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Day 14 Assignments
Reply to post your assignment.
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7 Replies
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Danielle’s Great Action Set Piece
What I learned doing this assignement is not being afraid of exaggerating the situations to push the Action forward.
SETUP : A cyber-attack paralyzes the White House while the PRESIDENT is injected a mortal virus and blackmailed to start a war.
PRE-ACTION :
. The HERO must keep his head and react swiftly in a proper way.
. Protect his wife and friends.
. Look for the traitor
. Save his own life
. Avoid a war
Action :
Anxiety and Fear :
. Not only electric and electronic devices are out of order for a while but the computers are now transformed in bots giving fake information and messing up all the White House affairs.
Relief :
. The way the PRESIDENT gets in touch with the people he trusts and needs, using their secret and personal codes of communication. He manages to get his blood secretly analyzed.
Surprise ans Shock :
. With the help of his wife – PAMELA / HEATHER 😉 – and his new ally, GAVIN, an analyst who is wrongly despised by the VILLAIN , they find who the TRAITOR is and a plan to trap him.
Suspense :
. The ALLIES reverse the computer bug against TOM, the VILLAIN and this enables them to localize the PRESIDENT.
. The HERO falls into the MOB’s hands.
Danger :
. Very little time is left to find and inject the antidote to the Hero who becomes weaker and weaker
Adrenaline :
. The VILLAINS lay into him, but the PRESIDENT uses his « Ki » power to stop them.
Post Action :
. The scientist discovers an experimental antidote against the lethal virus and saves the HERO.
. GAVIN finds his self-confidence again.
. The First Lady karate training pays off.
. The plot has been exposed and neutralized.
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Ron’s Act 2 Reaction to TP1
What I learned writing this assignment: I’m having trouble locating the meaning of the turning point. When I read the lesson, it all seems so obvious – for Neo, for Will, for Vinnie, for Margaret. Clearly the “change in meaning” is significant for these players, and it all seems so obvious when pointed out in the lesson. But I’m struggling a bit to locate a similar experience for my protagonist. Not at all satisfied with this, but I’m struggling creatively, really for the first time in this class. Up to now, I have felt like I’ve been able to put down on paper what the day’s lesson was, applied to my own script. This time feels just thinner, tougher to create. When I get through this and can more easily identify the whole “pivot of meaning” I can imagine I’ll be a much better writer.
ACT 2 BEAT SHEET
EXT – ON WATER – NIGHT
PT129 lies in wait, again
Two destroyers show up on radar
Cooch sends short secret radio signal to second skipper
Cooch expends all 4 torpedoes, no hits
Second boat captain comes in to help, gets shot up
Cuccinelli limps back to Rendova, expecting another ass chewing
ACT 2 OUTLINE
BEGINNING: 129’s lying in wait in the dark
MIDDLE: two destroyers show up on radar
END: Cooch breaks radio silence to alert boat captain #2
BEGINNING: Cooch goes in, expends all 4 torpedoes, no hits
MIDDLE: now helpless against second destroyer, required to withdraw
END: Second boat captain shows up!
BEGINNING: Cooch watches helplessly as boat captain #2 also expends all 4 torpedoes
MIDDLE: all 4 torpedoes miss
END: destroyer gets some hits in on second PT
BEGINNING: Cooch and second boat captain retreat into dark
MIDDLE: Damage assessment demonstrates other PT pretty beat up
END: at daybreak, two PTs return to Rendova
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Gerry Cousins – Act 2 Middle Scenes
Since mine is a 2-Act play, I already submitted all of ACT I. Ergo, Lessons 13 and 14 were already covered in my submission as I did not submit the screen play version of Acts and Scenes. I am truly looking forward to working with you on my ACT II as that is the act that still needs the most work — the last scene is altogether new and I have followed your outline procedure on this, which I thought worked out amazingly well.
Getting to Word-smithing ACT I still remains a concern to me
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Carol Dougherty’s Act 2 Middle Scenes
What I learned doing this assignment: I learned that even when I feel overwhelmed by how much I still have to do, I can put that aside and focus on what’s due today, and only that. I knew this before, but it’s been a while since I had to exercise that kind of discipline. It’s a bit like a muscle that hasn’t been used enough and it complains like crazy when I first try to do it again.
With every completed assignment I feel more and more confident that I can do this. And every assignment has its own quirks and things I learn about my own characters and story. Makes it pretty interesting.
