[Tyrone Huff]

This technique is speeding up my writing and boosting my motivation. Instead of getting caught up in perfecting each word, I’m focusing on one section at a time. I leave quick notes for future revisions, keeping the momentum going. It’s like building a masterpiece, one step at a time.

FADE IN

INT. BACK HALLS OF A PLAY HOUSE – NIGHT

A Black is seen running for his life. His eyes are aswide as camera lenses. He’s in BLACK FACE, His clothes are barely hanging on him, ripped to shreeds. Not to far behind him a small MOB is after him.

The mob in tow has chains, bats, crow bars. He’s cornered. With nowhere to go.

He thinks for a moment then starts to dance, dance a jig. The mob watches for a moment until some one tosses abottle at him that lands at his feet. He Contiues to dance. Another bottel flies throught the air and strikes him on the head.

The Mob Jumps him. We hear the horrifying screams of the man util it comes to a abrubt halt.

CUT TO BLACK.

INT. MALIKA’S APARTMENT – DAY

This could be a quick scene of malika finishig up a historical vlog about positive black history that no one has heard about. He vlog is flashy informative and she is in her element. She has made tons of these and people share them and historians share them.

EXT. SMALL COLLEGE TOWN – DAY

MALIKA arrives in a quaint town, Her face is bright with optimisim and curiosity. She takes in the sights of the town greeting locals with enthusaim. There’s warm, yet slightly distant reception. She’s too excited to notice the distances.

Malika reaches the museum, her new workplace, filled with a sense of purpose and excitement. She takes a moment to take in the glorious arcitecthre of the building. Composes a quikc video and posts it for her followers. After confirming that it is live she enters.

INT. MUSEUM – DAY

LYDIA (60s, imperious and elegant) commands the exhibit hall. Dressed in a vintage tweed suit, she moves with an air of aristocratic grace. Her eyes, sharp and discerning behind antique spectacles, miss nothing. She carries a small, ornate magnifying glass, which she uses not just for inspection but as a pointer, directing her assistant with subtle yet authoritative gestures.

Her assistant, BOB (early 40s, scruffy but earnest), struggles to keep pace. He’s a stark contrast to Lydia’s refinement, wearing an oversized sweater and mismatched socks, often pushing up his slipping glasses. He scribbles notes in a weathered notebook, his handwriting a chaotic scrawl. Bob habitually bites his lip in concentration, especially when Lydia gives a new directive.

LYDIA

This time let’s go with the warm lighting. The new led bulbs washes everything out.

BOB

(jotting this down)

No LED’s got it.

Lydia turns to the empty space. Pauses for a second.

LYDIA

Bring the case up here form the basement. I think I knwo what can go here.

BOB

Which case?

LYDIA

The one we had left oveer from June’s show.

BOB

Got it!

Bob looks at his phone.

BOB

It’s 3:40. Your new hire Malika should be here.

LYDIA

You’re right let’s go.

Lydia leaves at fast pace. Bob kicks it into second gear to catch up with her.

INT. MUSEUM BACK HALL – MOMENTS LATER

Malika stands in the back hall scanning the photos of the building of the musem, the old currators posing with city officials over the years, a younger scruffy Lydia, over different decades with celeberties and major political figures.

The footsteps anf Lydia and Bob can be heard approaching Malika. Malika turns to greet Lydia with a smile. Lydia smiles and greets Malika with open arms.

LYDIA

Malika Jhonson. I am excited to have you on the team.

Lydia places a hand on each shoulder.

MALIKA

I’m excited to join the team.

LYDIA

Let me look at you.

Malika akwardly pauses aloowing Lydia to look her up and down. Lydia smiles. Malika reflects the smile back. Bob smiles too.

LYDIA

Let’s go.

Lydia gives Malika a brief tour while subtly emphasizing her traditional approach to the town’s history.

MALIKA’S OFFICE – CONTINUOUS

The door to Malika’s new office swings open.

LYDIA

This is your office. I hope you find it sutaible.

Malika steps and and scans the room.

MALIKA

(with a chuckle)

This is perfect.

LYDIA

Perfect. That is exactly what I was hoping you would say. Let leave you to settle in. Like I said over the phone you are going to be a great asset in helping the museem stay current and hip.

MALIKA

Thank you.

Lydia and Bob leaves Malika. Bob slips his head back in the door sill.

BOB

(refering to the door)

Would you like me to close this for you?

