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Actual Play Vignettes: [PTA] The Line

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  1.  
    •  
      CommentAuthortony dowler
    • CommentTimeMar 1st 2007 edited
     # 1
    We’ve wanted to play PTA forever, and we really go into the pitch. People were playing slideshows, YouTube videos, and songs. But every idea got shot down for one reason or another. And then John Harper pitched this idea out of the blue that totally hooked all of us. The result was The Line.

    The Line is a concept show set entirely within the subway system of an unidentified city. Think of it as Lost with a touch of season 1 of X-files. The teaser poster for the show depicts an Australian Aborigine in full outback gear, carrying a spear, standing on a subway platform.

    After the pitch and character creation, John created this incredible image for the show. It’s way long, so you need to zoom, then side scroll.

    Here are the characters:

    Henry “Hank” Jakoby

    Player: Brandon Amancio
    Issue: Tempation—“I’ve been driving trains for 20 years, and I always kep my eye forward like I was supposed to. That doesn’t mean that I don’t want to know what is out there in the darkness.”
    Story Arc: 2 1 1 2 3
    Connection: His daughter Alice—Alice is film student who occasionally writes articles for Suppressed Transmissions*. She loves The Line and often shoots her film within it.
    Edge: Old timer—Hank has been around for a long time. There are few people who know the line better than Hank. Well, at least no one who still works for The Line.
    Connection: The Collector—This clean but unkempt man (played by Tom Waits) wanders the line with a huge backpack picking up what is left behind. He always gives Hank first crack at the most interesting stuff.
    Nemesis: Doris “Dorie”, a supervisor on The Line”—Doris and Hank have been divorced for about 5 years. While she is not his direct supervisor, she is in management and that can make life difficult sometimes. Fortunately, Alice loves her pop and is often Hanks ace in the hole with Doris.
    Personal Set: Train Car 4224—This is Hank’s train. He always drives this train. This train is more home to him than anywhere else on Earth.

    * Suppressed Transmissions is a mimeographed zine about the strange things happen on The Line. We’re not quite sure who writes it.

    Morgan
    Player: Phil LaRose
    Actress: Ani DiFranco in her green spiky hair phase
    Concept: Punk rock busker chick
    Issue: Self-worth: prove that I can make it big without selling out
    Story Arc: 2 2 3 1 1 2
    Set: Central Square Station
    Nemesis: Officer Stankowski AKA Stan the Man of The Line police
    Edge: Punk rocker
    Connection: Alex the record label employee
    Connection: Charlie the newsstand guy

    Chrysostom “Chris” Niklaus
    Concept: Hipster looking for God and working temp for The Line
    Issue: Looking for God
    Story Arc: 2 1 2 3 2 1
    Edge: Theology student—Chris has been a student of every religion he could find
    Edge: Hipster
    Connections: My dead mother
    Nemesis: The aborigine
    Set: Breakroom of The Line employees

    Brandon also has an awesome list of the rules that can be seen posted up in the cab of Hank’s train (want to post it, Brandon?) We played our pilot session last night, and it was awesome. I'll write the AP for that shortly.
    • CommentAuthorJDCorley
    • CommentTimeMar 1st 2007
     # 2
    Wow, great setup. I love the fact that you came up with an interesting set first. Lost has the jungle, my best PTA experience had a mall...things that are iconic and that everyone knows about and can visualize immediately.
  3.  # 3
    This sounds like an awesome game. That picture reminds me of the movie Stay in a very good way.
    •  
      CommentAuthorJohn Harper
    • CommentTimeMar 1st 2007 edited
     # 4
    The pilot was so fun. I'll wait for Tony's AP before I comment in detail.

    Oh, and technically, the idea for The Line was Brandon's, not mine. :-)

    I haven't seen Stay, but now I want to. Other inspirations were The Last Wave (also a great Unknown Armies movie), Neverwhere (but we have much less magical stuff), and Kontrol (obviously).
    • CommentAuthorthor
    • CommentTimeMar 1st 2007
     # 5
    You need a soundtrack to go with the poster. While I was scrolling I could almost hear the music and see the credits. While not a movie inspiration check out Songlines by Bruce Chaitwin.
  6.  # 6
    We're way ahead of you Thor. Last night we had to play at the bar do to schedule conflicts, so I couldn't unveil my soundtrack. Sufjan Stevens figures prominently. I'm leaning towards Chicago as the theme song.
    •  
      CommentAuthorBrandon A
    • CommentTimeMar 1st 2007 edited
     # 7
    I will have an actual sign at some point soon, but these are the rules that hang in the Train Operator's car.

    The Line: SENTRAL Rules of Conduct

    Operators on are expected to:

      ∞Arrive at their destination on time and without incident.
      ∞Maintain a calm and professional demeanor at all times.
      ∞Encourage passengers to maintain their calm at all time.
      ∞While the train is in motion, Operators are required to keep their eyes on the track.
      ∞Operators may only pickup and drop off passengers at their designated stops.

