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Day 11 Assignments
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6 Replies
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Ron’s Inciting Incident
What I learned writing this assignment:
What this process does is force you to make choices. It’s said that sculptors take a piece of marble and then remove everything that doesn’t need to be there. Well, this is sort of the opposite of that. I had prior versions of these scenes in my head, but when you have to get them submitted within 24 hours, it forces you to make choices. What elements will advance the story? Which ones should I toss? How can I allude to the protagonist’s private journey? What’s the best way to demonstrate personality, resolve, attention?
In this case, I have added some ambiguity to Cooch’s confidence at taking out a destroyer (maybe it wasn’t the 129?) and I’ve added some intrigue when Cooch acts as if he’s contrite for his recklessness but in fact he’s holding a grudge against his protagonist, who happens to be his commanding officer.
This effort is more demanding than I had imagined it to be, and it seems like something that, like playing a musical instrument, gets easier with experience (“wax on, wax off”). But I can see why ScreenwritingU is proud of this class. It is bound to make a writer better, to keep my efforts focused and aligned and disciplined.
And to get to a 20% screenplay in 30 days, ready for several iterations of rewrite.
Key Scene 2 Outline:
INT COMMANDER’S HQ – DAY
Cuccinelli is located at breakfast, asked to report to the Commander. He’s expecting a pat on the head for sinking a destroyer but instead………
Cuccinelli reports to Commander, who proceeds to advise him to stand in a brace while he is berated by the Commander. He’s shocked, this is not what he expected.
This goes on for 12 very long minutes, the Commander asks rhetorical questions and when Cooch tries to answer them, the Commander shuts him up.
Cooch leaves the Commander’s office shaken, and outwardly apologetic “it’ll never happen again sir”, but inwardly he’s seething, being dressed down for a serious contribution in his first week when he had thought he deserved a hero badge. He’s going to get even.
Key Scene 3 Outline:
EXT-DAWN – DECK OF PT BOAT
Cuccinelli’s coming back from an empty patrol nursing his starboard engine. It’s getting very close to daylight. PTs hate daylight, they’re unusually exposed, even to friendly fire. Cooch is hugging an island shoreline to minimize the chance of discovery.
Suddenly, an Avenger flies low, over the 129, trailing smoke, its bomb still in the rack, followed mere moments later by a Zero on its tail. The Avenger is taking a beating. Cooch ramps up the 129 to go get in the fight and help the Avenger. Eventually the Avenger goes down, but then almost immediately so does the Zero. Cooch picks up the survivor of the Avenger and goes to check out the Zero pilot, who’s still in the water.
The back seat gunner’s name is Lopez, he’s from LA, knows Japanese. He says something to the pilot, who’s floating in a small life raft he’s already inflated. They have to decide what to do with this guy. A resolution is achieved, and it points Cooch to being more measured, less knee-jerk violent.
Inciting Incident Scene 2:
Cuccinelli is eating breakfast at about 10am when a sailor comes by to ask him to come to the Commander’s HQ immediately. Cuccinelli is sure he’s about to get a commendation for his successful sinking of a Japanese destroyer in his first 2 weeks in the squadron. He reports to Lt. Commander Hart.
CUCCINELLI
Ensign Cuccinelli reporting as directed, sir.
HART
Don’t sit down, Cuccinelli. In fact, I’d like you to stand at attention.
Cooch is thinking – hey, wait, this can’t be good. I thought I was here for a promotion…………………
HART
Cuccinelli, the last thing I need in this squadron is a loose cannon who refuses to keep an eye on his boat and his crew. I’m glad that Lt Cooper’s going to be OK, but no thanks to you! Do you want to try to explain yourself, Mister?
CUCCINELLI
Sir, the Lieutenant got hit just before the release point for the first torpedo, we still had the firing solution, so I made sure the Lt was being taken care of and I continued with pressing the attack. I believe it was the right thing to do.