MALIKA

Yes please.

Bob nods and closes the door.

Malika steps deeper into her new personal work space feeling empowered. Her she feels the desk then takes a seat in her new chair. Does a little dance then spins in her chair.

EXT. COLLEGE CAMPUS – NIGHT

The night is crisp and clear over a sprawling, prestigious university campus. Students amble between buildings, the strains of late-night study sessions drifting out from library windows. Tucked away from the academic bustle, a fraternity house pulses with the beats of hard-hitting music and boisterous laughter.

The front door of the house bursts open. A herd of students pour out of the house dressed in tasteless pimps and hoes 70’s costumes. With bell bottom pants, platform shoes, oversized gold chains, nappy afros, most of them blackened their faces black or brown makeup. The sight is repulsive but the students are having a great time.

INT. FRAT HOUSE – NIGHT

A WHITE MAN stumbles down a hallway reaching for the wall to catch himself. He turns into a room and sits on a bed. He tugs at the nappy afro on his head till it falls to the floor. With a tap on his phone he kills the music.

He lowers his phone to reveal a black void at the end of the hallway. The hair stands on the back of his neck as he sobers up.

The shadow reaches down the hall to white man. He squints his eyes to look deeper into the void until – –

A shadowy figure of a man steps into the crest of light and strikes a pose with his ass cocked knees bent and his head tilted looking up at the ceiling. White Man’s eyes go saucer wide.

WHITE MAN

Bro, the party is over.

A pregnant pause.

The figure down the hall turns to look at White man. Revealing a painted black face with a deadly smile this is JIM CROW, a horrific apparition from our past.

White Man flinches.

WHITE MAN

You went all out dude. I appreciate the heart but it’s time to go dude.

Jim Crow moves towards White Man, its movement disturbingly clumsy and graceful. It jigs towards the man.

White Man sprints towards the door and SLAMS it in Jim Crow’s face. White Man presses his back against the door and scans the room. There is a BANG at the door. Then Another and ANOTHER. White Man grabs his chair, tosses it through the window and dives through it.

EXT. COLLEGE CAMPUS – CONTINUOUS

White Man in blackface flies out of the old building, he breaks into a run, his desperate cries resonating through the deserted campus. He looks over his shoulder, fear etched in his face. He burts around the corner CRASHING into –

WHITE MAN

Ahhh!

A GAY (two men) COUPLE. knocking one of them to the ground.

White man’s legs is intangled with the man’s on the floor. The man still standing, CHARLES, pushes White man off of his disshoulveled lover.

CHARLES

Watch where the fuck you are going.

WILL takes Charle’s hand stands up. Will pats himself off and Charles helps. They turn to scold White Man but stops when they see the horrified look on his face. He points to something behind them. They turn to see.

To see Jim Crow not too far from them. The creature’s movements are a paradox — disturbingly clumsy, yet somehow also graceful. Its dance, a macabre parody of tap, echoes through the vast campus.

The couple turn back to White Man with a perplexd look on thier face.

CHARLES

Um, there’s nothing there.

WILL

You are tripping. You need –

The two men continued remarks can be heard but as the spectral figure begins a monstrous tap dance, the chilling rhythm, a haunting harbinger of a dreadful reckoning. The man tries to flee, but his body defies him.

WILL

Something got him all fucked up.

The two chalk him up as a junkie and scrries off.

The man tries again to get up and run but his ankles give way with a sickening crack, propelling him into a macabre dance of agony.

His harrowing cries continue as we…

CUT TO BLACK.

INT. MUSEUM – DAY

MALIKA, focused and diligent, arranges artifacts skillfully. Assisting her are RACHEL, TYLER, and ALEX.

RACHEL (mid-20s), with sharp eyes and an inquisitive demeanor, watches Malika’s hands move with precision. Her style is eclectic, a mix of vintage and modern, reflecting her creative nature. She has a habit of tucking her hair behind her ear when focused.

RACHEL

(to Malika)

Oh, you got another one of those?

TYLER (early 30s), tall with an athletic build, leans against a display case, a constant smirk playing on his lips. He exudes a casual confidence, dressed in a style that’s effortlessly cool. Tyler is known for his playful sarcasm, often clicking a pen in his hand when plotting his next quip.

TYLER

What year did you graduate again?

Malika opens her mouth to answer but stops, noticing Tyler’s smirk.

MALIKA

This one’s funny.

