wayne schrengohst
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Wayne’s Action Track!
Doing this exercise I learned to use previous exercises as a resource.
1 George, female, 1st grade, eyes closed hearing voice taunting her. She opens eyes. No lips are moving. She is hearing what they are thinking.
FIGHT. She lashes out with a punch to the eye of the biggest tormentor, a boy.
Purpose: Introduce George and her power to read minds.
2 WHY FIGHT? Teacher asks her why she hit him. She says she didn’t like what he was thinking. Is that a reason to hit him? Yes. Did it change what he was thinking? Definitely.
Purpose: Standing up to bullies is a good thing. Establish how she knew exactly word for word what the bully was thinking. “That’s exactly what I was thinking but I didn’t say it.”
3 GEORGE WORKS OUT. Grown up 20 something George is a reporter. Big into marshal arts of all kinds. Refuses to report on crime, police, politics, or the intelligence agencies. She is afraid she will loose her temper. She works out a lot.
Purpose: She knows how bad people are and it’s getting to her. Especially if they are cops, politicians, or intelligence (CIA, FBI, NSA…)
4 AT HER BOILING POINT Her boss interviews a police department spokesman. George overhears what the spokesman is really thinking. When he’s gone George can’t help herself. George exposes what the spokesman was really thinking to her boss: Shocking, somewhat incoherent. Her boss has had sexual involvement with the spokesman.
Purpose: George is a ticking time bomb about to expose… everything, loose her job, and get in police trouble. She knows too much.
5 INCOGNITO DOING DAMAGE, FUN George goes vigilante incognito exposing thoughts of powerful players. She has multiple disguises and ploys to get in the presence of corrupt evil political crooks, cops, etc.
Purpose: She desperately wants to expose a rotten system but fears she is powerless to defend herself if they find out who she is and what she knows.
6 NEW POWER. George follows a bad guy to his boxing gym. Looses her temp. Gets into MMA fight with a cop. MENTALLY TAUNTS him with his own thoughts. It is a powerful and disarming weapon.
Purpose: She discovers how to TAUNT, (send her thoughts, mixed with his own, into the mind of another.
7 AN ALLY / LOVER George and her mission is detected by an admirer.
Purpose: This initially threatens George but then she teams up, emboldened, funded, and fondled by a like minded activist.
8 BRAVE SAVAGERY. George goes deep into reporting. She develops a character. She reports as if it is humor. Satire, but it is true. Get huge audience.
Purpose: She wants to expose truth but have less risk.
9 EXTREME ATTACK. Some of her “victims” join forces and put out hit contracts. Police, Mob, Politicians, all seek an early death for George’s mystery reporter (Her disguised brave reporter).
Purpose: The truth won’t set you free, it will get you killed.
10 DESPERATE RETREAT. This is a rotten super power. It only leads to her demise. Is everything so corrupt that there is no place safe for a hero willing to expose the truth. Knowledge without power is a dangerous thing.
Purpose: Staying alive. Show her strength up against evil. She still doesn’t want to kill, just escape.
11 INNER CREEP TAKES OVER. George is getting bitter, angry, fearful; Starts using her power vindictively. Messes with relationships of strangers on the street. She panhandles using her power, gets money, gets free drinks, gets kisses from hunky beauties, and more.
Purpose: She loosing her principles.
12 CAPTURED BY THE ENEMY. George gets so drunk she gets easily captured. Yes, there is a hit out on her. But this captor thinks there might be more money in learning her tricks. George is so drunk she wants them to have her power. Wants to give it to them.
Purpose: Be done with all the aggravation. Fun with her drunk and working with bad guys to help them.
13 REALIZATION. I (George) spent all my time exposing the bad. All I do is make enemies. I need to spend some time making friends, the kind that can defend me every now and then.
Purpose: TWIST ENDING.
14 Private assassin is closing in on her. She goes inside his head and wins him over. They go to a comedy club.
Purpose: Further TWISTING THE END
15 In the Comedy Club is everyone from the whole movie. GEORGE is on stage doing gag. “I’m thinking of a number between one and a million.” The whole crowd shouts in unison “one thousand six hundred and twelve point six nine five. then everybody laughs.”
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Wayne’s Villain track.
I learned that my idea, villain, and hero needs a revisit.
1. Sidney Smith, Villain, is approaching retirement. High level CIA. Hands in a lot of pockets in this world at war. He got rich. He plans one more big payday, then he will retire.
2. DEMAND FROM HIS BOSS. I need you to fill in for me. There will be a series of semi-public, reports, congress, discussions reviewing our use of money to accomplish our agenda in the world.
3. REFUSAL. Sidney does not feel up to the task.
4. BOSS INSISTS. If anyone here understand the delicate relationship between accomplishing our tasks and the role money plays to that end, it is you. Unless you want a big investigation I suggest you go and put on a good show at MONEY TALK.
5. George, HERO, a reporter, is talking to her boss. He wants her to cover the MONEY TALK. Go. Get in their head. Use your magic.
6. REFUSAL. No. Not a good idea. Spies. Cops. No. Not for me. And it’s not magic. It’s a super power. And it’s not that super. And it drives cops crazy. And if I’m in the room with spies. They will end me. Think of a number between one and a million. Thirty seven, that’s pitiful. I don’t know how I do it. I just hear the little voice in your head. Not so super.
7. FIRST MEETING. George is listening. What is said fades out. Sidney’s thoughts remain. “Am I the smartest person in this room? Richest? Let’s get this over with.” George thinks, “What a fucking looser!” Sidney stops talking mid sentence and slowly turns his head towards George. No one is there. She has ducked out.
8. THE HUNT IS ON. He is after her. She is scared. She gets away but knows he will track her down. That’s what spies do.
9. GEORGE CALLS on the phone. She wants to defuse this. No deal.
10. SQUEEZE. George hears this and ducks just in time. Bullet just misses.
11. George calls Sidney’s boss. He’s trying to kill me. Maybe…yup.
12. RUNNING. HIDING. CALLING FOR HELP. HIRES A LAWYER WHO DISAPPEARS. GOT SOME PROBLEMS HERE. SHE NEEDS TO BE A STRONGER CHARACTER. NEEDS MORE ACTION LESS CEREBRAL.
LATER…
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Wayne’s Hero’s Mission Track
Doing this assignment I learned to keep it simple.
1. Ask the Mission Track questions to discover your Hero’s mission.
A. What is it about this Hero that will have them go straight into the face of the overwhelming odds? George believes the CIA is rotten from top to bottom, a tool for plunder, which has given up on American. She also believes she might be crazy. She would rather die than not know the truth.
B. What is the mission that would be an impossible goal? To get close to those in control of the CIA and be able to hear their thoughts. To expose and correct without leaving the US vulnerable in the process.
C. What strong internal and external motivation could drive the hero? George has insight from hearing thoughts of Agents. Classified information.
D. Imagine that mission playing out across a story. What could naturally happen if this hero went on this mission against this villain? They would be jailed, interrogated, brain washed, dissected, tortured, and disappeared. But… she wouldn’t be destroyed until they found out how she got her intel.
2. Use the Mission Steps to outline the mission.
Clear Mission: Gain access to proximity of CIA chief. Hear their secret thoughts. Do whatever is necessary to stop evil.
Motivation: George hears thoughts of those near her. And she is in internal dialogue with an alien. Voices are from an alien or others or she is crazy. She needs to know which.
Inciting Incident: George psychically hears CIA plans. And confirms them. And gets away after being pursued.
First Action: She changes her looks and goes to the CIA with information. She’s trying to see if there is a shred of truth in what she overheard.
Obstacle: They are too smart, they realize what she’s doing just as she’s leaving.
Escalation: She has to keep evading them while getting close to them, while getting them to think about what their missions are doing to the world.
Overwhelming Odds: TWIST. There are others with her powers working in the agency.
New Plan: New plan. She discovers she can broadcast as well as hear thoughts.
Full out Attack: George doesn’t have to do it all. Just get the info out there. (This need to be converted to action…later.)
Success: See the forces of good prevail.
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Wayne’s Hero and Villain
Doing this assignment I learned to fill in blanks with abandon.
(With abandon means to behave in a wild, uncontrolled way and to not think or care about how they should behave – yup that’s it.)
High Concept: A Provocative Kid, Beat up a lot, Talked to imaginary character, Who turns out to be an alien… Who helped her hear what others are thinking. Which turns out to be just what she needed to start winning instead of being beaten. Then she has a Danger junkie phase, Bounty Hunter job, out for bad guys. Which leads to being a Corporate investigator, working for companies. Then Federal Agent. And now CIA. Nice but odd career path. What’s the problem? They now want her to catch “good guys” and she’s not buying it.
Hero Morally Right: She’s made a life of only going after bad guys. Doesn’t want to pursue good guys.
Villain Morally Wrong: CIA agent that only hired Hero to weed “good guys” out of the CIA and turn it into a tool for plunder.
Hero: George (female, can be male)
A. Unique Skill Set: Can read minds. Shares her existence (body, mind, emotions) with an alien life form. Fight skills. Empathy skills. Thinking skills.
B. Motivation: George needs to prove that good can win.
C. Secret: If George loses, humans will get wiped out by the aliens.
Wound: She thinks she might just be crazy.