    It is a violation for Operators to:

      ∞Operate the train while intoxicated.
      ∞Eat while Operating the train.
      ∞Smoke while Operating the train.
      ∞Report non-operational incidents to SENTRAL.
      ∞Engage in unauthorized commercial activity.
      ∞Exit the Operation Chamber except in an emergency.

    SENTRAL Publication 2432.6151.84
    •  
      CommentAuthorfifth_child
    • CommentTimeMar 1st 2007 edited
     # 8
    Sufjan Stevens figures prominently. I'm leaning towards Chicago as the theme song.

    I approve. Older Death Cab For Cutie would be cool too. "Guess I'm Doing Fine" from Beck's Sea Change seems appropriate, also.

    Edit: Talking about music, especially indie/alternative or electronica, is the surest way to get me gushing, as you can see.
    • CommentAuthorthor
    • CommentTimeMar 1st 2007
     # 9
    "Love on a real train" from Risky Buisness has great theme song potential as well.

    The idea of Song Lines needs to infuse (infect) the story and the possibility of some sort of dreamtime.
    •  
      CommentAuthorphilaros
    • CommentTimeMar 2nd 2007
     # 10
    Tony, you need to fix the link to the picture of Ani DiFranco.

    As for soundtracks, I've got my own ideas, but my original iPod can't connect directly to Tony's iPod speaker set, so I may not get the chance to get airplay. Grumble grumble. I don't know "Chicago" by Sufjan Stevens, but I do know that "The Line" by Black Rebel Motorcycle Club is a damn fine choice for a theme song, and not just because the title's exactly right.
    • CommentAuthorJudd
    • CommentTimeMar 2nd 2007
     # 11
    That imagine is fuckin' haunting me. I come back to this thread just to see it again.

    Eff this, I'm putting it on my LJ.
    • CommentAuthorthor
    • CommentTimeMar 2nd 2007
     # 12
    ditto judd, we need some AP.
    •  
      CommentAuthorAndy
    • CommentTimeMar 2nd 2007
     # 13
    I once saw a thing that John worked on that wasn't totally awesome. Unfortunately, I can no longer find it anymore, so no proof exists.
    •  
      CommentAuthoriago
    • CommentTimeMar 2nd 2007 edited
     # 14
    Mmmmmm... this needs a little Peter Murphy for flavor.

    Push me in take me t'ward
    The subject in the subject taught
    A war without a war within
    Join head and heart for to begin
    Bemused we flinch no easy work
    For invited me are loath to shirk
    The line between the devil's teeth
    And that which cannot be repeat

    ... especially to play around with the pseudo-spiritual 'Lost'-like elements, I think.
  15.  # 15
    Thanks for the kind words, folks.

    When I was talking to Phil about the show, I mentioned some little bits I liked about Lost, and Phil said, "So... our show is basically Found?" And I was all, "Daaaamn. Yes."
    •  
      CommentAuthorphilaros
    • CommentTimeMar 2nd 2007
     # 16
    Oh yes Fred, there will be Peter Murphy on the soundtrack, and "The Line Between The Devil's Teeth" will not be the only song by him.
    •  
      CommentAuthorMatt Wilson
    • CommentTimeMar 2nd 2007 edited
     # 17
    Posted By: AndyI once saw a thing that John worked on that wasn'ttotally awesome. Unfortunately, I can no longer find it anymore, so no proof exists.


    The only time they aren't awesome is when we hear about them and don't get to have them. If we were to accept for just a moment that they were awesome yet beyond our grasp, we would despair.

    edited: what's up with quotes and italics?
    •  
      CommentAuthorAndy
    • CommentTimeMar 2nd 2007
     # 18
    Posted By: Matt Wilson
    edited: what's up with quotes and italics?


    They appear unlike chocolate and peanut butter. More alike to strawberry ice-cream and mackerel.

    -Andy
  19.  # 19
    Okay, I should be working, but I’m totally writer’s blocked, so I’m going to write this AP instead. I’m not going to write about any of the stuff that happened around the table. Instead, I’m going to write about the final product – what this TV show looks like to the viewer. At the table, we were jumping around like crazy, changing things that had already happened and tacking stuff on to the beginning or end of the scenes to reinforce what we wanted to convey. The process was pretty cool, but not what the game was really about. This is going to be kind of long and convoluted, but I really want to try to remain true to what we created at the table.

    The Line – PILOT EPISODE

    Scene 1: Moskow Station

    The scene is a subway station. The station is under construction, but almost completed. There’s construction tape covering the escalators. The station is unusually ornate in an older baroque style. The station sign reads “Moskow Station”.

