

Terrie’s Marketable Components

What I learned today is: I need to build out the action elements as well as the romance elements when I finish this script.

1. Genre: Rom-Com

Title: You Gotta’ Be Ex-ing

Concept: She’s a US Marshall charged with keeping a conspiracy theorist safe until he testifies, but he’s her ex and one of his crazy theories is true.

2.

a. unique – yes still a rom-com but protecting your ex who is a conspiracy nut seems new

b. great title – I used the title process but now I don’t like it that much

c. true – nope

d. timely – sort of, conspiracy theories are rampant ; woman action/rom com leads becoming popular

e. it’s a first – not really

f. ultimate – not really but this might be something that could be elevated

g. wide audience appeal – popular genre rom com with some action elements overall yes

h. adapted from a book – no

i. similarity to box-office success – yes, rom-com action is a pretty popular even if a sub-genre – lost city and shotgun wedding are a recent examples

j. great role for bankable actor – yes both leads seem to fit those elements. Female lead particularly

3.

a. I need to go back through the title process and generate a better title.

b. my pitch needs to emphasize the roles. I rewrote my logline a bit.

The roles would be attractive to bankable actors.

The female lead is a US Marshal behavioral analyst so she’s brainy and physical.

The male lead would appeal to a comedic actor as he’s goofy but comes through when the chips are down. Action adventure sequences as the Marshal and Witness evade and trap those intent on killing the witness before he testifies.

[Terrie Cooper Lee]

Terrie’s Project and Market

What I learned today is: I can build a pitch around the twists and suspense created as the Marshal and her witness from those trying to kill the witness before he testifies. I need to amp up these elements in the screenplay.

1. Genre: Rom-Com

Title: You Gotta’ Be Ex-ing

Concept: A US Marshall is charged with getting a conspiracy theorist into witness protection, but it’s her ex and one of his crazy theories is true.

2. What is most attractive about the story?

Female lead, must protect the witness but she hates him!

The male lead is goofy and a good foil to the female leads serious nature.

Action adventure sequences as the Marshal and Witness evade those intent on killing the witness before he testifies.

3. Target first: producers. I picked producers because if the script is strong enough an Oklahoma based producer might want it. I don’t have any actors in mind for these roles so going to actor’s production companies doesn’t seem fruitful. I’m in Oklahoma which has nascent film industry but unlikely a good base from which to attract a manager.

[Terrie Cooper Lee]

Terrie’s credibility going up.

What I learned doing this assignment is that I need to take some steps to up my credibility.

Credibility Checklist

Weak!

1. Sample – delivers on the genre, delivers on business decisions

2. Screenwriting accomplishments – 0

3. Google factor – 0

4. network – 1 local producer 3 others via linked in

5. screenwriting education – 0

6. borrowed credibility – 0

7. imdb – 0

8. other forms – 0 too bad academic research articles don’t help!

To increase my credibility in the near future I need to:

1. get coverage on my best screenplay, improve it until I get a recommend.

2. consider entering it in a contest

3. decide if I want to keep my pen name, if so, build out that linkedin profile as much as possible if not figure out how to build out my real name profile which is very academically oriented right now.

4. learn how to exchange endorsements and also see if others in this class are willing to connect on linkedin.

[Terrie Cooper Lee]

The two projects I am planning to bring to this class:

1. Idea – In the near future, a Texas Ranger investigates a murder but uncovers a plot by forces controlling the US Government.

Budget – $10 million

2. Completed – Chemical Reactions – from my proseries (since reworked and elevated in many SU courses!):

To pay for graduate school, a geek agrees to be the sugar-boy for a rich woman, then meets the girl of his dreams and must choose between love and success.

Budget – $1-$5 million.

What I learned from the opening teleconference.

· That the other members of this course are very accomplished! I hope I will learn and gain confidence from being in class with them.

· GENRE I get why it is tough to focus on a narrow genre. I see that my two ideas are different genres.

· A better understanding of ways to increase my credibiity

[Terrie Cooper Lee]

Terrie’s Solved Character Problems

Vision:
I get paid to write screenplays that get made into crowd pleasing successful films using a process that allows me to keep up my equestrian hobby.

I also struggled with this lesson. I think I may need to re do this module later – I know that’s not the process but it seems like I wrote the first draft so fast that I’m not happy with some story points – which is a bit different than the structure.

What I found/did :

a. generic lead characters – I don’t think I have this.

b. weak protagonist / antagonist – rom/com so they are protagonist/antagonist to each other.

c. protagonist too good/ antagonist too bad – the male lead needs to be more goofy but I think I need to do that when I elevate scenes

d. weak character intros – this is not a problem

e. characters not in action – did what I could here.

f. protagonist journey not strong – there’s basically an action plot with this so I think I’m okay on this

g. all the characters seem the same – I need to make sure they dialog is very distinct.

h. lead characters not present – not a problem if anything I need some scenes with the ‘bad guys’ or with the ‘good guys’ that are the actual lead characters. right now one or both of my leads are in every scene.

[Terrie Cooper Lee]

Terrie’s Structure Solutions

Vision:
I get paid to write screenplays that get made into crowd pleasing successful films using a process that allows me to keep up my equestrian hobby.

What I learned is that this was the most difficult lesson so far in this course for me. I was caught up when we started this module – here I am weeks later and finally decided I need to move on. I did not find much so I’m afraid I’ve missed major things.

What I found/did :

1. my midpoint could be stronger but I cannot see how to do this. Also, I think my act points are not aligning with page counts they way they need to. Again, I can see this needs to be addressed, not sure how. Certainly a high speed rewrite won’t be enough to fix these things.

2. My original opening scene was okay but I modified it based on an idea I had during the first draft so it is stronger now.

3. I think my female lead could have a stronger transformational journey but mostly I think it needs to be clearer. Hopefully I can do that when I elevate scenes.

4. Need to bring in the lead’s boss near the end to help with the lead transformational journey and may help other issues but couldn’t find where to do that.

[Terrie Cooper Lee]

Terrie Finishes Act IV

Vision:
I get paid to write screenplays that get made into crowd pleasing successful films using a process that allows me to keep up my equestrian hobby.

What I learned doing this assignment is I can finish a draft!

I had a pretty open day and busted through my final scenes! I’m proud that I got it done – not the first person in the class to get the first draft done but not the last. Given problems I’ve had keeping up with other classes I’m excited about this.

[Terrie Cooper Lee]

Terrie Continues Act IV

Vision:
I get paid to write screenplays that get made into crowd pleasing successful films using a process that allows me to keep up my equestrian hobby.

What I learned doing this assignment is go just a bit slower to honor the outline.

When I try to write scene in 5-10 minutes I miss some elements of the outline for that scene. 15-20 minutes per scene seems to be good for me right now. Working in chunks – one scene then shift my focus to something else and come back to write the next scene seems to work well for me.

[Terrie Cooper Lee]

Terrie Started Act IV

Vision:
I get paid to write screenplays that get made into crowd pleasing successful films using a process that allows me to keep up my equestrian hobby.

What I learned doing this assignment is again to appreciate having an outline. It’s the only reason I can put this down when work interferes and pick up and make progress.

Act IV has fewer scenes than Act II – I know it shouldn’t – but I’ll have to fix that in a later draft.

[Terrie Cooper Lee]

Terrie Finishing Act III

Vision:
I get paid to write screenplays that get made into crowd pleasing successful films using a process that allows me to keep up my equestrian hobby.

What I learned doing this assignment is what a shitty first draft actually means and to do whatever to get it done. This is giving me insight into why I’ve got several unfinished screenplays. I look forward to applying this process in the future.

Migraines have put me behind at work making it hard to find even small bits of time for screenwriting. My act 3 had the most scenes so Act 4 will go more quickly. I hope I can solve all these problems in draft 2!

[Terrie Cooper Lee]

Terrie Continues Act III

Vision:
I get paid to write screenplays that get made into crowd pleasing successful films using a process that allows me to keep up my equestrian hobby.

What I learned doing this assignment is I need to find small bits of time to keep making progress.

It went well today. I’d been away from the script for 2 day due to work/health but once I had an opening in my schedule I made progress. I know I’ll get caught up.

[Terrie Cooper Lee]

Terrie Begins Act III

Vision:
I get paid to write screenplays that get made into crowd pleasing successful films using a process that allows me to keep up my equestrian hobby.

What I learned doing this assignment is I need to find small bits of time to keep making progress.

It went okay today but I had stayed away from the script for longer than is good. But I did get first drafts of 3 scenes today. I know I’ll get caught up.

[Terrie Cooper Lee]

Terrie Completed Act II

Vision:
I get paid to write screenplays that get made into crowd pleasing successful films using a process that allows me to keep up my equestrian hobby.

What I learned doing this assignment is how having an outline allows me to jump back into writing in life interferes with daily progress..

How it went? I wasn’t able to write for several days due to work etc. but thanks to having an outline as soon as things eased up I jumped back in and got my last scene written.

[Terrie Cooper Lee]

Terrie Continuing Act II

Vision:
I get paid to write screenplays that get made into crowd pleasing successful films using a process that allows me to keep up my equestrian hobby.

What I learned doing this assignment is how focusing on the outline will keep me moving forward.

How it went? Not great. But I wrote, I skipped a scene I need to do more research to fully write and kept going. Unlike other posts I’m seeing, I think my first draft will be much too short.

[Terrie Cooper Lee]

Terrie Began Act II

Vision:
I get paid to write screenplays that get made into crowd pleasing successful films using a process that allows me to keep up my equestrian hobby.

What I learned doing this assignment is how accepting writing crap can let me keep moving forward

How it went? Not great. Lost a day to a migraine which also got me behind at work. But now I’ve started.

[Terrie Cooper Lee]

Terrie’s Finished Act 1

Vision:
I get paid to write screenplays that get made into crowd pleasing successful films using a process that allows me to keep up my equestrian hobby.

What I learned doing this assignment is how much I can accomplish in a short time – because I have a detailed outline.

How it went? Okay – I was able to use a small window of time to finish act 1. My scenes are short but hopefully I can elevate them in the rewrites.

[Terrie Cooper Lee]

Terrie’s Continue Act 1

Vision:
I get paid to write screenplays that get made into crowd pleasing successful films using a process that allows me to keep up my equestrian hobby.

What I learned doing this assignment is how valuable the outline is. It’s the main reason I’m able to write a scene quickly and not get stuck.

How it went? My scenes are much too short. I’ll probably only have around 12 pages for act 1. But I’m focusing on getting each scene from outline to draft.

[Terrie Cooper Lee]

Terrie’s Act 1 First Draft

Vision:
I get paid to write screenplays that get made into crowd pleasing successful films using a process that allows me to keep up my equestrian hobby.

What I learned doing this assignment is that I need to allow myself to work even if I only have 5-10 minutes.

How it went? It wasn’t going great (tired, work, sick). Mastery session 16 was really helpful. Progress not perfection I guess needs to be a motto.

I also learned I can learn a lot reading other’s replies – good lessons shared above.

[Terrie Cooper Lee]

Terrie’s Masters High Speed Writing

Vision:
I get paid to write screenplays that get made into crowd pleasing successful films using a process that allows me to keep up my equestrian hobby.

What I learned doing this assignment is that I can start and stop easily even in small amounts of time.

How it went? I got interrupted and had to stop. Having such a detailed outline makes it easy to drop in and out when it can’t be helped. I still have a lot to figure out on this screenplay.

[Terrie Cooper Lee]

Terrie’s First Scene

Vision:
I get paid to write screenplays that get made into crowd pleasing successful films using a process that allows me to keep up my equestrian hobby.

I think the most valuable part of the outlining module, for me, was adding the beginning middle and end to each scene. With that in the outline, it was very easy to write my first scene. I also had an idea on how to elevate my opening, that’s in a new file.

[Terrie Cooper Lee]

I’d like to exchange feedback with someone. This will be my first round feedback (thanks Covid!).

Genre: Rom-com

Title: You Gotta’ Be Ex-ing.

Contact me here, I’m at writernm@yahoo.com

Concept: A US Marshall is charged with getting a conspiracy theorist into witness protection, but it’s her ex and his crazy theories are true.

• This reply was modified 2 years, 9 months ago by  Terrie Cooper Lee. Reason: forgot to list my concept

[Terrie Cooper Lee]

Terrie’s Fascinating Scenes

I write screenplays that get turned into crowd pleasing successful films using a process that allows me to enjoy my equestrian hobby.

What I learned from this assignment is 1. I had some story holes; 2. this step helped elevate my scenes; 3. My ACT 2 needs more scenes!

ACT 1

1. EXT. CITY STREET – DAY

James is chased by US Marshals outside an office building. He’s caught, handcuffed, and taken into a building.

Scene Arc: Running away to in custody

Essence: James tried to escape from the US Marshals

Conflict: James v the US Marshals

Subtext: James is in trouble with the law

Hope/Fear: He gets away/he gets caught

Humor: sight gags as the Marshals struggle to catch James

Beginning: (Intrigue) Why is he running? What has he done?
Middle (Suspense) Will the Marshals catch this guy?

End: (Comedic surprise) James gives up and lets the Marshals handcuff him.

2. INT. CONFERENCE ROOM – DAY

James’ handcuffs are removed. He’s a witness who tried to run.

Scene Arc: From an escaped criminal to a protected witness

Essence: James is trying to get out of testifying

Conflict: Marshals need him to testify, James doesn’t trust them

Subtext: James knows something about a criminal enterprise

Hope/Fear: Will he testify or not?

Humor: He offends every Marshal in the room with his crazy theories

Beginning: (Character changes radically) James is a witness for a Federal case.
Middle: (Uncomfortable moment) James offends everyone in the room with his crazy theories

End: (Intrigues) Will James testify?

3. INT. Restaurant – DAY

Paige on a lunch date with a cop groupie. He’s an ass. She profiles him, to his face, in as insulting a manner as possible.

