Adrian: character arcs _20251008

Adrian: character arcs _20251008

DATE

10/8/25

TIME

6:06 PM

PROJECT

Adrian

TYPE

character arcs

THE OPERATION — REVISED TIMELINE

PHASE 1 — THE START (AGES 16–18)

Setting: South Oakland backstreets, cheap apartments, late-night noodle shops.

  • Dominic is a small-time runner working freelance — making deliveries for different crews, mostly doing cash drops and “package swaps.”

    He’s charming, reckless, and always broke.

  • Adrian works at her parents’ restaurant after school. Dominic is a regular — flirty, aimless, a little magnetic.

    One night he asks her for a favor: “Hold this bag in your freezer. Just overnight.”

    She hesitates, then agrees. That’s how it begins.

  • Soon she’s helping him count cash in the kitchen, labeling boxes, doing quick drop-offs between shifts.

    It feels like a game — adrenaline, freedom, secrecy.

    Neither of them fully understands how close they’re skating to something bigger.

  • Their dynamic: Dominic is the muscle and motion; Adrian is the brain that quietly organizes his chaos.

    He brings her in because she’s sharp — she keeps track of who owes what, who’s late, who can be trusted.

(visual motif: bills drying under a kitchen heat lamp, Adrian’s handwriting on delivery slips.)

PHASE 2 — THE GROWTH (AGES 19–21)

The turning point: they catch attention.

  • Boss, an older distributor controlling mid-level territory, notices Dominic’s efficiency and Adrian’s clean bookkeeping.

    He recruits them to “legitimize” their side gig — folding their street-level hustle into his larger network.

  • Boss gives them structure:

    • Dominic becomes a runner-manager: coordinating pickups and street drops.

    • Adrian runs the cash and delivery ledger, disguised through the restaurant’s sales.

  • Around this time, Norah enters — a chem-student dropout who knows how to “cut and stretch” product.

    She’s introduced by one of Boss’s upstream contacts to clean up the operation’s quality issues.

  • At first, Dominic and Adrian don’t trust her — she’s clinical, detached, speaks like a scientist.

    But Boss likes her precision. She wins his confidence fast.

(visual: Norah testing powder in a kitchen bowl while Adrian watches, uneasy; Dominic jokes, but Boss just nods.)

PHASE 3 — THE NEW ORDER (AGES 22–23)

Over months, power shifts quietly.

  • Norah becomes indispensable — she controls the formula and the finances.

    She moves the cutting and packaging underground (literally, into the restaurant basement).

    Boss begins routing all money through her system.

  • Adrian is pushed sideways — still vital, but no longer the one making calls.

    She handles day-to-day logistics: counting, couriering, keeping appearances clean.

    She’s the frontline face that bridges street and kitchen.

  • Dominic remains the field leader — loyal but impatient.

    He’s seen Norah rise above him and resents her quiet influence.

    He wants his own cut, his own “route.” That’s when he starts going off-grid.

(visual: Adrian behind the counter, Dominic pacing outside on the phone, Norah downstairs labeling packages — all in one continuous sound bridge.)

PHASE 4 — THE COLLAPSE

  • Dominic secretly sells one batch through an off-record buyer.

    Boss’s upper-tier supplier finds the gap. Pressure falls down the chain.

    Boss blames Dominic, and because Norah now holds the books, she can’t cover for him.

    Adrian gets caught in between — the courier who unknowingly touched the missing shipment.

sunnyspaceundefined@duck.com

website designed by Daiga Shinohara

©2025 Double Take Film, All rights reserved

I’m an independent creator born in 1993 in Changsha, now based in California. My writing started from an urgent need to express. Back in school, I often felt overwhelmed by the chaos and complexity of the world—by the emotions and stories left unsaid. Writing became my way of organizing my thoughts, finding clarity, and gradually, connecting with the outside world.


Right now, I’m focused on writing and filmmaking. My blog is a “real writing experiment,” where I try to update daily, documenting my thoughts, emotional shifts, observations on relationships, and my creative process. It’s also a record of my journey to becoming a director. After returning to China in 2016, I entered the film industry and worked in the visual effects production department on projects like Creation of the Gods I, Creation of the Gods II, and Wakanda Forever, with experience in both China and Hollywood. Since 2023, I’ve shifted my focus to original storytelling.


I’m currently revising my first script. It’s not grand in scale, but it’s deeply personal—centered on memory, my father, and the city. I want to make films that belong to me, and to our generation: grounded yet profound, sensitive but resolute. I believe film is not only a form of artistic expression—it’s a way to intervene in reality.