ALEX (late 20s), the quiet observer, stands slightly apart. He’s average in height, with a thoughtful expression and understated attire. His key trait is his dry wit, often delivered in a deadpan manner. Alex habitually adjusts his glasses when he’s about to interject with a comment.

ALEX

He thinks he is, but just like that last joke, most of them fall flat.

Their friendly banter echoes around the museum, a stark contrast to the somber Jim Crow exhibit hall they are working on.

INT. MUSEUM – LATER

OFFICER JAMES BENNETT (late 30s) strides in. Tall and well-built, he carries an air of authority. His stern face often intimidates, but a flicker of dry humor lies behind his deep voice. He unconsciously flips his badge in his hand, a contrast to his stoic nature.

OFFICER LISA MORENO (early 30s) follows, her athletic frame moving with purpose. She exudes friendliness and empathy, making her approachable. A notebook is clutched in her hand, a rainbow of colorful pens peeking from the spiral binding.

OFFICER DALE ROBERTS (mid 40s), slightly overweight and jolly, brings up the rear. He’s the type everyone in town knows and likes, his easy-going demeanor a comfort. He mutters a line from a detective novel under his breath, a quirky habit that endears him to many.

The trio stops in front of MALIKA, who looks up, surprised.

She lowers the cleaning rag and smiles.

MALIKA

Good afternoon officers.

OFFICER LISA MORENO

To you too mam.

OFFICER JAMES BENNETT

Mam.

Officer Dale Roberts glances at her badge.

OFFICER DALE ROBERTS

Good afternoon Malika.

MALIKA

Is there someting I can help you with?

OFFICER JAMES BENNETT

Actually it would be great if you can be a peach and find Lydia for us we? Need a historian.

Malika doesn’t think twice and says.

MALIKA

Oh. I can help you. How can I be of service?

The trio looks at Malika perplexed. Officer Bennet stops flicking his badge.

OFFICER LISA MORENO

You can help us?

MALIKA

I sure can, I’m new here but I’m not new.

Malika gives a, what you got for me smile.

OFFICER DALE ROBERTS

I think Lydia would be a better fit for the questions I have.

MALIKA

I insist hit me with your questions and if I feel like it doesn’t fit into my wheel house I’ll give Lyda a call.

Officer hesitantly reaches into her bag. She glances at Officer Bennett. He nods ok.

She reaches into the bag and pulls out a old tin that says, STINE’S BURNT CORK MAKE UP on the cap.

She hands it to Malika. Malkia smirks. Now she see why they didn’t want to ask her any questions.

MALIKA

This is a 1920’s Vaudveille black face make up tin. May I take a closer look at it.

OFFICER DALE ROBERTS

Be our guest.

Malika walks the tin over to a counter. He pull oot a pair of gloves out of her pocket, places a microfiber cloth on the counter.

MALIKA

Where did you find this?

She pulls the tin out of the plastic evidence bag. Officer Lisa Moreno Looks at her notes and reads.

OFFICER LISA MORENO

This was on the body of a young man that actually used the contents of the tin to paint his face black.

Malika glances up at the officers. Officer Roberts gives her a “you heard right” look.

OFFICER DALE ROBERTS

The funny well, not so funny thing is that victim didn’t have the makeuup on his face when found.

OFFICER JAMES BENNETT

It looks like he was in the process of cleaning it off before being attacked.

MALIKA

Why would he be in black face?

OFFICER JAMES BENNETT

Kids down at the college was having a pimps and ho’s party.

MALIKA

Pimps and Ho’s?

OFFICER LISA MORENO

It’s one of the traditions. I been to a few of them myslef.

MALIKA

Officer Moreno you used to ho it up?

Officer Moreno chukles a bit as she gets ready to respond to Malika’s queston but stops her self to keep it profesional. Malikia notices this and take another look at the tin.

OFFICER DALE ROBERTS

They had to change it to Pimps and ho’s becuse what it was called before is not PC.

MALIKA

The man went out of his way to be racists. These tins aren’t something you can find a local thrifth store. It’s pure cork.

The three officers struggle to avoid the previous statement.

Malika notices it.

MALIKA

What, you mean to tell me that you can get these at the local 2nd hand store?

They bite thier tongue.

MALIKA

(to herself)

Man, this town is –

LYDIA (O.C.)

Hello oficers. Why do I have the pleasure of this visit?

