Spec Flashpoint

Spec Flashpoint — Part One (A)

by Alex on October 30, 2008

in Featured Posts,Writing

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Part 1 of 7

    Everyone needs some kind of procedural spec under his/her belt, and a great action/cop one can be the way to go.
    A few reasons pushed me to spec Flashpoint, and I thought wise, for those out there who wish to spec the show, to post my various breakdowns of FP episodes as well as my overall research on the show, à la Chuck, on my blog.
    So here goes.

    Part One: Breaking it

    A — Pilot Episode

    The following is a breakdown of the Flashpoint pilot, through its shooting script.

    The plot revolves around presenting us the SRU team, especially Ed, as well as the arrival of a new member, connecting everything with an enraged gunman at a Plaza.

    What we will call the “Plaza sequence” is everything revolving around what happens at the Plaza with the gunman.

    Storylines:

    A: Gunman Plotline and Plaza sequence (comprises of Ax + Ab + Ac)
    Ax : Backstory of Gunman, events leading up to SRU arrival, and what happens after to Gunman/Family
    Ab: Plaza sequence with SRU on scene
    Ac: Plaza sequence from Ed’s POV

    B: SRU life, routine — Before and After the Plaza sequence (not including Ab)
    C: Ed’s life — Before (family) and After (interrogation) the Plaza sequence (not including Ac)
    D: Arrival of a new SRU member

    It should be noted that a few “B story” scenes revolved around Jules (hinting at a future romance between Sam and her), but for the sake of argument, I merged her SRU scenes with the larger B storyline. Ditto for her scenes on the rooftop (merged with Ab).

    Breakdown:

    Episode 1×01 — 66 pages

    Teaser — 5 Scenes (exposition of A story) — 3 pages
    1+2 — Ab
    3 — Ac
    4 — Ab
    5 — Ac

    Act One — 17 Scenes (Before Plaza sequence) — 20 pages
    5 — Ac (repeat of last Teas scene)
    -> FLASHBACK
    6+7+8 — C
    9+10+11 — Ax
    12 — D
    13 — B
    14 — Ax
    15 — D
    16 — B
    17 — Ax
    18+19 — B leading to Ab
    20 — D
    21+22 — B leading to Ab
    END OF ACT ONE just as the SRU arrives on the scene -> Ab

    Act Two — 29 Scenes (During Plaza sequence) — 17 pages
    23+24 — Ab
    25 — Ac
    26 — Ab
    27+28 — Ac
    29 — D
    30+31 — Ab
    32 — Ac
    33 — Ab+D
    34 — Ac
    35+36+37 — Ab
    38 — Ac
    39 — Ab
    40 — Ac
    41 — Ab
    42 — Ac
    43 — Ab
    44 — Ac
    45 — Ab
    46 — Ac
    47 — Ab
    48 — Ab+D
    49+50 — Ab
    51 — Ac leading back to C
    END OF ACT TWO just as Ed is taken away by inspector -> C

    Act Three — 12 Scenes (After Plaza sequence) — 17 pages
    52+53 — C
    54 — Ab leading back to B
    55 — D
    56+57 — C
    58+59 — B+D
    60+61 — C
    62 — B+D
    END OF ACT THREE

    Act Four — 7 Scenes (Continuing — After Plaza sequence) — 9 pages
    63 — C
    64 — B+C+D
    65 — C+D
    66 — Ax
    67 — B
    68 — D
    69 — C

    Summary:

    Episode 1×01 — 69 beats

    A storyline total: 5 + 5 + 28 + 2 = 40 beats
    Ax storyline: 0 + 5 + 0 + 1 = 6 beats
    Ab storyline: 3 + 0 + 17 + 1 = 21 beats
    Ac storyline: 2 + 0 + 11 + 0 = 13 beats

    B storyline: 0 + 6 + 0 + 4 = 10 beats

    C storyline: 0 + 3 + 0 + 10 = 13 beats

    D storyline: 0 + 3 + 3 + 6 = 12 beats

    Tune in next time as
    we will discuss in more depth the overall Flashpoint structure, through other FP breakdowns (Episodes 8 & 9).

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    Spec Flashpoint — Part One (B)

    by Alex on November 1, 2008

    in Featured Posts,Writing

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    Part 2 of 7

      Time to continue on our little homework assignment and break down 2 other Flashpoint episodes.

      Part One: Breaking it
      B — Episodes 1×08 & 1×09

      The following are breakdowns of Flashpoint 1×08 and 1×09, via the broadcast episode.

      Episode 1×08

      The plot revolves around a framed fellon loose in a tribunal, seeking revenge on his prosecutor, all while Ed is being interviewed for his own trial for wrongful death (cf Pilot).

