I love the way bare trees look when their branches are encased with a layer of ice, especially when the sun hits them and the melting ice refracts the light in little rainbow sparkles. The fact that it's dangerous just enhances the beauty.
Took me over 2 hours to drive to work on the icy roads. (My usual commute is 45 minutes.) I didn't mind, as driving on ice is fun - as long as you remain focused. It's the other drivers who are a potential problem.
Orange-glazed scallops with ginger and scallions... I've been trying to think of a good orange-glazed scallop recipe that didn't need to be spicy but would still have enough contrast with the sweetness of the citrus. (My sister can't tolerate hot spices. She gets blisters.) That would work.
Do I keep writing pages for the Co-write contest, or do I work on developing my own first ten pages that I created with that contest in mind? Or both, if I can manage it. The two stories may evolve from the same logline, but the opening they chose will take that script in very different directions than mine is going.
Here's my answer to the stupid High-Fructose Corn Syrup ads:
HCFS suppress the chemicals that tell us we're full, leading to gorging
and
Products made with HCFS likely to contain Mercury
and the FDA knew about it, and did nothing
Obama needs to invest in trains.
Trains can reduce vehicle emissions, reduce traffic, reduce the stress on roadways, increase the ability of workers to travel for work, develop new technologies, and employ large numbers of people.
Bush severely cut funding for the commuter train system, but increasing it could help address a number of problems.
Seriously - we really should have more trains.
Catalysts
This is a sidebar to the Character Arc debate in Mystery Man's blog. Just some scattered thoughts I wanted to jot down before bed.
In some films, the central character does not serve to propel the story forward in a direct manner. Nor do they change. Yet they still are at the center of a dynamic story, and they are part of a mythical tradition in storytelling as valid as the Hero's Journey.
These catalytic characters fall into three main archetypes: The Fool, The Trickster, and The Messiah
Now, it is more common to find them as the antagonist (especially the Trickster, The Joker being an excellent example) - but they are sometimes used as the protagonist. And there are some cases of these characters being written with an arc, though that is not really in their nature. The story with these characters is the change they create in others.
The most obvious fool is Forrest Gump, however, not the most catalytic.
Butch and Sundance are Fools. The archetype has nothing to do with being stupid, but is of one who travels through the world on a journey, blissfully unaware of the changes/chaos they create in their passage. For Butch and Sundance, it catches up with them.
Indiana Jones is part Fool, part Trickster - and is very much the same man with the same desires and drives at the end of the first film as he was at the beginning - but he definitely triggers events, simply by being present.
Ferris Bueller: rarely has there been a better example of a Trickster catalyst in film. Absolutely drives the film, does not change, and inspires change in his friend.
Ghandi is a classic Messiah archetype. He inspires others to great change, while remaining very much the same himself. (The movie Ghandi, not to be confused with the real man, who very much changed over the course of his life.)
Captain Jack is a trickster and clearly a catalyst. Whose desires and actions drive central storyline of the Pirates trilogy? (OK, there are arguments for both Will and Elizabeth, but it's Jack's presence that gets things moving, and Jack who spurs them on.)
Another great trickster is Redford's character in The Sting, who does not himself change and yet is the catalyst for the rest of the characters to come together and to revive their old interests, and even to stretch their abilities.
Chance the Gardener in Being There is a combination Fool/Messiah, and one of the best examples of a catalytic character in film. He is clearly the protagonist, but he does not change, and is, in fact, incapable of changing. However, he triggers great change in the people who encounter him.
Powder: messiah... pretty blatantly so.
The Prestige, trickster (but is Bale the Protag? or the Antag?)
Axel in Beverly Hills Cop - Trickster
from TV: The Doctor (as in Who), Trickster
Bruce Willis in the 6th Sense was a Catalyst, but does he fit one of the above types?
Same for Poitier in To Sir with Love - arguably a Messiah, though teacher/mentor may be another archetype.
The lead in Seven Samurai... been a while, but as I remember, he starts off pretty much the same person he is throughout, but inspires other shogun to come together and protect the village.
Cool Hand Luke, again - it's been a long time. Other than accepting his fate (sacrifice), does Luke change?
McMurphy in Cuckoo's Nest?
Ethan, especially in MI 2, is portrayed as a Messianic figure.
hmmm... forgetting something that I started off wanting to talk about....
