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Day 17 Assignments
Reply to post your assignment.
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4 Replies
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Ron has completed Act 2 Draft 1
What I learned writing this assignment: Once again, I’m gratified to be able to “get something down” at 20%. I’m still not satisfied with this chunk of the screenplay, but I trust the process, will improve this block using subsequent training and other courses and “Wax on wax off” repetition if that’s what it takes. It’s really brilliant to have this “change of meaning” show up in the midpoint, it creates depth and texture to the story. I’m going to keep rewriting this until I’m happy with it.
ACT 2
EXT – ON WATER – NIGHT
PT129 is lying in wait, identical to opening scene
A destroyer shows up on radar
CUCCINELLI prepares an attack
A second destroyer shows up on radar
CUCCINELLI breaks radio silence with an extremely brief – one Morse Code letter – broadcast to the PT skipper (Hoffman) just north of him. The single 2 second transmission is a pre-arranged code among 4 skippers to come to each others’ aid as required. It is unauthorized by the Commander and will likely result in disciplinary action if it is discovered.
The destroyers show up, CUCCINELLI fires two torpedoes, circles around fires his other 2. No hits.
HOFFMAN shows up to take on the second destroyer.
CUCCINELLI watches helplessly as Hoffman’s torpedoes all miss but HOFFMAN takes some serious hits from the Japanese guns, including one sailor killed and another wounded.
CUCCINELLI and HOFFMAN retreat into the dark to mend their wounds.
EXT – SQUADRON SHOWERS – DAY
CUCCINELLI is complaining to HOFFMAN about their “bad luck” in not taking out TWO destroyers. Had the shot and missed.
Piss Call Charlie (a lone Japanese Kate, who appears over the base from time to time) attacks the base. CUCCINELLI and HOFFMAN run for cover.
HOFFMAN tells CUCINELLI “you’re contradicting orders. I’ll play ball with you tonight but if we get caught I’m blaming you”.
CUCCINELLI accepts the deal but on his way back to the hooch, decides he’s being set up and is not happy about it.
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Carol Dougherty’s Act 3 Reaction to Midpoint
What I learned doing this assignment: Reading through the examples it was clear to me that this is not a rom-com, it is a drama with a love story at the heart of it. Ultimately, it is Pen’s journey, and she is the one to undergo major changes, the major one being the shock of Terry’s death.
Key Scene 1 – Reaction/Rethink
BEGINNING: Pen is alone with Terry’s body in the ER
MIDDLE: As she tries to come to terms with his death she reminisces, gets furious with him for dying on her, and wonders if she even knows who she is without him.
END: Pen leaves Terry’s body – he is already gone and there’s no reason to stay.
Key Scene 2 – New Plan
BEGINNING: Pen visits Terry’s grave and finds Sebastian there before her.
MIDDLE: She overhears his grief for Terry and his concern for her. They talk and she tells him she’ll finish the season, then go back to England for a while. She needs to find out what it’s like to live without Terry and she thinks going back to their beginning might help.
END: Sebastian offers her whatever help she needs and they part, closer than they’ve ever been.
Key Scene 3 – Things start going well, until…
BEGINNING: Pen has been in England a while and has learned/discovered a lot. Now she is in the place where she and Danni met and then parted.
MIDDLE: Pen’s memories of her time with Danni are vivid. She realizes her self-blame was a way to channel her grief, and all the stories she told herself that caused her to distance herself from everyone only cause her more pain than ever.
END: She leaves, knowing she will go back to the theatre and to Kate.
Key Scene 4 – Pen’s lowest low
BEGINNING: Pen returns from England.
MIDDLE: She is waiting for Sebastian and sees Kate with Sandy. For a moment she thinks they are together, then realizes they are not. When she and Sebastian meet up with Kate and Sandy, Kate is distantly friendly with her and makes it clear she has no interest in spending time with her.
END: Pen is devastated at this end to her hopes and dreams but feels she must honor Kate’s feelings. She can’t help seeing the irony that she is now the one being honorable.
Key Scene 1 – Reaction/Rethink
INT. HOSPITAL EXAM ROOM IN ER – LATE NIGHT – IMMEDIATELY FOLLOWING
Pen is in the room with Terry’s body, the nurse who detached all the equipment and is completing her clean-up, and the doctor, who is completing the paperwork. Pen is across the room so they can do their work.
DOCTOR
We’re through here. If you’d like to stay with him for a little while, you may.
PEN
Yes, thank you.
DOCTOR
We’ll both be outside. Take as much time as you need. And I’m very sorry.
The doctor follows the nurse outside and Pen is alone with Terry’s body. She walks over to his body, which is covered to the neck with a crisp, white sheet. The harsh hospital lights make his lifeless face appear even more gray than it is. His dark blond hair is matted with drying sweat from the battle for his life.