      What we will call the ” Hostage situation ” is everything revolving around Ed taken hostage by the fellon, and the ” “Suicide” situation ” the point where the fellon turns the gun on himself.


      Storylines:

      A: Tribunal situation
      Ay: Framed Fellon before and after tribunal
      Ax: Fellon loose in tribunal (before Ed being a hostage)
      Ac: Hostage situation with Ed
      Az: “Suicide” situation
      Ab: Hostage and “Suicide” situation via SRU POV (and learning Fellon’s background)

      B: Post-hostage situation from SRU POV

      C: Ed
      Cb: Being sued (SRU and Tribunal)
      Cx: At tribunal before and after hostage situation

      The C plotline seems small overall but this is the main story-arc of the season (the repercussions of Ed’s actions in the pilot).

      Keep in mind that this breakdown was made with the broadcast episode, not the actual script, and that most of these scenes are only a few seconds long and intercut.
      One minute equals roughly one page.

      Breakdown:

      Teaser/Act One — 16 Scenes (exposition of A and C stories) — 8 Minutes
      1 — Ab
      2 — Ac
      3 — Ab
      4 — Ac
      5 — Ab
      6 — Ac
      -> FLASHBACK
      7 — Ay
      8 — Cb
      9 — Ay
      10 — Cb
      11 — Ay
      12 — Cb
      13+14+15 — Ay
      16 — Ay leading to Ax
      END OF ACT ONE just as Fellon is loose in tribunal -> Ax

      Act Two — 18 Scenes (Lead-in to Hostage situation) — 5 Minutes 45 Seconds
      17 — Cb leading to Cx
      18 — Cx
      19 — Ab
      20 — Cx
      21 — Ax
      22 — Cx
      23 — Ax
      24 — Cx
      25 — Ax
      26 — Cx
      27 — Ax leading to Ac
      28 — Cx leading to Ac
      29+30 Ac
      31 — Ab
      32 — Ac
      33 — Ab
      34 — Ac
      35 — Ab
      END OF ACT TWO

      Act Three — 15 Scenes (Hostage situation) — 7 Minutes 25 Seconds
      36+37 Ab
      38 — Ac
      39 — Ab
      40 — Ac
      41 — Ab
      42 — Ac
      43 — Ab
      44 — Ac
      45 — Ab
      46 — Ac
      47 — Ab
      48 — Ac
      49 — Ab
      50 — Ac
      END OF ACT THREE

      Act Four — 24 Scenes (Conclusion of Hostage situation) — 11 Minutes 20 Seconds
      51+52+53 — Ab
      54 — Ac
      55 — Ab
      56 — Ac
      57+58+59 — Ab
      60 — Ac
      61 — Ab
      62 — Ac
      63+64+65+66 — Ab
      67 — Ac
      68 — Ab
      69 — Ac
      70 — Ab
      71 — Ac
      72 — Cx+Ab
      73 — Ac leading to Az
      END OF ACT FOUR just as Fellon turns gun on himself -> Az

      Act Five — 12 Scenes (“Suicide” situation and Conclusion) — 7 Minutes 40 Seconds
      74 — Cx+Ab
      75 — Az
      76 — Ab
      77 — Az
      78 — Cx
      79 — Cx+Ab
      80 — Cx+Az
      81 — Cx+Ay
      82 — Cx+Ab
      83 — Ab
      84 — Cx
      85 — Ay

      Summary:

      Episode 1×08 — 85 beats

      A storyline total: 13 + 11 + 15 + 23 + 10 = 72 beats
      Ay storyline: 7 + 0 + 0 + 0 + 2 = 9 beats
      Ax storyline: 0 + 4 + 0 + 0 + 0 = 4 beats
      Ac storyline: 3 + 3 + 7 + 8 + 0 = 21 beats
      Az storyline: 0 + 0 + 0 + 0 + 3 = 3 beats
      Ab storyline: 3 + 4 + 8 + 15 + 5 = 35 beats

      B storyline: 0 + 0 + 0 + 0 + 3 = 3 beats

      C storyline total: 6 + 7 + 0 + 1 + 7 = 28 beats
      Cb storyline: 3 + 1 + 0 + 0 + 0 = 4 beats
      Cx storyline: 0 + 6 + 0 + 1 + 7 = 14 beats

      Episode 1×09

      The plot revolves around a house where is present a newly abducted girl (Lilly), her kidnaper (Gerald), and another girl (Penny) abducted by the man 8 years prior and having a strong case of Stockholm Syndrome.
      The SRU makes an assault on the house, with Jules trying to calm Penny down and Greg dealing with his own personal past.