Villain: Sidney Smith, a new director of the CIA, protector of snaky politicians with evil intent, plundering America on it’s way down.
A. Unbeatable: All the resources of the CIA, etc.
B. Plan/Goal: Dupe George into revealing secrets. Or torture until telling. Test new tortures on George. Understand George by any means necessary. Destroy her only after they understand.
Impossible Mission:
A. Puts Hero in Action: George realizes her gift and goes to join the CIA.
B. Demands they go beyond their best: She has to dumb down to save her life. The CIA will dissect her if given a chance, they are already wise to her alien. She must find allies in order to win. Must find others with power.
C. Destroy the Villain: Interrogates Sidney. She asks the questions. Sidney just glares. George writes what he’s thinking.
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Wayne’s Conventions!
I learned to just jump in … finally.
Concept: A youth grows up with an ability to hear other’s thoughts, literally. This gets him into more trouble than helping. As an adult with an inside track on what’s going on, he has to decide to whether to use his powers for good. Eventually he learns that his powers come from an alien that is sharing his body.
Conventions
Hero: A good alien sharing a body with a young man.
Demand For Action: WWIII is about to launch. He gets drafted.
Mission: Save humanity from extinction.
Antagonist: Alien leader who has taken control of the mind and body of the leader of the free world with intent to annihilate humanity.
Escalating Action: Starts with not wanting to get beaten up, to wanting sex, to saving the world.
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Wayne Schrengohst here, NYC, originally Seattle.
I’ve written though not completed 12 script, some 20 minute shorts.
I’m looking forward to working on ACTION, it will be new to me.
One of my script was chosen for a live theater production by Joseph Campbell. That was fun.
Looking forward to be in class again.
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Wayne Schrengohst
I agree to this release.
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.
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Wayne Schrengohst
I agree to the terms of this release form.
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Wayne’s Level 3 Horror Emotion Scene
What I learned..It is going to take a lot more care and understanding the craft to actually have the reader experience the intended emotion. I need to par it down and stack the layers with way more care.
INT. TRAP EQUIPMENT ROOM
Stella is looking for Brad, her love interest.
STELLA
“Brad, where are you. I need you, again. Really really really. Are you sleeping? Are you hiding? Where’s my stud? It’s been almost an hour. I am fully recharged, ready, craving. You are so mean to stay away so long.”
Stella finds a trail of pieces of Brad. She absolutely knows it’s him from her higher powers but still can’t believe it. Slowly she accepts Brad’s death. She starts gathers pieces till she comes to the full pile of shredded Brad.
She scoops through the remains to verify identity. She finds lips, an eye, a tuft of hair, and finally his tattoo.
She hugs a big double handful of Brad, kisses, then rubs him on her face, on her chest, all over.
She sobs deeply. She sits comatose. She is picturing an eternity without Brad. “You are still warm.” Stella rolls in Brad. (Anguish)
From across the room Jack watches. Slowly a big evil smile consumes him. “Yes” he whispers.
A wisp of monster cloud rises from Stella and swirls.
She slowly gets into a full on murderous seething rage.
She starts turning into her monster.
INT. TRAP CONTROL ROOM
ABBY to Micheal (Looking at her tracking panel) (Panicking)
“Brad is dead. We have two Monsters. Stella has morphed. We are fucked. I want to scream. I want to shoot something. I want to understand. We are being lead by Monsters. Of course everything is going wrong. I’ve got a bazooka. Who knows what that will do. It could just mean there will be a dozen little Monsters. We have to get out of here. If you try to stop me I will kill you. Is that really how you want to die? Really. It’s your choice. Say anything besides YES ABBY and you are toast. (she threatens with a bazooka.) Burnt toast. Say PLEASE LISTEN and you are dead.”
MICHEAL
“Yes. Abby. (PAUSE) We are… “
Abby fires at Micheal and misses. The rocket lands in a pile of weapons. Bullets and projectiles fire every where.
MICHEAL
“WE ARE in a bunker designed to withstand anything but a direct nuclear hit.”
Abby fires round after round into the wall. They do not pierce the wall at all.
MICHEAL
The world needs us to do our job.
ABBY
No! No! No! That is a death sentence.
Abby starts shaking violently. Pounding the floor. Punching the air. Punching herself. Attacking the column holding up the roof. Punching Micheal. (PANIC)
Then suddenly she stops. Takes a breath. Snorts.
ABBY (Curious)
What’s your idea?
MICHEAL
Let’s kill Monsters.
ABBY
OK.
INT. TRAP CONTROL ROOM
Ent. Stella carrying Brad in a blanket.
STELLA
Brad’s been hurt.
Abby
Brad’s dead.
STELLA
“He was dead. Jack’s monster shredded him.”
Abby turns to her control panel. “Brad’s alive… again!?!?”
STELLA
Sort of. I put him back together.
Stella unveils Brad. (Horror) She has been put him back together. He looks horrible. Bleeding from every seam. In pain. Crying. Trying to smile. Here and there falling apart. Stella touches the breaking seams and like magic they heal.
Micheal points a bazooka at Stella.
STELLA
You think killing me kills my monster?
MICHEAL
It’s worth a try.
Stella’s monster and Jack’s monster are fighting in the ethers. Monsters are fighting and don’t care about humans for a moment.
Abby is learning through her instruments and getting better visuals of monsters.
Abby declares she can kill the monster, she knows what it is. They all can sense the presence, especially Stella. Stella’s Monster went out of control. Mad that Jack’s Monster killed Brad.
ABBY (Fighting back her crazy hysteria.)
And Stella’s monster kills Jack’s monster.
Stella is a monster. The monster is Stella.
Stella’s Monster attacks Jack. It yanks off a series of human necessities.
Abby is trying to make her weapons work.
Abby detects, then tracks, disempowers, then kills Stella’s Monster.
Whew. We’re safe.
Oops. Stella is becoming a new Monster.
Michael and Abby with an assortment of detectors and weapons battle.
It’s obvious that to live Abby and Micheal need to kill Stella. She is injured and weak and they feel sorry and hesitate till Stella flashes a very wicked smile.
Abby sensors can absorb and redirect whatever god awful energy Stella projects. So basically with Abby’s help Stella kills her monster self.
But wait…Is it attacking Stella? No, it is Stella. Stella becomes the monster.
Abby finishes by killing Stella!
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Wayne’s Level 2 Horror Emotion Scene
What I learned… With each scene I write with intent for specific emotions I’m starting to feel in control of the material and not at the mercy of my nervous whims.
Scene:
INT. THE TRAP
BRAD
“We built a trap for a, let me just say it, Monster. A monster killed Peters. This trap, there’s no doors or window or vents… To catch this monster. And we are in the trap with all kinds of fancy scanners and weapons. Six agents are the bait! This is starting to scare me. Does this mean that one of us is the Monster? I am trapped with the Monster that shredded Peters. Yes, I… I… ah… ahh, I’m ah, fru, fru, fru…..SCARED. I’m scared.(FEAR)
STELLA
Welcome aboard Brad. Why don’t you go on a perimeter check.
BRAD
Ah ah..
STELLA
Come on. I’ll go with you.
As they walk we see the seriousness of the trap. Thick walls. Reinforcements. Very spooky. Flame throwers. Dry ice guns. Tank sized stun guns. With every new weapon Brad gasps louder and louder and shakes more. (SUSPENSE)
MUSIC; BRAD’S FEAR.
STELLA
Feel safer now? (Stella looks behind Brad and gasps.)
Brad turns and sees the shadow of a giant rabbit coming to bite him. Brad screams and looks back to Stella. The shadow is just her hand in front of a light making a rabbit shadow puppet.
Stella’s rabbit hand starts to bite Brad and she make little noises. She is flirting, coming on to him. Very pushy.
BRAD
You’re my… boss.
STELLA
And maybe I’m the Monster. And you must be the bait.
Brad tries to laugh this off, but all the forces are overwhelming him. Desire for Stella. Fear that she is the monster. Dread that he’s in the trap and will never get out.
Brad with a deep breath accepts the dangers and beings making love to Stella. (DREAD)
As Brad pushes a pile of debris a mouse squeaks and Brad tries to jump up.
His fear of the mouse is no match for Stella’s grip. Brad’s eyes roll back as desire takes him back.
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This reply was modified 3 years, 6 months ago by wayne schrengohst.
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This reply was modified 3 years, 6 months ago by wayne schrengohst.
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This reply was modified 3 years, 6 months ago by
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Wayne’s Level 1 Horror Emotion Scene
What I learned – to start to consciously specifically construct the moments and beats of emotion.
Outline:
EXT—PARK BESIDE STREET—NIGHT
Surveillance Camera zooms in on AGENT PETERS 30, very fit.
He is scared, wary, and about to try and save his life. A breath, a look, hesitation, and then a dash into his car.
As he closes the door a mysterious cloud with a hint of a face slips in.
As if the car were a blender, blood and chunks of the agent splash onto all windows.
An army of soldiers rush the car, open the doors. Almost no remains are there. Just a bloody mess.
Scene:
EXT. PARK NEAR STREET-NIGHT
It’s dark. Wind is blowing. Half the screen is black. As AGENT PETERS slowly turns his head a wary profile expels a mist the catches light.