HART (cutting off Cuccinelli)
Is that what you learned in Melville, Cuccinelli? You got some sort of death wish? You put your boat and your crew – and yourself! – in grave danger out there last night. You should have abandoned the attack as soon as Cooper was injured. What makes you think you’re ready to take over a boat? You’re an XO, don’t forget that! You are a junior officer on a tiny wooden boat out here in nowhere, and you’ve only been here two weeks! And you seem to have a death wish!
The reports I have are that you ended up almost brushing up against that Jap destroyer. What the hell were you thinking?
CUCCINELLI
Sir, at the time, to get below the gunner’s range for about 30 seconds, yes, we got very close to the gunwales of the destroyer. But that was less dangerous………
HART (again, cutting off Cuccinelli)
Why were you that close to begin with? Did you not study attack profiles in Melville? Did you sleep through those lessons? Who told you that it was a smart idea to sidle up to a Jap destroyer? Do you not know that we’re at war with those people? Do you not know that? These people are your enemy, Cuccinelli! You DO know they’re trying to kill you, right?
CUCCINELLI
Sir, I had to make an emergency decision and I took my shot and I believe it paid off.
HART (interrupting AGAIN)
Are you talking about sinking that destroyer? We’re not even sure it was the 129’s torpedo that took that out, do you know that? We have reports from a coastwatcher who says he saw the Japanese laying mines out there a few days ago. It’s possible – likely! – that the Japs just ran into their own mine! If it turns out it was your torpedo, I’ll eat my hat!
Cuccinelli changes tone. He appears much less defiant, much more humble, more prepared to follow orders.
CUCCINELLI
Sir, if I may say, I regret that I went overboard last night, and I apologize for not following the book. You will not see this happen by me again.
HART
You bet your ass I won’t see that from you again! If I do, Cuccinelli, you’re out of this squadron! I’ll get you shipped out of here in less than a week. Now, listen, I don’t trust you yet. You went off half-cocked and I need to see you execute on a lower level mission before I give you orders to attack destroyers again. So tonight you’re going to be assigned to pick up that Aussie coastwatcher. He’s been very valuable for us but his location has been discovered by the Japs and we need to get him evacuated. We’ll have to wait for nightfall so you don’t get shot up, but that’s your assignment for tonight. Prove to me that you’re worthy completing this assignment and I’ll think about it. Walk before run, you got it? You’ll get your orders from Lt. Commander King later today. Any questions?
CUCCINELLI
No, sir.
HART
All right, then. Dismissed.
Cuccinelli salutes, does a smart about face, and leaves Hart’s office.
As Cuccinelli walks away, we can see the humility was faked, just to get through the ass chewing. He’s still determined to go out there and kill Japs, and he’ll just have to be more discreet about his adventures in the future.
Inciting Incident Scene 3:
It’s close to dawn. The 129 is out too late, won’t get back to Rendova before dawn, and its port engine is acting up. PTs hate being out in the strait during daytime, it invites way too much attention from both parties. Cuccinelli is hugging the coasts of islands to be less obvious to aircraft when suddenly a US Navy Avenger flies by at 400 feet, trailing smoke and losing altitude, its bomb still in the rack, so it’s not particularly maneuverable. There’s a rear-facing gunner in the back of the Avenger’s tail, doing his best to take out the Zero. The Avenger is taking the worse of it, but the back seater is getting in his licks. Now the Avenger starts to trail even more smoke and some flames, and while it jinks and dives and does its best to escape the rounds coming from the Zero, it’s losing altitude over the minutes of the fight. Cuccinelli takes the 129 out into the strait to help out a few fellow US Navy sailors.
CUCCINELLI (advancing throttle)
Let’s go help out that naval aviator, boys. Cassidy and McCarthy, get on the 50 cals. Lewis, get on the Oerlikon……….
The crew of the 129 watches an aerial duel, and when they get a shot, they put dozens of rounds into the Zero. But within about 90 seconds, the Avenger is on fire and clearly bound to crash. It does, a couple of miles away, followed almost immediately by the Zero, a few miles in the other direction. Cooch runs at high speed to the site of the Avenger crash. There’s a sailor bobbing in the water with a Mae West, but the plane is clearly sinking fast, and the pilot seems to be dead.
