July 14

I really need to determine what Over The Edge is, y'know, about - beyond power, that is. More to the point, I need to figure out what's going to happen, and that's not going to occur until I nail Michael down to the ground and figure out what's going on with him. Michael - like Paul - has always been a one-dimensional Iago-type. But what was good enough for some fun RPG-fic is not good enough for a coherent screenplay. So I need to summon up some effort (sigh) and determine his history and motives, which I think will go a long way towards helping me plan the story.

I'm not trying to write the Great American Screenplay here. Just a fun one. A piece o'trashy entertainment that I'd want to watch when my hubby's at a D&D game and I'm in the mood for vicarious thrills. Projects have been undertaken for worse reasons, right? But even fun screenplays have certain requisites - like, oh, a beginning, middle and end and all that crunchy stuff in between.

It's sad, I've been talking about this screenplay since, um, 1995 - college. I think I just want to finish it so that I can get it out of my life. Given that I've barely started it, I hope no-one's holding their breath for the final act.

The conflict between Patricia and Michael needs to be beefed up. Must-be-renamed Cop (MBRC) needs to be fleshed out, or discarded entirely. If I make him (his gender - at least - is certain and oh, the temptation for slashy subtext goodness between MBRC and Michael, but I'm getting ahead of myself) to be a paragon o'goodness, then I must definitely put a bit more tarnish on Trish, for contrast. But not too much tarnish, of course. I want her caught between two (almost) polar opposites. Of course, Michael will have his redeeming qualities, and MBRC will have his unsavory aspects. Or is that too jejeune? Whatever, we're talking pre-first-draft at this point. Now's the time to play, fiddle and have fun - broad strokes, not subtlety.

I think Patrica will attack Mrs. H, but won't kill her. Mrs H, btw, needs to be more than some over moneyed lady-who-lunches with a narcissistic streak. Trish must see something in Mrs. H that - deep down - she covets. Lots of options: stable relationship, social standing, or even just the freedom to be selfish and impulsive (bingo). Controlled-and-controlfreak Trisha would really, really resent that - but not quite consciously, methinks. Oh, that's going to be fun to communicate cinematically....

What does Michael have to lose? And MBRC? They need to have a lot at stake - as much as Patricia does.

To hell with a happy ending. Any ending in which Trisha is still standing and sane counts as a win. All else is gravy.