Parked in view is a Porsche 911. Agent Peters slowly turns the other way. He’s looking for someone or something that might be planning to kill him. His heart is pounding louder and louder. (Apprehension)
A breath, a look, hesitation, and then a dash towards the car.
Several feet from the car he stops, looks around, smiles.
PETERS
“Where are you?”
He walks to the car and opens the door, slowly looks in. There is nothing there. (Surprise) He gets in.
As he closes the door a mysterious cloud with a hint of a face slips in.
PETERS
“Stella?”
As if the car were a blender, blood and chunks of the agent splash onto all windows. (Shock)
An army of soldiers rush the car, open the doors. Almost no remains are there. Just a bloody mess.
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Wayne’s THE TRAP – Readable Outline
I learned how hard it is to work an outline. I’m going to need lots more practice.
EXT—PARK BESIDE STREET—NIGHT
Surveillance Camera zooms in on AGENT PETERS 30, very fit. He is scared, wary, and about to try and save his life. A breath, a look, hesitation, and then a dash into his car.
As he closes the door a mysterious cloud with a hint of a face slips in.
As if the car were a blender, blood and chunks of the agent splash onto all windows.
An army of soldiers rush the car, open the doors. Almost no remains are there. Just a bloody mess.
INT—CIA MEETING ROOM
Video stops. Lights up. Six agents. STELLA is taking charge. “It’s bad. Peters was just the latest of many failures, many dead agents. You are each here for a reason. More on that later.
She pauses, “The CIA manual for these situations reads that I should “Exude confidence.” I will delegate that if anybody is feeling confidant… Anybody? No? Didn’t think so. Welcome to my world.
INT—MEN’S ROOM
Micheal, seasoned tough and charming, is spending some serious mirror time looking at himself. He’s winking, smiling, putting on his “denial” face, “me, you’re crazy”.
His face turns serious. To the mirror: “We’ve got this.” Then he asks himself, aloud, “Are you crazy?” And a wink for punctuation.
Brad, youthful, is mysteriously now also in there. He’s been watching Michael. Micheal says, “don’t mind me.” And smiles. Brad starts doing a little dance from Tiktok. Brad explains. “ It’s tension relief dude. That shit is spooky.
Stella walks in, “Ladies room is broken.” Micheal exits. Stella locks the door. “Need to dance?” Brad dances. Stella is interested.
INT—CIA MEETING ROOM
Abby, technician, attractive, is viewing read outs and talking to Jack, 60s. She scanned really weird energy fields at the crime scene. Jack thinks he’s going to die before he can retire. Abby keeps talking technical and Jack finally gets interested.
Stella returns disheveled.
They are kicking things around. Peters was good.
All are rattled, know they have to get this “monster”.
This is not a monster. She will dissect him when caught and then we’ll know.
Abby “Have to work, no time for denial. Contradiction.”
I choose work. Don’t have time to think.
Can’t feel. Time to work.
Task force is sizing up their team, a six person CIA hit squad.
Brad is practicing dance moves. “Gets my blood going.” I can dance and think about the monster, yeah.
Stella reads. The CIA manual says I should “Exude confidence.” I will delegate that if anybody is feeling confidant… No? Didn’t think so. Good news. She, the monster, took the bait. Bad news. She seems to have eaten him.
An army couldn’t save him and kill the bad guy. It’s our turn to try.
I hereby warn each of you not to take this mission. You have this opportunity to resign.
Jack is practicing drawing his pistol.
Jack: Monster ha. There is nothing in God’s kingdom a bullet won’t kill.
Stella puts him in his place.
We better have explosives.
Jack: You’ve brought me here to die. Others laugh.
Stella cautions. Don’t disrespect Jack… That’s my job.
Donna, 50s, up tight religious. She’s mad at the monster as if she were a jilted lover. The monster is a devil, I’ll give you that. This smells evil. How did the Monster get in, get out, where is the body? We are not safe. After some arguing they are all in.
Abby: Am I the only one who sees the Monster? That cloud has a face.
Micheal: So do my tea leaves. They all give a laugh which fades to a look, this is bad.
Michael: Face it team. You are the bait. Let’s build the trap.
INT. CONSTRUCTION MONTAGE
It is an odd construction. No windows. Thick walls. Computers. Weapons. No doors. No exist. They are being seal inside.
They show off the weapons, sensors, and psychic skills in a brief moment of chutzpah.
They build THE TRAP. They are the bait.
Jack resists being bait. Jack: So you are convinced that the monster sealed him or herself in with us. That’s crazy.
Donna: We are doing the Lord’s work.
Donna: Holy water. Prayer. Mind meld. Visions.
Donna prays and tries to bless their trap. Stella warns. Monster warns, then gently steals her soul and vaporizes her. It’s all caught on Abby’s instruments, which annoys Stella.
Donna challenges the leader’s (Stella’s) authority.
Stella goes of fuming and has sex with Agent Brad.
Agent Donna is killed.
There is a crosscut connection between Stella’s climax with Brad and the Monster killing Donna. Hint that Stella is connected to Monster.
Jack attempt to shut down the trap. Request denied.
Brad is hysterical and does his “shaky dance.” We owe it to Donna. We will finish the trap and put an end to this slaughter.
Stella’s nostrils flare.
ACT 2 Isolated / Trapped / Abducted: A frightened task force challenges the Monster by building a trap, sealing it with them and their arsenal inside.
Brad and Stella slip away and spark lust.
Abby’s instruments detect the lust then presence of the Monster.
Brad flirts with Abby. Dances. It works for a minute.
Jack, jealous, enraged, lets his monster out on Brad. We now have two monsters.
Monster: With a burst of questions, about love and morality, each answer is wrong. What do you expect from a CIA agent? And with each wrong answer a different part of him ages 150 years. “You like your nose? How about now. Boom. Brad is dead.
STELLA is puzzled: I’m going to really miss him.
Jack looks on secretly proud. He has his own monster.
MIDPOINT – The monster is worse than we thought: two of them.
Stella discovers she isn’t the only one with a monster.
Stella wants to abort the mission. Jack pulls rank (shock). We didn’t know he outranked Stella.
Stella’s monster and Jack’s monster are fighting in the ethers. Monsters are fighting and don’t care about humans for a moment.
Abby is learning through her instruments and getting better visuals of monsters.
Abby declares she can kill the monster, she knows what it is. They all can sense the presence, especially Stella. Abby gets involved distracts Jack’s Monster.
Stella’s Monster went out of control. Mad that Jack’s Monster killed Brad.
And Stella’s monster kills Jack’s monster.
Stella’s Monster attacks Jack. It yanks off a series of human necessities.
Monster questions: You didn’t feel? Took hands. Couldn’t see? eyes. Didn’t want? Take heart. Eats each one. Burns the remainder slowly.
Odd that it is conscious with serious parts missing.
Stella: He always knew he wouldn’t retire.
Stella is a monster. The monster is Stella.
Micheal suspects Stella as having information not shared.
ACT 3
Stella’s Monster attacks Abby and Michael.
Abby detects, then tracks, disempowers, then kills Stella’s Monster.
Whew. We’re safe.
Oops. Stella is becoming a new Monster.
Michael and Abby with an assortment of detectors and weapons battle.
It’s obvious that to live Abby and Micheal need to kill Stella. She is injured and weak and they feel sorry and hesitate till Stella flashes a very wicked smile.
Abby sensors can absorb and redirect whatever god awful energy Stella projects. So basically with Abby’s help Stella kills her monster self.
But wait…Is it attacking Stella? No, it is Stella. Stella becomes the monster.
Abby finishes by killing Stella!
Michael: Can these fancy weapon get us out of here?
Micheal’s back at a mirror talking to himself. “I have deep respect for your tough brilliance.”
And then he’s flirting with Abby.
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Wayne’s Character Journey Track
I learned to build character frameworks that lead to clear conflict / alliance.
A. Character Profile:
Role: Leader – Stella – CIA senior agent.
Traits: Nerves of steel, intelligent, reads people, dry ironic wit.
Fears: She’s missing something. Not making a connect.
Wants/Needs : Catch bad guys / Survive THE TRAP.
Likability / Rooting factors: She is turned on by her job. It’s contagious.
How they react under stress: Nostrils flare. She lives for the take down.
Relationship with other characters: All but Jack live to serve Stella.
B. Character Journey:
Character Intro: Stella show task force surveillance of an agent death from Monster.
Denial: I will let you know if he’s really a monster. I will dissect him, or her.
Their reaction at first horror: Agent Peters, the victim, was very good. Noted?
Relation to group after first horror: All are rattled, know they have to get this “monster”.
How they fight back: They build THE TRAP. They are the bait.
End Point: She becomes the monster.
What insight do their deaths or survival bring to the others/audience? Perspective lost is a death sentence.
A. What is their Character Profile?
Role: Jack. Complainer, Spy, Snitch. Old. About to retire.
Traits: Bitter, Authoritarian.
Fears: Mistrusts everyone. Afraid they will kill him on retirement day.
Wants/Needs: Control/power. Will never get either.
Likability / Rooting factors: None.
How they react under stress: Proficient Soldier.
Relationship with other characters: He is angry and assigned to almost certain death.
B. What is their Character Journey for this story?
Character Intro: He is practicing drawing his pistol.