    Mike, a handsome young man, is working beside to set up a stack of film equipment. Some cameras and lights have already been set up, others are still in their cases. From far away we hear a cell phone singing. Mike looks up. He glances around in annoyance, finally spying the cell phone. It’s atop a stack of equipment on the far end of the platform.

    Mike stands, muttering, and makes his way across the platform. He picks up the phone, but doesn’t answer it. He’s looking up towards the subway tunnel with a quizzical look on his face.

    We hear the sound of a didgeridoo.*

    The camera is now behind Mike, looking over his shoulder. Mike is staring into the darkness of the subway tunnel. We hear the didgeridoo again. The camera zooms slowly over Mikes shoulder, deeper into the darkness until darkness fills the entire screen.

    We hear the didgeridoo, now very close by. We hear a cell phone run, somewhere very far away.

    * If you ever get the chance, ask John to do his didgeridoo imitation for you.

    OPENING CREDITS AND THEME SONG

    Scene 2: Car 2442

    Alice is sitting on the train with her laptop open. She has a cell phone to her ear. Morgan is sitting next to her, playing some blues licks idly on her guitar. Jen the commuter is also present. The door to the driver’s compartment is open and we see Hank driving. Chris is attempting to open an access panel. He is wearing a nametag that says “Roy”.

    Jen to Chris: “So you’re Roy today?” They talk and it is revealed that today is Chris’ is a temp worker who covers for Line employees who are sick. Today is his second day on the line.

    Meanwhile, Alice hangs up her phone complaining about her boyfriend Mike. “He better not have flaked out on me again. He’s so unreliable”. Alice and Morgan start talking. Morgan is writing some music for Alice’s documentary film about The Line.

    Morgan and Alice are looking at Alice’s laptop. On the laptop, we see a clip of footage running. It is black and white and shows a bunch of people in 40’s clothing celebrating wildly. We recognize the location as Moskow Station. A young woman in the front of the crowd turns toward the camera and says “It’s so wonderful!”
    A short clip of Chris: when he hears this, his eyes dart and he looks like he’s going to say something, but he doesn’t.

    Alice stands and walks to the driver compartment, greeting Hank. Hank asks her “So do you really like this guy?” She replies “Oh, Dad, I don’t know, we’ve slept together, but I’m really not sure. Oh my God, am I turning into Mom?”

    Meanwhile, Stan, the Line police officer enters the car, making a beeline for Morgan. “Hey! You know you can’t play that thing in here!” Morgan replies “It’s not like I’m passing the hat. I can do whatever I want.” “I don’t care, I want you off at the next station.”

    The two start to argue like the best enemies they are. Chris tries to intervene on Morgan’s side, but both pointed ignore him. But when Hank, the old timer, gives Stan a look out of the corner of his eye, Stan backs down.

    The train pulls into Moskow Station. Alice and Morgan start to get off. Stan is indignant – this station is closed! Morgan isn’t allowed to get off here! But Morgan just gives him an insolent look. Stan leans in and whispers to Morgan “You’re just a loser, and you’ll always be a loser,” then departs to harass some other poor soul.

    OK, that's all for now. I'll finish the rest of session 1 later. If any of you guys want to correct, embellish, or add to what I have to say, please chime in!
  20.  # 20
    I'll talk about what happened around the table.

    As the Producer I did the show teaser (the bit with Mike hearing the didgeridoo) and then set up the first scene on the train car. My goal was to give each player an opportunity to show their Issue, and (possibly more importantly) to hook each Protagonist up with someone else's Connection. This is a tried and true drama-engine, first suggested by someone on the Forge, who I now forget. But I bet it was Chris Chinn.

    I also had a few bangs prepared, specifically Chris (Tony's character) seeing/hearing his dead mother on Alice's laptop. Via post-conflict narration in this scene and the two that followed, we were able to strongly show the audience that this mysterious woman from the 1940s is Chris's mom. "What the audience sees" is a big concern for us as we play PTA, and we're always trying to play the scenes so that the people watching at home understand what's happening. It's a kind of creative constraint that can fire the imagination.

    By the end of this first scene (and its associated multi-way conflict), we had set up the dynamic between several characters:
    - Jen the commuter and Chris (she has a crush on him)
    - Alice and Morgan (Alice likes Morgan, but is kind of using Morgan to get free music for Alice's movie)
    - Stan and Morgan (Stan the security guy is Morgan's Nemesis)
    - Stan and Henry (Hank commands a lot of respect among the Line employees)
    - Henry and Alice (Henry wants his daughter to be honest with him, but she's too open)
    - Henry and the Line (he really, really wanted to get off and explore the old Moskow station, but he had a timetable to keep)

    I tried to go to the cards as early in the scene as possible, and I think this paid off. The conflict mechanic got everyone to articulate their goals, and then narration led us in unexpected and cool directions -- especially as we tried to frame things as shots the audience was seeing.
  21.  # 21
    OK, here's the rest of the pilot episode. I'm sorry this is so long. Don't give up on it!