      Storylines:

      A: Assault on House
      Ab: Assault — SRU outside house
      Ay: Assault — Upstairs (Jules, Sam, Penny and Lilly)
      Av: Assault — Basement and tunnel — pursuing Gerald
      Az: Post-Assault

      B: Pre-Assault
      Bx Pre-assault — Gerald + Lilly
      Bz Pre-Assault — Penny
      Bv Pre-Assault — SRU

      C: Greg
      D: Jules

      Keep in mind that this breakdown was made with the broadcast episode, not the actual script, and that most of these scenes are only a few seconds long and intercut.
      One minute equals roughly one page.

      Breakdown:

      Teaser/Act One — 19 Scenes (exposition of B, C and D stories) — 8 Minutes and 25 Seconds
      1 — Bv
      2 — Bx
      3 — Bz
      4 — Bx
      5 — Bz
      6 — Bv
      7 — Bx
      FLASHBACK
      8 — Bz (dream)
      9 — Bz
      10 — C
      11 — Bz
      12+13 — Bx
      14 — C+D
      15 — Bx
      16 — Bv
      17 — Bz
      18 — Bx
      19 — Bz+Bx
      END OF ACT ONE

      Act Two — 21 Scenes (Pre-Assault) — 7 Minutes
      20 — Bv
      21 — Bv+C
      22 — Bz+Bx
      23 — Bv
      24 — Bz+Bx
      25 — Bv
      26 — Bz+Bx
      27 — Bz
      28 — Bx
      29 — Bv
      30 — Bx
      40 — Bv+Bx+Bz leading to A
      END OF ACT TWO as we move to the Assault

      Act Three — 24 Scenes (Assault) — 6 Minutes
      41 — Ab
      42+43 — Ay
      44+45 — Ab
      46+47 — Ay
      48 — Ab
      49 — Ay
      50+51+52 — Ab
      53 — Ay
      54 — Ab leading to Av
      55 — Ay
      56 — Ab
      57 — Ay
      58 — Av
      59+60 — Ay
      61 — Ab
      62 — Av
      63 — Ab
      END OF ACT THREE

      Act Four — 17 Scenes (Continuatio
      n of Assault)       — 10 Minutes
      64 — Ab
      65 — Ay
      66 — Ab+Ay (with C+D moments)
      67 — Ab
      68 — Av
      69 — Ay
      70 — Ab
      71 — Ay
      72 — Av
      73 — Ab
      74 — Av
      75 — Ab
      76+77 — Ay
      78 — Ay
      79 — Av
      80 — Ay
      END OF ACT FOUR

      Act Five — 18 Scenes (Conclusion of Assault) — 10 Minutes
      81+82 — Ab+Ay
      83+84 — Ay
      85 — Ab
      86 — Ay
      87+88 — Av
      89 — Ay
      90 — Ab
      91 — Ay
      92 — Ab+Ay
      93 — Ay leading to Az
      94 — Az
      95 — C+D
      96 — C
      97 — Az
      END OF ACT FIVE

      Summary:

      Episode 1×09 — 92 beats

      A storyline total: 0 + 0 + 22 + 18 + 17 = 57 beats
      Ab storyline: 0 + 0 + 11 + 6 + 4 = 21 beats
      Ay storyline: 0 + 0 + 9 + 8 + 9 = 26 beats
      Avstoryline: 0 + 0 + 2 + 4 + 2 = 8 beats
      Az storyline: 0 + 0 + 0 + 0 + 2 = 2 beats

      B storyline total: 16 + 17 + 0 + 0 + 0 = 33 beats
      Bx storyline: 7 + 6 + 0 + 0 + 0 = 13 beats
      Bz storyline: 6 + 5 + 0 + 0 + 0 = 11 beats
      Bv storyline: 3 + 6 + 0 + 0 + 0 = 9 beats

      C storyline: 2 + 1 + 0 + 1 + 2 = 6 beats
      D storyline: 1 + 0 + 0 + 1 + 1 = 3 beats

      Coming up next time: thoughts on the structure of a Flaspoint episode.

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      Spec Flashpoint — Part One (C)

      by Alex on November 3, 2008

      in Featured Posts,Writing

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      Part 3 of 7
        Part One: Breaking it
        C — Thoughts on Structure

        We have now thoroughly broke down 3 Flashpoint episodes.
        With a quick glance at other FP episodes, I think it is safe to assume we can begin to make a few observations about a standard FP episode structure.

