That sounds good to me (plus Mitchell definitely feels like a Willing Main Character). But just to make sure - other Act turns?
Sorry, catching up.
Great example, @Jerome. I also think he’s a linear thinker.
Other example could be Mitchell telling Zoe “I…I just need to know what state you’re in so I know…how to talk to you…how to act…”
This could reveal a very linear mind… “IF stoned THEN talk like A ELSE talk like B”
His interviews with other witnesses follow a very linear path.
I think the story revolves around blame. Mitchell has to prove that Dolores is not to blame for the death of the children and it’s the development of the case that constitutes the act breaks.
Act 1 > Act 2: Mitchell learns crucial evidence that will help his case. He has a witness that can testify how fast Dolores was driving. This is good for Mitchell and the case.
INT. DOLORES'S HOUSE -- DAY
The conversation between MITCHELL and DOLORES continues from
the previous scene.
MITCHELL
So Billy was driving behind the bus
at the time of the accident?
DOLORES nods. Her expression is distant.
Act 2 > Act 3: The bus veers off the road for no apparent reason:
EXT. SCHOOL BUS -- MORNING
JESSICA and MASON, BILLY'S children, wave at their father
from the back of the bus.
CUT TO
EXT. BILLY'S PICK-UP -- MORNING
BILLY waving back at his children. His expression suddenly
changes as he sees...
CUT TO
EXT. ROAD. -- MORNING
From BILLY'S point of view, the schoolbus smashes through
the guardrail and the snowbank. It plummets down the
embankment to the frozen-over pond.
Still upright, the bus slides across the ice to the far
side. The ice lets go and the rear half of the yellow bus
is swallowed at once by the freezing water. The sound of
the ice breaking is terrifying.
DOLORES
(voice over)
It emerged from the blowing snow on
the right side of the road. It
might have been a dog or a small
deer or maybe even a lost child. It
might have been an optical illusion
or a mirage. Whatever it was, for
the rest of my life I will remember
that red-brown blur...
An eerie silence as the camera stares at the scene of the
accident.
Dolores saw something, or thinks she saw something, but from our point of view, there’s nothing to suggest she actually avoided anything. This is bad for Mitchell and the case.
Act 3 > Act 4: Mitchell explains to Dolores he has an eyewitness that can testify that she was not speeding, not being negligent.
MITCHELL
Billy Ansel will insist that you
were driving fifty-one miles an
hour. Just like you've done every
morning for the past fifteen years.
DOLORES
He knows that? Billy?
MITCHELL
Yes. He does.
DOLORES
Billy said that?
MITCHELL nods.
DOLORES (CONT'D)
You've talked to Billy?
MITCHELL
I did.
DOLORES
And Billy told you that he'll tell
that to...
MITCHELL
Mrs. Driscoll, if Billy Ansel does
not volunteer to say so in court, I
will subpoena him and oblige him to
testify to that effect.Story Driver: Actions.
-
When he first meets the Wendells and they ask “Are you here about the accident?” he answers “Yes. I’m a lawyer. I realize this is an awful time, but it’s important that we talk.” I’d say he’s acting setting him up as a lawyer, their lawyer.
-
Mitchell gives Nicole a computer - that’s another action to set him up as their lawyer.
-
There’s a scene where he avoids talking about Zoe to Alison by putting on a pair of headphones. No decision, action.
-
Another action: Mitchell videotapes the bus right before he meets Billy.
-
When he talks about child Zoe being bitten by a spider, he says he was prepared to go all the way (make the tracheotomy) He didn’t have to, but he never mentions he was struggling to make that decision.
-
And what he does is to interview the parents and Dolores, we never see him going through his notes and thinking about them.
Sorry, don’t mean to pick apart, but for educational purposes:
You describe someone “being” a certain way, but probably just the act of a lawyer showing up forces people to decide to participate or not.
What decision does this force?
This has nothing to do with the Overall Story. Story Drivers drive the Overall Story forward.
Again, what decision does this force? I would say Billy’s threat of violence forces Mitchell to have to find another way to win the case.
Again, this is MC Backstory, not Overall Story.
The lack of something doesn’t necessarily imply the presence of the other.
And @Jerome the bus driving off the side of the road can’t be an Act Turn - it happened before the story began. The story didn’t begin until the lawyer came into town.That’s when they were forced to start dealing with it.
A significant Driver would be SPOILER ALERT - Dad sleeping with his daughter.
Regardless, we all agree on Action which is great - how about the Story Limit Optionlock or Timelock (this one seems pretty apparent).
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@jhull: Now I get it. Story Drivers are only the ones related to the Overall Story.
Wouldn’t the incest be their “normality” and the driver a change in that situation? The moment when Nicole, now unable to walk changes the relationship with her father?
Story Limit - I’d go for Optionlock - a limited number of parents to convince them to join the class action.