MARTINEZ
Boy, is it good to see you guys. I thought you went out at night?
CUCCINELLI
Long story.
A few of the crew get a rope to Martinez, and haul him up on the deck of the 129.
CUCCINELLI
How about the pilot?
MARTINEZ
I’m afraid he’s got to be dead, sir. I think he was dead before we hit the water. He was a good guy too, Lt. Newman.
Cuccinelli advances the throttles and heads to the wreckage, a few miles away, of where the Zero went down. When they get there, they see a Japanese pilot floating in a one-man life raft. He’s glaring at this crew of Yankee imperialists, but he’s got nothing with which to present danger. He is at their mercy.
Francisconi gets the Thompson out of the gun locker and keeps it handy. Cooch keeps the 129 a safe distance from the pilot. The crew is assembled on deck, discussing what they think Cooch should do.
FRANCISCONI
What do you think we should do with him, skipper?
CUCCINELLI (in Italian)
We can’t take him back to Rendova, got no facilities for POWs. I guess we could shoot him, nobody would ever know.
FRANCISCONI (in Italian)
Well, that’d be one way to handle it.
MARTINEZ (to the pilot, in Japanese)
hamachi sushi tokyo Japanese gibberish
The pilot just glares back at Martinez.
CUCCINELLI
You speak Japanese? Where’d you learn that? And what’d you say to him?
MARTINEZ
Well, I’m from LA, sir, and we live next door to a Japanese family, and they had a daughter my age, and well, one thing led to another and I picked up a little Japanese over the years.
CUCCINELLI
OK, well, what’d you say to him?
MARTINEZ
I told him I hope he’s out here starving for two weeks, dying of thirst, and that at the end of that time I hope he’s eaten by a shark, very slowly.
CUCCINELLI (to Francesconi)
Hand me the Thompson………………
Francesconi hands the Thompson to Cooch.
BANG
One round from the Thompson enters the air-filled bag of the life raft and the air starts to leave. Within a minute, the raft is close to useless for staying afloat. Now the Japanese pilot is in a lot more trouble.
CUCCINELLI
OK, show’s over everybody. Back to business.
Cuccinelli walks over to the captain’s console, starts to advance the throttle and points the 129, now with a naval aviator gunner’s mate aboard, towards Rendova.
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Angelina Fluehler – Turning Point 1 Scenes
“What I learned doing this assignment is…?” I learned to full the OUTLINE. I reconfirmed that all my three TPs in the three acts are consistent with the provided guidance. I have no time to fill more today. But I’ll work on it when I have more time as it is very clear to me what to write.
KEY SCENE 4 – TURNING POINT:
(Key Scene 4: Turning Point – Lock in the journey.)
INT. – EVENING – a luxury hotel lobby-bar
BEGINNING:
Protagonist is thinking about what Gabriel told him. He seats, drinks Whisky and flashes back.
MIDDLE:
PLACEHOLDER: Details. Choose one of:
He was a slave owner (tbd America or Old Rome Empire).
END:
He is intrigued to apply his “new ways”, but doesn’t yet know how as his life is good, stable, normal and even boring. There is no war, no place to be a hero to get more points.
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This reply was modified 2 years, 8 months ago by Angelina Fluehler.
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This reply was modified 2 years, 8 months ago by
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Gerry Cousins – Outline Key Scenes 1, 2 & 3 for ACT 1 (Inciting Incident, Turning Point)
Once again because this is a straight drama and is written as a play-within-a-play, I will amend this assignment to include only the main story and not the sub-play. To do this I will include the outlines for Scenes 1, 2, & 3.
Lessons 10 & 11
What I learned doing this assignment: This was one exercise that especially worked for me as a playwright. My Inciting Incident was very clear in that the entire plot depends on it. But I had never checked for a Turning Point at the end of every scene—only between the ACTS to insure that the audience would be back after the Intermission. This is a far more dramatic approach and seemingly will work in any milieu.