Scene Arc: From promising first date to taking down this jerk

Essence: Paige is a serious professional with a crappy personal life

Conflict: He’s only interested in her because she’s a cop; She has no interest in dating a holster sniffer

Subtext: Paige is an intelligent, capable behavioral analyst

Hope/Fear: It’s great date/ It’s a terrible date

Humor: Her psychological profile of her date is funny and insulting

Beginning: (Uncertainty) Why are these people here?
Middle: (Wildly Inappropriate Response) Her date says something offensive

End: (Uncomfortable moment) Paige verbally takes down her date

4. EXT. CITY STREET – DAY

James is escorted out of the building by two Marshals, shots are fired. They return to the building.

Scene Arc: From leaving the building in apparent safety to retreating due to danger

Essence: James isn’t safe with the US Marshals

Conflict: Being shot at while in protective custody

Subtext: Someone is out to get James

Hope/Fear: Someone gets shot/ They make it to safety

Humor:

Beginning: (Suspense) A team of Marshals escort James out of the building
Middle: (Surprise) Shots fired

End: (Mystery) The groups he’s testifying against is in custody who came after James?

5. INT. Conference room – DAY

James surrounded by law enforcement personnel. He accuses each of being involved in a different conspiracy theory.

Scene Arc: James goes from frightened to angry; from protected witness to asshole who alienates all the US Marshals there to protect him

Essence: James is a conspiracy theory nutcase

Conflict: James doesn’t trust the US Marshals on his protective detail

Subtext: James sees everything as a conspiracy

Hope/Fear: He alienates everyone/ He stops before he goes too far

Humor: His crazy conspiracy theories are funny.

Beginning: (Twist) James cover is blown
Middle: (Wildly inappropriate response) He accuses each person of involvement in a specific conspiracy

End: (Internal dilemma) James doesn’t want them protecting him

6. INT. Restaurant – DAY

Paige’s phone rings. She takes the call.

Scene Arc: Crappy first date to back at work

Essence:

Conflict: Does she go back to work even though she is supposed to be on vacation?

Subtext: Paige is an important professional

Hope/Fear: Does she go to work or go home.

Humor: Final insult to her date on her way out of the restaurant.

Beginning: (Internal dilemma) Paige ignores the call the first time her phone rings.
Middle: (Surprise) Paige is actually on vacation.

End: (Uncomfortable moment) Topper insult to her date on her way out.

7. INT. Hallway outside conference room.

Paige confers with a Marshal. James specifically requested her for his protection detail. She refuses – she’s behavioral not WITSEC.

Scene Arc: From I’m here to help with a Behavioral Analysis to I’m not part of WITSEC

Essence: Paige is a behavioral analyst who has no business running a protection detail

Conflict: Paige refuses to help/ The other Marshals need her help

Subtext: Paige is not the right person for this job, James must have a reason to insist on her help.

Hope/Fear: She’ll help/ she won’t

Humor:

Beginning: (Intrigue) She’s be requested on a WITSEC detail, by the witness!
Middle: (Character change) She’s actually a behavioral analyst not WITSEC

End: (Cliffhanger) Says no, she won’t do it.

Scene Arc: From refusing to help protect James or agreeing to handle the protection

8. INT. Conference room – DAY

James with Marshals refuses to testify unless Paige handles his protection detail. Paige enters. She looks shocked at seeing him. James is a cover name – he was Jason before. She refuses the assignment again. James/Jason doubles down not testifying unless Paige handles his protection.

Essence: James was Jason and the government needs his testimony

Conflict: Handle the protection/not handle the protection

Subtext: Paige and James/Jason must know each other somehow

Hope/Fear: She’ll agree/She’ll refuse

Humor:

Beginning: (Intrigue) James will only testify if Paige handles his protection
Middle: (Character changes radically) James is his witness protection name, he’s really Jason.

End: (Mystery) How does James know Paige?

9. INT. Hallway outside conference room – DAY

Paige gets talked into taking the assignment for career reasons.

Essence: Paige finally agrees

Conflict: Does Paige agree or will they note her refusal on her record?

Subtext: Paige is ambitious.

Hope/Fear: She’ll agree/ she’ll refuse

Humor: The other Marshals are fed up with James and think it’s going to take a psychologist to keep him in line.

Beginning: (Internal dilemma) Will Paige take the case to help her career?
Middle: (Surprise) She’s threatened with her record being marred if she refuses the assignment.

End: (Suspense) Agrees to talk privately to the witness.

ACT 2

10. INT. Conference room – DAY

Paige speaks with James alone. She tells him it’s by the book. Just a job. He agrees.

Scene Arc: From strangers to some history they don’t discuss

Essence: Setting ground rules of the protection assignment

Conflict: She’s not WITSEC

Subtext: They have a past

Hope/Fear: Will he follow her rules or get or in trouble?

Humor:

Beginning: (Mystery) Why does Paige wants to meet with James alone?
Middle: (intrigue) Paige checks the room for bugs and calls James “Jason” – they have a past

End: (Internal dilemma) Will Jason agree to Paige’s rules and behave by the book

11. INT. SAFE HOUSE – NIGHT

James/Jason comes onto Paige. She physically restrains him. She tells him if the Marshals find out about their past she’ll be taken off his detail so he agrees to keep it between them.

Scene Arc: From purely professional to James/Jason trying to rekindle something with Paige

Essence: James/Jason needs to be kept safe until his meeting the next day

Conflict: Paige and James/Jason bicker constantly hinting at their past.

Subtext: They have a romantic past

Hope/Fear: They’ll be safe/something bad happens; they stay platonic/something romantic happens

Humor: Paige’s physical take down of James/Jason is done in a funny way

Beginning: (Misinterpretation) A verbal interchange that Jason misinteprets
Middle: (Uncomfortable moment) Jason comes onto Paige

End: (Uncomfortable moment) Paige physically overpowers Jason

12. EXT. STREE OUTSIDE SAFE HOUSE – DAY

Paige and James/Jason walk toward an SUV. Shots fired. They jump into the SVU and leave.

Scene Arc: Safety to danger

Essence: James is right to not trust the US Marshal service

Conflict: Someone nearly shoots them

Subtext: Someone revealed their location

Hope/Fear: They get away/they don’t get away

Humor: She pulls him into to SUV backwards and upside down.

Beginning: (Betrayal) Someone on a phone in another SUV checks in and says they are in position
Middle: (Surprise & Superior Position) Paige & James are shot at

End: (Uncomfortable moment) Jason is backward and upside down in the car as they race away.

ACT 3

13. INT. SUV – DAY

James/Jason spouting every conspiracy theory he’s got. Paige admits his paranoia is reasonable because almost no one knew where they were.

Scene Arc: Danger to safety

Essence: Paige and James/Jason race away from a dangerous situation

Conflict: Someone is after them, where do they go?

Subtext: James/Jason’s conspiracy theories may be true

Hope/Fear: Someone in the US Marshall’s has double crossed them/ Someone other than a US Marshall came after them.

Humor: James/Jason’s conspiracy paranoia is ludicrous, or is it?

Beginning: (Suspense) Can they get away safely?

Middle: (Uncertainty) They are being followed by a car, Paige uses techniques to lose the car but they don’t work.
End: (Betrayal) It must be another Marshall who is after them.

Scene Arc: Get a new car and get rid of the Marshall’s SUV

14. EXT. Car lot – DAY

Purchase a vehicle with cash.

Essence: Purchase a crappy car

Conflict: They disagree on what car to buy

Subtext: Someone in the Marshall service has turned on them

Hope/Fear: A new car will keep them safe/ they’ve been followed

Humor: Argument about which car; some crazy story about why they need a car

Beginning: (Suspense) They park away from the car lot to avoid being found
Middle: (Mislead) Create a fake story about who they are

End: (Uncertainty) They pull out in the car and it seems like they are being followed

15. EXT. COUNTRY ROAD – DAY

Stash the SUV in a way that mis-directs Marshal service.

Essence: Must hide the SUV

Conflict: Where is best to hide the car; Paige doesn’t want the car destroyed, James/Jason wants to ditch in a lake.

Subtext: Paige can see that James/Jason’s paranoia isn’t just paranoia

Hope/Fear: find a good hiding place/ get caught

Humor: The process of actually hiding the car

Beginning: (Intrigue) they are on some back country road, isolated, scary.
Middle: (Mystery) As they work on hiding the SUV Jason discusses conspiracies, Paige gives in, someone is conspiring against them.

End: (Misinterpretation) Jason misunderstands Paige’s plan for hiding the SUV and it ends up in a pond.

16. EXT. ROADS – DAY

Series of challenges getting back home.

Scene Arc: From danger to safety

Essence: They must get away from New York and get somewhere safe

Conflict: Best routes to take; getting lost

Subtext: They are in constant danger

Hope/Fear: get discovered by law enforcement/ they get somewhere safe

Humor: Argue to about everything, where to eat what route to take they get on each other’s nerve

Beginning: (Suspense) Where will they go?
Middle: (Comedic Surprise) Sorry to whoever exchanges feedback, I added in some elements from the Comedy class. Comedic surprise is things that don’t fit.

End: (Uncertainty) They get to their home county but are they safe or will they be found?

17. INT. WALMART – DAY

Purchase an assortment of burner phones and flip phones. This might be a montage, they may buy phones from different places to avoid attention.

Scene Arc: They purchase MANY phones

Essence: From hiding to taking action

Conflict: James/Jason doesn’t want to buy phones, they are too dangerous.

Subtext: Paige has a plan.

Hope/Fear:

Humor: James/Jason refuses to buy smart phones because of covid/cancer/ etc.

Beginning: (Intrigue) Purchases an assortment of phones
Middle: (Suspense) Paige texts a variety of contacts to flush out their double crosser

End: (Cliffhanger) Will anyone take the bait?

18. EXT. FARM – NIGHT

They park their car on a side road and walk to a farmhouse. Shots fired. Paige unworried says yells out who she is. It’s the old Sheriff she used to work for.

Scene Arc: From running to safety

Essence: They seek help from Paige’s first boss.

Conflict: Shots fired.

Subtext: The sheriff hates James/Jason

Hope/Fear: Get shot? Be safe?

Humor: Sheriff threatens to shoot off James/Jason’s testicles. Paige thinks about it, but says no.

Beginning: (Intrigue) Walking on a road at night
Middle: (Intrigue) Shots are fired at Paige and Jason

End: (Surprise) Paige calls out to the Sheriff she used to work for

19. INT. FarmHouse Kitchen – NIGHT

Despite the Sheriff’s anger that Paige is with James/Jason, she takes them in. They discuss who they can and can’t trust in the region.

Scene Arc: Safe house to getting help with a plan.

Essence: The sheriff gives helps them.

Conflict: Sheriff v. James/Jason

Subtext: James/Jason caused problems for Paige in the past

Hope/Fear: Safe for the night or will someone look for them at her farm?

Humor: Sheriff insults James/ Jason but usually funny.

Beginning: (Uncomfortable moment) The Sheriff threatens Jason
Middle: (Reveal) The Sheriff almost fired Paige because Jason’s friends were engaged in illegal activities and she covered for Jason.

End: (Uncertainty) how long until someone looks for them at the Sheriff’s house?

20. INT. FARMHOUSE KITCHEN – DAY

Paige uses gps spoofing to create fake locations which they can stake out trying to isolate who is setting them up. James/Jason and Paige fight about his being bait for trapping the double crosser.

Scene Arc: From hiding to taking action.

Essence: Paige is setting traps to locate the double crosser

Conflict: James/Jason’s paranoia nearly got her fired once, she won’t let that happen again.

Subtext: Paige and Jason were a couple in the past.

Hope/Fear: Their plan will work/ They will get caught.

Humor: She reminds him of all the things he screwed up when they were together.

Beginning: (Internal dilemma) how much can Paige tell Jason about the plan?
Middle: (Misinterpretation) This scene would be good for comedic misinterpretation but I’m not sure what exactly yet.

End: (Suspense) Will the traps work? The Sheriff sends them away, it’s not safe for them at her place.

21. INT. HOTEL ROOM – NIGHT

Paige & James/Jason sleep together, rekindling their relationship.

Scene Arc: From professional to love

Essence: James/Jason and Paige still have feelings for each other

Conflict: Paige isn’t over James/Jason nearly ruining her career

Subtext: James/Jason wants to be with Paige.

Hope/Fear: They get together/they don’t get together

Humor: Their kisses are awkward and getting them together can have funny moments

Beginning: (Character change) When they check into the hotel, Paige uses a false identity
Middle: (Twist) Paige and Jason sleep together.

End: (Uncomfortable moment) Jason believes they are back together, Paige denies that as a possibility

ACT 4:

Scene Arc: From stake outs to finding the person that has been setting them up.

22. EXT. SMALL TOWN STREET – DAY

This may be a montage. A series of stake outs where they wait to see if someone shows up.

Essence: They have a plan to flush the double crosser

Conflict: Will someone show up or are they wasting their time

Subtext: Is Jason right that it’s a Marshall who has been setting them up?

Hope/Fear: someone shows up/ no one shows up

Humor:

Beginning: (Suspense) Staked out Paige in the car, Jason on foot.
Middle: (Misinterpretation) Local police shows up,

End: (Uncertainty) No one has shown up, what is going on?

23. EXT. BRIDGE – DAY

Paige is staked out in a car. Jason walks across the bridge – inconsistent with Paige’s plan. The double crosser shows up with a local Marshal. Shoots at Jason.

Essence: They find the person who has been setting them up.

Conflict: Jason using himself as bait when Paige forbade it/ Between them and the double crosser.

Subtext: Jason’s right about at least one conspiracy theory.

Hope/Fear: Will Paige & Jason capture the person or will they be killed?

Humor: The Sheriff ropes the double crosser

Beginning: (Twist) It’s not a Marshall involved in Jason’s case and says he’s to take them in.
Middle: (Surprise) Jason is in the middle the bridge. When the Marshalls walks toward him, they shoot Jason. The Sheriff, who has been hiding, ropes the two together.

