Day 18 Assignments

[Ron Berti]

Ron’s Act 3 Reaction to Midpoint

What I learned writing this lesson: This is the second of the 1-2 punch of the MIdpoint, and the changing direction of our protagonist’s circumstances (after failure, a new determination, and initial success, followed by an even bigger defeat) seems like it is THE template to use for these stories. It’s what creates the emotional tension (yay…..boo……yay…..yay…..boo) that characterizes a well made movie. I’m still not “sure” I’m getting this right, back to “glad to get to 20%, we’ll fix it in rewrite”. At this point, I’m glad to get “something” down but I’m pretty confident at this point I’m going to end up with major rewrites of this screenplay. But I’m “beginning” (as in apprenticeship) to appreciate the “beats” nature of this storytelling.

Key Scene 1: (React/Rethink new reality) Kennedy’s PT109 is missing, presumed sunk, the crew assumed dead. This strikes Cooch hard – it’s more real, all of a sudden, to lose a fellow boat captain. He begins to value the point of patience and operational planning, of caution, of standard procedures. He can’t afford to be a cowboy if he’s going to survive.

Key Scene 2: (Making a new plan) Cooch promises himself he’ll be more disciplined in battle, do more planning, be more prepared, not give in to his emotions in the event.

Key Scene 3: (Things start going well, until………..) The destroyers stop coming down The Slot, and in Cooch’s first encounter with their replacements, the infamous armored barges, he is successful at sinking 3 and damaging a fourth. To top things off, Kennedy and most of his crew have been discovered, alive. Cooch is back!

Key Scene 4: (Turning point: protagonist faces lowest low) Cooch restrains himself, trying to be a better skipper, more disciplined, more orderly. But he finds himself in a crossfire between two barges, calls for help out of desperation (the one-letter Morse Code trick) and both his “rescuer” and he get their boats shot up pretty good, with a few more crew lost.

Key Scene 1:

EXT – BASE PIER – DAY

CUCCINELLI comes in to the base on the 129, sees several of his contemporaries gathered on the dock. “what was that explosion last night out on Blackett?”

HOFFMAN “that was Jack Kennedy on the 109. Nothing left near as we can tell. No idea what caused it”.

CUCCINELLI has a strong reaction to this news. He can imagine himself going out the same way. Jack Kennedy had been known to be a careful skipper, if he got killed imagine the odds of CUCCINELLI getting taken out. Suddenly death is more palpable.

CUCCINELLI “is anybody doing a search for the wreckage or the crew?”

HOFFMAN “Keresey was only two miles from the 109 when it went up. He said it was impossible for anyone to live through that explosion”.

MENARD “I let the Commander know, maybe he can get a couple of planes over the area, but we’re not going to go out in the daytime and going out at night is useless”.

CUCCINELLI “anybody going to have a service for Jack?”

Cooch is upset, it has all become too real to him. People will die out here, and those who are not careful will be the first to die.

[Ra]

M.M.’s Act 3 Middle Scenes

What I learned in this assignment is to keep moving forward and just to write a 20% draft as long as the twists and turns are in it.

ACT 3, KEY SCENE 2: makes a new plan

INT. TRENDY RESTAURANT – NIGHT

BEGINNING: The two agents sit with Coach Matt and Luke when Bella and Emilio walk up. Agent Phil is shocked to see both of them but pleased to see Bella. She explains Emilio is there and would make a great client, too. Phil demurs but wants to keep Bella happy so says he will definitely consider it and talk to the head agency manager. Matt and Luke and very happy with Mark and sign up with him.

MIDDLE: When the two agents leave with Coach Matt, Luke encourages Bella to sign with Phil. Emilio interjects that Luke doesn’t know what he’s talking about and Emilio has contacts that he wants Bella to check out. Luke tries to protect Bella and Emilio tells him to butt out. Luke and Emilio have words and Emilio nearly comes to blows. Bella is shocked but calms him down and Luke excuses himself and leaves.

END: Bella is about to leave too, when Emilio apologizes and gets on his knees, pulling out a huge diamond ring. He says he’s been planning it a long time but didn’t want to wait any longer and his mother gave him her ring to give Bella. The entire restaurant applauds and the manager brings over a bottle of champagne to celebrate. As the audience clamors for a “Kiss, kiss!” Emilio pulls her back in a tango move, kisses her passionately and then says, now they can both use the same agent. Bella is so giddy over the engagement ring that she lets it slide, hoping his focus is on her, not the agent.

EXT. TRENDY RESTAURANT – NIGHT

BEGINNING: Waiting for the valet, Emilio calls his parents, INEZ and HECTOR. EMILIO: She loved the ring. INEZ: We’ll make the final plans the night before graduation. Now let me talk to Bella.