Denial: Monster ha. There is nothing in God’s kingdom a bullet won’t kill.
Their reaction at first horror: You’ve brought me here to die.
Relation to group after first horror: Stella cautions. Don’t disrespect Jack.
How they fight back: Jack resists being bait.
End Point: Character death #4. He always knew he wouldn’t retire.
What insight does their death to the others/audience? He was right.
A. What is their Character Profile?
Role: Donna. Moral One. Death #2.
Traits: Religious, Sexually desirous,
Fears: Hell, Devils, Authority.
Wants/Needs : Love/Self Respect
Likability / Rooting factors: Most love her open lust and ignore religion.
How they react under stress: She doubts Stella as leader.
Relationship with other characters: She thinks of bedding them.
B. What is their Character Journey for this story?
Character Intro: She’s mad at the monster as if she were a jilted lover.
Denial: The monster is a devil, I’ll give you that.
Their reaction at first horror: This smells evil.
Relation to group after first horror: We are doing the Lord’s work.
How they fight back: Holy water. Prayer. Mind meld. Visions.
End Point: The Monster had a choice. Why her?
What insight does their death bring to the others/audience? None. or the Monster had some kindness. Or was annoyed easily.
1. With each of your Survivors and Victims, answer the following questions:
A. What is their Character Profile?
Role: Brad. Love interest. Death #3. Dances.
Traits: young, enthusiastic, wants to pic the brains of these super agents
Fears: He’s a boy toy.
Wants/Needs: self respect / to love himself
Likability / Rooting factors: Practices Dance Moves for Sex. (seriously)
How they react under stress: He’s gonna dance through that too.
Relationship with other characters: Good. There is something genuine.
B. What is their Character Journey for this story?
Character Intro: Practicing dance moves.
Denial: I can dance and think about the monster, yeah.
Their reaction at first horror: hysterical.
Relation to group after first horror: We need a buddy system. Survival!!
How they fight back: Dance. It works for a minute.
End Point: Death #3. (Needs a good punch line.)
What insight does their death to the others/audience? Damn, we like him.
A. What is their Character Profile?
Role: Rebel / Rule Breaker: Michael is a having a very successful streak. He is hated and loved by Stella.
Traits: charming, careless, terrifying bastard
Fears: Loosing his edge. instincts.
Wants/Needs : Cool, Cutting Edge / stay alive by any means
Likability / Rooting factors: He’s a charmer. But he will call you out.
How they react under stress: Like it doesn’t exist.
Relationship with other characters: They respect his track record but know that he’s in pain.
B. What is their Character Journey for this story?
Character Intro: He’s spending some serious mirror time smiling, winking.
Denial: He has a great denial smile. It’s a go to get away with anything.
Their reaction at first horror: He’s ready to be strong and tough.
Relation to group after first horror: Protect those less tough.
How they fight back: We better have explosives.
End Point: Survivor.
What insight does survival bring. A deep respect for his tough brilliance.
A. What is their Character Profile?
Role: Abby. Monster Bait: Abby a young recruit, believes in supernatural, and is literally trying to make herself bait by studying who is being killed.
Traits: techie nerd scientist sensitive.
Fears: She needs to stay stressless to function but can’t.
Wants/Needs: Solve the puzzles / Solve her need for puzzles.
Likability / Rooting factors: Everyone loves her. She is genuine.
How they react under stress: Gets up tight but is good at talking herself down.
Relationship with other characters: All good except for lovers that want to own her.
B. What is their Character Journey for this story?
Character Intro: Scanning weird energy at Agent Peters murder.
Denial: Have to work, no time for denial. Contradiction.
Their reaction at first horror: I choose work. Don’t have time to think.
Relation to group after first horror: Can’t feel. Time to work.
How they fight back: Tell me what you need. Make it a long list.
End Point: Surviver.
What insight do their deaths or survival bring to the others/audience? The audience should have one more OMG she’s going to die moment and then be so happy she lives. Everybody loves her.
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Wayne’s Monster Reveal Track Script
I learned that seeing the Monster as unfolding knowledge based on a series of actions gives us another way to increase tension.
ACT 1
Atmosphere of Evil established: Surveillance footage of agent Peter’s death.
Horror Situation: An agent is hiding from unseen monster, peeking out, trying to get to his car.
Reaction – Escape: The agent makes a dash for his car. As he closes the door a mysterious cloud with a hint of a face slips in. As if the car were a blender, blood and chunks of the agent splash onto all windows. An army of soldiers rush the car, open the doors. Almost no remains are there.
1. DEMAND: Intrigue! Who is Agent Peters hiding and running from. We see nothing. Peters is fiercely arguing as he dives into his car.
MONSTER REVEAL: There is a wisp of something almost invisible traveling to Peters, following him into his car.
Character Death #1. Agent Peters.
Why: Establish Monster.
How: The agent makes a dash for his car. As he closes the door a mysterious cloud with a hint of a face slips in. As if the car were a blender, blood and chunks of the agent splash onto all windows. An army of soldiers rush the car, open the doors. Almost no remains are there.
2. DEMAND: Who/why are all these armed soldiers racing to Peters’ car?
MONSTER REVEAL: A swirling cloud with a hint of a face has somehow “blended” Peters in to little chunks in a matter of seconds and vanished.
Connect with characters: Task force is watching surveillance footage and sizing up their team, a six person CIA hit squad.
Denial of Horror: Stella reads. The CIA manual says I should “Exude confidence.” I will delegate that if anybody is feeling confidant… No? Didn’t think so. Good news. She (the monster) took the bait. Bad news. She seems to have eaten him.
Safety taken away: An army couldn’t save him and kill the bad guy. It’s our turn to try.
The characters are warned not to do it: I hereby warn each of you not to take this mission. You have this opportunity to resign.
Monster – The nature of the beast: How did the Monster get in, get out, where is the body? We are not safe. After some arguing they are all in.
3. DEMAND: We have to understand what this horrible thing is. If we don’t, we might be next.
MONSTER REVEAL: A serious Monster is killing CIA agents. We are infected. It has to be stopped.
Horror Situation: Abby, am I the only one who sees the Monster? That cloud has a face.
Reaction – Denial: Micheal: So do my tea leaves. They all give a laugh which fades to a look, this is bad.
Horror Situation: Face it team. You are the bait. Let’s build the trap.
Reaction – Try to solve it: They show off the weapons, sensors, and psychic skills in a brief moment of chutzpah.
Character Death #2. Agent Donna
Why: Establish Monster’s presence at the TRAP. Also, Donna challenged the leader’s (Stella’s) authority. Creates a tone shift for ACT break into ACT 2. Hint that Stella is connected to Monster.
How: Donna prays and tries to bless their trap. Stella warns. Monster warns, then gently steals her soul and vaporizes her. It’s all caught on Abby’s instruments, which annoys Stella.
Horror Situation: One of us killed: Stella’s Monster kills Donna. There is a crosscut connection between Stella’s climax with Brad and the Monster killing Donna.
Reaction – escape: They attempt to shut down the trap. Request denied.
4. DEMAND: Able to hear/feel thoughts and desires. It’s a bit strange but several agents mentioned it prior to turning up dead. Is it drugs? A network? We are in the dark. Let’s just call “it” “the Monster”.
MONSTER REVEAL: The monster somehow engaged them and killed when they resisted.
ACT 2
Isolated / Trapped / Abducted: A frightened task force challenges the Monster by building a trap, sealing it with them and their arsenal inside.
Brad and Stella slip away and spark lust.
5. DEMAND: Can transform its form to the fears of a victim. Very deadly.
MONSTER REVEAL: Agents find a desire to communicate fears. Think they are being controlled with drugs. Visions come in daydreams and nightmares.
Abby’s instruments detect the lust then presence of the Monster.
6. DEMAND: Research: Abby’s instrument detect the activity, but can’t interpret. It’s like a language.
MONSTER REVEAL: Abby puts sensors on agents and they babble under the influence of the monster or monsters as it is now detected. The monster is terribly under estimating Abby’s ability to know what’s going on. Abby has used similar mind games on friends and lovers. She thinks the monster is helping someone.
Bradley flirts with Abby.
7. DEMAND: Paranoia: Mommy has tired of me. My dream thoughts have stopped. I think she is mad. That’s how an agent feels just before his death.
MONSTER REVEAL: Abby is piecing together that the Monster is playing on thier mommy complex. Their reason to go into the agency.
Character Death #3. Agent Bradley. Killed by new Jack’s Monster.
Why: Jack, jealous, enraged, let’s his monster out on Bradley. We now have two monsters
How: With a burst of questions, about love and morality, each answer is wrong. What do you expect from a CIA agent? And with each wrong answer a different part of him ages 150 years. “You like your nose? How about now. Boom.
MIDPOINT – The monster is worse than we thought:
Stella wants to abort the mission. Jack pulls rank.
Horror Situation: Stella discovers she isn’t the only one with a monster.
Reaction – Fight: Stella’s monster and Jack’s monster are fighting in the ethers. Monsters are fighting and don’t care about humans for a moment.
Abby is learning through her instruments and getting better visuals of monsters.
8. DEMAND: Projections: Michael talks about a tipping point. If too many people want to be stand up comedians or CIA Agents or anything it all goes bad. If everyone wants to be boss. Or no one wants to be boss.