End: (Cliffhanger) Paige gets Jason into the car, they leave. Is Jason’s wound serious?

24. EXT. COUNTRY ROAD – DAY

Paige gets Jason into the car, speeds off and contacts the head US Marshal of the local district and convinces him to call Arlington. The District Marshal ultimately believes them.

Scene Arc: From on the run to safety

Essence: Paige must get someone to believe them.

Conflict: Will the head of the district believe her?

Subtext: Paige and Jason are still in danger

Hope/Fear: The district Marshall will be believe her/ the district Marshall will bring them in

Humor: Jason uses an aluminum hat to hide from the phone signal.

Beginning: (Surprise) Jason was wearing something to protect himself from cell phone signals and it protected him from the bullet.
Middle: (Suspense) Call to head of US Marshall District, call her boss in Arlington.

End: (Cliffhanger) Will the local district believe her boss?

25. INT. COURTROOM – DAY

James testifies against the domestic terrorist group.

Scene Arc: From frightened witness to standing up to the group

Essence: James uses his knowledge of the terrorist’s groups activities to take them down.

Conflict: James v. the domestic terrorist’s group defense attorney.

Subtext: James isn’t as crazy as we think

Hope/Fear: the jury believes James/ the jury belies the terrorist’s defense

Humor: James starts to go off on one of his conspiracy theories

Beginning: (Internal dilemma) Can James/Jason go through with his testimony?
Middle: (External dilemma) Can James/Jason stay on track while grilled by the defense attorney?

End: (Cliffhanger) Will the jury be convinced by James/Jason’s testimony?

26. INT. xxx – DAY

Paige and Jason say goodbye as he enters WITSEC

Scene Arc: From celebration that the jury convicted based on Jason’s testimony to sadness that Jason is moving due to WITSEC, invites Paige to come with him

Essence: Jason and Paige say goodbye.

Conflict: He wants her to go with him she won’t leave her career

Subtext: They still have feelings for each other

Hope/Fear: She’ll go with him/they will break up

Humor:

Beginning: (Mislead) Everyone is concerned about the jury – maybe another witness backed out for some reason they are worried about the case
Middle: (Surprise) James/Jason asks Paige to come with him into WITSEC

End: (Internal dilemma) Paige says no. Jason has to leave to be safe.

27. INT. CONFERENCE ROOM – DAY

Paige and the double crosser face off. Paige profiles him to his face.

Scene Arc: Paige gets to interrogate the double crosser and breaks him.

Essence: Paige takes down the double crosser

Conflict: The double cross tries to come up with excuses for what he did; Paige refutes them all.

Subtext: Paige is smarter than the double crosser and one of Jason’s conspiracy theories was true!

Hope/Fear: Paige gives the double crosser his come up-ance/ the double crosser doesn’t break.

Humor:

Beginning: (Suspense) Paige confronts the double crosser.
Middle: (Uncomfortable moment) Paige profiles the person.

End: (Character changes) The double crosser has ties with the group James/Jason testified against

28. INT. PAIGE’S APARTMENT – NIGHT

Knock on the door. James/Jason. He’s given up witness protection to be with Paige.

Scene Arc: From Paige alone in her apartment to being with Jason.

Essence: Paige and Jason become a couple.

Conflict: She can’t be with him she’s a Marshall and he’s in WITSEC.

Subtext: Paige and Jason are meant to be together.

Hope/Fear: She refuses him/ She agrees to be with him.

Humor: Setting ground rules about the relationship

Beginning: (Intrigue) Knock on the window late at night.
Middle: (Character changes radically) Jason has left WITSEC

End: (Surprise)
Paige and Jason end up

[Terrie Cooper Lee]

Terrie’s Scene Requirements

I write screenplays that get turned into crowd pleasing successful films using a process that allows me to enjoy my equestrian hobby.

What I learned from this assignment is that the humor isn’t showing in the outline. I’m not sure how to incorporate so I tried putting in a line for the humor in as many scenes as possible.

ACT 1

EXT. CITY STREET – DAY

James is chased by US Marshals outside an office building. He’s caught, handcuffed, and taken into a building.

Scene Arc: Running away to in custody

Essence: James tried to escape from the US Marshals

Conflict: James v the US Marshals

Subtext: James is in trouble with the law

Hope/Fear: He gets away/he gets caught

Humor: sight gags as the Marshals struggle to catch James

INT. CONFERENCE ROOM – DAY

James’ handcuffs are removed. He’s a witness who tried to run.

Scene Arc: From an escaped criminal to a protected witness

Essence: James is trying to get out of testifying

Conflict: Marshals need him to testify, James doesn’t trust them

Subtext: James knows something about a criminal enterprise

Hope/Fear: Will he testify or not?

Humor: He offends every Marshal in the room with his crazy theories

INT. Restaurant – DAY

Paige on a lunch date with a cop groupie. He’s an ass. She profiles him, to his face, in as insulting a manner as possible.

Scene Arc: From promising first date to taking down this jerk

Essence: Paige is a serious professional with a crappy personal life

Conflict: He’s only interested in her because she’s a cop; She has no interest in dating a holster sniffer

Subtext: Paige is an intelligent, capable behavioral analyst

Hope/Fear: It’s great date/ It’s a terrible date

Humor: Her psychological profile of her date is funny and insulting

EXT. CITY STREET – DAY

James is escorted out of the building by two Marshals, shots are fired. They return to the building.

Scene Arc: From leaving the building in apparent safety to retreating due to danger

Essence: James isn’t safe with the US Marshals

Conflict: Being shot at while in protective custody

Subtext: Someone is out to get James

Hope/Fear: Someone gets shot/ They make it to safety

Humor:

INT. Conference room – DAY

James surrounded by law enforcement personnel. He accuses each of being involved in a different conspiracy theory.

Scene Arc: James goes from frightened to angry; from protected witness to asshole who alienates all the US Marshals there to protect him

Essence: James is a conspiracy theory nutcase

Conflict: James doesn’t trust the US Marshals on his protective detail

Subtext: James sees everything as a conspiracy

Hope/Fear: He alienates everyone/ He stops before he goes too far

Humor: His crazy conspiracy theories are funny.

INT. Restaurant – DAY

Paige’s phone rings. She takes the call.

Scene Arc: Crappy first date to back at work

Essence:

Conflict: Does she go back to work even though she is supposed to be on vacation?

Subtext: Paige is an important professional

Hope/Fear: Does she go to work or

Humor: Final insult to her date on her way out of the restaurant.

INT. Hallway outside conference room.

Paige confers with a Marshal. James specifically requested her for his protection detail. She refuses – she’s behavioral not WITSEC.

Scene Arc: From I’m here to help with a Behavioral Analysis to I’m not part of WITSEC

Essence: Paige is a behavioral analyst who has not business running a protection detail

Conflict: Paige refuses to help/ The other Marshals need her help

Subtext: Paige is not the right person for this job, James must have a reason to insist on her help.

Hope/Fear: She’ll help/ she won’t

Humor:

Scene Arc: From refusing to help protect James or agreeing to handle the protection

INT. Conference room – DAY

James with Marshals refuses to testify unless Paige is handles his protection detail. Paige enters. She looks shocked at seeing him. James is a cover name – he was Jason before. She refuses the assignment again. James/Jason doubles down not testifying unless Paige handles his protection.

Essence: James was Jason and the government needs his testimony

Conflict: Handle the protection/not handle the protection

Subtext: Paige and James/Jason must know each other somehow

Hope/Fear: She’ll agree/She’ll refuse

Humor:

INT. Hallway outside conference room – DAY

Paige gets talked into taking the assignment for career reasons.

Essence: Paige finally agrees

Conflict: Does Paige agree or will they note her refusal on her record?

Subtext: Paige is ambitious.

Hope/Fear: She’ll agree/ she’ll refuse

Humor: The other Marshals are fed up with James and think it’s going to take a psychologist to keep him in line.

ACT 2

INT. Conference room – DAY

Paige speaks with James alone. She tells him it’s by the book. Just a job. He agrees.

Scene Arc: From strangers to some history they don’t discuss

Essence: Setting ground rules of the protection assignment

Conflict: She’s not WITSEC

Subtext: They have a past

Hope/Fear: Will he follow her rules or get or in trouble?

Humor:

INT. SAFE HOUSE – NIGHT

James/Jason comes onto Paige. She physically restrains him. She tells him if the Marshals find out about their past she’ll be taken off his detail so he agrees to keep it between them.

Scene Arc: From purely professional to James/Jason trying to rekindle something with Paige

Essence: James/Jason needs to be kept safe until his meeting the next day

Conflict: Paige and James/Jason bicker constantly hinting at their past.

Subtext: They have a romantic past

Hope/Fear: They’ll be safe/something bad happens; they stay platonic/something romantic happens

Humor: Paige’s physical take down of James/Jason is done in a funny way

EXT. STREE OUTSIDE SAFE HOUSE – DAY

Paige and James/Jason walk toward an SUV. Shots fired. They jump into the SVU and leave.

Scene Arc: Safety to danger

Essence: James is right to not trust the US Marshal service

Conflict: Someone nearly shoots them

Subtext: Someone revealed their location

Hope/Fear: They get away/they don’t get away

Humor: She pulls him into to SUV backwards and upside down.

ACT 3

INT. SUV – DAY

James/Jason spouting every conspiracy theory he’s got. Paige admits his paranoia is reasonable because almost no one knew where they were.

Scene Arc: Danger to safety

Essence: Paige and James/Jason race away from a dangerous situation

Conflict: Someone is after them, where do they go?

Subtext: James/Jason’s conspiracy theories may be true

Hope/Fear: Someone in the US Marshall’s has double crossed them/ Someone other than a US Marshall came after them.

Humor: James/Jason’s conspiracy paranoia is ludicrous, or is it?

Scene Arc: Get a new car and get rid of the Marshall’s SUV

EXT. Car lot – DAY

Purchase a vehicle with cash.

Essence: Purchase a crappy car

Conflict: They disagree on what car to buy

Subtext: Someone in the Marshall service has turned on them

Hope/Fear: A new car will keep them safe/ they’ve been followed

Humor: Argument about which car; some crazy story about why they need a car

EXT. COUNTRY ROAD – DAY

Stash the SUV in a way that mis-directs Marshal service.

Essence: Must hide the SUV

Conflict: Where is best to hide the car; Paige doesn’t want the car destroyed, James/Jason wants to ditch in a lake.

Subtext: Paige can see that James/Jason’s paranoia isn’t just paranoia

Hope/Fear: find a good hiding place/ get caught

Humor: The process of actually hiding the car

EXT. ROADS – DAY

Series of challenges getting back home.

Scene Arc: From danger to safety

Essence: They must get away from DC/New York (?) and get somewhere safe

Conflict: Best routes to take; getting lost

Subtext: They are in constant danger

Hope/Fear: get discovered by law enforcement/ they get somewhere safe

Humor: Argue to about everything, where to eat what route to take they get on each other’s nerve

INT. WALMART – DAY

Purchase an assortment of burner phones and flip phones. This might be a montage, they may buy phones from different places to avoid attention.

Scene Arc: They purchase MANY phones

Essence: From hiding to taking action

Conflict: James/Jason doesn’t want to buy phones, they are too dangerous.

Subtext: Paige has a plan.

Hope/Fear:

Humor: James/Jason refuses to buy smart phones because of covid/cancer/ etc.

EXT. FARM – NIGHT

They park their car on a side road and walk to a farmhouse. Shots fired. Paige unworried says yells out who she is. It’s the old Sheriff she used to work for.

Scene Arc: From running to safety

Essence: They seek help from Paige’s first boss.

Conflict: Shots fired.

Subtext: The sheriff hates James/Jason

Hope/Fear: Get shot? Be safe?

Humor: Sheriff threatens to shoot off James/Jason’s testicles. Paige thinks about it, but says no.

INT. FarmHouse Kitchen – NIGHT

Despite the Sheriff’s anger that Paige is with James/Jason, she takes them in. They discuss who they can and can’t trust in the region.

Scene Arc: Safe house to getting help with a plan.

Essence: The sheriff gives helps them.

Conflict: Sheriff v. James/Jason

Subtext: James/Jason caused problems for Paige in the past

Hope/Fear: Safe for the night or will someone look for them at her farm?

Humor: Sheriff insults James/ Jason but usually funny.

INT. FARMHOUSE KITCHEN – DAY

Paige uses gps spoofing to create fake locations which they can stake out trying to isolate who is setting them up. James/Jason and Paige fight about his being bait. She won’t let him.

Scene Arc: From hiding to taking action.

Essence: Paige is setting traps to locate the double crosser

Conflict: James/Jason’s paranoia nearly got her fired once, she won’t let that happen again.

Subtext: Paige and Jason were a couple in the past.

Hope/Fear: Their plan will work/ They will get caught.

Humor: She reminds him of all the things he screwed up when they were together.

INT. HOTEL ROOM – NIGHT

Paige & James/Jason sleep together, rekindling their relationship.

Scene Arc: From professional to love

Essence: James/Jason and Paige still have feelings for each other

Conflict: Paige isn’t over James/Jason nearly ruining her career

Subtext: James/Jason wants to be with Paige.

Hope/Fear: They get together/they don’t get together

Humor: Their kisses are awkward and getting them together can have funny moments

ACT 4:

Scene Arc: From stake outs to finding the person that has been setting them up.

EXT. SMALL TOWN STREET – DAY

This may be a montage. A series of stake outs where they wait to see if someone shows up.

Essence: They have a plan to flush the double crosser

Conflict: Will someone show up or are they wasting their time

Subtext: Is Jason right that it’s a Marshall who has been setting them up?

Hope/Fear: someone shows up/ no one shows up

Humor:

EXT. BRIDGE – DAY

The culprit shows up. Paige is staked out in a car. Jason shows up walking across the bridge. The double crosser shows up. Shoots at Jason. Paige saves Jason. Together Paige and Jason capture the person.

Essence: They find the person who has been setting them up.

Conflict: Jason using himself as bait when Paige forbade it/ Between them and the double crosser.