The officers faces lighten up with relief. They all turn to see Lydia.

LYDIA

I see that you’ve had a chance to meet my new curator, Malika, Malika’s fr-

Lydia notices the tin can infront of Malika on the counter.

LYDIA

Was another one of these found on campus?

MALIKA

Another one? What?

LYDIA

These kids is stuck in the old tradion of partying they’re harmless and is just having some fun.

(to the officers)

Officecers Can I take a look at what you brought for me?

MALIKA

What we have here is a-

LYDIA

– Thank you Malika I got it from here.

Malika is taken back. She holds her tounge. Glances at the officers who smile at the display of Lyia’s powerss.

MALIKA

Nice meeting you officers.

The officers speak freely with Lydia and let’s out a collected laugh ounce Malika is out of ear shot.

Malika turns the corner and pauses in thought. Malika, now alone, reflects on the incident. Her interest in the artifact’s true history and its possible connection to the town’s past grows.

A SCENE IS NEEDED HEAR TO BREAK US AWA FROM THE MUSEUM. IT COULD BE WITH MALIKA AT A RESTURANT EATING ALONE. OR HER AT HOME MAKING A NEW VIDEO FOR HER TO POST. WE SEE ALL OF THE WORK THAT GOES INTO THE PREPERATION OF THE VIDEO THEN WE SEE HER RECORD THE VIDEO TO SOUND AS CASUAL AND ENTERTAING FOR THE MASSES.

INT. MUSEUM EXHIBIT HALL – NIGHT

The scene opens in a dimly lit hall of the museum, filled with artifacts and displays that speak of the town’s history.

Malika is alone in the vast hall working late, cataloging items. The musem is quite, save for the occasional creak of the old building. A FAINT WHISPER can be heard.

Malika stops working and perks her ear up and scans the room.

NOTHING. She shakes her head dississeing it to her imagination and continues to work.

A whisper can be heard again but this time it was CLOSER more PRESENT. She’s convinced that she has deffiently heard something. Malika lowers her tools and stands up to hear better. The whisper breaths out again and echos through the hall.

Curious, Malika follows the sounds. The museum lights FLICKER, casting long, disorienting shadows. As she moves through the exhibits, the whispers become clearer, sounding like voices from the past, (discussing racial injustices and events of the town’s history. I’ll figure this out later so that it’s not over kill)

Suddenly, Malika sees reflections of the Jim Crow monster in the glass cases of the exhibits. Each reflection shows a different aspect of its form – one is grotesquely elongated, another fractured into pieces, each more terrifying than the last. The reflections seem to be watching her, following her movements.

PANICKED, Malika turns to run but stops as the lights stabilize and the museum returns to normal. She looks back at the exhibits – the monster is gone, leaving only her own frightened reflection. Shaken, she hurries out of the exhibit hall, her mind racing with what she’s just witnessed.

[Tyrone Huff]

In this second pass of the beat sheet, I’ve realized the immense value in developing a layered, bird’s-eye view of the story.

Opening: Mysterious Town Tragedy (Flashback)

• INT. TOWN HALL – NIGHT (FLASHBACK): A harrowing racial incident unfolds, culminating in the first appearance of the Jim Crow monster.

Act 1: Introduction and Old Ways (25-30 pages)

• EXT. SMALL TOWN – DAY: Malika arrives, hopeful and optimistic about her new curator role.

• INT. MUSEUM – DAY: Lydia showcases the museum’s traditional exhibits, reflecting her version of the town’s history.

• INT./EXT. VARIOUS TOWN LOCATIONS – DAY: Malika’s interactions with townspeople, revealing her idealistic belief in the power of education. Lydia subtly reinforces the town’s resistance to confronting its past.

• INT. MUSEUM – DAY (TE 1 – Hostile Reception at Community Event): Malika faces subtle racism during her museum event. Lydia observes, noting Malika’s approach and the town’s reaction.

• INT. MUSEUM STORAGE ROOM – DAY (Inciting Incident – Discovery of the Artifact): Malika discovers the antique tin of blackface makeup, sparking her interest in the town’s dark history.

• INT. MUSEUM – NIGHT (TE 2 – First Terrifying Encounter with the Monster): Malika’s first supernatural encounter related to the artifact. Lydia remains unaware of these events.

• INT. MALIKA’S HOME – NIGHT: Malika resolves to uncover the truth behind the artifact and the supernatural occurrences.