        The teaser scene is always the pivotal point of the episode, and the main stand-off between the antagonist(s) and the SRU.
        Everything in the episode revolves around that key moment:
        Either happening before (Act One/Two), during (Act Three), or right after (Act Four). Act Five usually sums up thematic/emotional/personal problems encountered during the episode with hints at further repercussions.
        Notice that the teaser is attached to the first act, the bridge between the two being the “flashback flash”, not an ad break.

        Also, often, but not always (cf 1×09), the teaser scene is the “end” of the main situation/stand-off:
        1×01: Greg was calling ‘Scorpio’ and Ed was about to shoot.
        1×08: The “Hostage situation” was about to end and lead to a short “Suicide situation“
        1×09: The exception that proves the rule. The episode could be divided into 2 parts, one before the SRU entering the house, and one during the assault. The teaser was actually the end of that first part, and mislead us to think the kidnapper was going to kill the 17-year old girl.

        Since the teaser is that important, let’s do a quick sum-up of the various antagonists and how they were portrayed in their teasers:

        1×01:
        A loose gunman at a Plaza.
        Teaser: Crazy gunman holding at gunpoint a hostage.

        1×02:
        A man takes hostage a hospital ward to save his dying daughter who needs a heart.
        Teaser: The father, surrounded by the SRU, holds at gunpoint a dying patient.

        1×03:
        A drug-bust turns haywire when an ex-junkie gets involved.
        Teaser: Ex-junkie held at gunpoint by drug dealer.

        1×04:
        A woman tries to protect her sister from her abusive cop husband with a “permanent” solution.
        Teaser: The woman holds at gunpoint the husband.

        1×05:
        The SRU is called in to negotiate with a bank robber, who has hostages.
        Teaser: A masked man with a woman as a hostage gets out of a surrounded bank, ready to kill her.

        1×06:
        A bullied girl turns on the dangerous gang tormenting her in the middle of a mall.
        Teaser: The bullied girl is about to kill herself.

        1×07:
        A violent youth comes to take his younger brother from their controlling father.
        Teaser: Family held at gunpoint by troubled older brother.

        1×08:
        A desperate ex-con taking hostages at a tribunal.
        Teaser: Hostage (Ed) held at gunpoint by felon.

        1×09:
        A girl kidnapped for 8 years stands-off against the SRU to protect her kidnapper.
        Teaser: A misleading teaser where supposedly the kidnapper is about to execute the kidnapped girl.

        See any similarities between the various stories and teasers?
        Words that are popping out?

        You can also quickly notice that the teaser can be sometimes misleading (1×04, 1×06, 1×09).

        Let’s deal with the acts now.

        Act One and Act Two serve as gateway to the teaser scene, as we see what has led to this event. Not only from the antagonist’s viewpoint (A story) but also from SRU’s (Ab/B story), especially one of the SRU team member (C story).
        As we come closer to the pivotal scene, all the story come together, leaving room only for the A and B story, with a lot of intercutting between the various stories, and beats lasting seconds not minutes: the action is palpable.

        Act Three extends the key point of the episode, while still maintaining this dual viewpoint between the antagonist(s) and the SRU. By this point everything about the original teaser sequence should be clear to the viewer.
        A last twist punctuates this third act to bring us to Act Four, the final act regarding the stand-off/situation between the SRU and the antagonist.

        Everything is finally resolved by Act Five, although aftershocks can still be felt.
        This final act sums up the episode while the “A story” dissolves little by little to allow the B and C stories final thoughts, leaving us wondering what will happen next for the SRU.

        Three things must be noted about any given Flashpoint episode:

        - A “Case of the Week”, symbolized by the teaser scene.
        As you saw in the 3 breakdowns, I always named my “A story” thanks to the events that transpired in the teaser.
        In the case of Episode 1×09, for the sake of clarity, I broke the A story into an A and a B story (“A” being everything around the teaser scene — pre-assault, “B” everything happening during the assault).
        Although SRU’s POV of the event (normally the B story) was always named the “Ab story”.

        - Also happening each episode is a focus on one (or two) SRU characters: the “SRU Character of the Week”.
        Usually a background storyline (C/D story) that still permeates through the global SRU storyline (Ab/B story). Whether by dialogue or action.
        The pilot episode, while still having to present to us the SRU, dealt mainly with Ed’s personal life. On the scene, he was the one who had to shoot the gunman.
        Episode 1×08 also was centered around Ed, dealing with the repercussions (both legal and psychological) of his actions during the pilot episode. He was also taken hostage by the felon.
        Episode 1×09 was all about Jules and Greg, both having personal problems. In the house, Jules had to talk down Penny, with the help of Greg.