OK, need to go off to bed. Up much too late.
In some films, the central character does not serve to propel the story forward in a direct manner. Nor do they change. Yet they still are at the center of a dynamic story, and they are part of a mythical tradition in storytelling as valid as the Hero's Journey.
These catalytic characters fall into three main archetypes: The Fool, The Trickster, and The Messiah
Now, it is more common to find them as the antagonist (especially the Trickster, The Joker being an excellent example) - but they are sometimes used as the protagonist. And there are some cases of these characters being written with an arc, though that is not really in their nature. The story with these characters is the change they create in others.
The most obvious fool is Forrest Gump, however, not the most catalytic.
Butch and Sundance are Fools. The archetype has nothing to do with being stupid, but is of one who travels through the world on a journey, blissfully unaware of the changes/chaos they create in their passage. For Butch and Sundance, it catches up with them.
Indiana Jones is part Fool, part Trickster - and is very much the same man with the same desires and drives at the end of the first film as he was at the beginning - but he definitely triggers events, simply by being present.
Ferris Bueller: rarely has there been a better example of a Trickster catalyst in film. Absolutely drives the film, does not change, and inspires change in his friend.
Ghandi is a classic Messiah archetype. He inspires others to great change, while remaining very much the same himself. (The movie Ghandi, not to be confused with the real man, who very much changed over the course of his life.)
Captain Jack is a trickster and clearly a catalyst. Whose desires and actions drive central storyline of the Pirates trilogy? (OK, there are arguments for both Will and Elizabeth, but it's Jack's presence that gets things moving, and Jack who spurs them on.)
Another great trickster is Redford's character in The Sting, who does not himself change and yet is the catalyst for the rest of the characters to come together and to revive their old interests, and even to stretch their abilities.
Chance the Gardener in Being There is a combination Fool/Messiah, and one of the best examples of a catalytic character in film. He is clearly the protagonist, but he does not change, and is, in fact, incapable of changing. However, he triggers great change in the people who encounter him.
Powder: messiah... pretty blatantly so.
The Prestige, trickster (but is Bale the Protag? or the Antag?)
Axel in Beverly Hills Cop - Trickster
from TV: The Doctor (as in Who), Trickster
Bruce Willis in the 6th Sense was a Catalyst, but does he fit one of the above types?
Same for Poitier in To Sir with Love - arguably a Messiah, though teacher/mentor may be another archetype.
The lead in Seven Samurai... been a while, but as I remember, he starts off pretty much the same person he is throughout, but inspires other shogun to come together and protect the village.
Cool Hand Luke, again - it's been a long time. Other than accepting his fate (sacrifice), does Luke change?
McMurphy in Cuckoo's Nest?
Ethan, especially in MI 2, is portrayed as a Messianic figure.
hmmm... forgetting something that I started off wanting to talk about....
OK, need to go off to bed. Up much too late.
I am now on twitter. We'll see how much I use it.
I have re-committed to my writing. Expect to see more posts, and to see me participating at Triggerstreet.
I have a tendency to try to accomplish too much, then get nothing done. I end up avoiding all of them and playing Warhammer for hours.
I have come to the conclusion that I really need to focus on one thing at a time. Once writing is a habit again, I can add on other goals.
I can do just about anything I set my mind to. I just can't do everything. At least not at the same time.
I have re-committed to my writing. Expect to see more posts, and to see me participating at Triggerstreet.
I have a tendency to try to accomplish too much, then get nothing done. I end up avoiding all of them and playing Warhammer for hours.
I have come to the conclusion that I really need to focus on one thing at a time. Once writing is a habit again, I can add on other goals.
I can do just about anything I set my mind to. I just can't do everything. At least not at the same time.
Update: Screenwriting Challenge
In the last challenge, I placed third in my group. That gives me a total of 45 out of a possible 50 points so far.
Top ten in each group moved on to the next round.
My screenplay for this round is posted below.
genre: Historical Fiction
location: Fallout Shelter
object: cactus
I struggled hard to come up with an actual story. I had an immediate impression of an innocent, a young woman standing barfoot in the midst of cacti - as so many young people in the 60s stood innocent in the midst of the dangers of the time.