She stands beside him and lets her fingers brush against his short hair for a second, then kisses his cold cheek.
PEN
So, you’re dead, Terry. I wasn’t sure just now if I was going to kiss your cheek or slap it. I keep expecting you to sit up and say, what’s with you, brat?
Her hand grabs the pristine sheet and balls a corner of it in her fist.
PEN
Damn you, Terry! You really are gone this time. You left me and this time there’s no chance you’ll be back. Bastard.
She fights to prevent herself from sobbing and just manages to keep it inside.
PEN
I’ll never forgive you. I’m alone now, onstage and off. And now I’m a worse bitch than ever because you’re dead and I’m making it all about me!
She takes a couple of deep breaths.
PEN
How could you leave me like this? Don’t you know you’re the best part of me? The only part worth a damn.
(laughs, with a hint of hysteria)
When they put you in that coffin, they might as well nail me in there with you because I’ve no clue how to go on without you.
The sound of voices and a rolling cart makes her look over at the door. The sounds go by and she sighs.
PEN
I know. I can just about hear you – What did you expect, brat? There’s no drama in being dead, only in dying.
Pen watches him. The face and body that had been Terence Patrick Gibbs lay there, expressionless, motionless. It was Terry and it wasn’t Terry. It was her standing beside him, and it wasn’t. She could no longer be Terry’s acting partner, best friend, playmate because Terry was gone. The Penelope Parrish that existed an hour ago was also gone, and she had no idea who would take her place.
She takes one final look at his body and leaves. Terry is gone and there is nothing to keep her here.
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What I learned doing this assignment is creating a Reaction/Rethink scene for my protagonist in Act 3. For the first time my protagonist, Tina, is accepting help.
Act 3 Key Scene – Reaction/Rethink (Tina has been hit by Barry. She considers getting help)
Beginning: Tina researches domestic abuse hotlines on her cell phone and calls.
Middle: Tina confides in the receptionist on the hotline and tells her that she’s being hit by Barry.
End: Tina arranges an in-person appointment with a counselor.
INT. TINA’S CAR – DAY
Tina sits in her car researching domestic violence help centers on her cell phone. One catches her eye, and she dials. It rings. She hangs up. She takes a deep breath and dials again. It rings again and…
FEMALE VOICE (on the speaker phone): Barker Crisis Center, how may I help you?
TINA: Hello?
FEMALE VOICE: Yes, I’m Sue. How can I help?
TINA: I’m, uh, I wanted to know more about counseling.
SUE: Will it be for you or someone you know?
TINA: Yes… for me.
SUE: Ok, great and just so I can put you with the right therapist, is there anything specific you’d like counseling for?
TINA: Uh… hitting.
SUE: Domestic violence counseling?
TINA: Yes.
SUE: Is the hitting being done to you, or have you hit someone?
TINA: It’s being done to me.
SUE: By a spouse or friend –
TINA: Boyfriend… he’s been hurting me.
SUE: I have an opening tomorrow any time after one. You’ll meet with Katie.
Tina starts to cry a little.
SUE: Hello?
TINA: Sorry, yes, I’m here. I can do one-thirty.
SUE: Great, I’ll put you in. And may I have your name?
TINA: Tina Johnson.
SUE: We’ll see you tomorrow, Ms. Johnson. And I don’t know if you live with your boyfriend but if you don’t feel safe, please go to our website and call the eight hundred number to stay at a secret location. If you have children, they can connect you with housing that takes kids. They can also help you get a restraining order and file a police report –
TINA: It’s okay, my boyfriend is out of town until next week. I’m safe for right now. Thanks for your help.
SUE: Anytime, Ms. Johnson, see you tomorrow.
Tina hangs up. She’s nervous and relieved at the same time.
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Angelina Fluehler – Act 3 Reaction to Midpoint
ACT3:
KEY SCENE 1 – RETHINK EVERYTHING – Reaction to Midpoint:
INT. – MORNING – Hotel room of Protagonist
OPENING:
Tory wakes up on the sofa as Charlotte is still sleeping in his bed. Tory takes cup of coffee.
MIDDLE:
As he already reflected and understood that in each situation one should use own brain to distinguish what is “bad” and what is “good” in order to take own and right decision, i.e. be the initiator and not just an doer.
FLASHBACKS: He was a German Nazi officer during WW2 and was given orders to a normal police.
He realizes that to go to police is not a good idea. The young woman needs his help and Tory has decided to help her and save her from the dangerous agent Tiby.
PLACEHOLDER
END:
Charlotte wakes up, so he makes her an aromatic cup of coffee as well. He suggests her to go away from this country. He has money, so the travel costs are not an issue.
PLACEHOLDER: DIALOG
“What I learned doing this assignment is…?” I find my script idea continues fit well with the given story of the acts and scenes. I learned in particular that in an ACTION movie, the REACTION can be played out as ACTION.
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