        - And last but not least, we have in almost every FP episode a musical montage.
        This occurs during the last 4 to 6 scenes of the episode (Act Five) and is not specifically written in the script (at least it wasn’t on the pilot script). The last scenes should be therefore very brief (about a paragraph) with no dialogue, and more visually thematic.
        For instance the final scene of 1×08 is the felon putting a candle on his lover’s grave: the circle is complete.

        Even in Episode 1×09, where there is dialogue and not a clear musical montage, you can hear in the background the main song (“Twinkle, Twinkle, Little Star”) of the episode — linked to the character on screen (Penny).

        A list of the songs played during each FP episode is available here.

        Conclusion:

        • The Teaser is always the key scene of the episode, symbolizing the “Case of the Week”. Mostly the stand-off between antagonist and SRU. Although its purpose can sometimes be to mislead the viewer. Let’s not forget also that the teaser is what will capture your reader’s attention.
        • Act One is a set-up and delves into the antagonist’s past, leading to the situation.
        • Act Two usually ends with the teaser scene.
        • Acts Three and Four resolve the teaser scene and the stand-off/situation.
        • Act Five sums up the episode, closing the “case of the week”, with still hints at future problems (for the SRU team-members), including a musical montage with the last 4–6 scenes of the episode (this montage is not per se written in the script but the last scenes have rarely dialogue and are short).
        • Throughout Acts One and Five can we see scenes focused specifically on one or two particular SRU character(s). All part of a global season-arc for that character. This focus must also be seen in the rest of the episode, whether through dialogue, wiewpoint, or action. Let him/her deal with having to shoot a human being, or talking down a crazy gunman from killing people.

        Join us next time, where we will explore in more depth the various SRU characters.

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        Spec Flashpoint — Part Two (A)

        by Alex on November 10, 2008

        in Featured Posts,Writing

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        Part 4 of 7
          Part Two: Researching it
          A — SRU Characters

          We all know that TV is a character-medium, and this is especially true with Flashpoint where, as we saw, every episode is centered around not only a “bad guy” but also one or two SRU members.

          SRU Grid

          The following info is taken from the official Flashpoint website over at CTV.
          It doesn’t get any better than this folks.
          This is close to the amount of information a detailed character-bible would have, if not more.

          Main Cast

          Ed Lane

          Team role: Team Leader, Lead Sniper

          Superpower Tactical: intelligence, instinct, muscle memory

          “Family” role: The Eldest Son

          Fear Killing: An innocent person

          Marital status: Married, but the relationship is strained
          One son, Clark, 15

          Love life: Popular with the ladies, but monogamous. At least for the moment…

          Radio: Rock ‘n’ roll, blues

          TV: Hockey, sports

          Reading: While he prefers music, he has a soft spot for Tim O’Brien, Richard Ford and Tom Robbins — muscular, alpha-male fiction

          Drink: Labatt Blue, Old Milwaukee

          Ed is the alpha male of Team One. He’s outgoing, charming, competitive and a risk-taker. Like a kid who’s used to getting what he wants, Ed is the best in a group of elite cops, and he knows it. When he’s not on the job, he’s with the team, drinking beer with them in the “Man-Cave,” or playing his guitar, alone, in his basement. Those choices come at a cost to his relationship with his wife and his son. But it’s easier that way for a cop with Trauma-Bond — someone addicted to life-and-death drama, someone who finds it easier to get back into the fray than face his neighbors at a backyard barbecue.

          It’s not often that Ed has to use lethal force on the job — but every time he does, he feels sick about it: after all, it’s his bullet that ended some guy’s life. But this is the path he’s chosen, and this is the job he’s been training for all his life. It’s somehow easier for Ed to shoulder that unspoken responsibility than to ask his son how his day was at school. The last thing he wants to do is bring this job home with him — but his decision to not involve his family in his professional secrets comes at a serious price.

          Parker is the one who sees most clearly that a sense of balance is missing in Ed’s life — but he’s been there, and knows this is something a man must learn for himself. But that doesn’t mean he’s not going to watch Ed closely…

          Sgt. Gregory Parker

          Team role: Team Sergeant, Head Negotiator

          Superpower: Emotional intelligence, psychological intuition

          “Family” role: The Father

          Fear: To say the wrong thing, with deadly results

          Marital status: Divorced, ex-wife and teenage son, long estranged

          Love life: Old-school respectful, but cautious around women

          Radio: Public radio, talk radio, jazz

          TV: Newsmagazine shows

          Reading: Library books, hardcover fiction and non-fiction

          Drink: Diet Coke

          Parker is serious, sharp-minded and a talented people-reader. He knows how to reach out, how to talk to people at their level — whether it’s a homeless schizophrenic off his meds, a hardened gang member or a troubled youth about to make a big mistake. His uncanny people-reading skills were developed early: as a child he wouldn’t have survived if he didn’t learn to anticipate whether his father was about to beat him or hug him at night…

          Seven years ago, Parker’s unconditional passion for his work burned out his relationship with his wife, and he turned to heavy drinking, infidelity and aggression he couldn’t control. When she left, she took their 10-year old son with her; and Parker hit rock bottom. The empathy, gentleness, insight and sobriety he embodies today are a testament to the extraordinary effort he put into recovery. He believes the best of people, because he’s living proof people can change. He’s proud of his team and makes a great father figure for them — perhaps because he blew his chance of being a father to his own son.