I imagined her making out in the backyard bomb shelter, a protest of the culture of life against the culture of death, and then hearing about one of the events of the era on the radio - Cuban Missile Crisis, Kennedy Assassination, Che's killing... but that still wasn't a story, more like a snippet.
But, after reading about events of the 60s, I finally came up with something, an historic meeting of sorts. I re-located it from a beach into the shelter. It's a direction I didn't expect to go, but once I thought of it, it really hooked me.
It's the meeting of Charlie Manson and Lynette "Squeaky" Fromme.
Several hours of research went into getting this initial exchange right, so I hope it works
She just seemed to really fit that opening image, the initial impression I had, of an innocent among the thorns.
Top ten in each group moved on to the next round.
My screenplay for this round is posted below.
genre: Historical Fiction
location: Fallout Shelter
object: cactus
I struggled hard to come up with an actual story. I had an immediate impression of an innocent, a young woman standing barfoot in the midst of cacti - as so many young people in the 60s stood innocent in the midst of the dangers of the time.
I imagined her making out in the backyard bomb shelter, a protest of the culture of life against the culture of death, and then hearing about one of the events of the era on the radio - Cuban Missile Crisis, Kennedy Assassination, Che's killing... but that still wasn't a story, more like a snippet.
But, after reading about events of the 60s, I finally came up with something, an historic meeting of sorts. I re-located it from a beach into the shelter. It's a direction I didn't expect to go, but once I thought of it, it really hooked me.
It's the meeting of Charlie Manson and Lynette "Squeaky" Fromme.
Several hours of research went into getting this initial exchange right, so I hope it works
She just seemed to really fit that opening image, the initial impression I had, of an innocent among the thorns.
Barefoot In a Cactus Garden
EXT. SUBURBAN BACKYARD - DAY
A cactus garden - several shapes and kinds, cluster around a concrete platform. In the middle of them rises a mushroom-shaped aluminum vent, the blades on top spinning.
LYN (18), her red hair in braids, walks by. The edge of her Indian-print skirt catches on a large prickly pear. She bends to disentangle the fabric from the cactus.
Charlie (33), looks around the yard, and scratches his stubbly beard.
CHARLIE
Where is your pad, chickie?
LYN
Right here.
She frees her skirt, steps away from the cactus and onto the concrete, and points down.
INT. FALLOUT SHELTER - DAY
Lyn maneuvers around a small couch at the center of the cramped space.
Shelves are stocked with dusty cans. An AM/FM radio in the corner. An ashtray filled with butts, and some empty cans litter the floor.
Charlie makes his way down the ladder.
Lyn sits, uncomfortable, on the edge of the couch. Charlie sits beside her, she nervously jumps up - then sits again.
Charlie cracks a smile, an elfin grin of both sympathy and amusement.
CHARLIE
Tell me - what troubles you?
LYN
How - How did you know?
CHARLIE
Up in the Haight, I'm called the gardener.
He reaches into a shirt pocket and pulls out a joint, then sticks it behind an ear.
CHARLIE
I tend to all the flower children.
Lyn stands up now and faces him, but stays close.
LYN
Charlie. It's Charlie, right? I'm no delicate flower. And I don't need any gardener planting his seeds.
Charlie looks at her.
CHARLIE
Lynette. Lyn. Even a cactus -
He grasps the edge of her skirt, where it had caught the cactus above, and finds a needle there.
CHARLIE
-blooms once in a while. Flowers come in infinite variety. Some of them with thorns.
He pulls her arm out in front of her, opens her hand, and drops the cactus needle in her palm.
CHARLIE
That makes it special when you can get close to them.
Lyn melts, and flops back onto the couch. She leans slightly toward him, then pulls back again.
LYN
I guess I dig what you're saying.
CHARLIE
So, we're copascetic.
He pulls out the joint, and pats his pockets for a light. He stands, and starts looking through the stocks.
LYN
Over there. Matches are by the radio.
He lights the joint, then squats in front of her, and passes it to her. He waits for her to take a hit.
CHARLIE
When did your old man kick you out?
LYN
Wh- uh - he. How did you know?
He just grins.
She laughs.
LYN
Any little thing and he'd go ape, man. So, you know, I figured it was time to split.
She starts to tear up.
CHARLIE
Look, I've spent most of my life behind bars. Stupid shit mostly. Petty crimes.