Inez tells Bella how excited she is to meet her Emilio at the luncheon Inez planned next week. She asks how Bella likes the ring. Bella gushes about how beautiful it is but more importantly she can’t wait to meet her and Hector. Emilio takes the phone back and listens to the instructions from his parents. He answers “yes” to every one of their directives that they will organize the wedding in short order. Emilio keeps his arm around Bella’s waist the entire time. Bella is too excited about being engaged to even listen to him.

MIDDLE:

EXT. COLLEGE AUDITORIUM – DAY

After the graduation ceremony, Inez and Hector meet Bella and Emilio in their caps and gowns, taking video and many photos. Bella’s mom Valencia walks up and Emilio’s parents insist she join them in the limousine to the private club for lunch. Walking to the vehicle, Inez scoots in between Valencia and Bella, locking arms with Bella and telling her they will become best of friends as she was with her mother-in-law. Hector grills Valencia and learns she has a janitorial cleaning service, then suggests he’d be happy to invest in the business and expand it to Atlanta where he could send her some business. Valencia graciously thanks him but says she prefers to stay small and local to raise her four other children. The dad is miffed but Emilio smoothes everything over by giving Valencia his arm and complimenting her on raising such a terrific daughter.

END:

INT. PRIVATE CLUB – DAY

At the lunch in a private room, servers and a sommelier cater to everyone’s whim. Hector taps his champagne glass and toasts to the couple, saying they will host the wedding in Puerto Rico and their wedding gift will be a new home fully furnished. Bella is overwhelmed with happiness, crying tears of joy. Valencia quietly asks her if Inez has talked to her about what Bella wants for a wedding and Bella says it doesn’t matter. She wants an MLB contract and a husband and now she can have it all, just as her Papa dreamed for her. Valencia warns that Inez and Hector like to control and is worried about Emilio being the same way. Bella says not to worry because Emilio adores her and she will be very happy. While at the lunch, PHIL the agent calls and texts Emilio’s phone, but he ignores them. On the way out, Phil texts Bella to meet him for coffee the next day alone. She nervously bites her lip, then texts OK.

ACT 3, KEY SCENE 3: Things start going well until…

INT. COFFEE SHOP – DAY

BEGINNING:

Phil explains to Bella he has been calling Emilio for weeks with no answer. Bella says they got engaged and have been busy. He again offers to rep her, get endorsements and promote her in the draft. She tells him he has to represent Emilio or she won’t do it. She corrects herself, she can’t do it to her fiancé. Reluctantly, Phil agrees. She calls Emilio with the good news of the offer to represent them both. Emilio blows up and accuses her of going behind his back. He rushes over to the coffee shop ready to attack the agent, but Phil pulls out two contracts. Emilio grabs them and says they have to let their lawyers go over them.

INT: LAW OFFICE – DAY

MIDDLE:

Hector explains to his lawyer JAMES that he has paid bribes to get Emilio drafted. All James has to do is play along and pretend to be a tough negotiator but in the end give in to their terms so they will both get a deal. But add in the contingency that Bella’s approval is contingent on Emilio’s agreement too. Soon, Phil, Bella and Emilio arrive and after the lawyer wants to change a word or phrase here or there, they sign the two representation agreements with the contingency that Bella does not even see. Phil signs the deal and immediately presents some endorsements to them and the lawyers to approve. Emilio says he can’t approve without getting endorsements for him. Bella is surprised that the would try to hold her back. She puts her hand on his and says this will be good for both of them as they build their reputations and lives together. Hector tries to interject but Emilio stops him, almost as if on cue. The lawyer reminds Hector that Emilio has the final say, not Hector. They’ve rehearsed this but Bella doesn’t realize. Emilio grudgingly agrees, which makes Bella so happy she kisses Emilio in the office, a public display of affection she doesn’t like.

EXT. LAW OFFICE – DAY

END:

Outside the building, while Emilio is still with the lawyer, Phil tells Bella it will become more difficult to get her good deals if Emilio has to approve them. And he is finding it hard to get interest in Emilio due to his hothead reputation. He says some team scouts he’s been talking to won’t touch him even if they want a good catcher. He wants her to be prepared that she may be the only one drafted, leaving Emilio in the dust. Bella laughs it off and says they just don’t know him and he’s wonderful. She is sure he will be drafted. Phil says he hopes she’s right. Bella nods and says she knows she is.

[Danielle Dillard]

What I learned doing this assignment is creating middle scenes for Act 3. I have a tentative outline, but I’m still working things out in my mind regarding the second and third scenes of Act 3 and still deciding on how I’m going to put it together. This is my tentative outline in the meantime of these scenes:

Scene 2 – Tina in therapy:

Beginning: The therapist helps Tina figure out that she’s being abused but it’s not the first time. She helps her realize there’s a pattern of abuse in her life.