Outlines:
Key Scene 2:
BEGINNING: Kate helps Pen with lines and blocking in an informal rehearsal at Pen’s place.
MIDDLE: They rehearse, and a blocking mishap propels them into a kiss. Pen surprises both of them by pulling back, though she still wants to pursue a sexual relationship. Kate refuses when she realizes Pen is in an open relationship with Sam.
END: Kate leaves.
Key Scene 3:
BEGINNING: Pen goes to Kate to apologize for what happened at the track.
MIDDLE: She finds Kate calm and determined – she wants Pen to break up with Sam and give her a chance. They argue; Pen says Kat shouldn’t refuse without knowing what she’s missing and kisses her.
END: Pen leaves, not wanting Kate to give in because she’s overwhelmed, but wanting Kate to choose to follow her.
Key Scene 2:
INT. PEN’S LIVING ROOM – NIGHT
Pen is seated on one of the wing-backed chairs in her living room, while Kate is sitting at one end of the sofa. The living room layout is the same as Terry’s, but there is no grand piano, and Pen’s color scheme, like her dressing room, is peach, light gray, and greens.
PEN
This isn’t going to work. I need to be on my feet, words and actions together to sort this out. Do you mind?
KATE
No, but you may have to tell me what to do.
PEN
Orsino is sitting on his settee; shift yourself sideways.
Pen gets up and pushes and pulls until Kate is seated with her back to the arm of the couch.
PEN
Once I start the speech that begins with, “A blank, my lord,” Orsino literally withdraws further and further into himself. He’s sitting with his forehead resting on his knees, at which point Viola comes over to try to break through to him. When I put my hand on your shoulder, that’s the cue for you to raise your head and give me the next line.
KATE
Okay.
Pen takes a moment to get into character.
PEN AS VIOLA/CESARIO
My father had a daughter loved a man
as it might be perhaps, were I a woman, I should your lordship.
KATE AS ORSINO
And what’s her history?
Pen turns away; Viola can’t let Orsino see her face and emotion.
PEN AS VIOLA/CESARIO
A blank, my lord; she never told her love, but let concealment like a worm in the bud feed on her damask cheek.
Kate/Orsino is sitting with her forehead on her knees. Pen/Viola turns and sees Kate/Orsino’s posture and goes to him. She crouches beside him, her left hand clasps his forearm, her right hand on his shoulder. The audience can see her face, though Orsino can’t, which is suffused with adoration.
PEN AS VIOLA/CESARIO
Was not this love indeed?
Unsatisfied, Pen tried it again and again. One time Pen’s right hand ended up on Kate’s neck instead of her shoulder and Kate jumped. Pen was startled and lost her balance, toppling over from her crouching posture and rolling on the floor.
Kate tries unsuccessfully to keep a straight face.
KATE
Are you alright?
PEN
(laughing)
I’d best anchor myself a bit better.
(gets to her feet)
I’d rather not tumble about onstage. It’s bound to end badly. Let’s try it again.
The next try Pen plants one knee firmly on the carpet. No longer focused on balance, Pen becomes aware of Kate’s proximity.
PEN AS VIOLA/CESARIO
Was not this love indeed?
Kate/Orsino raises her head and turns to Pen/Viola. Their eyes are very close and Kate forgets the line. They kiss. The sound of tires on the gravel causes Pen to pull back a little. Kate’s lips are parted, her expression dazed.
PEN
I think we should talk.
KATE
Now?
PEN
Oh hell!
Pen leans in and resumes the kiss. Kate’s hand creeps up Pen’s arm to stroke the side of her neck in a shy, tentative caress. Pen releases her abruptly and stands, then backs away.
PEN
Yes, we should talk now. I need a glass of wine. Would you like one?
Kate nods. Pen goes over to a dry bar in the corner of the room and pours two glasses of wine with shaking hands.
Pen goes over to the sofa and gives Kate her wine, then sits on the wing-backed chair opposite. She takes a long drink of wine.
KATE
(shaky laugh)
Was the kiss that bad?
PEN
Not at all.
KATE
I mean, I know I don’t have lots of experience, but –
PEN
Have you had any relationships?
KATE
(insulted)
Yes!
PEN
I’m sorry, I didn’t mean to insult you, but I did wonder about you and Michael.
KATE
Michael made a play for me last semester, after he knew I’d be here for the summer. It was obvious he wanted to get himself invited here, only when I didn’t invite him he showed up anyway. We’re fellow students, nothing more.