LYN
Oh, that's golden. I've invited a criminal down here to get high. That's supposed to make me feel better?
CHARLIE
I'm tryin to tell you, man, for a lot of years I was seriously down on myself.
He holds her chin in his hand. Curiosity overwhelms her fear.
CHARLIE
Do you miss your daddy?
Lyn shakes her head no.
He holds her gaze a while longer.
She shakes her head yes.
CHARLIE
You wanted daddy to hit you.
She pulls away. Pushing Charlie from her, but with no real insistence.
LYN
Fuck you, Charlie.
CHARLIE
All little girls want their daddy's attention.
Lyn freezes. He gently pulls her into his arms, and strokes her hair.
CHARLIE
Prison was like that for me. I hated it, but I wanted it.
LYN
Do you still?
CHARLIE
No, man. I learned that the way out of a room was not through the door.
He taps his head.
CHARLIE
It's up here. Just don't want out, and you're free.
They both laugh.
CHARLIE
We've got a bus. Painted black, full of cushions and groovy people.
LYN
Yeah? OK.
CHARLIE
We're going up north again. Into the woods. Maybe back to the Haight. Come with us.
LYN
I can't.
He pushes her away from him.
She tries to lean on him again, but he pushes her up.
He stands up, and goes to the ladder.
LYN
You're leaving already?
He shrugs and goes up the ladder.
CHARLIE
Well, I can't make up your mind for you. Stay here with your Daddy if you want... But I think you'd love the Family.
She sits a moment, and looks at the cactus needle still clutched in one hand. She takes it and presses it into her fingertip, drawing out a small drop of blood.
LYN
Charlie? I'm coming.
She licks the blood from her finger, and follows him out of the shelter.
round 2, Murder at India House
FADE IN
EXT. INDIA HOUSE HOSTEL IN NEW ORLEANS, BACK PATIO - NIGHT
TOPHER (24) is slumped over in his wheelchair with a backpack on the back, a wine bottle propped between his scrawny legs.
A beach ball comes flying through the air and bounces off his head.
He pulls himself straight, one eyebrow raised high, smacks his lips and looks around.
FEMALE VOICE
Knock it off, guys. Hey Topher - you OK?
Topher whips the wheelchair around, and pops a wheelie - but ends up losing control and tipping backward. The wine in his lap spills all over his shirt and face.
Laughter (O.S.)
Inside the house, Topher sees the shadows of partiers on the walls, movement and dancing.
LEVI, a short guy with a trendy hair, looks down at him, and winds an unlit cigarette between his fingers. Without turning, he gestures for someone behind him
HIRO, expensive digital camera in front of his face, comes to the window. Levi whispers something in his ear.
Hiro lowers the camera, and gives Levi a playful punch.
Levi makes pistols with his fingers and shoots, "bang, bang" - not at Topher, but at someone nearby.
Hiro turns his camera in the same direction.
EMILY comes to his rescue and and lifts the chair back up.
EMILY
Those guys are jerks when they drink.
TOPHER
Me, on the other hand - I'm an amateur in the drunken asshatery department, but I think I've got a good start.
EMILY
Epic fail, dude. Next time aim the wine spillage in his direction.
She points up at Levi.
TOPHER
What's your name again?
EMILY
Oh? I may have to re-evaluate your amateur standing.
TOPHER
Oh come on. We just met. I would've forgot your name even sober.
EMILY
Well, that's reassuring. Emily.
Levi comes over with a drink in his hand.
LEVI
Topher my man, you seem to have run dry.
TOPHER
I don't think you could call me "dry."
He gestures to the spilled wine.
LEVI
One more. My signature cocktail.
Topher accepts the beverage, takes a sip.
Levi crouches down behind Emily, leans his chin on her head.
LEVI
Now, Em, if you don't get your rest, tomorrow I'm just going to kill you.
EMILY
Ha. Ha.
Topher nods off again.
INT. INDIA HOUSE, DORM ROOM - NIGHT
Topher is passed out, drooling on a pillow.
A scream somewhere in the building awakens him with a start.
TOPHER
Emily?
He sits up, and swings his legs over the side of the bed.
Woozy, he sways a moment. The room is dark. In fact, the whole place seems remarkably dark and quiet.
Another scream.