MARFA LIGHTS –
Scene 1: The Inciting Incident happens prior to the opening of the play. JENNA (protagonist = P) and SID (antagonist=A) have learned that their award winning long running hit, CRIME STOPPERS, a TV episodic show, has likely run its course. While they are still in negotiations, it does not look hopeful. P wants to take a crack at writing a stage play, but A doesn’t want to face the inevitable. He is also not the least bit interested in writing for the theater—he’s a known TV formula crime writer and that’s where he’s most comfortable. P is bored in her personal life and in CRIME STOPPERS; she is looking to try something new. P does manage to pique A’s interest Turning Point and they take a stab at writing the first act of their play.
Scene 3. The first act gets A excited, and in fleshing out the characters, we learn more about the personal lives of our leading characters. P needs the challenge of “new” in her life; A is getting over his recent third quickie marriage and divorce. Both writers have always enjoyed their warm, cozy, slightly flirtatious relationship, but it becomes clear that they are both living a little vicariously through their lead character, MOLLY, in their play. They discuss the next scenes. A suggests the name of Marfa, which P learns about on the spot. Together they plot MOLLY’s going there to see the Mystery Lights, Turning Point. But how can they send Molly when they’ve never been to Marfa themselves
Scene 5. JENNA (P) and SID (A) have made arrangements to go to Marfa, TX. P’s husband is not happy that the writing partners are going without him. P tells him a flat-out NO, This leads her to tell A how happy she’s been with their relationship. However, not at all in her twenty-year marriage and family at home, Turning Point. JENNA and SID are so much looking forward to Marfa.
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Carol Dougherty’s Turning Point 1 Scenes
What I learned doing this assignment: In order to write quickly I have to be willing
to change things on the fly without taking a lot of time. And some things I’d
like to change, if I know they’ll take more time and focus, they have to wait
for the next draft. It’s a kind of discerning what to do as I write and what to
file away in my mind for later.Act 1 Turning Point Outline:
BEGINNING: Pen and Katie meet at the lake and go out in a rowboat.
MIDDLE: They talk, have a picnic in the rowboat. Pen’s intention is to be friendly and no more, but their mutual attraction and Katie’s warm and open way of being make it difficult for Pen to keep her distance.
END: Back at the dock, Pen gives in and kisses Katie on the cheek and is very shaken.
(it is one very long scene rather than a series of scenes)
Act 1 Turning Point Scene:
EXT. LAKESIDE DOCK – DAY
Pen and Kate meet on the dock at the lake. The day is warm and sunny with a soft breeze. Kate is in the process of renting the rowboat when Pen arrives, so Pen closes her eyes and feels the warmth of the sun and listens to the murmur of their voices.
KATE
Okay, we’re ready.
Pen opens her eyes and turns to Kate with a smile. A muscular young man unties the rope and tosses it into the rowboat. He holds the boat against the pier with one hand, wipes his other hand on his jeans and holds it out to Pen. She takes his hand and climbs into the boat while Kate scowls and Pen tries to hide her amusement.
Kate steps into the boat unassisted, sets a cloth bag filled with food and drink at her feet. She nods at the young man to let the boat go. Kate takes the oars and rows out into the lake, her eyes fixed on Pen, who needs to break the silence.
PEN
Why the interest in Shakespeare, Katie? It’s not so common here in the States as it is in England.
KATE
When I was in high school, we read one Shakespeare play every year. I’d go to the library during study hall or after school to listen to the recordings.
PEN
Couldn’t you watch on DVD or stream a digital version at home?
KATE
I preferred to stay at school, and it was an old library, not so well equipped. They had an old listening room with vinyl records.
(smiles)
I’ll never forget hearing Richard Burton as Hamlet. He brought it to life for me.
Pen gets lost in watching Kate and realizes she’s waiting for her to respond to something she didn’t hear.