PEN
You see, Katie, I really don’t know you at all. And there is a kind of innocence about you…
(sees Kate staring down)
Are you listening to me?
Kate lifts her head and lashes out, voice tight.
KATE
Why should I? Terry warns me not to get involved with you. You ask if I’ve ever been in a relationship. You and Terry seem to think I’m some kind of helpless child or idiot who needs to be protected. You only eight years older than I am. What gives you or Terry the right?
PEN
(gently)
We don’t think you’re an idiot or a child. And we’re both very fond of you, we care about you. And I do have a well-deserved reputation. At least Sam had been around the block a few times.
KATE
Sam?
PEN
Terry told you about him – he said he had. Sam owns the farm, the racehorses, all of it. When Sam and I got involved, he knew what he was getting into. It suited both of us to have an open relationship.
KATE
(pales)
Terry told me Sam owned this place, that you knew him. He didn’t say how well. You’re involved with the man who owns my cottage?
PEN
Yes, why?
Kate looks stricken.
PEN
Does it matter?
KATE
(nods)
Yes. It matters.
PEN
I don’t understand.
KATE
Pen, you’re in a relationship with someone. I had no business asking you to go out in that boat with me, much less to kiss you tonight.
PEN
Funny, I thought I kissed you.
KATE
It never would have come to that, either way, if I’d known.
PEN
You can’t be serious.
KATE
Completely. I don’t believe it’s honorable to interfere with other people’s relationships.
Pen’s eyes narrow, wondering if this is some weird way to say she’s not interested after all.
PEN
Honorable? Katie, where did you get such an antiquated notion? No one worries about such
things.
KATE
Maybe not in your world.
PEN
We live in the same bloody world – what are you talking about?
Kate puts down her untouched wine and goes into the kitchen. Pen can hear the water run for a bit. When Kate returns to the living room her face is damp, her eyes red-rimmed but determined.
KATE
Sorry, Pen. I’m not sure I can explain it any better.
PEN
Try me. I’m a reasonably intelligent person.
KATE
It’s not that. It’s just that I don’t want to sound like I’m preaching.
PEN
(scowls)
You’re joking. This is about religious beliefs.
KATE
(raises her chin)
In a way. It’s about integrity. I don’t want to participate in what some people might call casual sex or sexual misconduct.
PEN
Sexual misconduct? You call a simple kiss sexual misconduct? You must be mad.
KATE
It’s the intention that’s the problem. I didn’t know about Sam when I kissed you. I do now. So if I went ahead and kissed you now, knowing you’re in a relationship, it’s…it’s a lack of respect towards you – even towards myself. It’s…dishonorable.
PEN
Dishonorable? Sam and I are non-monogamous – he has his wife, I have my own interests. We choose that freely – doesn’t that matter to you?
KATE
For me, that would just be a way to rationalize the situation, so I could do what I want.
PEN
Oh, I see. You do want to kiss me but you won’t because of some archaic principles. Because you’re noble. It’s not that you’ve come up with this ludicrous story because you’ve changed your mind about me?
Kate was on her knees in front of Pen in a heartbeat. She took Pen’s hands in hers and met her gaze.
KATE
You can’t believe I could change my mind about you! I can hardly see straight most of the time when you’re around.
The tension in Pen’s shoulders and neck relaxes. Kate lays her cheek on Pen’s hands as if in supplication. Pen looks down at her, baffled and moved. Kate eventually lifts her head and looks at Pen, her heart in her eyes, her voice unsteady.
KATE
Think about Viola – you’ve been rehearsing the part for weeks. You know as well as I do she would never betray Orsino’s trust in her, even if it meant she could win him by doing it.
PEN
Viola – what does this have to do…?
KATE
All right. You want me to say it – I do want you Pen, more than I’ve wanted anyone or anything in my life. But not while you’re involved in another relationship. Regardless of how you see it, it isn’t respectful to either of us. I can’t do that to myself.
PEN
But you aren’t respecting my feelings, Katie.
KATE
You’re the one who pulled back from the kiss, not me.
PEN
I didn’t want to take advantage of your innocence. Bloody hell, I never thought this would happen.
KATE
What did you think would happen?
Pen’s face softens and her hands return Kate’s clasp.
PEN
I didn’t think. It wasn’t about thinking. I hoped that even if I gave you the chance to think about it that ultimately you would decide it was worth the risk to get involved with me.