我是93年出生于长沙的自由创作者。我的写作起点来自一种“必须表达”的冲动。学生时代,我常感受到世界的混乱与复杂,那些没有被说出来的情绪和故事让我感到不安。写作是我自我整理、自我清晰的方式,也逐渐成为我与外界建立连接的路径。


我目前专注于写作和电影。我的博客是一个“真实写作实验”,尽量每天更新,记录我的思考、情绪流动、人际观察和创作过程。我16年回国之后开始进入电影行业,曾在视效部门以制片的身份参与制作《封神1》《封神2》《Wankanda Forever》等,在中国和好莱坞都工作过,23年之后开始转入创作。


我正在重新回去修改我第一个剧本——它并不宏大,却非常个人,围绕记忆、父亲与城市展开。我想拍属于我、也属于我们这一代人的电影:贴地而深刻,敏感又笃定。我相信电影不只是艺术表达,它也是一种现实干预。

sunnyspaceundefined@duck.com

website designed by Daiga Shinohara

©2025 Double Take Film, All rights reserved

I’m an independent creator born in 1993 in Changsha, now based in California. My writing started from an urgent need to express. Back in school, I often felt overwhelmed by the chaos and complexity of the world—by the emotions and stories left unsaid. Writing became my way of organizing my thoughts, finding clarity, and gradually, connecting with the outside world.


Right now, I’m focused on writing and filmmaking. My blog is a “real writing experiment,” where I try to update daily, documenting my thoughts, emotional shifts, observations on relationships, and my creative process. It’s also a record of my journey to becoming a director. After returning to China in 2016, I entered the film industry and worked in the visual effects production department on projects like Creation of the Gods I, Creation of the Gods II, and Wakanda Forever, with experience in both China and Hollywood. Since 2023, I’ve shifted my focus to original storytelling.


I’m currently revising my first script. It’s not grand in scale, but it’s deeply personal—centered on memory, my father, and the city. I want to make films that belong to me, and to our generation: grounded yet profound, sensitive but resolute. I believe film is not only a form of artistic expression—it’s a way to intervene in reality.

我是93年出生于长沙的自由创作者。我的写作起点来自一种“必须表达”的冲动。学生时代,我常感受到世界的混乱与复杂,那些没有被说出来的情绪和故事让我感到不安。写作是我自我整理、自我清晰的方式,也逐渐成为我与外界建立连接的路径。


我目前专注于写作和电影。我的博客是一个“真实写作实验”,尽量每天更新,记录我的思考、情绪流动、人际观察和创作过程。我16年回国之后开始进入电影行业,曾在视效部门以制片的身份参与制作《封神1》《封神2》《Wankanda Forever》等,在中国和好莱坞都工作过,23年之后开始转入创作。


我正在重新回去修改我第一个剧本——它并不宏大,却非常个人,围绕记忆、父亲与城市展开。我想拍属于我、也属于我们这一代人的电影:贴地而深刻,敏感又笃定。我相信电影不只是艺术表达,它也是一种现实干预。

sunnyspaceundefined@duck.com

website designed by Daiga Shinohara

©2025 Double Take Film, All rights reserved

I’m an independent creator born in 1993 in Changsha, now based in California. My writing started from an urgent need to express. Back in school, I often felt overwhelmed by the chaos and complexity of the world—by the emotions and stories left unsaid. Writing became my way of organizing my thoughts, finding clarity, and gradually, connecting with the outside world.


Right now, I’m focused on writing and filmmaking. My blog is a “real writing experiment,” where I try to update daily, documenting my thoughts, emotional shifts, observations on relationships, and my creative process. It’s also a record of my journey to becoming a director. After returning to China in 2016, I entered the film industry and worked in the visual effects production department on projects like Creation of the Gods I, Creation of the Gods II, and Wakanda Forever, with experience in both China and Hollywood. Since 2023, I’ve shifted my focus to original storytelling.


I’m currently revising my first script. It’s not grand in scale, but it’s deeply personal—centered on memory, my father, and the city. I want to make films that belong to me, and to our generation: grounded yet profound, sensitive but resolute. I believe film is not only a form of artistic expression—it’s a way to intervene in reality.

我是93年出生于长沙的自由创作者。我的写作起点来自一种“必须表达”的冲动。学生时代,我常感受到世界的混乱与复杂,那些没有被说出来的情绪和故事让我感到不安。写作是我自我整理、自我清晰的方式,也逐渐成为我与外界建立连接的路径。


我目前专注于写作和电影。我的博客是一个“真实写作实验”,尽量每天更新,记录我的思考、情绪流动、人际观察和创作过程。我16年回国之后开始进入电影行业,曾在视效部门以制片的身份参与制作《封神1》《封神2》《Wankanda Forever》等,在中国和好莱坞都工作过,23年之后开始转入创作。


我正在重新回去修改我第一个剧本——它并不宏大,却非常个人,围绕记忆、父亲与城市展开。我想拍属于我、也属于我们这一代人的电影:贴地而深刻,敏感又笃定。我相信电影不只是艺术表达,它也是一种现实干预。