PEN
Did you ever listen to Twelfth Night?
KATE
Oh yes! Paul Scofield played Malvolio, Vanessa Redgrave was Olivia, and Siobhan McKenna played Viola. I can still hear the husky tones of her voice pleading on Orsino’s behalf. She made me cry.
The oars dip rhythmically through the water as she speaks, and the boat glides as if pulled by a string.
PEN
Did your school do any Shakespeare on stage?
KATE
When I was a sophomore, Mr. K. the theatre teacher, tried. The students loved it, but not the administration.
PEN
Why not?
KATE
He did Romeo and Juliet with a multiracial cast. It’s kind of a conservative area so it caused quite a furor. The next year he directed Agatha Christie’s The Mousetrap, and the community loved it.
PEN
That must have been painful for him.
KATE
You’d think so, but no. He loved both plays and made it all seem like a wonderful adventure.
Pen was riveted to her radiant face, so unguarded.
He invited us all to his house to read Shakespeare’s plays together. His wife cooked pots of chicken soup and she baked fresh bread to eat with it.
Kate rows, lost in thought. The distant crack of a ball on a bat and the cheers that follow bring her back. She looks around, puzzled, and Pen points toward the ball field on the far side of the lake. Kate smiles sheepishly and continues.
KATE
He was a wonderful teacher. By the time I got to college I was totally hooked on Shakespeare.
PEN
He must be proud of you.
KATE
He died the summer before I started college. He never knew how I did, or that I went on to grad school.
PEN
I’m sorry, Katie.
Kate gives Pen a grateful smile and maneuvers through a curtain of green and brown.
KATE
Here we are.
They are in a cove shaped like a half moon, screened off from the rest of the lake by weeping willow branches that trail through the water. Sunlight dapples the surface; the shadows shift with every breeze.
While Pen examines the scenery surrounding them, Kate opens the bag at her feet and a box inside the bag becomes a table, a bright red bandanna a tablecloth. She cuts a baguette with a Swiss Army knife and then sets it out with some brie. Blueberries appear, then a deep blue bud vase which is dipped into the lake for some water. Kate pulls out a cream-colored rose edged in deep pink and tucks it into the vase which goes on the table. Finally, chilled white wine is poured into clear plastic wine goblets.
Kate hands the glass to Pen, who is struggling not to show how moved she is by Kate’s efforts.
PEN
What a gorgeous spot, Katie. I can’t imagine how I missed it before.
KATE
(grins)
I did a little scouting when you said you’d come with me.
PEN
Are you enjoying rehearsals? What do you think of Terry’s Orsino?
The food disappears as they talk.
KATE
I never knew what a wonderful actor he was until I saw him in this role.
PEN
But it’s a nothing role compared to Malvolio or Feste or even Toby.
KATE
Yes, of course. Except that he’s made something of it I’ve never seen before.
(hesitates)
PEN
Go on, you can’t stop there. What has he done?
KATE
He never lets you forget he’s a duke, he’s an important man with responsibility for his people. Yes, he’s in love, but his vision is larger than that and that’s why Viola falls in love with him.
Pen stares at her, astonished. Kate packs up the remains of the meal and Pen is distracted watching her hands. The murmur of their voices slows. Katie’s eyes are wide, luminous. Pen clutches the plastic wineglass so tight it crackles.
PEN
I have to get back. We have a company meeting this afternoon.
Kate gathers the oars and maneuvers through the willow branches and back out onto the main part of the lake.
KATE
(sighs softly)
Okay. Lakeside dock, next stop.
As Kate rows back, her eyes never leave Pen.
PEN
You look at me as if you’ve never seen me before, Katie.
KATE
(nods)
People usually see you as a character, in makeup and costume. They don’t really get to know you outside the stage roles, do they Pen?
PEN
True. They want to have drinks with Desdemona or tell people they’ve partied with Cleopatra, not with Penelope Parrish.
(lifts a flirtatious eyebrow)
Which role do you prefer?