TOPHER
What the fuck? Hello? People?
His chair is parked at the foot of the bed. He scoots down to it, rummages through the backpack hanging on the back, and pulls out a flashlight.
He flashes it around the dorm room. No one is in any of the other beds. Hiro's camera sits on one of them, pointed at a spot in the middle of the floor, on and recording.
Topher rubs his face to wake up, and pulls his wine-stained shirt away from his body. He climbs into his chair, and wheels over to the camera.
He starts rolling, and then suddenly stops. Something wet and sticky on his hand. Something wet and sticky on the wheel.
He takes a deep breath, and shines the flashlight at his hand. Red. Not wine. Thicker. Visceral. Blood.
He shines the light around the room again. Stops on the camera. Looks in the direction it's pointed.
Face down on the floor, in a pool of dark wetness, is a body.
TOPHER
Oh shit.
He wheels to it, shining the light on it.
It's Hiro. And wet tracks lead back to Topher's bed.
Topher pulls his backpack into his lap, and digs through it. He pulls out his phone, flips it open, and gets a black screen.
TOPHER
No. No. I refuse to accept that.
He tried turning it on, and nothing happens. He throws it across the room.
Levi stands in the shadows at the doorway.
LEVI
Temper, temper.
TOPHER
We've got to call 911.
LEVI
No.
TOPHER
What?
He shines his flashlight on Hiro.
TOPHER
We've got to call 911, man.
Levi shakes his head. Walks away.
LEVI
Hey, man, where's your little girlfriend?
He disappears into the dark hall.
Topher's face drops.
FLASHBACK
Levi making a shooting gesture at someone, just before Emily picked up Topher's chair.
END FLASHBACK
Topher starts toward the hallway, but then pauses, and shines his flashlight around the room, desperately looking for something. He stops, then weighs the flashlight in his hands. It's got some heft. He swings it, then turns it off.
Closing his eyes for a moment, he adjusts to the dark. There is some light coming from outside, so it's not as pitch black as he first thought.
He slowly wheels into the hallway, flashlight in his lap, listening carefully.
HALLWAY
A squeak. The faint silhouette of Levi, who seems to be facing him.
He pushes forward.
Levi steps back.
COMMON ROOMS
They are in the common area now, with a little more light coming in from outside. Christopher stops and looks around.
There are people here - all sitting quietly, as if waiting, like they are waiting for a bus.
One of the party girls from last night sips a mug of coffee.
A guy nods to him.
TOPHER
Where is she? Where's Emily?
PARTY GIRL
It's her turn to die. I'm next.
No one reacts.
Levi continues to back away, leading him. In the dim light, Topher can see that Levi has another camera.
From under the door of one of the private rooms, a bright light shines.
Topher ignores Levi and rushes to it.
He slams the door open, and floodlights blind him for a moment.
PRIVATE ROOM
When they adjust, he sees Emily, gagged and tied to a leg of the bed, struggling. Her wrists are raw. Her clothes are slashed and bloodstained.
She sees Topher, and her eyes widen. She shakes her head no desperately.
Topher rushes in, but can't negotiate the small room.
A camera hangs from the ceiling, spinning, recording Emily's struggle.
Topher throws himself from the chair, and crawls to her.
Levi is behind them, recording them.
Emily looks at Levi, confused, then at Topher.
She reaches up, and pulls the gag out of her mouth.
EMILY
Dude. You ruined my scene.
Levi laughs.
Topher looks confused.
Levi walks over to the dangling camera, and turns it off.
He leans in close to Topher.
LEVI
Cut.
FADE IN
*squeeeeeeeeeeeee!!*
So, uh, that competition?
The one I barely managed to complete the assignment for, with zero editing?
Figured I'd do Ok. Top third. Enough so that I could do well in the overall, since the points for each round accumulate.
I placed #1 in my group.
Wow.
Just a reminder that deadlines are good for me.
Specifically short, tight, non-negotiable deadlines.
Keeps me from over-thinking.
The one I barely managed to complete the assignment for, with zero editing?
Figured I'd do Ok. Top third. Enough so that I could do well in the overall, since the points for each round accumulate.
I placed #1 in my group.
Wow.
Just a reminder that deadlines are good for me.
Specifically short, tight, non-negotiable deadlines.
Keeps me from over-thinking.
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