          Julianna ‘Jules’ Callaghan

          Team role: Sniper, Rappelling Expert

          Superpower: Stealth, agility, emotional intuition

          “Family” role: Sister (equal to her Brothers)

          Fear: Falling in love with a team member

          Marital status: Single

          Love life: Dates, but committed to her independence

          Radio: FM pop music, a là Kelly Clarkson (but she hides it)

          TV: Life’s too short for TV

          Reading: Tactical Marksman, Carpentry for Dummies, Extreme Travel Destinations, Vogue.

          Drink: Rye and ginger

          Jules is an exceptional markswoman, ex-RCMP who holds her own in the testosterone-pumped team environment. She has a grounded, natural prairie-girl confidence that looks you in the face, tells it like it is and expects the truth back. She comes from “The Hat” — Medicine Hat, Alberta — growing up as the only girl among four brothers, raised single-handedly by her father after their mother died. In this family, girl or boy, you pull your weight, you suck it up, you don’t get anything you didn’t earn. And you learn to shoot.

          Not that Jules didn’t have her rebellious phase. Jules has always been a risk-taker who “gets” people easily and enjoys high-stakes situations. A teenage party girl and troublemaker, she saw the light after an all-night conversation with a female RCMP officer in the back of a squad car… There’s a place for girls who don’t dream of malls, makeovers and manicures after all. And who can shoot.

          Jules relaxes by participating in triathlons, performing late-night home improvements and all-out games of paintball; long walks on the beach and a quiet evening in front of the TV… not so much — which explains her dubious track record in dating, and her growing attraction to her new teammate, Sam Braddock.

          Jules is comfortable around the guys, and they accept her as one of their own. But she’s also watchful, still struggling for her own identity within a group that will always define her as being a little different from them.

          Sam Braddock

          Team role: Entry, Sniper

          Superpower: Warrior, gifted marksman, knows no fear, feels no guilt

          “Family” role: The Troubled Foster child

          Fear: Failure

          Marital status: Single

          Love life: Into one-nighters more than relationships, but very intrigued by Jules…

          Radio: Alt rock. Hard rock. Rock in general

          TV: The Unit

          Reading: Cold Zero, non-fiction military

          Drink: Tequila, neat

          Sam recently left military service overseas with the JTF 2 (Joint Task Force 2, Canada’s elite Special Operations counter-terrorism force) to join the SRU. He strides into any situation with the cocky confidence and sense of entitlement of a guy who was born for prestige. But behind the mask, he’s desperately trying to learn what’s “normal”; years of hiding his emotions from a stone-cold father have left him at a loss. Empathy doesn’t come easy for Sam — he knows how to make a good first impression, but after that, things sometimes go sideways.

          Sam is the only son of a dysfunctional, high-ranking military policeman. He grew up on international military bases, doted upon by his homemaker mother, and he developed an uncanny gift at sharp-shooting — a dangerous skill when combined with an itchy trigger finger. But Sam carries secrets connected to his time in Afghanistan and his discharge from the army — secrets his new teammates wouldn’t be happy to find out about. Lucky for him, his father had enough pull to keep his son’s discharge quiet.

          Supporting/Recurring Cast

          Kevin ‘Wordy’ Wordsworth

          Team role: Entry, close quarter combat, less lethal

          Superpower: Passion & loyalty. Unflinching strength, total loyalty, and unwavering commitment to his team

          “Family” role: The second eldest. No pretension to the father’s throne

          Fear: That something may happen to his family (both work, and home).