Subtext: Jason’s right about at least one conspiracy theory.

Hope/Fear: Will Paige & Jason capture the person or will they be killed?

Humor: Jason hog ties him when they capture him.

EXT. BRIDGE – DAY

A local US Marshal shows up. Paige and James/Jason’s version aren’t believed. They run again.

Scene Arc: From safety to on the run again.

Essence: They run to be safe

Conflict: The local US Marshal has to decide who to believe – Paige who’s been identified as one the run with a witness or another US Marshal?

Subtext: This problem is deeper than they thought

Hope/Fear: The Marshall believes them/ the Marshal believes the double crosser

Humor:

EXT. COUNTRY ROAD – DAY

Paige contacts the head US Marshal of the local district and convinces him to call Arlington. The District Marshal ultimately believes them.

Scene Arc: From on the run to safety

Essence: Paige must get someone to believe them.

Conflict: Will the head of the district believe her?

Subtext: Paige and Jason are still in danger

Hope/Fear: The district Marshall will be believe her/ the district Marshall will give away their location

Humor: Jason uses an aluminum hat to hide from the phone signal.

INT. COURTROOM – DAY

James testifies against the domestic terrorist group.

Scene Arc: From frightened witness to standing up to the group

Essence: James uses his knowledge of the terrorist’s groups activities to take them down.

Conflict: James v. the domestic terrorist’s group defense attorney.

Subtext: James isn’t as crazy as we think

Hope/Fear: the jury believes James/ the jury belies the terrorist’s defense

Humor: James starts to go off on one of his conspiracy theories

INT. CONFERENCE ROOM – DAY

Paige and the double crosser face off. Paige profiles him to his face.

Scene Arc: Paige gets to interrogate the double crosser and breaks him.

Essence: Paige takes down the double crosser

Conflict: The double cross tries to come up with excuses for what he did; Paige refutes them all.

Subtext: Paige is smarter than the double crosser and one of Jason’s conspiracy theories was true!

Hope/Fear: Paige gives the double crosser his come up-ance, the double crosser doesn’t break.

Humor:

INT. PAIGE’S APARTMENT – NIGHT

Knock on the door. James/Jason. He’s given up witness protection to be with Paige.

Scene Arc: From Paige alone in her apartment to being with Jason.

Essence: Paige and Jason become a couple.

Conflict: She can’t be with him she’s a Marshall and he’s in WITSEC.

Subtext: Paige and Jason are meant to be together.

Hope/Fear: She refuses him/ She agrees to be with him.

Humor: Setting ground rules about the relationship

[Terrie Cooper Lee]

Terrie’s Intriguing Moments

I write screenplays that get turned into crowd pleasing successful films using a process that allows me to enjoy my equestrian hobby.

What I learned from this assignment is that I had some intriguing moments but needed to move things to spread them across the acts.

ACT 1

Mystery –James is chased by US Marshals

Hidden Identify – James handcuffs are removed, he’s a witness refusing to attend a pre trial conference

Conspiracy – James accuses all the Marshals of being part of different conspiracies

Intrigue – As James is escorted out of the building shots are fired.

Mystery – James demands that Paige head his protection detail

Hidden identify – when Paige enters the room to meet James, she recognizes him as Jason but keeps it to herself.

Act 2:

Secret/ Superior Position – Paige and James talk alone and agree no one can know about their past relationship

Conspiracy – Paige and James/Jason are shot at when they move locations. Someone has betrayed their location.

Cover up – Paige lies to the Marshal’s about where she is taking James

Act 3:

Scheme – Paige and James/Jason concoct a plan to hide out.

Secret – Paige and James/Jason hide out at the farm of the retired sheriff

Scheme – Paige uses information traps to sort out who is double crossing them

Act 4:

Intrigue – who double crossed them?

Hidden identity/Covert agenda – a Marshal has been double crossing them, is a member of the group James/Jason is testifying against.

Mystery – Paige sets up the double crosser and reveals their identify to the entire Marshal team

Mystery – find out why the double crosser turned on Paige and James/Jason

[Terrie Cooper Lee]

Terrie’s Emotional Moments

What I learned from this assignment is that I had more emotional moments than I expected. I need to make sure I write these scenes in a manner that highlights these emotions.

ACT 1:

Excitement: James is chased down by US Marshal

Surprise: He’s actually a witness being protected by the US Marshals

Emotional dilemma: James/Jason was involved with domestic terrorist group.

Winning: Paige is a US Marshal behavioral analyst who profiles her rude date to his face

Hidden weakness: Paige is brought in to help with James’ protection detail but she’s behavioral not WITSEC

Surprise: James is really Jason – he knew Paige growing up

Wound: James/Jason has no one from his past to say goodbye to

Bonding: Paige agrees to serve on James/Jason’s protection detail to shut him up

Act 2:

Bonding: James/Jason & Paige bicker and argue then their past comes up

Emotional Dilemma: Paige is hiding the fact that she and James/Jason were a couple from the Marshals

Distress/excitement: James/Jason & Paige are shot at when changing locations.

Surprise: At least one of James/Jason’s conspiracy theories is true

Act 3:

Betrayal: Paige realizes that for them to have been located, someone betrayed their hiding place

Bonding: Paige & James/Jason travel to find a safe location

Wound: They travel to where they grew up and visit the old Sheriff that Paige worked for – find out James/Jason nearly got her fired with his bad behavior

Love: Huge fight over James/Jason setting himself up as bait for the info traps

Love: They sleep together but Paige isn’t over what happened before; Jason never got over Paige

Act 4:

Winning: Paige sets up information traps

Distress: Someone in the US Marshal service is working with the group James/Jason is testifying against; James conspiracy theory is true

Sacrifice /Love: James/Jason testifies but refuses WITSEC to be with Paige

[Terrie Cooper Lee]

Terrie’s Reveals

What I learned from this assignment is that I could improve my screenplay by having clearer set ups for twists/reveals I had already envisioned.

From today’s call I realized my outline needs to be altered to just have the scenes but I’m not quite there yet.

ACT 1:

Setup: James/Jason is chased down by US Marshal

Reveal: He’s actually a witness being protected by the US Marshal’s

Setup: James/Jason was involved with domestic terrorist group.

Reveal: Maybe Act 2: he wasn’t part of the group, he stumbled into knowledge of their actions.

Setup: Paige is on a dinner date

Reveal: She’s a US Marshal behavioral analyst

Setup: Paige is brought in to help with James’ protection detail

Reveal: James is really Jason – he knew Paige growing up

Setup: Marshals ask James/Jason family that also need protection? Anyone to say goodbye to?
Reveal: James/Jason has no family – maybe reveal difficult childhood

Act 2:

Setup: James/Jason & Paige clash constantly – this can start in act 1

Reveal: they used to be a couple

Setup: James/Jason & Paige are shot at when changing locations.

Reveal: At least one of James/Jason’s conspiracy theories is true

Act 3:

Set up: being cold and angry purely professional with James/ Jason through acts 1 & 2

Reveal: Jason’s crazy nearly got Paige fired – they meet with the old Sheriff

Set up: Huge fight over James/Jason setting himself up as bait for the info traps

Reveal: Jason never got over Paige; Paige hasn’t forgiven him

Act 4:

Set up: Paige sets up information traps

Reveal: someone in the US Marshal service is working with the group James/Jason is testifying against; James conspiracy theory is true

Set up: James/Jason testifies but refuses WITSEC

Reveal: He wants to be with Paige

Act 1 setup: James involvement with multiple fringe groups

Act 3 reveal: James terrible childhood

[Terrie Cooper Lee]

Terrie’s Character Action Tracks!

I write screenplays that get turned into crowd pleasing successful films using a process that allows me to enjoy my equestrian hobby.

What I learned from this assignment is I still have work to do on one character. Multiple passes through the assignment helped me make improvements quickly.

ACT 1

Opening: James/Jason hiding from a US Marshal in an office building. On a flip phone, refusing to attend a pre-trial conference. Comedy dialog here to show James/Jason’s paranoia through this exchange. Maybe he accuses all US Marshals of being racist because everyone know they started the US Marshals to catch escaped slaves. No, that’s the Texas Rangers. Yeah but everyone knows really it’s the same (some conspiracy theory). The Marshal on the phone is black, James/Jason Stockholm syndrome.

Paige on a dinner date. Her date is a cop groupie, into guns. She profiles him, to his face, in as insulting a manner as possible.

James/Jason escorted out of a non-descript building in a city, shots are fired. He’s whisked back into the building. In a room with multiple law enforcement personnel, James/Jason accuses each of of being involved in a different conspiracy theory.

Deeper Layer: one of the accusations about conspiracy theory is true.

Paige is called as she finishes insulting her date. She’s called into work. Her date accuses her of lying – create a deeper layer he doesn’t something James/Jason would never do – insults her professionally, claims women can’t be real cops. She further insults the guy and her boss overhears.

INCITING INCIDENT: James refuses to testify unless Paige is his protection detail.

Paige meets James, but he’s really Jason. She refuses the assignment: she’s behavioral not WITSEC.

James doubles down not testifying. He’ll lose witness protection and his new fake identify if he won’t testify. Back and forth. The more back and forth the more hilarious the reasons he gives for walking away. He has reasons ONLY Paige can be lead his protection. Makes Paige laugh – maybe insults the other Marshals as being city people, you don’t get these guys! The case is against domestic terrorists. James/Jason spouts conspiracy theories every chance he gets.

Paige it told taking the assignment will help her get promoted, this guy’s nuts maybe she can use her psych background to fix his crazy. She remains very professional in her reasons to not take the assignment.

James starts to say something about where they grew up. Paige agrees to be part of his protection detail just to shut him up.

Deeper layer: Paige and James/Jason have past history

Turning point 1: Paige agrees and James stays on the witness list.

PJ: Paige gives in, professional.

AJ: James/Jason agrees to testify, for now

ACT 2

New Plan: Paige in charge of James/Jason’s protection.

Plan in action: Normal protection assignment. Paige moves James to a safe house.

PJ: Paige is by the book. She wants to follow procedure.

AJ: James/Jason thinks he knows best. He argues to ignore procedure, we need to be unpredictable.

Deeper Layer: they bicker constantly like people with a past. Use a sketch comedy format and hint at their past.

First night safe house: arguing. She stays in the outer room, James tries to sweet talk her into staying in his room. She pulls a gun on him. He comes back with some memory of shooting guns together. She tells him to shut up or she will shoot him.

Second night safe house: James comes onto Paige. She physically restrains him – he sort of likes it – make it funny – raise the stakes physically between them.

Reveal: The audience finds out they had some history, probably romantic. Still hiding it from other Marshals.

Next morning: moving James/Jason to a location nearer the trial location, they are shot at. Paige covers James with her body, he takes that as her still being into him.

Midpoint Turning Point: Their cover gets blown, an attempt on both of them. They go on the run.

ACT 3

Rethink everything: Paige has to admit his paranoia is reasonable because almost no one knew where they were.

Deeper layer: someone on the inside is setting them up.

New Plan: just her and James/Jason. Find a place to be safe, cut off from the Marshal service. Leave the current district, go to the district where she first started.

Purchase burner phones and flip phones. They buy a vehicle – James/Jason has some money stashed or cash he was given by the Marshals (he insisted on cash). Bicker at the used car lot about what to drive. He makes up some weird cover story.

Series of challenges getting to the ‘safe’ location –make these funny. She won’t stop for directions.

She uses gps spoofing to create fake locations which they can stake out trying to isolate who is setting them up. She probably calls into her boss or has her former boss cover for her. James helps with this process. He wants to be bait but she won’t let him.

Reveal: Paige & James were a couple. His conspiracy theory/paranoia almost got her fired from a police job – that’s when she left him and why she hates him now.

Twist: They sleep together, rekindling their relationship. No one at US Marshal can know about them. (need some compelling reason for this to happen)

Reveal: James wants to be with Paige. Paige isn’t over him nearly ruining her career.

Paige uses different phones to call and set information traps to identify who is blowing their cover.

ACT 4:

The information traps Paige set ups come to fruition.

PJ: Some of James weird theories are true.

AJ: Paige doesn’t want anything bad to happen to James

Deeper Layer: Paige & James resolve their relationship issues.

I need to figure out who it is, what’s the conspiracy, who is setting them up and it’s consistent with one of his conspiracy theories. This person serves the Villian role in the Thriller genre.

Face off: Final person to bait with a fake location – person we would never suspect. Paige sets up the villain. James defies Paige and sets himself up as the bait. When they figure out who it is, she profiles him to his face.

Paige has outed someone in the government who has been helping the domestic terrorists.

James wants to be with Paige. He corroborates everything that happened when they were on the run.

James testifies.

Ends: With the traitor in jail James/Jason gives up witness protection to be with Paige.

Some funny epilogue. Him keeping up with his weird behaviors to ensure they are safe – circling the block or? Needs to include Paige.

[Terrie Cooper Lee]

Terrie’s New Outline Beats!

I write screenplays that get turned into crowd pleasing successful films using a process that allows me to enjoy my equestrian hobby.

What I learned from this assignment is I had some plot holes I was unaware of. This process got me focused on those issues.

ACT 1

Opening: James/Jason hiding from a US Marshall in a federal building. On a flip phone, refusing to attend a pre-trial conference. Comedy dialog here to show James/Jason’s paranoia through this exchange. Maybe he accuses all US Marshalls of being racist because everyone know they started to catch escaped slaves. No, that’s the Texas Rangers. Yeah but everyone knows really it’s the same (some conspiracy theory). The Marshall on the phone is black, James/Jason Stockholm syndrome.

Paige on a lunch date. Her date is a cop groupie, into guns. She profiles him, to his face, in as insulting a manner as possible.

James/Jason escorted out of the federal building, shots are fired. He’s whisked back into the building. In a room with multiple law enforcement, James/Jason accuses each of of being involved in a different conspiracy theory.

Deeper Layer: one of the accusations about conspiracy theory is true.