MONSTER REVEAL: Stella makes a proclamation that things are going to be different. Michael, oh we are not caught in a trap, being sacrificed, so other can live and prosper. No, that is still true. I want us all to sing a little song with me. (the song from Stella’s monster – the Dance of Spring).
Abby declares she can kill the monster, she knows what it is. They all can sense the presence, especially Stella. Abby gets involved distracts Jack’s Monster. And Stella’s monster kills Jack’s monster. Then Jack dies.
9. DEMAND: Apprehension: I can’t sing. I can’t sing. Jack is loosing it.
MONSTER REVEAL: This is an impossible situation. Can we back out.
Character death #4. Jack’s Monster.
Why: Stella’s Monster went out of control. Mad that Jack’s Monster killed Bradley.
How: Stella’s Monster yanked off a series of human necessities. You didn’t feel? Took hands. Couldn’t see? eyes. Didn’t want? Take heart. Eats each one. Burns the remainder slowly. Odd that it is conscious with serious parts missing.
Micheal suspects Stella as having info not shared.
Horror Situation: Jack’s Monster is killed by Stella’s Monster.
Reaction – walking into a trap: The Agents feel relief. But not much.
ACT 3
10. DEMAND: Paranoia: The Monster calls a meeting, wants to work things out.
MONSTER REVEAL: It’s an experiment. A game. She just wants to know if they are loyal. Afraid. What they make of their new gifts. Insight. Feeling. Intelligence.
Full pursuit by the killer: Stella’s Monster attacks Abby and Michael.
Fight to the death: Abby detects, then tracks, disempowers, then kills Stella’s Monster.
The thrilling escape from death: Whew. We’re safe.
Hysteria: Stella is becoming a new Monster.
Death returns to take one or more: Stella kills Jack.
Character Death #5. Jack.
Why: Stella’s Monster went out of control. Mad that Jack’s Monster killed Bradley.
How: The Monster yanked off a series of human necessities. You didn’t feel? Took hands. Could see? eyes. Didn’t want? Take heart. Eats each one. Burns the remainder slowly. Odd that it is conscious with serious parts missing.
Character Death #6: Stella/and Stella’s Monster
Why: It’s obvious that to live Abby and Micheal need to kill Stella. She is injured and weak and they feel sorry and hesitate till Stella flashes a very wicked smile.
How: Abby sensors can absorb and redirect whatever god awful energy Stella projects. So basically with Abby’s help Stella kills herself.
11. DEMAND: The Monster looses temper, feels betrayed by Abby, and considers killing her.
MONSTER REVEAL: Monster Death. Or she just leaves.
Resolution: Is it attacking Stella? No, it is Stella. Abby finishes killing Stella!
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Wayne’s Character Death Track
I learned how to build on story by focusing on the deaths.
Character Death #1. : Peters
Why: Establish Monster
How: The agent makes a dash for his car. As he closes the door a mysterious cloud with a hint of a face slips in. As if the car were a blender, blood and chunks of the agent splash onto all windows. An army of soldiers rush the car, open the doors. Almost no remains are there.
Character Death #2. Agent Donna
Why: Establish Monster’s presence at the TRAP. Also, Donna challenged Stella the leader’s authority. Creates a tone shift for ACT break into ACT 2. Hint that Stella is connected to Monster.
How: Donna prays and tries to bless their trap. Stella warns. Monster warns, then gently steals her soul and vaporizes her. It’s all caught on Abby’s instruments, which annoys Stella.
Character Death #3. Agent Bradley.
Why: Jack, enraged, let’s his monster out on Bradley.
How: With a burst of question, about love and morality, each answer is wrong. What do you expect from a CIA agent? And with each wrong answer a different part of him ages 150 years. “You like your nose? How about now. Boom.
Character Death #4. Jack.
Why: Stella’s Monster went out of control. Mad that Jack’s Monster killed Bradley.
How: The Monster yanked off a series of human necessities. You didn’t feel? Took hands. Could see? eyes. Didn’t want? Take heart. Eats each one. Burns the remainder slowly. Odd that it is conscious with serious parts missing.
Micheal suspects Stella as having info not shared.
Character Death #5: Stella/and Stella’s Monster
Why: It’s obvious that to live Abby and Micheal need to kill Stella. She is injured and weak and they feel sorry and hesitate till Stella flashes a very wicked smile.
How: Abby sensors can absorb and redirect whatever god awful energy Stella projects. So basically with Abby’s help Stella kills herself.
Character non-Death 6: Michael
Why: Michael is a good energy guy. But Abby wanted to check, do an experiment on Michael. The worst that could happen is his death.
How: Abby turns the beam on to Michael. He just glows, smiles, and says something funny odd and charming. Abby thinks she will have great use for this tester in the future.
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Wayne’s Horror Situation Track
I learned how to build with Horror and Reaction.
ACT 1
Atmosphere of Evil established: Surveillance footage of agent death.
Horror Situation: An agent is hiding from unseen monster, peeking out, trying to get to his car.
Reaction – Escape: The agent make a dash for his car. As he closes the door a mysterious cloud with a hint of a face slips in. As if the car were a blender, blood and chunks of the agent splash onto all windows. An army of soldiers rush the car, open the doors. Almost no remains are there.
Connect with characters: A Task force is watching agent’s death surveillance and sizing up their six person CIA team.
Denial of Horror: Ollie, in charge, reads from CIA manual. “Exude confidence.” I will delegate that if anybody is feeling confidant. No? Didn’t think so. Good news. She (the monster) took the bait. Bad news. She seems to have eaten him.
Safety taken away: An army couldn’t save him and kill the bad guy. It’s our turn to try.
The characters are warned not to do it: I hereby warn each of you not to take this mission. You have this opportunity to resign.
Monster – The nature of the beast: How did the Monster get in, get out, where is the body? We are not safe. After some arguing they are all in.
Horror Situation: Abby, am I the only one who sees the Monster? That cloud has a face.
Reaction – Denial: Micheal: So do my tea leaves. They all give a laugh which fades to a look, this is bad.
Horror Situation: Face it team. You are the bait. Let’s build the trap.
Reaction – Try to solve it: They show off the weapons, sensors, and psychic skills in a brief moment of chutzpah.
ACT 2
Isolated / Trapped / Abducted: A frightened task force challenges the Monster by building a trap, sealing it with them and their arsenal inside.
Brad and Ollie slip away and spark lust.
Abby’s instruments detect the presence of the Monster.
Horror Situation: One of us killed: Ollie’s Monster kills Michael. There is a crosscut connection between Ollie’s climax with Brad and the Monster killing Michael.
Reaction – escape: They attempt to shut down the trap. Request denied.
MIDPOINT – The monster is worse than we thought:
Ollie wants to abort the mission. Jack pulls rank.
Horror Situation: Ollie realizes she isn’t the only one with a monster.
Reaction – Fight: Ollie’s monster and Jack’s monster are fighting in the ethers.
Monsters are fighting and don’t care about humans for moment.
Abby is learning through her instruments.
Abby declares she can kill the monster, she knows what it is. They all can sense the presence, especially Ollie.
Some suspect Ollie as having info not shared.
Horror Situation: Jack’s Monster is killed by Ollie’s Monster.
Reaction – walking into a trap: The Agents feel relief.
ACT 3
Full pursuit by the killer: Monster attacks.
Fight to the death: Abby detects, then tracks, disempowers, then weakens the Monster.
The thrilling escape from death: Whew. We’re safe.
Hysteria: Ollie is becoming the Monster.
Death returns to take one or more: Ollie kills Jack.
Resolution: Abby finishes killing Ollie/Monster using her fancy machines.
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Wayne’s Horror plot.
I learned to put the bones of an idea onto a framework.
ACT 1
Atmosphere of Evil established: Surveillance footage of agent death. <div>
Connect with characters: Task force is watching. Sizing up the team.
Denial of Horror: Ollie reads from CIA manual. “Exude confidence.” I will delegate that if anybody is feeling confidant. No? Didn’t think so. Good news. She took the bait. Bad news. She seems to have eaten him.
Safety taken away: An army couldn’t save him and kill the bad guy. It’s our turn to try.
The characters are warned not to do it: I hereby warn each of you not to take this mission. You have this opportunity to resign.
Monster – The nature of the beast: How did the Monster get in, get out, where is the body? We are not safe. After some arguing they are in.
ACT 2
Isolated / Trapped / Abducted: A frightened task force challenges the Monster by building a trap, sealing it with them and their arsenal inside. </div><div>
One of us killed: Brad and Ollie slip away and spark lust. Abby’s instruments detect the presence of the Monster. Ollie’s Monster kills Michael.
MIDPOINT – The monster is worse than we thought: Ollie wants to abort the mission. Jack pulls rank.
Abby declares she can kill the monster, she knows what it is. They all can sense the presence, especially Ollie. Some suspect Ollie as having info not shared.
ACT 3
Full pursuit by the killer: Monster attack. </div>
Fight to the death: Abby detects, then tracks, disempowers, then kills the Monster.
The thrilling escape from death: Whew. We’re safe.
Hysteria: Ollie is becoming the Monster.
Death returns to take one or more: She kills Jack.
Resolution: Is it attacking Ollie? Abby finishes killing Ollie. The Monster is Ollie!