    Scene 3: Breakroom on the Line

    Doris, supervisor on The Line is looking at some of her daughter’s movie footage on her computer. She turns to address the assembled staff. Hank and Chris are both present. “Integrity. That’s what the line is about.”

    Doris goes on for a few minutes about the opening of the new station and how important it is. The problem is, it means more work for everybody, and The Line is understaffed as it is. Doris says that some people will be assigned to the new station. Both Hank and Chris suddenly look interested, but for very different reasons.

    Hank speaks up, “that’s great, but what about the maintenance? Sentral needs to come through with more funding.” In their exchange, it becomes clear that Hank is trying to goad to Doris.

    Doris goes off on Hank. “That’s fine Hank, if you’re not interested in helping out, you don’t need to help out. In fact, maybe you should take a little break, we can give you a cut in your hours if that’s what you need. But some of the people here could probably use a few extra hours. How about you Bob, I know you’ve got to kids, can you use some overtime?” By the time she’s done, Hank is totally shut down.

    As everyone rises to leave, Doris says “and temp employees please drop off your uniforms and paperwork at the office before you leave.” All the employees except Hank and Chris file out. Chris moves off, dejected, in the opposite direction to get his paperwork.

    As the scene ends, we see Chris cleaning out his locker. He pulls out a crumpled photo, obviously old and much handled. It’s the same woman that we saw in Alice’s footage.

    Scene 4: Moskow Station

    It’s Moskow station, just as we last saw it, but Mike is nowhere in sight.
    Morgan is ranting about Stan “Who does he think he is!” and “You’ve got to fight the man.” Alice is only half listening. “Yeah, yeah, fight the man! It’s so cool you think that way; we could never afford to hire you if you were union.” Morgan is totally into her punk rock sensibilities. Alice is completely into business matters and the practicality of getting a film made.

    Alice dials her phone, and we hear Mike’s cell phone ringing. Alice doesn’t hear it. Morgan follows the sound of the ringing phone.

    In the dark of the subway tunnel, we see the light of a cell phone display. It seems to float under its own power toward the lights of Moskow station. As it emerges into the light, we see that it is hanging from the backpack of the The Collector. The Collector, played by Tom Waits, is a sort of bag man who collects discarded items from The Line.

    The Collector, walks into the platform. Eyeing the expensive equipment lying around, he says “You ladies shouldn’t be here alone. This platform isn’t safe. You should leave right now.” Morgan says “Is that a cell phone? I need a new phone.”

    The Collector fumbles in his bag, looking for the phone. He pulls one out (not the one that was just ringing) and on the display we see the owner’s personal information. He is a well dressed executive named Alex who works for BMI Music. The Collector gives the phone to Morgan.
    Alice and Morgan leave the station through the “no admittance” door. The Collector walks to the base of the silent escalators and gazes upwards toward the light.

    Scene 5: Central Station

    It’s Central Station at rush hour. Morgan is in the background, ranting at another busker who’s moved onto her turf. Hank is just coming out an “employee’s only” door. Chris is crossing the platform.

    A man in a black suit with a long beard and an odd, boxish hat is crossing the platform. Suddenly he grabs his heart and collapses, causing an uproar. Chris reacts immediately, pushing through the crowd to the stricken man’s side. Behind the man we see an aborigine in body paint and a loin cloth. The aborigine moves as if to help the man, but when he sees Chris he turns away instead.

    Meanwhile, Hank is looking over the crowd, oblivious. He watches the inbound train empty. One of the cars is an older model. A woman gets on. It’s the woman from the footage. Hank looks down at a poster in his hand. It’s a flyer for the opening of the new station, and it has the same image: the woman in the footage. Hank hastily makes a note of the train car’s number.

    Chris reaches the collapsed man. The mans’ relatives are shouting in a foreign language that sounds like Greek. Chris calls out. “Does anyone have some vegetable oil.” Quizzically, Morgan hands him a bottle of vegan hair pomade. Chris anoints the man’s head with the oil. He makes a blessing gesture and begins to speak in Greek. He is giving the man the last rites in the correct formula for the man’s religion. When Chris stands, the family begins to thank him tearfully.

    The train pulls away from the platform. It is almost empty. In the last car we see a man with a beard in a black suit.

    END CREDITS
    • CommentAuthorJudd
    • CommentTimeMar 2nd 2007
     # 22
    Posted By: John Harper"What the audience sees" is a big concern for us as we play PTA, and we're always trying to play the scenes so that the people watching at home understand what's happening. It's a kind of creative constraint that can fire the imagination.


    I love that aspect of describing scenes as camera shots and such in PTA. Rob really drives that when I play this game with him.
  23.  # 23
    Can somebody break down the specifics of the conflicts?
  24.  # 24
    Here's what I recall, Matt. I may have some details a bit off.