Middle: The therapist helps Tina think about her past. Tina reflects on past hurt of neglect and abandonment. She reflects on her troubled relationship with her mother due to their past.

End: The therapist helps Tina come up with a plan to leave Barry and turn her life around for the better so she can continue to heal. Tina is ready to commit to getting emotionally better.

Scene 3 – Barry wants to marry

Beginning: Tina makes her plan of escape.

Middle: Tina packs her things and the belongings of her kids. While packing her daughter’s things, she sees a small camera positioned in her daughter’s favorite stuffed toy.

End: Tina learns that Barry has been watching her daughter. Barry unexpectedly walks in and announces that he’s booked a flight for them to go to Las Vegas that night. He’s scheduled an appointment at a chapel in Vegas to for him and Tina to marry.

[Carol Dougherty]

Carol Dougherty’s Act 3 Middle Scenes

What I learned doing this assignment: I find I’m seeing so many things differently as I move through this writing. It’s based on a draft of a novel already written, and as I go through this process, I can see possibilities for revision or change that I couldn’t see before. I’m not sure if that’s because a screenplay must be shorter and tighter, or because working in that different format simply opens my mind to new ways of looking at the same characters and situations. Either way, it’s breathed a new kind of life into the story for me.

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 2:

EXT. TERRY’S GRAVE – DAY

Pen and Trixie are approaching Terry’s newly filled grave in a small cemetery near the lake.

The memorial service and funeral had been an agony of other people’s grief and loss and talking at her about Terry. She is at the cemetery to be with him alone, only to find someone else arrived before her.

She slips behind a tree, closes her eyes and presses her forehead to the tree. Trixie lays at her feet as Sebastian’s voice catches her attention, faint, but audible.

SEBASTIAN

(looks down at grave)

I can find other actors, that’s never an issue. Actors willing and able to take on the Herculean task of leading a company are scarce on the ground, however. You led the company offstage; Penelope led it onstage.

Pen’s head comes up when she hears her name. She peers around the tree to see Sebastian standing at the grave with a bouquet of purple irises in one hand.

SEBASTIAN

I fear I shall lose both of you now that you are gone. She’s quite lost, my dear, and quite unable to let anyone help her. Not even Katelyn can reach her. All I can do is wait and see.

Sebastian drops to one knee and lays the flowers at the head of the grave site.

SEBASTIAN

Penelope says she’ll finish out the season. She’s a thoroughgoing professional. Jacky has agreed to take over Orsino, though you are a difficult act to follow. It would be too disruptive to the schedule to have the understudies –

His voice breaks and he gets to his feet. He is silent for a long moment. Pen watches, moved.

SEBASTIAN

The truth, Terence, is that working with you, being your friend, has been one of the greatest joys of my life. I shall miss you damnably.

Tears fall unchecked down Pen’s cheeks. She steps out from behind the tree and Sebastian turns to see her. His face is lined with tears as well. He holds out his arms to Pen, who walks into them, and they weep together. Trixie follows her and sits, watching them.

Eventually they pull apart and seat themselves on a nearby bench. Sebastian pulls an envelope out of his jacket pocket. His fingers measure the edges as he turns it around and around.

SEBASTIAN

Terence discovered he had heart trouble last fall, at the end of the season.

PEN

(shocked)

That’s not possible. He’d have told me.

SEBASTIAN

He didn’t want to worry you.

PEN

You’re wrong. He never even went to the doctor except for that flu he had.

SEBASTIAN

That’s when he found out.

PEN

He couldn’t have confided in you and not me.

SEBASTIAN

He did.

PEN

I don’t believe you. It would be like letting the dogs starve. He just wouldn’t do it.

Pen glares at Sebastian, who looks back at her, his gaze steady.

SEBASTIAN

I’m sorry, Penelope. He left this letter for you.

Sebastian hands her a letter with her name on the envelope. Tears fill her eyes when she recognizes Terry’s familiar handwriting. She opens it.

TERRY (V.O.)

Dearest Pen, Please forgive me. I couldn’t tell you, and I know you’re angry and hurt. Especially hurt. I didn’t intend to tell anyone, not even myself, but Sebastian insisted I see a doctor. You thought I was in Hawaii, while I was in Chicago having tests done.

Pen puts the letter down for a second. Trixie comes over and lays her head on Pen’s knee and Pen pats it absently. She resumes reading and Trixie lies at her feet.

TERRY (V.O.)

Once I knew for sure, I didn’t see any point in worrying you. You could do nothing and the last thing I needed or wanted was fuss. Maybe that’s not fair, you’re not a fusser by nature. Maybe the truth is, I hoped I’d get lucky and have many years ahead. Well, if you’re reading this, we both know how that turned out. Don’t be angry with Sebastian, he knew it wasn’t his to tell. Enough of that.

Pen looks up at Sebastian when she finishes that page.

PEN

Did he let you read this?