Paige called while she finishes insulting her date. She’s called into work. Her date accuses her of lying.

INCITING INCIDENT: James refuses to testify unless Paige is his protection detail.

Paige meets James, but he’s really Jason. She tries to refuse the assignment: she’s behavioral not WITSEC.

James doubles down not testifying. He’ll lose witness protection and his new fake identify if he won’t testify. Back and forth. The case is against domestic terrorists. James/Jason spouts conspiracy theories every chance he gets.

Paige it told taking the assignment will help her get promoted, this guy’s nuts maybe she can use her psych background to fix his crazy.

James starts to say something about where they grew up. Paige agrees to be part of his protection detail just to shut him up.

Deeper layer: Paige and James/Jason have past history

Turning point 1: Paige agrees and James stays on the witness list.

PJ: Paige gives in, professional.

AJ: James/Jason agrees to testify, for now

ACT 2

New Plan: Paige in charge of James/Jason’s protection.

Plan in action: Normal protection assignment. Paige has to move James to a safe house.

PJ: Paige is by the book

AJ: James/Jason thinks he knows best.

Deeper Layer: they bicker constantly like people with a past. Use a sketch comedy format and hint at their past.

First night safe house: arguing. She stays in the outer room, James tries to sweet talk her into staying in his room.

Second night safe house: James comes onto Paige. She slugs him – make it funny – raise the stakes physically between them.

Reveal: The audience finds out they had some history, probably romantic. Still hiding it from other Marshalls.

Next morning: moving James/Jason to a location nearer the trial location, they are shot at.

Midpoint Turning Point: Their cover gets blown, an attempt on both of them. They go on the run.

ACT 3

Rethink everything: Paige has to admit his paranoia is reasonable because almost no one knew where they were.

Deeper layer: someone on the inside is setting them up.

New Plan: just her and James/Jason. Find a place to be safe, cut off from the Marshall service. Leave the current district, go to the district where she first started.

Series of challenges getting to the ‘safe’ location –make these funny. They don’t have a smart phone so they get lost. She won’t stop for directions. Need more.

Reveal: Paige & James were a couple. His conspiracy theory/paranoia almost got her fired from a police job – that’s when she left him and why she hates him now.

Twist: They sleep together, rekindling their relationship. No one at US Marshall can know about them.

Reveal: James wants to be with Paige. Paige isn’t over him nearly ruining her career.

Paige uses different phones to call and set information traps to identify who is blowing their cover.

ACT 4:

The information traps Paige set ups come to fruition.

PJ: Some of James weird theories are true.

AJ: Paige doesn’t want anything bad to happen to James

Deeper Layer: Paige & James resolve their relationship issues.

I need to figure out who it is, what’s the conspiracy, who is setting them up and it’s consistent with one of his conspiracy theories. This person serves the Villian role in the Thriller genre.

Face off: Paige sets up the villain. James leaves. He trusts Paige, but not the people she works for.

Paige has outed someone in the government whose been helping the domestic terrorists.

James comes back. He wants to be with Paige and he knows she needs him to corroborate her story.

James testifies.

Ends: With the traitor in jail James/Jason gives up witness protection to be with Paige.

Some funny epilogue. Him keeping up with his weird behaviors to ensure they are safe – circling the block or? Needs to include Paige.

[Terrie Cooper Lee]

Terrie’s Beat Sheet 1

I write screenplays that get turned into crowd pleasing successful films using a process that allows me to enjoy my equestrian hobby.

What I learned from this assignment is to plug through. This was tough because it seemed like I had these elements in the outline from the last lesson. Seems like I missed something.

ACT 1

Opening: James/Jason with US Marshall. Refusing to testify. Accuses all the US Marshall’s of being involved in some conspiracy theory.

Comedy dialog here to show James/Jason’s paranoia through this exchange.

Deeper Layer: one of the accusations about conspiracy theory is true.

Paige on a lunch date. Her data is cop groupie, into guns. She profiles him, to his face, in as insulting a manner a possible.

James/Jason escorted into a court house, shots are fired. He’s whisked away to safety.

Paige gets a call at lunch. She’s called into work. Her date makes a scene.

INCITING INCIDENT: James refuses to testify unless Paige is his protection detail.

Paige meets James, but he’s really Jason. She tries to refuse the assignment: she’s behavioral not WITSEC. She’s told to do it to be considered for a promotion.

As Paige resists the assignment, James is reminded he’ll lose witness protection and his new fake identify if he won’t testify. Back and forth. The case is against domestic terrorists. James/Jason spouts conspiracy theories every chance he gets. Her boss tells Paige to use her psych background to fix his crazy.

Turning point 1: Paige agrees and James stays on the witness list.

PJ: Paige gives in, professional.

AJ: James/Jason agrees to testify, for now

ACT 2

New Plan: Paige will be in charge of James/Jason’s protection.

Plan in action: Normal protection assignment. Move James/Jason frequently.

PJ: Paige is by the book

AJ: James/Jason thinks he knows best.

Deeper Layer: they bicker constantly like people with a past. Use a sketch comedy format and hint at their past.

James comes onto Paige. She slugs him – make it funny – raise the stakes physically between them.

Midpoint Turning Point: Their cover gets blown, an attempt on both of them. They go on the run.

ACT 3

Rethink everything: Paige has to admit his paranoia is reasonable because almost no one knew where they were.

Deeper layer: someone on the inside is setting them up.

New Plan: just her and James/Jason. Find a place to be safe, cut off from the Marshall service. Leave the current district, go to the district where she first started.

Reveal: Paige & James were a couple. His conspiracy theory/paranoia almost got her fired from a police job – that’s when she left him and why she hates him now.

Twist: They sleep together, rekindling their relationship. No one at US Marshall can know about them.

Reveal: James wants to be with Paige. Paige isn’t over him nearly ruining her career.

Paige sets information traps to identify who is blowing their cover.

Series of challenges getting to the ‘safe’ location –make these funny. They don’t have a smart phone so they get lost. She won’t stop for directions. Need more.

ACT 4:

The information traps Paige set ups come to fruition.

PJ: Some of James weird theories are true.

AJ: Paige doesn’t want anything bad to happen to James

Deeper Layer: Paige & James resolve their relationship issues.

I need to figure out who it is, what’s the conspiracy, who is setting them up and it’s consistent with one of his conspiracy theories. This person serves the Villian role in the Thriller genre.

Face off: Paige sets up the villain. James tries to escape. He trusts Paige, but not the people she works for.

Paige manages to get him to testify. From the information traps, she’s outed someone in the government whose been helping the domestic terrorists.

Ends: With the traitor in jail so James/Jason gives up witness protection to be with Paige.

Some funny epilogue. Him keeping up with his weird behaviors to ensure they are safe – circling the block I’m not sure. Needs to include Paige.

[Terrie Cooper Lee]

Terrie’s Deeper Layer!

I write screenplays that get turned into crowd pleasing successful films using a process that allows me to enjoy my equestrian hobby.

What I learned from this assignment is to plug through – much of this was already done I’m just sorting out how to integrate it.

Surface Layer: get James/Jason to testify and safely into WITSEC

Deeper Layer: resolve relationship issues between Paige and James/Jason so they can be together

Major reveal: James wants Paige back; she hates him for nearly getting her fired. He’s right about one of his conspiracy theories

Influences story structure: They clash constantly; James can’t let go of his conspiracy theories and Paige won’t hear any of it.

Hints: they know each other too well; she lashes out at him for the smallest thing.

Changes reality: James really doesn’t want to take on new identify – he wants to be with Paige.

ACT 1

Opening: James/Jason talking into a flip-phone, crouched down, hiding. On the other end, also on a flip-phone a US Marshall. They argue about James/Jason being stalked. James/Jason offers a variety of conspiracy theories the Marshall counters all of them. Comedy dialog here to show James/Jason’s paranoia through this exchange. His paranoia includes smart phones, hence the flip phones.

Paige on a lunch date. Her data is cop groupie, into guns. She profiles him, to his face, in as insulting a manner a possible, like he’s got a small penis.

James/Jason escorted into a court house, shots are fired. He’s whisked away to safety. I told you so to the US Marshall.

Paige gets a call at lunch. Answers like it’s the friend who set up her date. But nope it’s her boss. (Embarrassing exchange here) She’s called into work. Of course her date makes a scene.

Turning point: Paige meets James, but he’s really Jason. She fights protecting him, she’s really behavioral. Ends up being told she needs to do so to be considered for a promotion.

He insists. Unless she is his protection detail, he won’t testify. He just says they grew up in the same county. If he doesn’t testify, he’ll won’t get witness protection and his new fake identify. Then he won’t need it. Back and forth. The case is against domestic terrorists. James/Jason spouts conspiracy theories every chance he gets. He boss argues maybe her psych background she can fix this crazy.

ACT 2

New Plan: Paige will be in charge of James/Jason’s protection.

Plan in action: Normal protection assignment. Maybe they move every day – at his insistence, he probably read some book and thinks he knows best. Constant bickering, use a sketch comedy format. They know each other really well.

James comes onto her when they are alone. She slugs him – make it funny – raise the stakes physically between them. But make it look like him just coming onto her, nothing specific about their past.

Midpoint Turning Point: Their cover gets blown, another attempt on James/Jason. Paige admits his paranoia is reasonable because almost no one knew where they were. They go on the run, just the two of them.

ACT 3

Rethink everything: Paige has to admit his paranoia is reasonable because almost no one knew where they were. Paige realizes someone on the inside must be setting them up

New Plan: just her and James/Jason. Find a place to be safe, cut off from the Marshall service. Leave the current district, go to the district where she first started. As they travel. Here we get the reveal – his paranoia almost got her fired from a police job – that’s when she left him. Somewhere in here they sleep together, but they agree no one at US Marshall can know about them.

Paige realizes that one of James’ conspiracy stories are true. She sets information traps to identify who is blowing their cover.

Series of challenges getting to the ‘safe’ location –make these funny. They don’t have a smart phone so they get lost. She won’t stop for directions. Need more.

ACT 4:

The information traps Paige set ups come to fruition.

I need to figure out who it is, what’s the conspiracy, who is setting them up and it’s consistent with one of his conspiracy theories. This person serves the Villian role in the Thriller genre.

Face off: Paige sets up the villain. James tries to escape Paige even though he trusts her he doesn’t trust the people she works for. Paige manages to get him to testify. From the information traps, she’s outed someone in the government whose been helping the domestic terrorists.

Ends: With the traitor in jail so James/Jason gives up witness protection to be with Paige. Some funny epilogue. Him keeping up with his weird behaviors to ensure they are safe – circling the block I’m not sure. Needs to include Paige.

[Terrie Cooper Lee]

Terrie’s Character Structure

I write screenplays that get turned into crowd pleasing successful films using a process that allows me to enjoy my equestrian hobby.

What I learned from this assignment is to talk out ideas with my husband when I’m stuck.

Paige

Beginning: She’s on a terrible date but takes down the guy by profiling him

Inciting Incident: Paige is assigned Witness Protection – but she’s really behavioral

Turning point 1: The witness is her EX but she doesn’t want anyone to know

Act 2: Paige handles the witness protection by the book. She can’t afford any mistakes.

Turning Point 2/ Midpoint: Their cover is blown and they go on the run

Act 3: Paige realizes someone set them up. Starts to acknowledge James paranoia may not just be paranoia.

Turning Points 3: Paige sets information traps to figure out who is double crossing them

Act 4 Climax: Paige flushes the traitor.

Resolution: James testifies, Paige goes back to her normal job.

James/Jason

Beginning: James hiding from his handler but talking on the phone.

Inciting Incident: Requests Paige by name as the person to protect him.

Turning point 1: Paige resists guarding him but he says if she won’t he’ll tell everyone about their past.

Act 2: James/Jason tries to rekindle their romance, Paige wants none of what he’s offering.

Turning Point 2/ Midpoint: Cover blown, on the run.

Act 3: On the run, James/ Jason conspiracy theories on overdrive but some of them start to make sense.

Turning Points 3: James/Jason resists testifying – can’t they just keep running?

Act 4 Climax: James/Jason testifies and owns his role in the problem

Resolution: With the bad guys in jail, James/Jason refuses WITSEC so he can be with Paige.

Traitor – not sure think it’s a she, she works for the US Marshall office in a support function, accounting or IT something like that. I haven’t figured out if she goes to work there specifically to undermine the service or if she gets involved with a domestic terrorist group after she gets the job. Maybe it’s revenge for a family member. So 1 & might be reversed.

Beginning: get job at US Marshall

Inciting Incident: joins a domestic terrorist group

Turning point 1: she’s activated by her group

Act 2: finds a way to keep tabs on Paige & James/Jason

Turning Point 2/ Midpoint: gives away Paige & James/Jason’s location to her group which is a different group than the one that James is testifying against.

Act 3: keeps her group informed

Turning Points 3: Paige gives her incorrect information but she acts on it

Act 4 Climax: Paige confronts her and arrests her

Resolution: found out and goes to prison for her involvement

[Terrie Cooper Lee]

Terrie’s Supporting Characters

I write screenplays that get turned into crowd pleasing successful films using a process that allows me to enjoy my equestrian hobby.

What I learned doing this assignment is that I have A LOT of work to do on my supporting characters.

Supporting characters:
Dale; Owen, Retired chief of police; Bob head of whatever fringe group James/Jason is testifying against; Noah, inside man.

Background characters:

Other US Marshalls, other members of fringe groups

Focusing on those supporting characters, fill in the basic profile for each.

Support 1:

Name: Dale

Role: Paige’s date in opening scene

Main purpose: a humorous foil for Paige’s wit

Value: Paige’s opening scene

Support 2:

Name: Owen

Role: Retired chief of police, rural community

Main purpose: who they turn to when they are on the run

Value: allows us to get some backstory about Paige & James/Jason’s relationship. He hates James/Jason. Sounding board for Paige.