(her voice gets husky)
I hoped that we might end the evening in my bed, Katie, and spend a lovely night together. Maybe many lovely nights.
KATE
(whisper)
I wish I could.
Kate presses her lips to Pen’s hands, gets up and leaves. Pen watches her go out the door in complete disbelief.
Key Scene 3:
INT. KATE’S HALLWAY/LIVING ROOM – NIGHT
Kate opens her door to find Pen on the doorstep. Pen is clearly tense and apprehensive. She notices Kate is wearing a blue oxford cloth shirt rather than the white one covered with red wine that she’d worn home from the track.
Pen also notices there is no smile or sign of welcome on Kate’s face.
PEN
May I come in?
KATE
Of course.
Kate steps back and Pen enters the hallway.
PEN
I’ll pay for the white shirt to be cleaned.
KATE
There’s no need, I can take care of it.
PEN
No, I want to.
Kate shrugs and leads her into the living room. She doesn’t offer Pen a seat or fuss over her. Instead, she leans against the mantel, poised in a way that surprises Pen. Pen stands awkwardly at the entrance to the room.
PEN
Katie, I’m sorry you got caught in the middle of that mess today.
KATE
You said before that Sam’s wife understood and was okay with the relationship between you two. Didn’t look like that to me.
PEN
That’s not your concern. I’ll deal with Sam.
KATE
Not my concern? Maybe you’d like to take another look at my white shirt?
PEN
I’ve said I’m sorry about that. I’ve offered to clean it. What more do you want?
Kate straightens up and Pen braces herself.
KATE
Now that you ask, I’ll tell you, Pen. I want you to end your relationship with Sam. I want you to give it a chance with you and me.
Pen is startled by the difference when Kate is unflustered around her. She finds it tremendously appealing but can’t get caught up in that. She needs to go on the attack.
PEN
Katie, your notions about relationship are archaic.
KATE
You told me that before. What about your relationships? You’re a coward. You have Terry, your rock as you call him. Then your lovers. So you never have to risk anything.
PEN
(furious)
If you weren’t so naive, you’d realize Terry is my family, and more important than any lover could be.
KATE
I’m not attacking Terry. But what if he’s not there? Is Sam going to be there for you? I would.
PEN
That isn’t the point.
KATE
What is the point? You said once I was too innocent. You said it as if it were a dirty word.
PEN
That’s not what I meant.
They look like two boxers, sparring for the right opening.
KATE
What did you mean then?
Pen is distracted by the pulse in Kate’s neck. It throbs wildly, which tells her the calm demeanor is a cover. Something snaps in her and she lashes out to hide her pain and shame.
PEN
Think about it, Katie. One minute you’re pushing me away, the next minute you’re making drunken passes at me in my dressing room. You look for excuses to be near me, then you claim your principles won’t allow us to be together.
KATE
That’s not fair.
PEN
Fair? You and your sanctimonious honor – are you really so naive, so blind you don’t see what you’re doing? Or do you like tormenting me, seeing me ache for you and all the while you keep a safe distance?
KATE
(pales)
Pen, I never wanted –
PEN
You never wanted anything! What a hypocrite you are. You watch me in rehearsal with your adoring glances and your tears, and if I respond you push me away because you’re so noble and pure. Bloody hell, Katie, you’re not a child. Maybe it’s time for you to grow up.
Pen closes the gap between them and takes Kate’s face in her hands. She intends to kiss her with all the ferocity of her thwarted passion, but at the first touch her anger dissolves. Her lips hover near Kate’s, her voice low and shaking.
PEN
Inside you, Katie, is a woman you’ve barely begun to explore. Everything in me hungers for that woman in you, longs to help her emerge, see the wonder in her eyes as she discovers herself.
Kate listens, stunned at the outpouring from Pen. She is overwhelmed, unable to pull away, unable to speak.
PEN
(whispers)
You cling to your beliefs as if they have some magical power, never realizing the true magic, the true power, lies in the shiver deep within you at my lightest touch…
Pen’s fingertips caress Kate’s cheek and she lets out a soft gasp.
PEN
…the rhythm of our hearts, beating as one…
Pen takes Kate’s hand in hers and lays it on Pen’s heart, then lays her hand on Kate’s heart.
PEN
(halting)
..the…magic…the shock of recognition…every time our eyes meet. Don’t you..even want to know what…you’re missing?