KATE
As you are right now.
(her face lights up)
I know you’ve heard it a million times, but you don’t need the makeup, Pen. You’re beauty begins inside.
Kate bites her lip and stops rowing. She stares down at her feet and doesn’t see the tears that well up in Pen’s eyes. Pen blinks away the tears just before Kate lifts her head and meets her gaze without flinching.
PEN
(whispers)
Brave.
(in a normal tone)
Thank you, Katie. What a sweet thing to say.
Kate picks up the oars and rows. Pen watches her row and listens to the splash of the oars and the hum of a distant lawnmower.
The rowboat bumps against the dock and Pen is startled. The same young man catches the line Kate throws to him. She places her bag on the dock and scrambles out of the boat. The young man ties up the boat and Kate holds out her hand to Pen.
Pen takes it and Kate pulls her up out of the boat close enough to notice the scent of citrus and mint in her hair.
Pen’s fingertips brush Kate’s cheek and she leans close to kiss Kate’s cheek gently. Kate begins to move, and Pen puts her hand on her arm to prevent her from moving closer.
PEN
Thank you, Katie. It was a lovely afternoon.
Pen steps back and walks swiftly off the dock while Kate watches her.
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<div>What I learned doing this assignment is creating Turning Points. I weaved in Turning Points throughout each scene in my ACT 1 outline. It helped me think of ways to enhance what I wrote before and keep the story moving. </div>
EXT. APARTMENT – DAY
Beginning: Protagonist Tina smiles and opens her front door for her boyfriend who is standing in her doorway carrying a box of his belongings. There’s a moving truck outside. They kiss and he comes in. Her two children wave at him. Tina does a voiceover introducing who this man is.
Middle: Montages of this boyfriend constantly on the couch playing video games and watching TV as Tina leaves/returns from work. Tina opens the door and throws the box of his belongings out of her apartment. She throws him out of the apartment. Her two children wave goodbye at him. Tina does a voiceover explaining his freeloading ways and why she threw him out.
End: Quick one by one montages of Tina smiling and opening her front door to other boyfriends (shown one at a time). Each one carries a box of belongings as the moving truck is seen in the background. Her children wave at each man. We see each man’s flaw that angers Tina. More one by one montages of these men getting kicked out of her apartment just like the first boyfriend. The children wave goodbye in each montage to each man. Tina’s voiceover explaining what happened & how discouraged she feels.
Turning Point: After a dysfunctional pattern Tina is alone, her greatest fear. She wants to find another love interest.
INT. CHURCH – DAY
Beginning: Tina sings a beautiful hymn in front of the congregation. Everyone feels the song with strong emotions, except for a woman in the front looking at Tina in disgust while everyone else is applauding.
Middle: Tina meets eyes with the woman, and they give one another mean looks while everyone else is praising.
End: During the sermon, Tina is on her cell phone conversing with men on a dating website.
INT. CHURCH, WOMENS RESTROOM – LATER
Beginning: Tina primps herself in front of the mirror and the woman from before who glared at her with disgust comes out of the stall. There’s a moment of awkward silence.
Middle: The woman gives Tina a bitter prophecy about her lifestyle and leaves the bathroom.
End: Tina is offended. Tina’s friends enter the bathroom, and she tells them what happened.
Turning point: The prophecy has Tina thinking about her life. Tina’s a little frightened but is still determined to find another man.
INT. CHURCH – DAY
Beginning: Barry, well dressed, intensely scopes out the children playing in Sunday school. He blends in with the other parents, but stares at the little girls… especially Tina’s daughter. Tina heads to the choir room to get a microphone and Barry catches her eye on the way. She’s attracted to him and introduces herself. She asks if his child is in the Sunday school, he says no and wanted to talk to someone about teaching Sunday school. Tina introduces him to one of the teachers who says they’re not looking to bring another teacher on board at this time.
Middle: Barry and Tina continue to talk. He says he’s new to the church and was invited by a friend. They get more acquainted. Tina suggests he join the church. Barry says he will only if she goes out with him. Flattered, she agrees.