    Scene 1
    ---------
    John calls the conflict at the first sign that anyone wants anything at all (Hank asks his daughter "So, do you really like him?")
    Everyone jumps in.
    Hank's goal is that Alice tells him the truth
    Chris' goal is that he shows off by shooing Stan away
    Morgan's goal is that she defies Stan the security guard
    Hank beats everyone
    Morgan beats the producer
    The producer beats Chris
    Phil (Morgan's player) wins narration (I think).
    We spent a long time crafting the narration for this scene. John's stated goal for the scene was to show off everyone's issues. We crammed a lot in. This scene was a lot of fun to narrate, with plenty of collaborative effort involved.

    Scene 2
    ---------
    Doris (via the Producer) wants to get The Line employees excited about the new station, even though it means more work for them, and she can't offer overtime.
    Hank wants to annoy Doris into assigning him to the new station
    Chris wants to get assigned to the new station, even though he's just a temp
    Doris wins the conflict
    I think Hank won narration, but John contributed Doris' awesome put-down-Hank speech.
    We had a lot of trouble setting up what people wanted in this conflict, as Hank had to decide if he wanted to show that he was on Doris' side, or if their relationship was go be adversarial. All the players were lobbying for adversarial, which won out.

    Scene 3
    ---------
    The Collector wants to shoo the ladies off the platform so he can scoop some valuable stuff.
    I can't remember exactly what Morgan wanted, but the Collector ended up winning.

    Scene 4
    ---------
    I framed the scene up to the point of the man collapsing and introduced the conflict. John and Hank also requested some set up narration (John introduced the aborigine). The lady in the 40's outfit was added to the scene so that I could call on my connection with here (that's a spoiler *wink*).
    Chris wants to impress the audience and onlookers by giving the man the correct form of last rights
    Hank wants to correctly identify the antique train car so he can find it later
    Morgan was just helping
    I (playing Chris) won the conflict and the narration
  25.  # 25
    Just to get all PTA-technical on these for those that aren't familiar with the system (all both of you):

    Scene 1:
    Brandon won his character's goal (i.e. beat the producer's draw), and Alice opened up to him (too much!).
    Phil won his character's goal, and Morgan stood up to Stan, but got off the train anyway.
    Tony lost his character's goal, and made an impression on no one.
    Phil had the high card, so won rubber-stamp narration authority.

    (Player's don't beat each other; everyone draws against the producer. High card has final say over the narrated outcomes.)

    Scene 2:
    Brandon failed his character's goal, and was given a new shift.
    Tony failed his character's goal and was re-assigned as well.
    Brandon had the high card for narration authority.

    Scene 3:
    Phil failed his character's goal, and was shooed away along with Alice.
    John (the Producer) had the high card for narration.

    Scene 4:
    Tony won his character's goal, and performed perfect last rights for a man from an obscure Greek Orthodox sect, much to the surprise of the man's family.
    Brandon won his character's goal and discovered the identity of the "ghost train" (train no. 61).
    Tony had the high card for narration.
  26.  # 26
    Whew! We just wrapped up Episode 1 (the first episode after the pilot).

    It was fantastic. I wrote down the scenes this time so I could share them in detail. I'll post the breakdowns tomorrow at lunch.
  27.  # 27
    The Line: Episode 1

    Teaser

    We’re looking out the window of a subway train in motion. As the camera pans back, we see Alice, filming out of the train using a hand-held camera. The aborigine (whose name is Matthew) appears, wearing a business suit. Speaking in accented English, he distracts Alice with a number of inane questions about her camera. As Alice is answering him, our viewpoint swoops down on the eyepiece and shoots through the camera. We see film flickering by. The film strip slows until we see individual frames. On one frame, we see a train car parked on a siding. Inside stands Mike. Suddenly, the viewpoint zooms through the camera and out the lens, zooming in to hit Mike in the forehead.

    We’re back in the train car. With a sound like a gunshot, the car window cracks, startling everyone on the train.

    Opening credits roll.

    Scene 1: The newsstand in Central Station

    Chris is getting his morning coffee, chatting with Morgan, who’s getting ready for a day of busking. Chris’ nametag says “Methodius”. Charlie the newsstand guy holds up a copy of the paranormal zine Suppressed Transmissions. “Hey, I’ve got one copy left, who wants it?” Both Chris and Morgan perk up. A conspicuous security camera surveils the entire scene.

    Morgan wants the zine because there’s a writup on a recent protest rally where she played, and she wants to see if she has been reviewed. Charlie’s holding it hostage, however, because he wants Morgan’s number. Chris wants it because it has the now familiar mysterious photo on the cover – the same photo he carries in his wallet. Chris tries to set up a smokescreen over his real motives, but in the argument with Morgan, the truth comes out – the woman in the photo is Chris’ mother!