Pen’s lips brush Kate’s again and again with the most fleeting of kisses, until Kate’s lips seek hers. Pen deepens the kiss slowly. Kate’s free hand clutches Pen’s sleeve.
Pen lifts her mouth to trace a path down Kate’s neck and lingers at the hollow at the base of her throat.
KATE
(somewhere between a moan and a whisper)
Pen…
PEN
(smiles)
Peace, I will stop your mouth.
(kisses Kate)
After a long kiss, Pen lifts her head. Kate’s eyes are closed, and she is radiant. Pen knows if she doesn’t leave then, she won’t be able to leave. And she has to leave. It has to be Kate’s choice.
Pen steps back and Kate’s eyes open. Pen is transfixed by the woman in front of her, alight with passion.
Kate takes Pen’s hand in hers and Pen presses her lips into the palm of Kate’s hand. She walks swiftly to the door and leaves.
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What I learned doing this assignment is creating a plan for my protagonist and making it fail.
Danielle Dillard’s Act 2 Middle Scenes:
Act 2 (Key scenes 2 & 3)
INT. TINA’S APARTMENT – DAY
Beginning: Tina comes home from work early and is surprised to see Barry at home. He’s playing video games with her kids.
Middle: Tina asks Barry why he’s at home when he said he had to work. Barry ignores her and keeps playing the video game.
End: Tina turns off the video game and demands an answer. Barry says he’s going to work the next day. Tina says she wants to know why he didn’t go to work today. He asks the kids if they want pizza, and they say yes. He leaves the apartment to get pizza. Her kids turn the video game back on and resume playing.
EXT. ELEMENTARY SCHOOL – DAY
Beginning: Tina parks in front of an elementary school. She carries a basket of fresh muffins. She heads to the office.
Middle: Tina asks the receptionist what classroom Barry teaches in so she can surprise him with the muffins. The receptionist says there’s no Barry Brooks that teaches at the school.
End: Tina calls Barry and blasts him out for lying about his job. She tells him that she wants him out of her house. He tells her he’s not going anywhere and hangs up.
Key Scene 2
INT. TINA’S APARTMENT, LIVING ROOM – DAY
Tina, just coming in from work, walks in and is surprised to see Barry and the kids on the couch playing video games.
TINA: What are you doing here?
BARRY: I live here.
TINA: Why aren’t you at work? I saw you leave for work this morning.
BARRY: I decided to stay home. And why are you here early?
TINA: I took the afternoon off. You left for work and came back? What, were you sick?
Barry keeps playing video games with the kids.
TINA: Hello?
BARRY: I didn’t go to work today, alright. Who wants pizza?
DAYLEN: I do!
JAYLA: Me too.
BARRY: Me three. I’ll be back.
Barry grabs his keys.
TINA: Are you gonna answer me?!
Barry leaves. Daylen turns on the video game and he and Jayla resume playing. Tina is pissed. She grabs her cell and calls Barry. We hear his VOICEMAIL. She hangs up.
Key Scene 3
EXT. ELEMENTARY SCHOOL – DAY
Tina pulls in front of an elementary school. She gets out of her car carrying a decorative basket of muffins. She heads to the administrative office.
INT. ELEMENTARY SCHOOL, OFFICE – CONTINUOUS
Tina approaches the RECEPTIONIST, a late 20s woman.
TINA: Hi, I’m here to surprise a teacher with muffins, uh, Barry. Barry Brooks.
RECEPTIONIST: Mr. Brooks? We don’t have a Mr. Brooks that teaches here. We have a Mr. Brookenstein though.
TINA: No, it’s Barry. Barry Brooks.
The Receptionist looks up his name in the computer. Nothing.
RECEPTIONIST: Sorry, ma’am. There’s no teacher here by that name. Are you sure you have the right school?
Tina bolts out of the office.
EXT. ELEMENTARY SCHOOL, OFFICE – CONTINUOUS
Pissed, Tina throws the muffin basket in the nearby trash can. She pulls out her cell from her purse and dials.
BARRY: (off screen, on the phone) Hey, baby.
TINA: Why the hell did you lie to me about your job?!
BARRY: What are you talking about?
TINA: I’m at the joint! The bitch at the front desk said you don’t even work here!
BARRY: What are you doing checking up on me –
TINA: Get out of my house! I want you outta there by the time I get home. Pack your stuff and get out! I’m not having a man lie to me about a job! What else you lying about?! Get out!
