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Day 3: What I learned …
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Get Out
What makes Act 1 TP scene great: Missy hypnotizes Chris – Missy asks Chris about when his mother died. She stirs her tea, continuing to probe. He does not want to talk about it.
He can’t move…seems to be paralyzed. She has him sink into the floor…he falls into darkness…his mouth wide open. Missy tells him that “now he is in the sunken place.” She touches him on the cheek and wipes away a tear on his brokenhearted face. /We feel Chris’ terror and realize that this home is beyond creepy. This is Act 1 and we know we will be going on a chilling adventure with Chris as the movie progresses. The situation is not normal.
What makes Midpoint TP scene great: Get Out of Here Scene – Chris is introduced to some guests at a party held at his girlfriend’s home. A black guest is there talking about how he has been treated quite well as a black person. He rambles on and Chris subtly takes his phone out and starts videotaping him. The black fella’s nose starts to bleed, he gets very angry and yells at Chris, “Get Out!” He freaks out and frightens everyone. Later in the day he comes back and apologizes to everyone for his outburst. / We know that it is not only his girlfriend’s family who are weird, but all of their friends as well. Now the mystery that Chris is facing is getting stranger. What makes Act 2 TP scene great: Give me the keys scene – He asks Rose to find the keys. He wants to get away…as he knows he is in danger. He asks her again and she fishes in her purse, to no avail. Rose’s dad asks Chris, “What is your purpose in life?” Chris replies, “To find the keys.” She shows him the keys and tells him she can’t give him the keys. Rose’s sinister brother Jeremy knocks Chris down…he is falling and can see the family seeming to stare at him. They are talking about taking him somewhere. / This is a chilling scene and we know now that the entire family is out to get him including Rose. What will happen to Chris? The suspense builds.
What I learned about writing my scene: My Act 1 TP scene, Midpoint scene, and Act 2 TP scene have to increasingly build suspense. There needs to be these “no going back” twists that propel the story forward. I am just starting my thriller script and will work first to make the Act 1 TP scene include a no going back twist and do the same for the Midpoint scene and finally the Act 2 scene.
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What I learned… I went over my TPs in my script and looked at ways I could elevate it giving it more layers, what’s hiding beneath the surface? What can I reveal of a character’s emotion or work to expose more of their motivation?
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Looking at my own turning points, I realized how “on the nose” the dialogue was. I need to add more emotion and direction toward the twist. Adding more detail should help intensify all those scenes and better show the character arc. I need to hone the twists a little more so they obviously state that there is no turning back. All three of my turning points can use some major work.
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This reply was modified 1 year, 3 months ago by Mary Dietz.
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This reply was modified 1 year, 3 months ago by
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After watching the scenes from Get Out, I realized that by the end of Act 2, the hero needed to be isolated and completely at the mercy of the “monster.” (I am also writing a horror film).
While I did not re-write these scenes (yet) I did change them entirely and updated my beat sheet to show the changes. The biggest change I made (which is a major change in the story) is that I made my love interest – who up till this point was one-dimensional – into a false ally… who is now part of the conspiracy to manufacture a deception.
I had to insert her into these three important scenes – so we can see the hero’s allegiance to her – her false allegiance – and then, finally, the reveal of the deception at the Turing Point in Act 2.
Also, different elements of the “monster” are revealed at these important turning points.
I haven’t quite figured out how I want to add this – but I know that in the Act 1 TP – I need to get my hero ‘caught’ – without an option to turn back. At the midpoint – I need him to see what will happen to him if he doesn’t win, and finally, at the Act 2 TP, he needs to be completely subdued and isolated – with no hope of escape.
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What I learned is that I need to reread my initial transformation story and my entire script to see if it meets the expectations I set in my character transformation outline.
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