          Marital status: Married

          Love life: In love with his wife, Shel, and devoted to his three daughters

          Radio: Secretly loves country: Dixie Chicks to Steve Earle

          TV: Wordy never gets to decide. New Adventures of Old Christine, Dora the Explorer

          Reading: Harlequin for guys: Doomtown Showdown, The Men Stood Alone, They Called Him Wolf, Men Are From Mars, The Secret

          Drink: Stella, cold, in the bottle

          A strong, passionate martial arts expert with a surprisingly gentle soul Wordy is a guy you can count on, and a guy you can drink beer with. Wordy’s totally in love with his wife, Shel, and he’s always up for whatever ride she wants to go on. In fact, he has a really hard time saying no to anyone. With three small girls and a fourth on the way, he’s bought a house he can’t afford, subsequently running himself a little ragged by taking jobs on the side to make ends meet…

          Wordy loves being a cop; he loves children and animals and women in peril. Deeply sensitive, and strong as an ox (a quality he’s developed in order to defend the weak), Wordy has a romantic notion of heroism — all bound into the notion of keeping the world safe for his kids. While he’s uncomfortable with receiving thank-you’s, he’s quick to embrace self-help. Wordy’s half-Venus, half-Mars, and funny as hell — making him the best damn teammate you could ever wish for.

          Mike ‘Spike’ Scarlatti

          Team role: Bomb Specialist, Less Lethal, Tactical Tech Expert

          Superpower: Defusing explosives — and explosive situations through skill, or through humour

          “Family” role: The Little Kid, The Clown

          Fear: One day he won’t be able to deflect with humour

          Marital status: Single

          Love life: A serial dater who falls in love about once a month.

          Radio: Classic rock, Elvis, opera

          TV: Sitcoms

          Reading: Not a big reader; maybe the odd cooking magazine…

          Drink: Corona. Vino Rosso with dinner

          Still the rookie after two years on SRU Team One, Spike looks up to Ed, who’s mentored him up through the ranks. He’s an upbeat, likeable Italian guy who likes to see stuff blow up. Spike’s also a great listener, easygoing and intuitive.

          As for his love life — Spike’s charm makes him popular with the ladies. He falls

          deeply in love with every girl he meets — but for some reason his relationships don’t last more than a month. It could be that he still lives with his folks — in their basement, no less. Or maybe it’s because there are some things that scare even a SWAT guy…

          Spike is obedient most of the time — and only occasionally rebellious. He’s trying to learn from his team “elders” while becoming his own man. Very funny, good at impressions, accents and voices, Spike’s as good at defusing bombs as he is at defusing team flare-ups and the tension of tough calls.

          Lewis ‘Lou’ Young

          Team role: Entry, Less Lethal

          Superpower: Street experience, faith, spirituality

          “Family” role: The Prodigal Son

          Fear: Going back to “the life”

          Marital status: Single

          Love life: Very busy dating life, but he’s discreet about it

          Radio: All kinds, open-minded

          TV: Nature shows, documentaries

          Reading: Tech manuals, Gun Lover Monthly, the Bible

          Drink: Gin and tonic, but only one

          Thanks to a deadbeat dad and an addict mother, Lou grew up on the tough, inner-city streets of Jane and Finch. As a teenager, he hung with a tough crowd whose activities got them into increasing trouble with the law — until he was turned around by a street-wise Pentecostal priest. Lou got out of the life, deciding that he wanted to serve his fellow man. Lewis became a cop — choosing the guns and gangs division before joining up with the SRU.

          Now? Lewis is a gentle, soft-spoken soul who knows every a-hole in town, remembers every case and prays to God every night to thank him for pulling him off the street and into his calling. He’s almost religious about his work, keeping his mind full of the latest technologies and tactics. But Lewis is the furthest thing from a holier-than-thou saint. When the rest of the team asks him “what Jesus would do,” Lewis always replies with a smile: “Jesus would kick some ass.”

          Dr. Amanda Luria

          Team role: Forensic Psychologist

          Superpower: Behavior Assessment, human intuition, dry wit

          “Family” role: The Stepmother: looking for closeness, but always on the outside

          Fear: To be wrong

          Marital status: Single

          Love life: She enjoys her freedom, but has been quietly seeing someone

          Radio: Public radio, progressive college stations

          TV: PBS, fact-based miniseries

          Reading: Oliver Sacks, historical novels, new Booker-nominated literature

          Drink: Tuscan red wine, but it all depends on whom she’s drinking with

          Dr. Luria is a brilliant forensic psychologist, but a far cry from your earnest, academic or touchy-feely type. She certainly doesn’t act like your classic shrink: her confidence makes her sexy, along with her chameleonesque ability to blend in absolutely anywhere. This is just one way Dr. Luria puts people at ease…

          Dr. Luria sees through the defenses of even the toughest patients — be they SRU team members or the individuals in crisis she meets on the SRU calls. A perceptive and patient woman herself, she’s intimately familiar with the specific syndromes involved in high-risk law enforcement. One of her favourite tools in getting to the truth is her cutting, deadpan wit — very effective in throwing her subject off-guard. She’s even been known to whip out her Advanced Psychotherapeutic Role-Playing Tools — Barbies and GI Joes — to take the serious edge off her time with someone in crisis. While Dr. Luria is always on call to her wary, SRU adopted family, her “day job” as a forensic psychologist involves criminal behavior assessment for Correctional Services — a risky and stressful job that gives her great insight into her research on risk assessment, violent offenders, hostage negotiation and Post Traumatic Stress Disorder.