    While they’re arguing, however, Jen the commuter appears and buys the last Suppressed Transmission. She laughs at the two and taunts them as she boards the train and leaves. At that moment, the PA announces “Methodius to the main office, Methodius to the main office”, and Chris scurries away.

    At that moment, Morgan’s cell phone rings. She answers it, and after a moment she yells into the phone “No, this is NOT Alex! You’ve got the wrong phone! Stop calling me!” Then she fiddles with the phone until she manages to get it to display it’s number. She gives the number to Charlie.

    Scene 2: The bowels of the Line

    Chris is on his way to Sentral Office, walking through a seeming maze of featureless antiseptic tiled hallways. Suddenly he stops, staring towards the camera with a look of utter befuddlement. The camera shifts to show his view. Some distance away at a meeting of corridors we see a wallaby. The wallaby eyes Chris for a minute, then hops down a side corridor. Chris follows.

    At the intersection, Chris looks to see that the hall leads into a station. The Collector and the Matthew (now in aborigine garb again), are talking. The Collector is handing the aborigine a cell phone. They both look up at Chris, then part with a nod. By the time Chris gets to the platform, Collector, aborigine, and wallaby are all gone. Just then Hank appears, startling Chris.
    Hank: “You’ll never get to Sentral this way, Kid, follow me, I’ll show ya the back way.”
    Chris: “Did you just see a w..”
    Hank: “A wallaby? Of course not, that’s crazy!”

    Chris and Hank walk back along the corridors. Hank is exhorting the bewildered Chris, setting him up against Doris, telling him to “demand his rights”, and “fight the power”, or he’ll be a temp forever. Chris fights back by telling Hank that he’s seen weird stuff on the Line and he knows Hank’s seen it too. Chris wants answers.

    We see they are in a long hallway with security cameras at the extreme ends. As they reach the point farthest from the cameras, Hank leans in and says very quietly words to the effect of “I know there are weird things going on, I’ve seen them too, keep your eyes open and don’t talk to anyone at Sentral about it.”

    Chris and Hank continue down the hall to a trio of doors. One is marked “Sentral Office”, one is marked “Break Room”, and one is marked “Records”. Chris goes into the office. Hank makes as if to enter the break room, but as soon as he knows that nobody is observing him, he ducks into records.

    Scene 3: The Records Room

    Scene 3 starts out with Hank surreptitiously rifling through the records and pulling out an accident report.

    Flashback: A much younger Hank is training Simon, a new driver on The Line. Doris is there, as well as Alice, aged about 9. Alice has a HUGE gingerbread man, almost as large as she is. Hank is giving her a speech about how she has to restrain her desire for the cookie and not eat it all at once. Doris is getting annoyed with Hank’s speech, but Hank is undeterred. Alice says she’s a big girl and she can eat her cookie if she wants. It’s all getting a little tense.

    Suddenly there is a bright light. There’s another train on the track! Observant fans might realize that this is train 18, the ghost train from the pilot. Hank yells “My God! What have you done!”

    The scene shifts to some moments later. There has been some kind of accident. EMTs are treating injured people on the platform and there is smoke in the air. Hank is looking around desperately for Alice. He sees her looking down the tunnel.

    “Alice, No! It’s too dangerous.”
    “But I want to see.”
    We can see that Hank is conflicted as he orders Alice not to explore the tunnel. Alice disobeys him, inching down the tunnel. But when Hank tells her not to look, she closes her eyes and gropes around a corner. She comes up with the torso of her giant cookie. As she runs back to Hank she says “I didn’t look Daddy, I didn’t!”

    As a relieved Hank carries Alice away, Simon lurks out of the shadows. We see it is the Collector, though as a young man. He begins gathering up the shattered fragments of cookie.

    Scene 4: Train 2442

    Morgan and Jen are riding the train together as Morgan shows off her newly acquired phone. They’re having a blast mocking the owner of the phone. There are all sorts of music executives and celebrities, whom they proceed to crank call. Just then Alex, the phone’s owner, enters the car as Morgan hastily stashes the phone.

    Alex greets Morgan and sits across from them, jabbering away about how he loves to talk to the kids and find out “what’s fresh on the street.” He’s likeable, but comes off as very shallow.
    Jen: “Hey! You’ve got to see what Morgan’s got! It’s a real blast.”
    We get a funny scene where Morgan tries to signal to Jen that this is Alex, the owner of the phone, while throwing up a smoke screen about a new song she’s working on.

    Then the phone rings. The ringtone is “Who let the dogs out.”
    Alex: Hey! You must have the JN600 too! Can I see it?
    Sheepishly, Morgan hands the phone over and Alex starts clowning around with it. He sees that a guy is calling (it’s Charlie), so he decides to play around with Morgan by answering it, but it doesn’t take long for him to clue in that it’s actually his phone. He’s livid.
    Alex: “You know, Morgan, maybe you think that you’re punk rock attitude means that you’re not held to the same moral standards as everyone else, but this is pretty low even for you.” After tearing into Jen and Alex for a few minutes, he storms off the train.
    •  
      CommentAuthorphilaros
    • CommentTimeMar 18th 2007
     # 28
    Hey now! Morgan and Jen did not crank call anyone! Though I think someone threw in the idea that Jen was egging Morgan to take advantage of the numbers.
  29.  # 29
    I stand corrected. No crank calls were made. :)
  30.  # 30
    And here are the conflicts for the episode.