Act 2: Challenge the Old Ways (20-30 pages)

• INT. MUSEUM – DAY: Malika begins her research into the artifact and the town’s history, challenging the town’s sanitized narrative.

• INT. MUSEUM – DAY (TE 3 – Public Challenge by Lydia): Lydia publicly challenges Malika’s historical narrative during a museum event, causing community tension.

• INT. TOWN LIBRARY – DAY (TE 4 – Research Revelations): Malika uncovers disturbing truths about the town’s past, challenging her understanding.

• INT./EXT. MUSEUM AND TOWN – VARIOUS TIMES: Increasing supernatural occurrences around Malika. Lydia attempts to reinforce the town’s historical narrative.

• INT. TOWN HALL – DAY (Midpoint – Reality Shift): Malika learns about the deeper, more sinister nature of the town’s history and the Jim Crow monster’s connection to it. Lydia reacts to Malika’s deepening involvement, plotting to further undermine her efforts.

Act 3: Embracing New Ways (20-30 pages)

• EXT. TOWN SQUARE – DAY (TE 5 – Activism and Backlash): Malika organizes a public event to reveal the town’s racist past, facing significant backlash, exacerbated by Lydia’s actions.

• INT. MALIKA’S HOME – NIGHT (TE 6 – Revisiting Personal Trauma): Malika reflects on her own past experiences with racism.

• INT./EXT. VARIOUS TOWN LOCATIONS – DAY: Malika’s growing isolation and determination in the face of increasing challenges. Lydia consolidates her influence in the town, countering Malika’s activism.

• EXT. TOWN SQUARE – NIGHT (Turning Point 2 – The Descent): The public event leads to chaos as the monster appears. Malika is blamed, leading to her ostracization, orchestrated by Lydia.

Act 4: Proving the New Ways (25 pages)

• INT. MUSEUM – NIGHT (TE 7 – Showdown with the Monster): Malika prepares for and confronts the Jim Crow monster in a climactic battle. Lydia observes the confrontation, realizing the depth of the town’s past.

• INT./EXT. MUSEUM AND TOWN – DAY (Resolution): The aftermath of the confrontation; Malika continues her work with a deeper understanding. Lydia reflects on her role and Malika’s impact, hinting at a possible shift in her perspective.

[Tyrone Huff]

Tyrone’s Character Profile part 1,

Protagonist:

Malika is a dreamer: Malika best fits the Dreamer character type. She starts with idealistic views about using history to improve society and faces harsh realities about racism and injustice. Her journey involves actively transforming these ideals into concrete actions to confront and change the community’s entrenched racial issues. This blend of vision and action defines her as a Dreamer, inspiring change in her world.

Antagonist:

Lydia, as the antagonist, fits the Villain type. She directly opposes Malika’s goals, embodying the resistance to change and the denial of the town’s dark past that Malika is trying to confront. Lydia’s role challenges Malika’s ideals and forces her to confront the town’s reluctance to face uncomfortable truths, making her a key obstacle in Malika’s journey.

Major Antagonistic Force:

Jim Crow Monster: A supernatural entity and the manifestation of the town’s dark, racist past. This creature serves as the primary source of horror in the story, directly challenging Malika and embodying the thematic elements of racial tension and historical injustice. Its presence is a constant threat and a catalyst for the unfolding events, making it a crucial figure that drives the narrative forward.

Supporting Characters:

• Elijah: Malika’s supportive colleague at the museum, who shares her passion for history and provides moral support.

• Mara: A local journalist interested in Malika’s work, who gradually becomes her ally in uncovering the town’s past.

• Professor Daniels: An empathetic history professor at the local college, offering insights that help Malika in her quest.

Minor Roles:

• Mayor Thompson: Represents the town’s leadership, seen in meetings and events, hesitant about Malika’s revelations.

• Mr. Jenkins: Elderly town resident, provides key historical insights in a couple of scenes.

• Tina: Museum receptionist, interacts with Malika occasionally, offering a glimpse into the town’s everyday life.

Background Characters:

• Museum Visitors: Various people who visit the museum, reacting to the exhibits and the unfolding events.

• Town Residents: Seen in public spaces, their reactions and interactions provide a sense of the town’s atmosphere.

• College Students: Appear in scenes set on campus or in town, reflecting the younger generation’s perspective on the events.

Genre: Horror

Writing this assignment I learned that it is best to get to know your characters before getting into the weeds of the story.