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Wayne’s Characters for Horror
I learned to puzzle it out piece by piece and feel it come alive.
MOVIE: OLLIE’S MISSION: Social Group (TEAM OF PROFESSIONALS)
Ollie is a CIA agent with a secret and a problem. She has her own monstrous astral body killing agents, and a new assignment, a task force to kill the her monster.
DYING PATTERN: A. Put 6 to 8 characters together and kill them off one by one.
1 Leader/Carrier: Ollie is a well respected CIA senior investigating officer. She is single, sexually active, and comfortable with that. She has an unknown side that makes her job complicated and successful, a monstrous wicked astral projection.
2 Rebel / Rule Breaker: Michael is a charming, careless, terrifying bastard having a very successful streak. He is hated and loved by Ollie.
3 Moral One: Donna has a strong sense of immoral nature of this group. She prays for them. Thanks God for the challenge of saving the others. She periodically is overwhelmed by Satan and goes wicked lusty.
4 Monster Bait: Abby a young recruit, believes in supernatural, and is literally trying to make herself bait by studying who is being killed.
5 Complainer: Jack is an old timer just about to retire. He is not very happy with this assignment.
6 Love Interest: Brad is young and enthusiastic, excited to be on this case, wants to pic the brains of these super accomplished agents.
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Wayne Schrengohst’s Terrifying Monster
I learned to focus on just the assignment, have fun, and enjoy what pops to mind.
Ollie works for the CIA as a normal. She is also killing them as a monster. They don’t know it’s her killing them. She has a spirit side of her capable of very very bad killings. She use to think she was doing good. Now she has doubts. Her monster side and her normal side can both be working at the same time, even at great distances.
She has a belief system and she kills in retribution. Some times she forgives for reasons she doesn’t understand. She loves the thrill of a clean confession and takes that into account and randomly forgives. She’s kind of muddled. Lefty leaning. She believes Sins are passed on from people to people. She can kill you for your parents crimes, or crimes you inspired in friends.
Terror: Besides employing ancient barbaric painful deaths, she loves details of thier crimes (crime even if it’s your job). She controls them by hearing their fears and presenting them. She knows things she couldn’t know. She knows them because her victim knows them. She knows crimes of forefathers. She delights at bringing her victims up to date before death. Mind games.
Mystery: It is a mystery. Who is killing. Why does every Agent assigned die. Why isn’t the agency bringing this into the open.
Appearance: She presents as people/demon, old friends, parents, people they have killed. And she usually transforms to full on demon before killing.
Rules: She only have 10 minutes to do what she does. She runs out of psychic energy. Ticking clock. Some times she doesn’t finish and tells them she will be back, giving them an assignment. They some times try to kill her knowing she’ll be back.
Mythology: She wants to write history books that tell the truth but is unsure whether that will help anything.
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INSIDIOUS Horror Conventions
I learned some of the components and wildness of Horror.
What I watched:
Title / Concept: Insidious. / The story centers on a couple whose son inexplicably enters a comatose state and becomes a vessel for a variety of malevolent entities in an astral dimension.
Terrorize The Characters: Family and paranormal detectives.
Isolation: In the family home.
Death: Yes. The Psychic is killed by the husband’s astral demon.
Monster/Villain: Spirits, a red-faced demon, tortured souls of the dead.
High Tension: Yes, in the anticipation and what’s delivered.
Departure from Reality: Paranormal investigators, astral travel.
Moral Statement: Ends with Psychic dead and Husband possessed. (Bad End. Good for the franchise.)
My IDEA:
Concept: CIA Agents are being killed by astral projections.
Terrorize The Characters: America is losing the CIA to weaponized astral travelers.
Isolation: It’s a very hush hush world with only one to one communications.
Death: Many many unexplainable deaths, panic, and no clue.
Monster/Villain: A paranormal investigator with a God complex.
High Tension: Absolute hysteria all in a one on one world.
Departure from Reality: Yes.
Moral Statement: To be determined.
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“I agree to the terms of this release form.” Wayne Schrengohst,
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Subject: Wayne’s Triller Plot
What I learned: I gave myself the freedom to do this without criticism.
OPENING: Meeting introducing new hire corruption specialist, Sheila.
Hero: Sheila, a new recruit, top of her class, book nerd, and quoted authority on police corruption. All she has is “book smarts” and zero respect.
INCITING INCIDENT: Assassination attempt on Captain Benjamin. Old detective Barnes is killed.
Mystery 1: The Captain crawled under the table just before shots. Sheila is suspicious of the attempt. The Captain encourages her to investigate, pursue her instincts. And…
Mystery 2: Sheila is assigned cold case 007. (Rumored death sentence for those who have tried to solve it – McGuffin). Old pro Ed will look after her to help on the cold case. He’s just got a month left.
Turning Point 1: An attempt on Sheila’s life leaves two more detectives dead. This banishes Sheila from the investigation. She ignores this order. She boils up. Debates. Takes it on… cold case 007 (and her attempted assassination).
Promise of the premise: She almost solves cold case, realizes it’s a distraction. Goes back to the police murders. Goes after her suspicions.
Intrigue 1: Sheila lets suspect Ben overhear / plants the idea in Benjamin’s head that she knows what happened. She sets a trap.
Midpoint: Sheila discovers Benjamin’s treasure cave but is then shot five times while fighting with Benjamin. Benjamin is also shot.
Turning point 2: Sheila and Benjamin are in the hospital recovering making unsuccessful attempts to communicate. They are guarded 24/7.
Climax: Sheila and Benjamin agree on a 50/50 split. But…in their hearts, they have to kill each other. The gold doesn’t mean anything to them.
Resolution: They are dividing it up and laughing each planning to kill the other.
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Wayne’s Life Threatening Sequence
What I learned: I learned to key going. Find the form. Have the think. Write it down. It’s going to take me a stretch to really deal with life threatening action.
1. The Villain Captain Benjamin’s Plan is to murder those police whom he has lured/threatened into corruption with his secrete identity Mr Metal. Hero Cheryl, fresh from the academy, corruption specialist, has been brought in to stop the police from being murdered. Cheryl was hired for show thinking she would be useless. As she figures things out she becomes the cop he most needs to kill… but that’s not easy.
2. Opens with an old timer, Joe, about to retire trying to wise up Cheryl just before he gets a bullet in the head. She chases attacker but they vanish.
As Cheryl searches the police department we see her on video as Captain Benjamin watches calmly. He nods his head.
He tells them he was watching. He doesn’t want to die just before he retires. He thinks they were after him. He stayed hidden.
But why wouldn’t you come to help me? Cheryl wants to know.
An old man like me and a newbie like you. I didn’t like the odds of failure.
3. A thug is chasing Cheryl. She does a twirl and kick. “That’s roller derby” she says as she lays them out. “You’re lucky I didn’t have my skates on.”
As she pursues questioning they are shot from a distance. She ask their corpse, “Why didn’t they just shoot me?” She stands calm and looks around.
Someone is tracking her as she goes for a walk, cameras keep switching.
She passes a big gate into a small grave yard. She test the gate is unlocked. She goes in, not far, then hears someone lock the gate. An eerie metallic voice asks if she really wants to die. “Are you Mr Metal?” she asks. “He laughs.” “Why did Joe have to die?” “He didn’t. You just wouldn’t leave things alone.”
Cops find Cheryl in the cemetery and arrest her. She has no ID. They say they believe her but they have to follow orders. She takes off Parkour style.
Cheryl has to report to Benjamin that someone has spiked the punch with a psychedelic drug and she requests medical leave. Benjamin messes with her mind then orders her strapped down for her own safety. The officers carry on mundane discussions while ignoring Cheryl.
Cheryl says four of us are dead since she started trying to solve this. Someone suggests she doesn’t ask for a review hearing just yet.
Cheryl tries to get the other female officer to release her. They end up seriously flirting but she won’t release her for fear of discipline.
Cheryl tries to report that Mr Metal has threatened her life. They insist that it’s just the drugs and won’t accept the report. Something is very wrong.
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Wayne’s Mystery Sequence.
What I learned: I’m layering elements. It would take a lot more time at this point to make it clear. It’s a baby step in the right direction.
The Big Secret: Nearing retirement Police Captain Benjamin feels vulnerable. He has been corrupt and amassed a fortune. Without power and authority someone might try to bring him down. The Captain has maintained a hidden (disguised) identity, Mr Metal, leading crooked cops, judges, and lawyers.
1. Who tried to kill Captain Benjamin but killed the wrong cop?
Captain is acting crazy. Maybe the close call with death?
Captain doesn’t trust. Brings in new hire to investigate.
Why does Captain interrogates all men about corruption?
Why is the Captain so sure it was one of his men?
Is Captain Ben hiding evidence about the attack?
Does Cheryl know why someone tried to kill Benjamin?
2. Why hire Cheryl (Hero) fresh out of the academy to investigate?
Why does Captain reign her in when she’s doing a great job?
Who tried to Kill Cheryl?
Why is Cheryl so unafraid and loving her dangerous job?
Cheryl is working on a dissertation but won’t talk about it.
Cheryl has a suspicious self defense murder in her past.
Why does Cheryl bait the killer?
3. Who is Mr. Metal?
Is his mention of Mr Metal the reason “wrong cop” died.