    :: Scene One ::
    Agenda: Show what kind of relationship Morgan and Chris have
    Setup: Chris and Morgan both want the last issue of Suppressed Transmissions.
    Goal for Chris: Get the issue without revealing why he wants it (his dead mother is on the cover)
    Goal for Morgan: See if she's been reviewed in the magazine.
    Outcome: Both fail. In the narration, Jen the commuter snags the magazine while they're arguing. Chris reveals his secret, Morgan remains unsure if her music is catching on enough to be reviewed.

    :: Scene Two ::
    Agenda & Conflict Setup: Chris and Hank have a talk about the weirdness on the Line.
    Goal for Chris: Get Hank to admit that there really is something strange going on.
    Goal for Hank: Get Chris to start trouble with Doris (Hank's ex-wife).
    Outcome: Both win.

    :: Scene Three ::
    Agenda: Find out where the "ghost car" comes from
    Conflict Setup: Crazy awesome gingerbread man flashback!
    Goal for Hank: Keep Alice away from the weirdness of the Line just a little bit longer, to keep her innocence.
    Outcome: Hank wins.

    :: Scene Four ::
    Agenda: What's up with Morgan having Alex's phone?
    Conflict Setup: Jen and Morgan are playing with the phone and making fun of Alex (the record exec).
    Goal for Morgan: Stay on Alex's good side.
    Outcome: Morgan fails. Alex is pissed.

    Next Week On The Line...

    Alex: "Morgan, you have to tell me what this is..." [Plays voicemail on his phone. It's a didgeridoo.]

    ---

    Doris: "Don't ask that question, Chris."

    ---

    Hank: "But I saw it... it was right there."

    ---

    Next time: Morgan's spotlight.
    •  
      CommentAuthorphilaros
    • CommentTimeMar 19th 2007
     # 31
    I want to toss in a detail to scene one that Tony forgot to mention - I forget whose idea it was, but at the very end of the scene, with a self-satisfied smirk, Charlie hauled out another stack of 'Transmissions from behind his stand to put on display, and looking at Morgan's number on his phone, said to himself, "Charlie, you still got it." It was a nice character moment for a supporting character.
    •  
      CommentAuthortony dowler
    • CommentTimeApr 2nd 2007 edited
     # 32
    The Line – Episode 2

    Teaser

    It’s night time, out of doors. A dimly visible crowd is gathered in the dim light of torches. There’s an altar and a woman facing it with her bare back to us. There’s a lamb tied to the altar. The woman lifts a knife and brings it down on the lamb. Then she turns, and we see it’s Morgan.

    Cut to Central Station. Chris is standing, blinking and staring at something in obvious amazement. The camera pans back and we see he’s looking at Morgan. “What?” she asks in annoyance, “What?”

    Scene 1 – Charlie’s Coffee Stand

    Morgan is at the coffee stand with a sheaf of flyers for her upcoming show. She’s trying to convince Charlie to hang her posters at the coffee stand but Charlie’s giving her heck because he still thinks she gave him a bogus phone number. “Look Charlie, just let me hang up the posters. You let everyone else do it.” Hank, on break, offers to hang up the posters for her.

    Stan the security guard enters. “Posters? That’s a violation of section III, paragraph b of the transit code.” There’s a cool scene where Hank and Stan face off. Stan tries look like he’s in control while simultaneously trying to read the posted list of station rules that’s posted behind his own head. Hank faces Stan down because Stan doesn’t know what he’s talking about.

    Morgan: Hey Charlie, just because that phone number didn’t work out…
    Charlie: Oh, you’re bringing up the phone number, oh good.

    Charlie challenges Morgan to go on t a date with him, expecting to be shot down. To his surprise she accepts. Hank leaves with the posters. We see that they depict a lamb enclosed in a box in some kind of industrial meat processing plant.

    Scene 2 – Commuter Platform

    On a near empty commuter platform, Chris is putting up a roll of huge Diesel Jeans ads. He’s not wearing a transit uniform (i.e. he’s temping for the poster company now). A stranger (“The Inspector”) wearing a soviet looking uniform and a long coat is ticking off items in a worn black note pad. His uniform is perfectly pressed and cleaned, but also very threadbare and quite old. Hank arrives on his train (currently out of service) and a sheaf of posters.