[Tyrone Huff]

I Tyrone Huff, agree to the terms of this Confidentiality Agreement.

[Tyrone Huff]

Greetings, all,

I’m Tyrone. With several feature scripts and a slew of short films under my belt, you could say I’ve been around the block. Now, my mission here is to unlock the secret to faster first drafts.

A little tidbit about me – despite being a quiet and introverted soul, I’ve got this knack for hiding it well, especially when I’m in front of my students every day.

[Tyrone Huff]

Tyrone Huff – I agree to the terms of this release form.

[Tyrone Huff]

In this lesson, I gained insights into the importance of considering a character’s flaws and irony. These two elements significantly enhance the depth and relatability of characters.

Malika

What Draws Us to This Character?

• Malika’s passion for history and her idealistic belief in the power of knowledge to overcome prejudice make her relatable and inspiring. Her resilience and evolving perspective in the face of adversity add depth to her character.

Traits:

• Idealistic, passionate, intelligent, empathetic, resilient.

Subtext:

• Her actions and choices often reveal an underlying struggle to reconcile her optimistic beliefs with the harsh realities of racism.

Flaw:

• Naivety in her initial approach to racism and history, underestimating their complexity and contemporary impact.

Values:

• Truth, education, justice, equality.

Irony:

• She comes to educate others about history but ends up learning the harsher, more complicated truths herself.

What Makes This the Right Character for This Role?

• Malika’s journey from naivety to activism mirrors the audience’s potential path of learning and understanding about historical and present-day racism. Her character acts as a bridge between past and present, making her crucial for this narrative.

Lydia

What Draws Us to This Character?

• Lydia’s complexity and multifaceted nature make her intriguing. While she appears as an antagonist, her conviction and dedication to her version of history create a nuanced character who isn’t just a straightforward villain.

Traits:

• Articulate, knowledgeable, protective, resistant to change, authoritative.

Subtext:

• Her interactions often suggest a fear of losing control over the town’s narrative and her own relevance.

Flaw:

• Inflexibility and a refusal to accept or confront the more painful aspects of history.

Values:

• Tradition, legacy, control, preservation of history (as she sees it).

Irony:

• Lydia seeks to preserve history, but her actions lead to a more profound revelation of its darkest parts.

What Makes This the Right Character for This Role?

• Lydia embodies the resistance to confronting uncomfortable historical truths. Her character is essential to challenge Malika and bring to light the town’s reluctance to face its past, making her the perfect foil to Malika’s dreamer persona.

[Tyrone Huff]

This lesson taught me the value of understanding my main character’s transformative journey. It’s crucial to keep her journey in mind as it can serve as a metaphor for the audience’s potential transformation in grasping the horror of racism.

Malika – Character Description: Malika is a bright, ambitious young Black woman who combines her passion for history with a strong sense of social justice. She’s an optimist at heart but carries the weight of past racial traumas.

Internal Journey: Initially idealistic about the power of history to heal and unite, Malika’s experiences with the town’s hidden racism and the supernatural force her to confront the harsh realities of racial prejudice, leading to her growth into a more pragmatic and resilient activist.

External Journey: As a new curator in a small town, Malika’s excitement turns to isolation as she uncovers the town’s dark racial past, eventually becoming a catalyst for change and a beacon of truth in a community grappling with its history.

Old Ways:

• Behaviors: Malika initially sees her job as just about sharing history – she’s all about lectures, facts, and believing that if people know more, they’ll act better.

• Emotions: She’s full of excitement and hope, thinking she can make a real difference just by being passionate and knowledgeable about history.

• Thinking Patterns: Malika views racism as something from history books – important to learn about but not something that’s a big issue in her day-to-day life.

New Ways:

• Behaviors: After facing the town’s darker side and the haunting, Malika gets her hands dirty – she starts challenging people’s views directly and isn’t afraid to shake up the status quo.

• Emotions: She becomes tougher, more determined. There’s an edge of anger and a drive to not just teach but to actively fight against the racism she sees.

• Thinking Patterns: Malika realizes that racism isn’t just a thing of the past; it’s real, it’s now, and it’s messy. She sees that change needs more than just knowledge – it needs action.

This lesson taught me the value of understanding my main character’s transformative journey. It’s crucial to keep her journey in mind as it can serve as a metaphor for the audience’s potential transformation in grasping the horror of racism.