          Centrics

          Let’s now take a quick look at who has done what when why.

          Episode 1:
          Who — Ed
          What — Beginning of season story-arc. Killing the gunman having both psychological, personal, and legal ramifications.

          Episode 2:
          Who — Greg
          What — We are introduced to Greg’s family problems and his father/son relationship, or lack thereof.

          Episode 3:
          Who — Greg, Jules and Sam
          What — Sam and Jules are growing closer to one another, and Greg still deals with his personal demons.

          Episode 4:
          Who — Wordsworth
          What — The abuse of a husband over his wife hits too close to home.

          Episode 5:
          Who — Sam
          What — Sam learns how to deal “peacefully” with a hostage situation.

          Episode 6:
          Who — Jules
          What — Trying to connect with someone on the line seems to be always difficult for her, and she tries her best here, talking down a girl from jumping off the top of a mall.

          Episode 7:
          Who — Sam
          What — Sam deals with some personal problems when a friend dies.

          Episode 8:
          Who — Ed
          What — Continuation of his season-arc around what happened in the Pilot.

          Episode 9:
          Who — Jules & Greg
          What — Trial by fire for Jules, still struggling with having to connect and help people on the line. Greg meanwhile is going to try to reconnect with his son.

          We can see by a quick glance that all the 4 from the main cast (Ed, Greg, Jules and Sam) have been “centered on”, as well as Wordsworth a bit. You could argue that other recurring characters were “centered on” in several of those episodes, but I underlined only the predominant “centric”.
          It is pretty safe to say then that a spec should be centered around one of those four, whilst still bringing something new to the table regarding their personal life.
          You can talk about Greg’s son but up the ante, or make it really difficult for Sam and Jules to be together.
          As of 109, there hasn’t been a direct correlation between a main SRU member and the “bad guy”, so it could be an interesting twist to the whole good cop/bad cop routine if a SRU member (an ex-SRU member?) would reveal him/herself to be really a bad cop.
          Still, don’t underestimate the supporting characters. You can still try a supporting character-centric episode. While very risky, there’s a reason after all we have as much information on them as we do on the main cast.

          On the next “Spec Flashpoint” post: bad guys.

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          Spec Flashpoint — Part Two (B)

          by Alex on November 12, 2008

          in Featured Posts,Writing

          Post image for Spec Flashpoint — Part Two (B)
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          Part 5 of 7
            Part Two: Researching it
            B — “Bad Guys”

            This post is going to be shorter than usual, just because we already kinda riffled through it in previous posts.
            That, and there’s an infinite number of possibilities you could go with for your baddie(s).

            Fortunately for the show, “bad guys” are not every time really “bad”. For the sake of argument I am calling them “bad guys”, but most of the time they are really being “grey guys”.

            Even though the teaser of almost every Flashpoint episode up to 1×09 has had someone holding someone else at gunpoint, “bad guys” on the show are pretty diverse.
            They range from real bad guys (1×03, 1×06, 1×09), to good guys cornered into doing a bad thing to save themselves (1×05, 1×08), others (1×02, 1×04, 1×07), or just plain crazy/brainwashed people (1×01, 1×09).

            For a more detailed bad guy/episode breakdown, please refer to this previous post.

            “Bad guys” seem to love playing with guns in every Flashpoint episode; guns being real easy to obtain.
            How many bomb threats have we had, versus how many hostage situations?
            It could be an interesting twist to subtract guns and hostages from the equation completely, and have the “bad guy” use other kinds of weapon. Whether a virtual one, a psychological one, or just a baseball bat.

            Also, change the situation surrounding the baddie.
            Change the number, change their back story, change what is driving this mad man to kill his ex-lover. Did he/she cheat on him with a(nother) woman? Did he/she win the lottery but didn’t give him a cent? Or perhaps he/she decided to have a sudden sex-change?

            Whatever the reason, the audience needs to be involved in the story.
            Create on the audience a “Stockholm syndrome” so that they will not want to see the baddie hurt. Or on the contrary, make him real evil.
            Make the audience emotionally involved and attached to the character.
            In a bad way, in a good way, or both.

            Now that was quicker than I imagined.

            Anyway, next time, we’ll talk about the SRU itself… Or should I say TPS?

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