    Hank is surprised to see the Inspector, but the conversation is surreal and hard to follow. The entire time, the Inspector is looking over the train and the platform, making notations in his book:
    Hank: Do you remember the accident?
    Inspector. Yes, remember. You are to Moscow?
    Hank: Do you remember train 2442?
    Inspector: Old station.
    Hank: My daughter was there. You remember?
    Inspector: Yes, I am to film for her. We go to Moscow?

    Hank convinces the inspector to come with him to the old station. Chris tries to tag along, but Hank can’t seem to remember who Chris is (though the Inspector, ironically, calls him by name). Morgan’s posters are left on the platform to be blown across the floor by the next train.

    Scene 4 – Sentral Office

    Stan is talking to a bored Doris, giving a speech about how “it’s chaos out there”, and “I’m the thin blue line”. Doris points out that Stan seems to spend all his time trying to bust Morgan without any success. Chris, who has been listening at the door, pushes his way in and gives a speech of his own. He knows weird stuff is going on. Hank’s up to something and Sentral isn’t on top of it. They need someone on the inside, someone who can be invisible. Chris offers to become Doris’ spy on the line, in return for a job in the mysterious new station. Stan tries to get in on the action, suggesting that he should be Chris’ mentor.

    Stan: The kid can benefit from my, whadyacallit, sagaciousness.
    Doris: Yes, I’m sure you have a plethora of sagaciousness.
    Stan: Better than that, I’ve got two!

    Doris agrees to give Chris his job and the pick of assignments if he can find out more about what Hank’s up to. The scene ends as the camera zooms back, shifting to grainy black and white, and we finish by looking at the video display of a security camera looking into Doris’ office.

    Scene 4 – A Platform

    Morgan and Jen are on a train platform, while Morgan bemoans how she messed up her friendship with Alex. Morgan is selectively defacing up a Diesel Jean’s advertisement, turning into an impromptu work of art. Suddenly Alex rushes up to Morgan and brandishes his cell phone. “You’ve GOT to tell me, where did you get this!” He plays a recorded message and we hear didgeridoo music over the sound of a train rumbling.

    Alex is talking at high speed. “This is the new sound we’ve been looking for”, and “the president of the company is in town tonight. I want you to play for him”, and “this is your big break, I’ve got a contract ready for you!” Morgan keeps trying to break in and explain that it’s not her sound, that she didn’t steal his cell phone, and so on.

    Morgan: It’s NOT my big break, Alex, it’s YOUR big break. This isn’t my sound. This isn’t me or what I’m about.
    Alex: OK, sure. I’m sorry. I made a mistake. I thought that you and me, we could be a team, but I was wrong. Here, have the phone, I already replaced it anway.

    Alex leaves, obvious hurt and unhappy.

    Scene 5 – The Dreamtime

    Morgan is cutting down the tracks in a tunnel between stations when she hears the sound of digeridoo. She tries to trace the sound down a side tunnel. Far ahead we see a faint blue light near the floor. As Morgan approaches her phone rings. She looks down. The caller ID says “Mike”. She looks up and runs to the light. Mike is lying on the tracks. The light is his cell phone, which is clutched in his lifeless hand. Morgan bends down and starts trying to lift him up. We hear a train…

    Morgan tries to lift up Mike, but it’s no longer Mike on the tracks, it’s a bleating lamb.
    Morgan looks down the track. We see an oncoming train.
    Morgan looks down the track. We see a room full of people chanting Morgan’s name. It looks like a rock concert, except there’s an altar on the stage.
    Now there seem to be two Morgans. One is hefting the lamb onto the altar. The other is staring, terrified at the train.
    Morgan #1 lifts the knife. We see Mike on the altar looking up at her. She looks over and meets the other Morgan’s eyes. They nod.
    Morgan #2 turns to face the train, unafraid. Morgan #1 plunges the knife down, cutting the bonds that hold the lamb to the altar. The train seems to pass through and over them. As it pulls away, we see Chris in the caboose.

    Scene 6 – Hank’s Train

    It’s the grand (re)opening of Moscow platform. Dignitaries are awaiting the arrival of the first train, Hank’s train. The scene shifts to the train. Chris is driving. Hank is supervising. Hank has a very satisfied look on his face, and we clearly see the Inspector’s notebook is now in Hank’s pocket. Hank is explaining to Chris how Moscow platform has an odd intersection of tracks. “It’s complicated “.

    Suddenly Hank and Chris scream and put up their hands. Morgan is on the track! As the train seems to pass over her without doing any damage, Hank and Chris are totally flustered. “Did you just see that? Was that real?”

    The cab suddenly fills with light. We see the ghost train on the same track bearing down on them. We see a flash of the broken gingerbread man. Hank’s hand comes down on a big red button labeled “release”. Chris raises his hands reflexively. The cab of Hank’s train surges forward, released from the other cars as the ghost train merges on to the track behind it, missing the cab. The ghost train plows into the remaining cars, empty for the inaugural run.

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