Support 3:

Name: Bob

Role: head of fringe group

Main purpose: goes after James/Jason to protect his group

Value: put Paige and James/Jason in danger and suspense

Support 4:

Name: Noah

Role: Inside man of the fringe group

Main Purpose: set up a double cross

Value: gives a twist when we find out there really is an inside man, that James/Jason is right! Build tension and suspense.

[Terrie Cooper Lee]

Terrie’s Character Profiles Part 2

I write screenplays that get turned into crowd pleasing successful films using a process that allows me to enjoy my equestrian hobby.

What I learned doing this assignment is to push through even if you can only get a little bit done at a time.

Lead Character: Paige

Concept: A US Marshall is charged with getting a conspiracy theorist into witness protection, but it’s her ex and his crazy theories are true.

Logline: Paige, a US Marshall behavioral analyst, is tasked with getting a witness safely embedded in his new identity.

Unique: Paige knows crazy. After her fiancé became obsessed with conspiracy theories, she left him and the local police force, got an advanced degree in psychology and joined the US Marshall behavioral analysis team.

Old ways: clinical, remote, avoids interacting with people due to inability to trust
New ways: able to trust and wiling to try again with James/Jason

1. Why would an actor WANT to be known for this role? Paige is clever and composed, no one gets under her skin – except James/Jason.

2. What makes this character one of the most interesting characters in the movie? She is outstanding at her job but she can act ditzy if it helps her get the job done.

3. What are the most interesting actions the Lead takes in the movie? Takes down the bad guy; profiles the person that puts her and James/Jason in danger. Uses information traps to catch the inside person.

4. How is this character introduced that could sell it to an actor? She’s on an awful date with a guy that’s dating her because she’s law enforcement (there’s probably a name for this – holster sniffer) so she profiles him, aloud, in as demeaning and as derogatory way possible.

5. What is this character’s emotional range? Composed, angry, frustrated, sympathetic, in love. Basically she’s got some serious emotional armor when we meet her due to her previous relationship with James. But as the story moves along they heal, rekindle their relationship and end up in love.

6. What subtext can the actor play? How much James hurt her yet still has feelings for him (which leads to the question – why?)

7. What’s the most interesting relationships this character has? Her relationship with James, they have a great deal of history and baggage to work through. And what was she doing dating this whack job?

8. How is this character’s unique voice presented? Intellect, very correct in her professional behavior, psychologically sizes people up.

9. What makes this character special and unique? Her ability to profile and take down people intellectually rather than with a weapon.

Profile:

1. Role: Lead – protagonist

2. Age range and description: mid thirties, attractive in a professional clean-cut way

3. core traits: smart, focused, emotionally stuck

4. motivation; want/need: succeed professionally, authentically connect with people in her life

5. wound: James nearly got her fired from her first police officer job

6. likeability, relatability, empathy:

Opening:

Likability: in the opening scene at the restaurant make her nice to the server, maybe help the server by picking something up or telling off a rude customer

Relatability: she’s on an awful date

Empathy: she tries end the date politely but he doesn’t take the hint, she profiles him.

Backstory/flashback:

Likability: protects James/Jason from getting arrested

Relatability: helping James/Jason makes her late for work

Empathy: almost gets fired

When she’s brought into protect james/jason

Likability: brings the admin a coffee or helps out a new marshall

Relatability: has to wait on her boss

Empathy: the witness is her ex and she doesn’t want to tell anyone; pressured into taking the assignment over her protests

7. Character subtext: avoids personal relationships despite or because of her empathetic nature.

8. Character intrigue: hides the fact that James/Jason nearly got her fired when she was a cop

9. Flaw: doesn’t trust others, must do it all herself by herself

10. Values: loyalty, doing the ‘right’ thing

11. Character dilemma: by the book or use her intuition.

Lead Character: James/Jason

Logline: After blowing his first cover identify, James is convinced that only his former fiancé can keep him safe as he testifies against domestic terrorists that want him dead.

Unique: James is brilliant but can’t stop spouting conspiracy theories even when his life depends on it.

Old ways: paranoid but gullible, angry, self absorbed
New ways: sees how his beliefs in conspiracy theories has harmed his life, willing to give them up.

1. Why would an actor WANT to be known for this role? He’s super quirky but charming. And he’s funny (well I need to make him funny)

2. What makes this character one of the most interesting characters in the movie? He’s got a conspiracy theory to explain EVERY TRIVIAL THING

3. What are the most interesting actions the Lead takes in the movie? Insisting his ex Girl friend handle his protection. Somewhere he needs to step up to help keep Paige safe, even though it means disregarding one of his conspiracy theories.

4. How is this character introduced that could sell it to an actor? With his paranoid conspiracy theory rantings on a flip phone, make this funny. Can I find a way to introduce them at the same time?

5. What is this character’s emotional range? Terrified, disconnected, in love, confused, hurt

6. What subtext can the actor play? His deep fear of whoever he is testifying against. Fear of losing Paige again. Fear that the conspiracy theories are true or worse, they aren’t and his life choices are a sham.

7. What’s the most interesting relationships this character has? With Paige – he knows he blew it.

8. How is this character’s unique voice presented? Total dedication to multiple conspiracy theories.

9. What makes this character special and unique? His crazy beliefs in conspiracy theories.

Profile:

1. Role: Lead protagonist, antagonist (rom com dual roles)

2. Age range and description: mid thirties, unkempt appearance

3. core traits: gullible, quirky/goofy, agreeable, paranoid

4. motivation; want/need: to get witsec protection/win paige back

5. wound: after his mother abandoned him, he was raised by a tough GF who didn’t want him around

6. likeability, relatability, empathy:

Flashback:

Likability: sweet to Paige, goofy/funny makes her laugh

Relatability: someone is rude/mean to him

Empathy: he’s in danger, maybe?

With marshalls

Likability: polite to marshalls; overtips a waitress

Relatability: hides but this could be done in a funny way

Empathy: he’s in danger from the group he is testifying against

7. Character subtext: loneliness draws him to fringe groups

8. Character intrigue: wants Paige back at all costs

9. Flaw: seeks external validation

10. Values: kinship

11. Character dilemma: get Paige fired so she can be with him or follow witsec rules.

[Terrie Cooper Lee]

Terrie’s Character Profiles Part 1

I write screenplays that get turned into crowd pleasing successful films using a process that allows me to enjoy my equestrian hobby.

What I learned doing this assignment is to push through even if you can only get a little bit done at a time.

Lead Character: Paige

Concept: A US Marshall is charged with getting a conspiracy theorist into witness protection, but it’s her ex and his crazy theories are true.

Logline: Paige, a US Marshall behavioral analyst, is tasked with getting a witness safely embedded in his new identity.

Unique: Paige knows crazy. After her fiancé became obsessed with conspiracy theories, she left him and the local police force, got an advanced degree in psychology and joined the US Marshall behavioral analysis team.

Old ways: clinical, remote, avoids interacting with people due to inability to trust
New ways: able to trust and wiling to try again with James/Jason

1. Why would an actor WANT to be known for this role? Paige is clever and composed, no one gets under her skin – except James/Jason.

2. What makes this character one of the most interesting characters in the movie? She is outstanding at her job but she can act ditzy if it helps her get the job done.

3. What are the most interesting actions the Lead takes in the movie? Takes down the bad guy; profiles the person that puts her and James/Jason in danger. Uses information traps to catch the inside person.

4. How is this character introduced that could sell it to an actor? She’s on an awful date with a guy that’s dating her because she’s law enforcement (there’s probably a name for this – holster sniffer) so she profiles him, aloud, in as demeaning and as derogatory way possible.

5. What is this character’s emotional range? Composed, angry, frustrated, sympathetic, in love. Basically she’s got some serious emotional armor when we meet her due to her previous relationship with James. But as the story moves along they heal, rekindle their relationship and end up in love.

6. What subtext can the actor play? How much James hurt her yet still has feelings for him (which leads to the question – why?)

7. What’s the most interesting relationships this character has? Her relationship with James, they have a great deal of history and baggage to work through. And what was she doing dating this whack job?

8. How is this character’s unique voice presented? Intellect, very correct in her professional behavior, psychologically sizes people up.

9. What makes this character special and unique? Her ability to profile and take down people intellectually rather than with a weapon.

Profile:

1. Role: Lead

2. Age range and description: mid thirties, attractive in a professional clean-cut way

3. core traits: smart, focused, emotionally stuck

4. motivation; want/need: succeed professionally, authentically connect with people in her life

5. wound: James nearly got her fired from her first police officer job

6. likeability, relatability, empathy:

Opening:

Likability: in the opening scene at the restaurant make her nice to the server, maybe help the server by picking something up or telling off a rude customer

Relatability: she’s on an awful date

Empathy: she tries end the date politely but he doesn’t take the hint, she profiles him.

Backstory/flashback:

Likability: protects James/Jason from getting arrested

Relatability: helping James/Jason makes her late for work

Empathy: almost gets fired

When she’s brought into protect james/jason

Likability: brings the admin a coffee or helps out a new marshall

Relatability: has to wait on her boss

Empathy: the witness is her ex and she doesn’t want to tell anyone; pressured into taking the assignment over her protests

Lead Character: James/Jason

Logline: After blowing his first cover identify, James is convinced that only his former fiancé can keep him safe as he testifies against domestic terrorists that want him dead.

Unique: James is brilliant but can’t stop spouting conspiracy theories even when his life depends on it.

Old ways: paranoid but gullible, angry, self absorbed
New ways: sees how his beliefs in conspiracy theories has harmed his life, willing to give them up.

1. Why would an actor WANT to be known for this role? He’s super quirky but charming. And he’s funny (well I need to make him funny)

2. What makes this character one of the most interesting characters in the movie? He’s got a conspiracy theory to explain EVERY TRIVIAL THING

3. What are the most interesting actions the Lead takes in the movie? Insisting his ex Girl friend handle his protection. Somewhere he needs to step up to help keep Paige safe, even though it means disregarding one of his conspiracy theories.

4. How is this character introduced that could sell it to an actor? With his paranoid conspiracy theory rantings on a flip phone, make this funny. Can I find a way to introduce them at the same time?

5. What is this character’s emotional range? Terrified, disconnected, in love, confused, hurt

6. What subtext can the actor play? His deep fear of whoever he is testifying against. Fear of losing Paige again. Fear that the conspiracy theories are true or worse, they aren’t and his life choices are a sham.

7. What’s the most interesting relationships this character has? With Paige – he knows he blew it.

8. How is this character’s unique voice presented? Total dedication to multiple conspiracy theories.

9. What makes this character special and unique? His crazy beliefs in conspiracy theories.

Profile:

1. Role: Lead

2. Age range and description: mid thirties, unkempt appearance

3. core traits: gullible, quirky, agreeable, paranoid

4. motivation; want/need: to get witsec protection/win paige back

5. wound: after his mother abandoned him, he was raised by a tough GF who didn’t want him around

6. likeability, relatability, empathy:

Flashback:

Likability: sweet to Paige, goofy/funny makes her laugh

Relatability: someone is rude/mean to him

Empathy: he’s in danger, maybe?

With marshalls

Likability: polite to marshalls; overtips a waitress

Relatability: hides but this could be done in a funny way

Empathy: he’s in danger from the group he is testifying against

[Terrie Cooper Lee]

Terrie’s Likeability/Relatablity/Empathy

I write screenplays that get turned into crowd pleasing successful films using a process that allows me to enjoy my equestrian hobby.

What I learned doing this assignment is that I have a better handle on Paige than James/Jason. I think I need to start reading up on conspiracy theories. And, just watched an episode of never had I ever – the entire episode’s purpose was to make the antagonist likable/relatable & empathetic. Great to see it in action.

Character Name: Paige

Opening:

Likability: in the opening scene at the restaurant make her nice to the server, maybe help the server by picking something up or telling off a rude customer

Relatability: she’s on an awful date

Empathy: she tries end the date politely but he doesn’t take the hint, she profiles him.

Backstory/flashback:

Likability: protects James/Jason from getting arrested

Relatability: helping James/Jason makes her late for work

Empathy: almost gets fired

When she’s brought into protect james/jason

Likability: brings the admin a coffee or helps out a new marshall

Relatability: has to wait on her boss

Empathy: the witness is her ex and she doesn’t want to tell anyone; pressured into taking the assignment over her protests

Character Name: James/Jason

Flashback:

Likability: sweet to Paige, goofy/funny makes her laugh

Relatability: someone is rude/mean to him

Empathy: he’s in danger, maybe?

With marshalls

Likability: polite to marshalls; overtips a waitress

Relatability: hides but this could be done in a funny way

Empathy: he’s in danger from the group he is testifying against

I haven’t created the specific antagonist but I think I need to:

He’s a US Marshall who for some reason that’s I haven’t figured out, is siding with one of the conspiracy groups so he’s the one threatening Paige & James/Jason.

Likability: shares his professional knowledge with new comers, and without being a no it all.

Relatability: spill coffee? Some food he/she loves can’t eat – not healthy? Spouse will get angry if she/he breaks healthy diet

Empathy: forced to retire – due to his/her age? Health condition? Health issue of a family member?

[Terrie Cooper Lee]

Terrie’s Character Intrigue

I write screenplays that get turned into crowd pleasing successful films using a process that allows me to enjoy my equestrian hobby.

What I learned doing this assignment is that even though I had some of these elements in mind, this helps me focus on them and expand what I had in mind.

Character Name: Paige

Lead

Secret: she nearly lost her job as a cop when she was with James/Jason.

This shows up as her not wanting to discuss her past with her co workers, telling James he needs to keep their past romantic relationship out of any discussions.

Hidden Agenda: get James/Jason to give up his conspiracy theories.

This shows up by her always arguing with James about conspiracy theories – tries to use evidence & facts to give up those beliefs.

Unspoken wound (overlaps with secret): nearly getting fired from her cop job prior to joining US Marshalls.

This shows up by her resisting the assignment but not being willing to give all the details. Whenever James causes any type of problem she over reacts.