Yes that Optionlock seems to be the easiest thing to figure out. And once that last option decides to lie … well it’s all over.
And speaking of over … how does the story end? Is the Story Outcome a Success or Failure and is the Story Judgment Good or Bad?
Failure The lawsuit falls apart.
Bad Mitchell continues to be haunted by the loss of his daughter.
Can we return to act turns for a minute?
Maybe I’m quoting you out of context, but Sam didn’t have sexual relations with his daughter after the accident, so how can it be an act turn?
Also, I wasn’t referring to the actual accident, but Dolores’ claim that she thinks she tried to avoid something. This happened after Mitchell arrived.
Agree.
Failure - no lawsuit.
Bad - Mitchell hasn’t solved his personal angst.
Did it really? Wow, OK for some reason I think I missed that (although now that I think about it … duh). In that case, yes, then my “spoiler alert” example would be wrong. And OK - yes your clarification of Dolores reveal then yes that could work. Sorry about that.
So we’re all good on the dynamics (totally agree on the last two – such a happy movie!)
So we have:
- Steadfast
- Do-er
- Linear
- Action
- Optionlock
- Failure
- Bad
Onto the Four Throughlines, for the Main Character, Influence Character, Relationship Story and Overall Story, where do you see them falling into Domains (Activities, Situations, Fixed Attitudes, Ways of Thinking). Argue all four and examples please!
Re: Act turns. Cool.
Throughlines:
OS: ACTIVITY: After they lose their children in a school bus accident, a city lawyer rallies the townspeople to form a class action lawsuit which leads to a hearing.
MC: SITUATION: Mitchell’s daughter is a drug addict who’s fallen off the grid.
IC: FIXED ATTITUDE: The townspeople hold onto their opinions (good or bad) regarding each other, the accident, the lawsuit, and outside folk.
RS: MANIPULATION: Mitchell either convinces, or coerces, the townspeople to agree to the lawsuit while they lie to cover their secrets, or their intentions.
I agree with @Jerome’s choices of OS and RS
OS: Activity
RS: Manipulation
But how about this:
MC: Fixed Attitude - Mitchell is a kind of an angry crusader, he tried to save his daughter using the same strategies over and over again even if they didn’t worked. I think this has to do with what we discussed about stop/start.
IC: Situation - The parents dealing with the consequences of the loss of their children. Emotional (coping) and Mitchell trying to convince them to join the lawsuit.
Two things about your response:
a) Mitchell can’t be in Fixed Attitude because we have already determined that he is a Do-er by nature. Do-ers will be dealing with personal problems in the external realm, namely Situations and Activities. In addition, if Mitchell suddenly weren’t still angry - would he still have a problem?
b) Your description of the IC in Situation sounds more like you’re describing the Overall Story.
Since both of you picked Activity for the Overall Story - what activities are everyone engaging in that are causing problems? What are they doing that they need to stop doing? (in order to resolve conflict)
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They’re all trying to whip up a class action lawsuit against the city, or the company that made the bus, to compensate for their loss. They’re seeking justice where there’s none to be had.
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What activities are they specifically doing? And are they all involved in whipping a class action lawsuit? In order for it to be an OS of Activities there actually have to be activities they are engaged in that are problematic (fighting, kicking, punching, stabbing, etc.). What activities get them in trouble?
MItchell is both the MC and the Protagonist. As a protagonist, he does a lot of things…
- He buys Nicole a computer.
- He videotapes the school bus.
- He drives from house to house to solicit people.
- He listens to people tell their story.
- He helps Dolores carry the tea tray.
- He struggles to get out of the car wash (which belongs to Billy)
But can those things be used in reference to the MC throughline? If so, then…
MC: Activity: Mitchell does all of the above in order to build a mental picture of what happened.
OS: Situation: Everyone is haunted by the loss of someone close to them.
IC: Manipulation: The townspeople keep secrets from one another, anticipate a reward, heal, move on
RS: Fixed Attitude: Mitchell and the Townspeople are haunted by their past.
EDIT: Argh! Wait.
OS: Fixed Attitude: Haunted by memories. Grieving. Unable to move on emotionally. Stuck.
RS: Situation: Mitchell and the Townspeople have lost their children.
(I think you were right the first time) ((It’s fun watching you edit live on-screen LOL))
There’s still so much about this that I struggle with. It just seems like there are so many different ways to mix and match stuff. It’s overwhelming at times.
EDIT: How does Allison reside in situation? She seems more haunted by the memory of Zoe. She’s also reminding Mitchell who she is. Your lawfirm partner’s daughter? Hello? Don’t you remember me?
I always thought of her as a part of the MC Throughline, not so much the Overall Story (She’s never been in that town). But even so what do you see everyone dealing with? The Past, How Things are Changing, the Present and the Future? Or are they dealing with Memories, Impulsive Responses, Innermost Desires and Contemplations?
I do like Mitchell in Activities for all the reasons you listed.