BARRY: I’m not going anywhere. We’re engaged, remember?
TINA: Potentially engaged. You said if things don’t work out then you can get your money back on this ring you gave me!
BARRY: I said if things don’t work out on MY terms, then I’ll get my money back. This issue is not on MY terms; therefore, we’re still engaged. And I’m not going anywhere.
Barry hangs up. Tina calls him back. We immediately hear his voicemail. Tina stomps to her car.
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M.M.’s Act 2 Middle Scenes
What I learned doing this assignment is how to be even quicker with an outline. The story is not going the way I thought or had on my beat sheet, so it is constant course correction. The characters know where they want to go, which is often surprising.
KEY SCENE 2
EXT. COLLEGE BASEBALL FIELD – DAY
BEGINNING: At practice, Luke and Bella joke around playfully as they pitch and catch. Emilio walks up and asks if they need a catcher but they both turn him down simultaneously. Mia is in the stands, ostensibly to watch Luke, or her friend Bella, but she can’t take her eyes off Emilio.
MIDDLE: Luke and Bella clap each other’s shoulder and Bella taps Luke’s behind. When he doesn’t flinch, Emilio thinks they may be more than just friends. Maybe he’s missing out. He looks up in the stands and sees Mia who waves and grins, but he ignores her and turns back to Luke and Bella as he catches for relief pitchers on the team.
END: He turns to watch Luke and Bella with their heads together whispering and quietly laughing about something. He fumes and misses a pitch. The asst coach yells at him. For the first time, Emilio is jealous.
INT./EXT. LOCKER ROOMS – MEN’S- DAY
BEGINNING: After his shower, Emilio purposely runs into Luke and casually asks what he thinks about Bella. Luke is cagey which riles Emilio.
INT./EXT. LOCKER ROOMS – WOMEN’S – DAY
MIDDLE: Bella darts out of the girls’ locker room to find Emilio there. He feigns bumping into her and waits for her to say something. Bella follows her “hard to get” plan which is getting harder for her. She tells Emilio, “Sorry. See you later,” and she rushes out. Bites her lip. That was hard to just walk away. Even harder not to turn back and smile at him. She’s determined to win him over even though she hates playing the “hard to get” game.
EXT. LOCKER ROOMS – HALL – DAY
END: Emilio watches Bella meet up with Luke as he exits the locker room. She tells Luke about her plan and they talk loudly enough for Emilio to overhear them. Luke offers to take her to his favorite gun shop and practice on the indoor shooting range. They high-five each other, heading for the exit. Now Emilio is the one left alone in the hall. But at least he knows where they’re going.
KEY SCENE 3
INT. GUN SHOP – DAY
BEGINNING: Bella looks over the guns in the cases, asking for Luke’s advice. He suggests a few and she tries out different ones.
MIDDLE: The female clerk recognizes them and they talk baseball and handguns. Bella picks out a Glock, completes the FBI application and is instantly approved. Bella asks Luke how long he thinks it will take Emilio to show up and Luke says, “He’s driving into the lot now.”
END: They delay going into the range until they see Emilio enter the shop. He pretends to be surprised to see them. Bella realizes her plan is working. Luke challenges Emilio to a shooting contest in the range. Emilio, always up for competition, agrees. Emilio buys a new gun for the challenge, then he sees a long gun with laser and scope and loads up on ammo.
SCENE 3:
INT. SHOOTING RANGE – DAY
BEGINNING: Luke and Emilio start shooting in separate lanes. Bella walks behind the partition watching them and following the progress of each. Emilio is up one target, then Luke.
MIDDLE: In the final two rounds, Emilio and Luke are tied. Bella calls out encouragement to Emilio just as he fires his last shot and he misses the center target. Luke hits it and wins.
END: Emilio loses the competition and he fumes with anger. Luke offers to buy burgers for everyone but Emilio refuses. Bella tries to apologize to him, but he raises his voice so loud the owner asks him to leave. He storms out. Bella is distraught. The plan has backfired. She asks Luke to just take her home.
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Angelina Fluehler – Act 2 Middle Scenes
“What I learned doing this assignment is…?” Mid scenes are in place. Thanks for the examples with Matrix, which give very clear benchmark wherever the correct events and story are in the right place during the movie.
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This reply was modified 2 years, 7 months ago by Angelina Fluehler.
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This reply was modified 2 years, 7 months ago by
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