Hidden Agenda: needs the field assignment to go well to help her get promoted. So even though she is resisting it she needs it to be successful.

This shows up by her being meticulous following procedure, which James hates.

Could use some of this in Act III when they go back to where they used to live and the old sheriff who told her to dump James and keep the hell away from him doesn’t want to help them because she’s “with” James.

Character Name: James/Jason

Lead

Hidden Agenda: he wants Paige back

Shows up by his trying to go along with her rules and procedures, when that doesn’t work he’s willing to do things to get her fired. Whenever they are alone he brings up how great they were together.

Secret identity: agrees to keep his original identify from Paige’s co workers

Shows up by him messing up then covering with crazy talk

Secret: he’s got some secret he hasn’t told anyone. I don’t know what this is yet.

Unspoken wound: Paige dumping him, cold.

Shows up by his lashing out at some point.

Conspiracy: at some point they conspire together to set up whoever has been undermining their safety.

[Terrie Cooper Lee]

Terrie’s Subtext Characters

I write screenplays that get turned into crowd pleasing successful films using a process that allows me to enjoy my equestrian hobby.

What I learned doing this assignment is that if I work with the subtext I can use it to create more comedy.

Example Movie: Lost City

Character Name: Loretta

Subtext Identity: Serious archeologist

Subtext Trait: Feels like a failure

Subtext Logline: Loretta is a successful romance novelist who wants to be taken seriously for her academic work.

Possible Areas of Subtext:

Character Name: Paige

Subtext Identity: during their earlier relationship, she almost got sucked into James/Jason’s conspiracy mindset, nearly lost her job

Subtext Trait: empathetic so she avoids personal relationships by pushing people away with her intellect.

Subtext Logline: Paige uses her natural empathy to be an excellent profiler but avoids personal relationships:

Possible Areas of Subtext:

Act 1: on a terrible date, she profiles her date to embarrass and get rid of him; won’t admit the nature of her past with James/Jason

Act 2: still has feelings for James/Jason. Totally loses it when he makes even trivial mistakes with their cover

Act 3: looks up old friends for help but has lost touch or they won’t help her

Act 4: her empathy for the person who double crosses them nearly costs them their lives.

Character Name: James/Jason

Subtext Identity: the freaky outcast kid gravitated to fringe groups out of loneliness; behaves inappropriately with people.

Subtext Trait: too agreeable, gullible, tries to get along with everyone, seeks validation from strangers.

Subtext Logline: James/Jason is drawn to fringe groups due to loneliness which makes his suspectable to blowing his cover identify

Possible Areas of Subtext:

Act 1: suspects every US Marshall of being involved with some conspiracy theory and tries to make friends with them this way. (OK – this could be written as a sketch and although it all looks crazy and nonsensical, one of his guesses is actually true and that’s the person that double crosses them).

Act 2: thinks everything is fine with Paige when she’s angry at him and trying to be just professional

Act 3: too friendly with everyone they meet while they are on the run. Paige has to rein him in.

Act 4: not sure. Epilogue –

[Terrie Cooper Lee]

Terrie’s Actor Attractors

I write screenplays that get turned into crowd pleasing successful films using a process that allows me to enjoy my equestrian hobby.

What I learned doing this assignment is that I’ll need to make sure I write in the comedic elements. This helped me get some insights into my characters.

Actor Attractors:

Movie: You Gotta Be Ex-ing

Lead Character: Piage

1. Why would an actor WANT to be known for this role?

Paige is clever and composed, no one gets under her skin – except James/Jason.

2. What makes this character one of the most interesting characters in the movie?

She is outstanding at her job but she can act ditzy if it helps her get the job done.

3. What are the most interesting actions the Lead takes in the movie?

Takes down the bad guy; profiles the person that puts her and James/Jason in danger. Uses information traps to catch the inside person.

4. How is this character introduced that could sell it to an actor?

She’s on an awful date with a guy that’s dating her because she’s law enforcement (there’s probably a name for this – holster sniffer) so she profiles him, aloud, in as demeaning and as derogatory way possible.

5. What is this character’s emotional range?

Composed, angry, frustrated, sympathetic, in love. Basically she’s got some serious emotional armor when we meet her due to her previous relationship with James. But as the story moves along they heal, rekindle their relationship and end up in love.

6. What subtext can the actor play?

How much James hurt her yet still has feelings for him (which leads to the question – why?)

7. What’s the most interesting relationships this character has?

Her relationship with James, they have a great deal of history and baggage to work through. And what was she doing dating this whack job?

8. How is this character’s unique voice presented?

Intellect, very correct in her professional behavior, psychologically sizes people oup.

9. What makes this character special and unique?

Her ability to profile and take down people intellectually rather than with a weapon.

Lead Character: James/Jason

1. Why would an actor WANT to be known for this role?

He’s super quirky but charming. And he’s funny (well I need to make him funny)

2. What makes this character one of the most interesting characters in the movie?

He’s got a conspiracy theory to explain EVERY TRIVIAL THING

3. What are the most interesting actions the Lead takes in the movie?

Insisting his ex Girl friend handle his protection. Somewhere he needs to step up to help keep Paige safe, even though it means disregarding one of his conspiracy theories.

4. How is this character introduced that could sell it to an actor?

With his paranoid conspiracy theory rantings on a flip phone, make this funny. Can I find a way to introduce them at the same time?

5. What is this character’s emotional range?

Terrified, disconnected, in love, confused, hurt

6. What subtext can the actor play?

His deep fear of whoever he is testifying against. Fear of losing Paige again. Fear that the conspiracy theories are true or worse, they aren’t and his life choices are a sham.

7. What’s the most interesting relationships this character has?

With Paige – he knows he blew it.

8. How is this character’s unique voice presented?

Total dedication to multiple conspiracy theories.

9. What makes this character special and unique?

His crazy beliefs in conspiracy theories.

• This reply was modified 2 years, 11 months ago by  Terrie Cooper Lee.

[Terrie Cooper Lee]

Terrie’s Actor Attractors for Lost City

I write screenplays that get turned into crowd pleasing successful films using a process that allows me to enjoy my equestrian hobby.

What I learned doing this assignment is that for RomComs the best moments happen in scenes with both characters (sleepless in Seattle defies that convention). They even created a prologue opening to let us meet both leads simultaneously.

Actor Attractors:

Movie: The Lost City – a Rom/Com with action elements

Lead Character: Loretta

1. Why would an actor WANT to be known for this role?

Not sure Sandra Bullock needs to be known for this role – but Loretta is successful, extremely intelligent woman who aids her own rescue.

2. What makes this character one of the most interesting characters in the movie?

She is complicated – she is a widow, a hugely successful romance novelist (which they have a supporting character talk about how that’s the most lucrative genre), extremely intelligent but dealing with grief and now sure what to do next with her life.

3. What are the most interesting actions the Lead takes in the movie?

She solves the translation of the hieroglyphics. Aids in saving herself from the evil billionaire.

4. How is this character introduced that could sell it to an actor?

There are really two introductions. One her writing the novel with her book leads Dash &, romance action scene with both of them that is a rip off of Indiana Jones. Then she deletes the scene. This lets us meet the two main characters in scene one in a funny way. Once she deletes the scene we cut to her at her writing desk and we get her full introduction. It’s a great introduction – we see her alone struggling to finish her latest novel and hear her agent on voice mail discussing get it done, deadline, etc. Give us all the backstory we need from believable voice mails and watch her struggle to get her work done.

5. What is this character’s emotional range?

Sad, angry, happy, frustrated, shy, frightened, awkward

6. What subtext can the actor play?

Her attraction to Alan, her grief. I think the intellect is out there not subtext. Feelings of failure & selling out when she switched to romance writing when her academic book wasn’t published.

7. What’s the most interesting relationships this character has?

With Alan she’s the boss but she is hurting and needs help. She’s intellectual he’s physical.

8. How is this character’s unique voice presented?

She has extensive knowledge of archeology and uses archeological terms but also sophisticate language frequently.

9. What makes this character special and unique?

Her intellect, being able to translate the hieroglyphics

10. (Fill in a scene that shows the character fulfilling much of the Actor Attractor model.)

She tells Alan she’s done writing and he can transition to the shirt on phase of his modeling career and she can be left alone. He argues – she could visit ancient Greece, she says no she can’t, he says because your afraid to fly? No, it’s ancient. He tells her she’s human mummy. Mummies are human. Again, we get some insights into both characters with this scene.

Lead Character: Alan

1. Why would an actor WANT to be known for this role?

It’s a gender spin on the dumb blonde, he’s the gorgeous cover model not too bright. Allows Channing to show off his comedic skills.

2. What makes this character one of the most interesting characters in the movie?

Despite not being too bright he really wants to help Loretta and be more than a pretty face. He gets some great comedic moments.

3. What are the most interesting actions the Lead takes in the movie?

Lots of comedic moves but he goes all in to save Loretta even though he is basically incompetent.

4. How is this character introduced that could sell it to an actor?

He’s in the prologue sort of opening in his Dash character. When we meet Alan it seems this part was written with Channing in mind. He opens on stage strutting his stuff for the nearly 100% female audience. Thanks to Loretta’s clumsiness he falls off the stage and losses his wig.

5. What is this character’s emotional range?

Confused, happy, in love, hurt, confident, jealous

6. What subtext can the actor play?

He’s kind, loving, and caring – shown by his yoga/meditation retreat activities.

7. What’s the most interesting relationships this character has?

With Loretta he’s subservient to her but wants to be useful and helpful to her.

8. How is this character’s unique voice presented?

The mistakes he makes – verbal vocabulary mistakes, physical mistakes.

9. What makes this character special and unique?

His underlying sweetness and eagerness to save Loretta

10. (Fill in a scene that shows the character fulfilling much of the Actor Attractor model.)

Scene between them. He calls her out for taking the map fragment it will get them killed. She’s looking for a volcano but she didn’t clue him in he thought he was saving her. She points out he’s not Dash which hurts him. Cuts him down, saying he just came to LA and he’s just a not very successful model and just luck he got her cover.

He comes back- he’s from Sarasota discusses his background. Admits being embarrassed by the first book cover, but then one day a woman yelled out hey Dash and it made her happy to see him. Why be embarrassed for making someone happy? Don’t be mean to people who love your books. Ends: you of all people shouldn’t judge a book by it’s cover.

So this scene gives us insight into both characters.

Inciting incident is the kidnapping which happens at 15 min.

[Terrie Cooper Lee]

Terrie’s Genre Conventions

I write screenplays that get turned into crowd pleasing successful films using a process that allows me to enjoy my equestrian hobby.

What I learned doing this assignment is that it’s best to honor genre conventions.

Title: You gotta be ex-ing

Genre: Rom-com with thriller elements

Concept: A US Marshall is charged with getting a conspiracy theorist into witness protection, but it’s her ex and his crazy theories are true.

Paige:

Old ways: clinical, remote, avoids interacting with people due to inability to trust
New ways: able to trust and wiling to try again with James/Jason

James/Jason
Old ways: paranoid but gullible, angry, self absorbed
New ways: sees how his beliefs in conspiracy theories has harmed his life, willing to give them up.

ACT 1

Opening: James/Jason talking into a flip-phone, crouched down, hiding. On the other end, also on a flip-phone a US Marshall. They argue about James/Jason being stalked. James/Jason offers a variety of conspiracy theories the Marshall counters all of them. Comedy dialog here to show James/Jason’s paranoia through this exchange. His paranoia includes smart phones, hence the flip phones.

Paige on a lunch date. Her data is cop groupie, into guns. She profiles him, to his face, in as insulting a manner a possible, like he’s got a small penis.

James/Jason escorted into a court house, shots are fired. He’s whisked away to safety. I told you so to the US Marshall.

Paige gets a call at lunch. Answers like it’s the friend who set up her date. But nope it’s her boss. (Embarrassing exchange here) She’s called into work. Of course her date makes a scene.

Turning point: Paige meets James, but he’s really Jason. They dated when she was a police officer. She refuses to protect him. He’s an ex, no way that’s okay.

He insists. Unless she is his protection detail, he won’t testify. If he doesn’t testify, he’ll witness protection and his new fake identify. Then he won’t need it. Back and forth. The case is against domestic terrorists. Paige agrees. James/Jason spouts conspiracy theories every chance he gets. Her boss this nut job’s your boyfriend. EX! maybe you can fix his crazy shit.

ACT 2

New Plan: Paige will be in charge of James/Jason’s protection.

Plan in action: Normal protection assignment. Maybe they move every day – at his insistence, he probably read some book and thinks he knows best. Constant bickering, use a sketch comedy format.

James comes onto her when they are alone. She slugs him – make it funny – raise the stakes physically between them.

Midpoint Turning Point: Their cover gets blown, another attempt on James/Jason. Paige admits his paranoia is reasonable because almost no one knew where they were. They go on the run, just the two of them.

ACT 3

Rethink everything: Paige has to admit his paranoia is reasonable because almost no one knew where they were. Paige realizes someone on the inside must be setting them up

New Plan: just her and James/Jason. Find a place to be safe, cut off from the Marshall service. Leave the current district, go to the district where she first started. As they travel, we get some backstory, how his paranoia almost got her fired – that’s when she left him. Somewhere in here they sleep together.

Paige realizes that some of James’ conspiracy stories are true. She sets information traps to identify who is blowing their cover.

Series of challenges getting to the ‘safe’ location –make these funny. They don’t have a smart phone so they get lost. She won’t stop for directions. Need more.

ACT 4:

The information traps Paige set ups come to fruition.

I need to figure out who it is, what’s the conspiracy, who is setting them up and it’s consistent with one of his conspiracy theories. This person serves the Villian role in the Thriller genre.

Face off: Paige sets up the villain. James tries to escape Paige even though he trusts her he doesn’t trust the people she works for. Paige manages to get him to testify. From the information traps, she’s outed someone in the government whose been helping the domestic terrorists.

Ends: With the traitor in jail so James/Jason gives up witness protection to be with Paige. Some funny epilogue. Him keeping up with his weird behaviors to ensure they are safe – circling the block I’m not sure. Needs to include Paige.