Is Captain’s alternate personality Mr Metal?
Does Mr Metal exist?
New hire Boyd, near retirement, talks about Mr Metal Myth.
Everyone that tried to record Mr Metal was killed.
Is Benjamin Mr Metal?
4. Why is everybody so sure Captain Benjamin is squeaky clean?
Will Captain Benjamin get away with keeping his fortune?
Why is the Dr afraid to say Benjamin needs help?
Why are cops so afraid when Cheryl torments Benjamin?
Who is slaughtering his whole department?
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Subject Line: Wayne’s Villain Has a Great Plan!
What I learned: Surrender to process. Like a meal, one bite at a time.
1. The Villain’s End Goal. The Police Captain, Benjamin, approaching retirement, needs to kill all those who know his corruption and his amassed great fortune. He will never rest till those that know exist no more. Mostly he kills the police that worked with him in corruption.
2. How can this Villain accomplish this in a devious way. He will turn his accomplices on each other through false evidence and lies. He will hire professional corruption specialist, top her class, right out of school. Someone he can manipulate.
3. How can they cover it up? He will become mad and possessed, pretending to clear the air, investigate and find nothing. All the while his corrupt cronies die suspiciously or just disappear. He becomes a master detecting clues and taking the fight in a new direction. He has everybody bugged a goes after the one that is about to crack.
4. Sequence it to make it as intriguing as possible.
A. It starts with a staged attempt on Benjamin’s life. Gives him excuse to be suspicious.
B. He privately makes the rounds of all who will die telling them different lies as to who he thinks tried to kill him. He turns them all against each other.
C. He will hire professional corruption specialist, top of her class, right out of school. He controls the discussion by saying that she has damning evidence. So someone shows up to kill her but kills another cop and is shot dead trying to run away.
D. Someone is scared to the point of running, only to run into being killed and buried.
E. An old pro is asked for by the Captain. He’s well know for solving these shit storms. He’s only got one month left on the force. People think Benjamin is really scared for his life. This throws suspicion away from him.
F. We are building to the new hire and old pro are about to die. Benjamin is about to finish it all off.
G. Benjamin is being forced to leave, on good terms. He goes nuts but does not give himself up, he just dances on that edge.
H. The female corruption specialist plant the idea in Ben’s head that she thinks knows what happened but can’t tell him. She sets a trap. And gets him. The end.
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SUBJECT: Wayne’s BI Stacking Suspense
What I learned: The job of thrilling boils down a few beats per scene that really drive the thrill. Specifically M.I.S. I learned a method for tracking these multiple escalating lines of mystery, intrigue, and suspense. (I should say “I am learning”, and that is thrilling also.)
It was fun to see how few words, straight to the point, embodied the emotion in the Staking Suspense Chart. It let me see/feel the escalations.
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Subject line: Wayne Schrengohst’s World and Characters!
What I learned: To just keep at it.
CONCEPT: A police department, consumed with corruption, implodes, when command says the new recruit must die.
Big Mystery: There is a cold case that has seemingly been the death of the many police who tried to solve it.
Big Intrigue: The Captain is running a corrupt department. All are on the take other than the two new ones, Sheila the newbie, and Walter who is about to retire.
Big Suspense: Sheila and Walter need to be corrupted or killed. They are now assigned the cold case.
Tell us the Intriguing World. A corrupt small town sheriff’s department in the pacific north west 1964.
Hero: Sheila, a new recruit, top of her class, book nerd, and quoted authority on police corruption. All she has is “book smarts” and zero respect.
— Mystery: Why is she delighted to be in a dangerous situation? Sheila scares the cops. She seems to know more about their town history, people, and cases than they do.
— Suspense: The police know she is headed for death.
— Intrigue: The Captain is assigning the “kiss of death” cold case to the newbie. It has never failed to get them killed.
Villain: Captain Benjamin. About to retire. Thinks he’s home free and clear. Wants to go out in style.
— Mystery: Why is he amassing money and killing cops.
— Suspense: He is also killing his favorites. Why?
— Intrigue: Will he let anybody live. Is there a plan? Does he just like what he’s doing?
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Wayne Schrengohst, Thriller 21, DAY 2
I learned that putting something in and moving on is better than stewing.
Logline: A police department is consumed by corruption.
Unwitting but Resourceful Hero: Sheila, a new recruit, top of her class, book nerd, and quoted authority on police corruption.
Dangerous Villain: The Police Captain, Benjamin, will clean up his department by any means necessary, mostly murder.
High stakes: Police are being killed.
Life and Death situations: Even routine calls can be lethal.
This story is thrilling because… it becomes a creepy cat and mouse between the supremely powerful Captain and the innocent naive New Recruit as everything falls to shit.
Big Mystery: Who is killing the police officers? Why? How can they be so effective? Where is this leading?
Big Intrigue: The Captain heads every attempt to catch the perpetrator of the murders? He gets increasingly punitive to subordinates as attempts fail.
Big Suspense: Eventually she knows and doesn’t speak. And he knows she knows. And she knows he knows she knows. It gets special.
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Lethal Weapon 1987 ACTION THRILLER CONVENTIONS
Doing this assignment I learned how the unwittingness of Riggs grips my heart and keeps me worried for him for the entire movie.
Unwitting but Resourceful Hero: Riggs is a cop, suicidal and grieving over his wife’s death. He is taking huge risks on the job with dangerous criminals. In his past he has been a Green Beret Special Forces war veteran and weapons expert. Now he is just a sad but lucky mess.
Dangerous Villain: After the war ex-CIA agents, mercenaries, and soldiers involved reformed Shadow Company and began shipping large quantities of heroin from Asia to the United States, under the leadership of retired General Peter McAllister and his right-hand man Jack Joshua.
High stakes: Bad guys torture and kill anyone in their way.
Life and death situations: These are trained hardened killers with sophisticated techniques for killing and interrogation.
This movie is thrilling because? There are many big escalation as to how many and how bad the bad guys are. And because you really like those being threatened.
Big Mystery: Why was Amanda murdered? Who will be next?
Why are intelligence specialists involved? Can Riggs get his old functioning self back?
Big Intrigue: Our trained protectors are up to no good.
Big Suspense: How can two cops bring down SHADOW COMPANY, a fully manned and equipped intelligence operation trained through years of war and now turned to crime.
Anything else you’d like to say about what made this movie a great thriller? Riggs is so very endearing, emotional, off his rocker brave, and good while in the face of torture, murder, and mayhem. He oscillates between suicidal out of his mind grief and willing to die for anything that looks like good or justice.
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Wayne Schrengohst
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.
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This reply was modified 3 years, 9 months ago by wayne schrengohst.
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This reply was modified 3 years, 9 months ago by
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Wayne Schrengohst
One produced play. An attempt to turn the play into a screenplay. One finished screen play. And a few 1/2 finished starts.
I very much like the idea of a map, separate from writing script.
I was on an Ani DiFranco tour as roadie for Bitch and Animal.
Here we go…
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Wayne Schrengohst’s 4 Act Transformational Structure
What I learned doing this assignment is… work fast and fun and ideas come.
Concept – The mostly absentee theater figure head and world class Mythologist shows up unexpected to the Pitch Night. His overwhelming approval wins George the showcase run, and the ire of Elaine.
Main Conflict – Theater Manager Elaine likes things as they were. George is a subservient techie. He jump when she calls. Pitch Night gave George a chance to show what he’s been secretly working on…BEAST. One of the presented theater pieces from pitch night is awarded a showcase run of two weeks… A work in process performance.
George Old Ways
1. No confidence, not a peer, subservient, desiring others to like him.
2. Concealing his artistic ambitions.
3. Hides behind a disguised veil of wry humor.
George New Ways
1. Strong, projects leadership
2. caring while focused on his ambition
3. Generates enthusiasm and wins the respect of his artistic peers
Act 1: Opening – George w/o confidence, concealing ambition, puts up a pinch of desire, and gets to present a few minutes of BEAST in a contest for a showcase.
Inciting Incident – George/BEAST is a hit with Joe the theater’s, usually absent, head.
Turning Point – George steps up and secures his win of the showcase.
Act 2: New plan – Cast, fund, make Beast great, oh…and finish writing it.
Plan in action – The Thrill of Hope. Elaine escalates stopping George. George tries to find Joe for help.
Midpoint Turning Point – Joe and George have a great meeting of the minds. Then next morning Joe is MIA. Elaine tries to shut down BEAST.
Act 3: Without Joe, George must – Rethink everything,
New plan, George tries to give Elaine what she wants, song and dance.
Turning Point: Huge failure / Major shift
Act 4: Climax/Ultimate expression of the conflict: George character fights Dragon.
Resolution: Elizabeth and Elaine alternately kill and then revive the men.
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LESSON 4 30 DAY SCREENPLAY
I learned a bit about how to embody a character and be them. It is liberating to be them instead of trying to logic out what they do.
Protagonist George.
TELL ME ABOUT YOURSELF. It’s about time I give myself a chance.
WHY DO YOU THINK YOU WERE CALLED TO THIS JOURNEY? WHY YOU? I have been so much to so many productions, in support, I want to be at the helm and see how that goes.