End: When Tina’s not looking Barry quickly takes a picture of her daughter on his cell phone and sneaks out of the church.
Turning Point: Tina is going out with Barry not knowing his attraction towards her own daughter.
EXT. AMUSEMENT PARK – DAY
Beginning: Montages of Barry, Tina and her kids having a great time at an amusement park.
Middle: Montages of Barry taking Tina’s kids to school, being romantic with Tina and fixing up her home.
End: Montages of Barry, Tina and the kids having dinner together, playing video games and looking like a happy family. Barry moves in.
Turning Point: Tina is taking another risk, but this time with a man who really seems like the right one for her this time.
INT. TINA’S APARTMENT – NIGHT
Beginning: Tina walks in and sees Barry sitting on the couch playing video games with her kids. She tells Barry she went to the elementary school he said he works at and was told that he doesn’t work there. She demands an explanation. Barry plays it cool in front of the kids and casually asks where’s her trust in him. Tina responds with where’s the truth and wonders why he lied about his work.
Middle: Barry ignores her and continues playing the video game. Tina turns it off. Her kids gripe. Barry keeps his composure. She tells the kids to go next door to their neighbor’s apartment for a few minutes. When the kids leave, Barry strikes her across the face and tells her to never question his whereabouts again.
End (INCITING INCIDENT): Barry apologizes with an engagement ring. He puts it on Tina’s finger.
Turning
Point: Although she was just hit, she’s now engaged. She’s in this bad relationship that will only get worse. -
M.M.’s Turning Point Act 1
What I learned in this assignment is how crucial the Turning Point of an Act is and that each Act must end with a Turning Point that flips the action in another direction.
ACT 1 BEAT SHEET
INT. COLLEGE DORM DINING ROOM – DAY
BEGINNING: Mia meets Bella to give her more advice on Emilio.
MIDDLE: Bella balks at introducing her to Emilio to date.
END: Bella agrees but doesn’t want Luke to get hurt.
EXT. COLLEGE CLASSROOM – DAY
BEGINNING: Bella waits outside Mia’s Art History classroom.
MIDDLE: Luke walks up and starts chatting.
END: When class is out, Mia exits and sees Luke. Emilio walks out and high fives Luke. Bella half-heartedly introduces her and Emilio links arms with Bella, inviting her on a surprise date.
ACT 1 OUTLINE
INT. COLLEGE DORM DINING ROOM – DAY
BEGINNING: Mia meets Bella on the pretext of giving Bella more advice on men. Bella is all ears, waiting for advice to make Emilio more interested in her.
MIDDLE: Mia convinces Bella the best plan is to introduce Emilio to her “to make him jealous.” Bella balks because she really likes him. She is also concerned about hurting her good friend Luke, who is Mia’s boyfriend.
END: Mia assures her Luke is too busy and won’t know anything. Bella is inexperienced with men and trusts worldly Mia, so she agrees to go ahead with the plan after Mia’s class.
EXT. COLLEGE CLASSROOM – DAY
BEGINNING: Bella waits outside Mia’s Art History classroom for the class to end. Students come and go and Bella gets a phone call.
MIDDLE: Bella answers it. It’s Luke. As they are talking, Bella feels a tap on the shoulder as Luke hangs up the phone and continues their conversation in person. Bella learns he is there to surprise Mia since he’s been too busy with practice and games lately. He wants to show her he cares. Bella feels guilty about the plan.
END: The classroom door opens. Mia walks out a few students ahead of Emilio. She spies Bella and smiles. Then she sees Luke and her face drops, motioning to Bella to cancel the plan. Emilio is focused on Luke and Bella laughing. He doesn’t like it. Bella introduces Emilio to Mia. He nods and links arms with Bella, takes charge and says he’s taking her to one of his favorite places. Mia is crushed, Luke happily puts his arm around Mia, not noticing her disappointment, and Bella waves happily to both of them with Emilio
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