[Terrie Cooper Lee]

Terrie’s 4 Act Transformational Structure

I write screenplays that get turned into crowd pleasing successful films using a process that allows me to enjoy my equestrian hobby.

What I learned doing this assignment is really reinforcing what I already know – read of the assignment early (like before sent an email), draft next day, revise. This is not great but iterations help.

Concept: A US Marshall is charged with getting a conspiracy theorist into witness protection, but it’s her ex and his crazy theories are true.

Paige:

Old ways: clinical, remote, avoids interacting with people due to inability to trust
New ways: able to trust and connect with her peers

Old ways: paranoid but gullible, angry, self absorbed

James/Jason
Old ways: paranoid but gullible, angry, self absorbed
New ways: sees how his beliefs in conspiracy theories has harmed his life

ACT 1

Opening: Paige at work. Congratulated on some work accomplishment by her peers. everyone shares great weekend plans, she invited to drinks to celebrate. Nope, she’s getting caught up on paperwork – note: somehow need to make clear her profession

James/Jason in a car escorted by a US Marshall. Someone he’s not followed the rules, maybe left custody to hide on his own. Claims he was being stalked it’s not safe. Told we checked. Had round the clock protection. As he’s escorted to a grand jury hearing shots are fired. He’s whisked away to safety. I told you so to the US Marshall

Turning point:Paige in her apartment. Late 10 or so. Pulls something out of the freezer and tosses in the microwave. Phone rings – her boss. She’s needed for WITSEC. She argues, she’s behavioral, makes no sense. This guy’s a bit paranoid, maybe they need behavioral to get this guy to play by the rules.

ACT 2

New Plan: Paige will be in charge of James/Jason’s protection.

Plan in action: Paige meets James, but he’s really Jason. They dated when she was a police officer. So she refuses, an ex, can’t be okay.

He insists. If she’s protecting him, he won’t testify. He’ll lose protection. Then he won’t need it. The case is against domestic terrorists. James/Jason spouts conspiracy theories every chance he gets.

She’s pressured into taking the assignment, it’s important.

James come onto her when they are alone. She stops him.

Midpiont Turning Point: Their cover gets blown, another attempt on James/Jason. Paige has to admit his paranoia is reasonable because almost no one knew where they were. So they are on the run, just them.

ACT 3

Rethink everything: Paige has to admit his paranoia is reasonable because almost no one knew where they were. Paige someone on the inside must be setting them up

New Plan: just her and James/Jason. Find a place to be safe, but cut themselves off from the Marshall service. Leave the current district, go to the district where she was first started. As they travel to the new location we get some backstory, how his paranoia almost got her fired – that’s when she left him. Somewhere in here they sleep together.

Paige realizes that some of James’ conspiracy stories are actually true. She sets information traps to lure out the person who is after them.

Series of challenges getting to the ‘safe’ location –car accident? Get lost? Brainstorm this.

ACT 4:

The information traps Paige come to fruition.

I need to figure out who it is, what’s the conspiracy, who is setting them up and it’s consistent with one of his conspiracy theories.

Face off: Paige sets up the villain. James tries to escape Paige even though he trusts her he doesn’t trust the people she works for. Paige manages to get him to testify. Outs someone in the government whose been helping the domestic terrorists.

Ends: He’s settled into a new life (doing what?)

Paige goes back to her chosen profession. She agrees to go out with her peers, the paperwork can wait.

[Terrie Cooper Lee]

Terrie’s Subtext Plot

I write screenplays that get turned into crowd pleasing successful films using a process that allows me to enjoy my equestrian hobby.

Concept: A US Marshall is charged with getting a conspiracy theorist into witness protection, but it’s her ex and his crazy theories are true.

What I learned doing this assignment is that it’s great to have a list of possible subtext plots to organize my thinking.

Most important subtext plots:

Scheme and Investigation – Paige is trying to figure out (investigate) why James wants her to handle his WITSEC, James is scheming ways to escape WITSEC and get Paige fired.

A Major Cover Up – this feeds James’ conspiracy theory obsession. He believes there are multiple cover ups at the US Marshall office. Most of these are imaginary but at least one is true. He really is in danger from the inside and Paige has to figure out how to keep him safe.

Competitive Agendas – James says he just wants Paige to protect him through the process but under the surface he wants her to get fired from her job and go on the run with him. Paige wants James to abide by the rules of WITSEC and give up his crazy conspiracy theories. James believes that his ‘knowledge’ of conspiracy theories is what has kept him alive and needs her to believe them so they don’t get killed.

Less important:

Someone Hides Who They Are – this would fit into the major coverup – someone who works for or with the US Marshall’s is not who s/he seems.

The Fish Out of Water – put some comedy into this Rom-Com. WITSEC is not a normal job duty for Paige so she is a bit fish out of water doing that job. As they travel (as part of keeping James safe) they end up in weird places where they don’t fit in – maybe they use weird disguises. James doesn’t fit in with the US Marshall types.

• This reply was modified 3 years ago by  Terrie Cooper Lee.

[Terrie Cooper Lee]

Terrie’s Transformational Journey!

I write screenplays that get turned into crowd pleasing successful films using a process that allows me to enjoy my equestrian hobby.

What I learned doing this assignment is that although I think my transformational journey needs refinement, coming up with these pieces helped me gain insights into my characters and the story.

Rom-Com so the main characters are both protagonist and antagonist to each other.

Character: Paige

Logline: Paige, a US Marshall behavioral analyst, is tasked with getting a witness (her ex) safely embedded in his new identity.

Arc Beginning: All work all the time. No interest in a personal life.

Arc Ending: Recovered from her bad break up with James, she’s open to a relationship and allowing fun back into her life.

Internal journey: From cut off from others to open and engaged with others.

External journey: Something of a road trip as she gets James to safety.

Old ways: clinical, remote, avoids interacting with people due to inability to trust
New ways: able to trust and connect with her peers

Character: James/Jason

Logline: After blowing his first cover identify, James is convinced that only his former fiancé can keep him safe as he testifies against domestic terrorists that want him dead.

Arc Beginning: believes conspiracy theories, thinks the US Marshall’s conspired against him, thinks Paige is naïve, doesn’t see his role in their break up.

Arc Ending: He and Paige don’t reconcile but they work through their issues and both are able to move on.

Internal journey: From angry & paranoid, only testifying to save himself to seeing his role in negative outcomes of his life and testifying because it’s the right thing to do.

External journey: From hiding from the US Marshalls to safely ensconced in his new identity.

Old ways: paranoid but gullible, angry, self absorbed
New ways: sees how his beliefs in conspiracy theories has harmed his life

[Terrie Cooper Lee]

Terrie’s Title, Concept, and Character Structure!

I write screenplays that get turned into crowd pleasing successful films using a process that allows me to enjoy my equestrian hobby.

What I learned doing this assignment is that starting it even superficially, is useful for when I come back to it.

Title: You gotta’ be exing

Concept: A US Marshall is charged with getting a conspiracy theorist into witness protection, but it’s her ex and his crazy theories are true.

Rom-Com so the main characters are both protagonist and antagonist.

Character: Paige

Logline: Paige, a US Marshall behavioral analyst, is tasked with getting a witness safely embedded in his new identity.

Unique: Paige knows crazy. After her fiancé became obsessed with conspiracy theories, she left him and the local police force, got an advanced degree in psychology and joined the US Marshall behavioral analysis team.

Character: James/Jason

Logline: After blowing his first cover identify, James is convinced that only his former fiancé can keep him safe as he testifies against domestic terrorists that want him dead.

Unique: James is brilliant but can’t stop spouting conspiracy theories even when his life depends on it.

• This reply was modified 3 years ago by  Terrie Cooper Lee.

[Terrie Cooper Lee]

Terrie’s Title, Concept and Character Structure

What I learned from this assignment is that the Rom Com genre is right for this film. I’ll probably need some thriller elements to add suspense and heighten what the characters are going through.

Vision: I write screenplays that get turned into crowd pleasing successful films using a process that allows me to enjoy my equestrian hobby.

Title: You gotta’ be ex-ing

Concept: A US Marshall is charged with getting a conspiracy theorist into witness protection, but it’s her ex and his crazy theories are true.

Character Structure: Rom Com.

[Terrie Cooper Lee]

1. Terrie Shaft (but find me on the Alumni FB group as Terrie Cooper Lee)

2. Two complete scripts. 3 partial.

3. I would like to get a marketable script and a solid screenwriting process out of this class.

4. I compete at the equestrian sport of eventing – which is sometimes called a triathlon for horses.

[Terrie Cooper Lee]

1. Terrie Shaft

2. I agree to the terms of this release form.

GROUP RELEASE FORM

As a member of Writing Incredible Movies, I agree to the following:

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

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

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

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

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

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

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

This completes the Group Release Form for the class.

[Terrie Cooper Lee]

Hi Ed – first my apologies that I didn’t get back to you more quickly. I got bogged down with some other things.

These pitches are great. I have a couple of minor comments:
1. I'd mention the LGBTQ+ angle even in the phone pitch – this seems to be an important part of your marketing.
2. I really liked the 'What happens when a magical elf falls for the wrong human?' line. Also, Jasper is stranded!
3. I got confused toward the end – "Howie must make an impossible choice: protect his heart or risk it all to save Christmas" – I thought Jasper was saving Christmas? Did I miss something? Is Howie needing to step up and save Christmas because Jasper can't for some reason? If there is an easy way to clarify it might help.

Hope 2025 is treating you well!

• This reply was modified 4 months, 3 weeks ago by  Terrie Cooper Lee.

[Terrie Cooper Lee]

Edward – thanks for the feedback – very useful. I'd be happy to give you some comments as well. Do you have a revised set or would you like comments on what is currently posted?

• This reply was modified 5 months, 2 weeks ago by  Terrie Cooper Lee.

[Terrie Cooper Lee]

Hello Michael – I like this concept with mix of family friendly but some thriller twists. I only saw a few things you might consider revising to make things clearer. For the elevator pitch: I didn't quite follow the second sentence. Unconventional methods maybe was too vague for me. Really like the ending – 'expose the truth' nice hint at the twist. For the telephone/pitchfest: I'm not sure I got the significance of a self proclaimed physics professor. Are they concealing their identity or using a false identity? Just like your elevator pitch – the last sentence is a great twist to end on. Query Letter: I really liked that you set up Jocinda as someone that's been passed over and has something to prove, we know she's competent. You might tighten that paragraph – I'd consider cutting 'with high school and college softball experience.' I think you can omit that level of detail. I'd also replace 'figure out' with 'calculate.' The entire last paragraph 'As the season progresses' I think is really great. Just enough to intrigue me without getting bogged down.
I hope some of my comments are helpful.

• This reply was modified 5 months, 3 weeks ago by  Terrie Cooper Lee.
• This reply was modified 5 months, 2 weeks ago by  Terrie Cooper Lee.

[Terrie Cooper Lee]

yeah it’s great – but I haven’t managed to watch all of it yet.

[Terrie Cooper Lee]

Jon – I've got a sci-fi/comedy would you like to exchange feedback – writernm@yahoo.com

• This reply was modified 11 months, 3 weeks ago by  Terrie Cooper Lee.

[Terrie Cooper Lee]

YES on the producer interviews I’m catching up and I’ll reach out when I get there. thanks for offerering

[Terrie Cooper Lee]

Thanks for exchanging feedback.

Great concept and I love the title. Fits the genre well.

Rom-Com conventions:

I can see the romantic future for this couple. The convention that each person has an internal issue to resolve before they can be together was clear for Carmen, however, the sample didn’t reveal Duncan’s personal issue. Mostly he seems like a nice guy. I wondered what’s he done to make Carmen hate/love him so much? If the sample could include some behavior that makes Peri hate him it would show your skill with the genre more clearly. The convention to handle relationship issues and embarrassing moments with humor is well done.

Some things that might improve this as a writing sample:

I think that writing samples are tricky because we pull out a segment from something larger. I think it’s worth adding details to samples that probably were included earlier in the full script. I would recommend treating each character like you would introduce them in the full screenplay – give the brief description (capitalize name, age, etc.) I would have liked some physical description of the characters. BTW, really liked the names of the guys at the speed dating events. Very funny.

You have a funny bit at the beginning that overviews everyone she’s rejected but it’s not clear how this would show up visually in the film. One idea might be to open with her interaction with Pinocchio then a quick montage of the others (talks too much, spits too much) so the audience sees these interactions. This scene could close with the delivery man interaction.

When Carmen is in her room on the phone with Peri, since in the sample this is the first time we are introduced to Peri it might be worth cutting to Peri one time so we can see her.

It wasn’t clear to me if Peri knows Duncan or not. She doesn’t guess that’s who is representing Alex, so it made me think she doesn’t know about him. But later Peri teases Carmen that she actually loves Duncan, so she probably knows Duncan. Can you amp up the teasing between Carmen and Peri? Lots of good comedy things here – Dr. Fearnsby’s notes and Carmen removing her shoe in the bar were great.

[Terrie Cooper Lee]

thanks Joy – I appreciate the feedback. I’ve been on the fence about the title so it’s great to know it worked for you.

[Terrie Cooper Lee]

great! yes I’d appreciate some feedback. I can post some feedback for you tomorrow sometime. Post here or if you prefer email let me know your email address.

[Terrie Cooper Lee]

would you like to exchange feedback? I’ve got a rom-com sample below (post 45)

[Terrie Cooper Lee]

if you haven’t found it, the recording of the first wednesday zoom meeting is posted in the course area.

[Terrie Cooper Lee]

Jacqueline – if you are up for exchanging I’d appreciate some feedback. Since it’s late I’ll go ahead and email mine to you.

• This reply was modified 2 years, 9 months ago by  Terrie Cooper Lee.
• This reply was modified 2 years, 9 months ago by  Terrie Cooper Lee.

[Terrie Cooper Lee]

Hello Amechi – glad to see you in this class!