YOU ARE UP AGAINST . WHAT IS IT ABOUT THEM THAT MAKES THIS JOURNEY EVEN MORE DIFFICULT FOR YOU? They have always like me as a contributor to their achievement. It’s hard for them to let that go, loose me, and re-think who I am.
IN ORDER TO SURVIVE OR ACCOMPLISH THIS, YOU ARE GOING TO HAVE TO STEP WAY OUTSIDE OF YOUR BOX. WHAT CHANGES DO YOU EXPECT TO MAKE AND WHICH OF THEM WILL BE THE MOST DIFFICULT? I have to come to grips and navigate the treacherous waters where in those I’ve supported so faithfully feel abandon.
WHAT HABITS OR WAYS OF THINKING DO YOU THINK WILL BE THE MOST DIFFICULT TO LET GO OF? I feel like a slave who has been promoted to captain of the ship..briefly. And that soon, if I fail, I will be back to slavery. And I will be beaten for all of my hopes and arrogance.
WHAT FEARS, INSECURITIES AND WOUNDS HAVE HELD YOU BACK? Fear of failure of course. As long as I think I could but don’t really try my self proclaimed titles have some credibility, things are in-work.
WHAT SKILLS, BACKGROUND OR EXPERTISE MAKES YOU WELL-SUITED TO FACE THIS CONFLICT OR ANTAGONIST? Having been the right hand man to a long list of great creators of great acclaim.
WHAT ARE YOU HIDING FROM THE OTHER CHARACTERS? WHAT DON’T YOU WANT THEM TO KNOW? That I don’t know that I could live with failure. All my little projects were so well received. It makes it even harder to step up to something…well, face it….commercial. That’s a bad word. Ooh.
WHAT DO YOU THINK OF ? Of Elaine? I’m smart enough to not tell. I did mention it to Will when we were drunk and I think he told her… And I live in fear of her ever since.
TELL ME YOUR SIDE OF THIS WHOLE CONFLICT / STORY. Elaine is smart but she doesn’t get my humor. She doesn’t like jokes that are dark. She only likes happy funny stuff. And yes maybe I did have that in my audition piece. And that’s what she was looking for.
WHAT DOES IT DO FOR YOUR LIFE IS YOU SUCCEED HERE? Well first of all … it means I have squandered all my life staying in the shadows. …. and secondly…it means I get tickets to the dance. I would love to attend without having someone who snuck me in running around worried that I would make an ass of myself.
ASK ANY OTHER QUESTIONS ABOUT THEIR CHARACTER PROFILE THAT WILL HELP YOU. Do you really think you have a chance to succeed? That question boils my blood and pisses me off. And the answer is YES! If just to be contrary. I know I’m not suppose to win.
ANTAGONIST Elaine
TELL ME ABOUT YOURSELF. I am here to make sure this theater stays in the black. I’ve worked very hard. When I say something I mean it.
HAVING TO DO WITH THIS JOURNEY, WHAT ARE YOUR STRENGTHS AND WEAKNESSES? My strength is knowing what people like. People you pay money. Not just tickets. Contributors. It’s how we survive.
WHY ARE YOU COMMITTED TO MAKING THE PROTAGONIST FAIL? The short answer is…to teach him a lesson.
WHAT DO YOU GET OUT OF WINNING THIS FIGHT / SUCCEEDING IN YOUR PLAN / TAKING DOWN YOUR COMPETITION? It will show everybody that I mean business. And business is mean.
WHAT DRIVES YOU TOWARD YOUR MISSION / AGENDA, EVEN IN THE FACE OF DANGER, RUIN, OR DEATH? My life’s work is making examples of people who don’t listen to me. It helps the others figure out their true callings.
WHAT SECRETS MUST YOU KEEP TO SUCCEED? WHAT OTHER SECRETS DO YOU KEEP OUT OF FEAR / INSECURITY? I used to want to write, till I found out… I’m not that funny. And funny is money. I know funny but I’m not funny, I’m just money. Honey.
COMPARED TO OTHER PEOPLE LIKE YOU, WHAT MAKES YOU SPECIAL? There is nobody like me.
WHAT DO YOU THINK OF ? George had a lucky moment. He will never hold up to the test of time. He’s too impressed at his own footwork. He eventually turns everyone against him. They just love him now. But you will see… I’m not wrong. He is a worm. And I will feed him to the robins. And watch them eat him.
TELL ME YOUR SIDE OF THIS WHOLE CONFLICT / STORY. I have made my decision. I have made the announcement. He will fail. Now all we have to do is sit back and watch how right I am. It’s not because I think he doesn’t like me. It’s because he let me know.
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What I learned doing this assignment: I was filling in blanks and having my writer’s buzz!
George (protagonist)
What makes him special? George can be very insightful encouraging and extremely crafty when working for others.
ROLE IN THE STORY: (Fighter / Dreamer.) A tireless technical support to theater and performance artists, George has to fight his own demons and authorities to join the artists ranks as he writes and directs a play, his own dream.
AGE RANGE AND DESCRIPTION: Male (or female), late 20s, Fit, Smart, wry.
INTERNAL JOURNEY: Goes from trying to help/please everyone else to being a successful writer/director.
EXTERNAL JOURNEY: From working for others to creating his own theater production.
MOTIVATION: After years of working for others George needs to take the writer/director ride for his own play.
WOUND: He melts down and freezes up when the emotion gets heavy and he’s the one that has to make a decision.
MISSION/AGENDA: To wrestle a strange dream to the stage, exploring its message as he goes. And in doing so find out if he has what it takes.
SECRET: Panic and indecision can cripple him.
WHAT DRAWS US TO THIS CHARACTER? George is pushing himself way out of his comfort zone. He is rightfully afraid. He is playing with new values he knows he will need for success.
TRAITS: Self conscious. Wry. Smart. Faking calm. Panicked.
WHAT MAKES HIM SPECIAL? George can be very insightful encouraging and extremely crafty when working for others.
SUBTEXT: He does know what he wants but is unable to ask for it.
FLAW: Obfuscation. Panics at conflict.
VALUES: Realistic about his slim chance for success.
IRONY: He is the last person to believe in himself. It’s a sweet moment when he does.
WHAT MAKES THIS THE RIGHT CHARACTER FOR THIS ROLE? He is the opposite of what we normally would see in this role.
Elaine (Antagonist)
WHAT DRAWS US TO THIS CHARACTER? Elaine, the theater’s business manager, is bold. Refreshing. Openly two faced. Disdainful of self involved cerebral performance she doesn’t understand. She wants to make money.
TRAITS: Snakelike ready to strike. She is wicked. A charmer.
SUBTEXT: Thinly hides her anger that George got selected against her wishes.
FLAW: It’s all about box office. That is really all that matters.
VALUES: The dollar. Reviews. “The people” (Bad talk radio)
IRONY: She always says “It’s not about what I want”… but it is.
WHAT MAKES THIS THE RIGHT CHARACTER FOR THIS ROLE? She is like a steam roller, cutting George’s budget, cancelling his rehearsals. She is the foe that makes him stand up for himself.
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Doing this assignment helped me find the emotional core of my story for the protagonist.
George
ROLE IN THE STORY: (Fighter / Dreamer.) A tireless technical support to theater and performance artists, George has to fight his own demons and authorities to join the artists ranks as he writes and directs a play, his own dream.
AGE AND DESCRIPTION: Male (or female), late 20s, Fit, Smart, wry.
INTERNAL JOURNEY: Goes from trying to help/please everyone else to being a successful writer/director.
EXTERNAL JOURNEY: From working for others to creating his own theater production.
MOTIVATION: After years of working for others George needs to take the writer/director ride for his own play.
Wound: He melts down and freezes up when the emotion gets heavy and he’s the one that has to make a decision.
MISSION/AGENDA: To wrestle a strange dream to the stage, exploring its message as he goes. And in doing so find out if he has what it takes.
SECRET: Panic and indecision can cripple him.
WHAT MAKES THEM SPECIAL? George can be very insightful encouraging and extremely crafty when working for others.
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BEAST – George
George is a highly appreciated theater technical director. He is a theater staff member who does everything for everybody else, but has unfulfilled ambition of being a writer/director. The theater company loves his technical work but for self serving reasons do not encourage his ambitions. He begs a 15 minute slot on their pitch night for the one “showcase” opening they do to fulfill their grant agreement. The mostly absentee theater figure head and world class Mythologist shows up unexpected to the Pitch Night. His overwhelming approval wins George the showcase run.
George’s exhilaration at landing the spot soon transforms into apprehension at meeting the challenge of developing his pitch into a ninety minute performance. The other Artists and Theater Manager are not going to make this easy for him.
Internal Journey: Face it, George is a suck up, a yes man, always wanting to please, that’s why he’s so good at his job. But this will never get him to where he wants to be as peer to the other creators.
External Journey: Overcoming the other member’s narrow view, that George is only a facilitator of their wishes, is the battle George has to fight if his vision of his production “BEAST” is to succeed.
George Old Ways
No confidence, not a peer, subservient, desiring others to like him.
Concealing his artistic ambitions.
Hides behind a disguised veil of wry humor.George New Ways
1. Strong, projects leadership
2. caring while focused on his ambition
3. Generates enthusiasm and wins the respect of his artistic peers
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I’m definitely going to give that a think!
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