SEBASTIAN

No.

Without a word, she hands him the first page and begins reading the second.

TERRY (V.O.)

Do you know why I made you learn Shakespeare with me and go to drama school? Even as a child, I sensed something in you. No matter how hard I worked I knew I’d never quite have it, and I was jealous of you for a time. However, I loved you far more than I was jealous of you, and I wanted to see you grow beyond me. You never would. You wouldn’t act without me. Now you’ll have to. You won’t believe any of this, but it’s true. Sebastian knows it as well – we’ve talked about it.

Pen gives Sebastian the second page along with a long look.

TERRY (V.O.)

I left some money to the theatre, but most of what I have is yours. If you can’t take the dogs, ask Sebastian. Oh, brat, I’m sorry. Sorry to leave you, sorry I lied to you.

Tears once again fall down Pen’s cheeks.

TERRY (V.O.)

I love you, Pen. With the last breath of my life, I’ll love you. Maybe I should have played Sebastian in Twelfth Night, not Orsino. At times it felt as if we were twins anyway. I must stop this before I get maudlin. Take care of yourself, brat. Terry. P.S. Pen, I’m the one who bought Sam’s farm. I didn’t want to tell you until after the season, but if anything does happen to me it’s yours. Sebastian has the papers.

Pen hands the final page to Sebastian without looking at him. As he reads, she sits and feels grief, like a stone in her throat, weighing her down, preventing her from speaking.

Sebastian puts a hand on her shoulder. She looks up at him.

PEN

Were you serious before, that Jacky will play Orsino the rest of the season?

SEBASTIAN

Yes.

PEN

Will you cancel Private Lives? I can’t –

SEBASTIAN

Yes. I’ll find something to replace it.

(his hand tightens briefly on her shoulder)

Are you sure you can finish with Twelfth Night?

(she nods)

All right, then. I’ll let everyone know. We’ll need to do a rehearsal or two, so everyone is comfortable with the new Orsino.

PEN

I know.

He drops his hand from her shoulder and hands the letter back to her.

PEN

When the season is over, I’m leaving.

SEBASTIAN

For how long?

PEN

I don’t know.

SEBASTIAN

Where will you go?

PEN

England. I need to go back there, I think, to figure out what’s next.

SEBASTIAN

I’ll take care of the dogs while you’re gone.

PEN

I don’t know if I’ll be back – at all.

SEBASTIAN

You’d stop acting?

PEN

Maybe. I just don’t know. All I know is that Terry has been beside me since I was five years old. Even when he was away at school, he was with me in vacation times, and we wrote constantly.

(shakes her head)

I’ve no idea what I’m going to do without him.

SEBASTIAN

I understand.

(pauses)

There are people here who care a great deal for you. Who would like to be there for you if you’d give them a chance.

PEN

You mean Katie?

SEBASTIAN

Yes, but others as well. Jacky, Sandy, myself.

Pen meets his gaze with a flicker of a smile.

PEN

Thank you. I appreciate that, Sebastian.

He gets to his feet.

SEBASTIAN

May I drop you somewhere?

PEN

No, I’m going to stay.

As if on cue, Trixie sits up and puts one paw on Pen’s knee. Sebastian lays his hand on Trixie’s head for a second.

SEBASTIAN

Very well, Beatrice, I leave her with you.

Sebastian leaves, Pen watches him go, Trixie watches her.

Key Scene 3

EXT. THICKET – DAY

Pen leans against a tree. She looks at the branch that hung so low, Terry would sit on it any time he wanted to convince her of something. The last time he did that was the day he introduced her to Danni.

EXT. THICKET – DAY

17-year-old Pen glares up at Terry, sitting on the branch.

TERRY

Please, Pen. I know you’ll love Danni as much as I do. She’s one of the dearest people you’ll ever meet.

PEN

Why can’t I meet her somewhere else? Why does it have to be here?

TERRY

Because she’ll feel safe here.

PEN

Safe?

TERRY

I can’t really explain. Oh please, Pen?

PEN

(reluctant)

All right.

Terry runs off to get her. Pen doesn’t want to be ungracious, and Terry asks for so little, but she doesn’t want to share her time with Terry.

Twigs snap, leaves rustle, and Pen gets up.

Terry comes through the branches first, then steps aside and lets Danni in. Pen is speechless. It is as if the sun entered the thicket. Danni’s golden hair frames the sweetest face Pen has ever seen. Her smile lights the entire space.

Pen stares, bewildered by Danni’s luminous presence and an anxious expression in Danni’s eyes.

DANNI

(soft and hesitant)

Terry said you wouldn’t mind if I came, but if you do you must tell me, and I’ll go away.

PEN

(croaks)

No, don’t go.

Terry beams and puts an arm around each of the girls.

TERRY

I knew you’d like her. We’ll have a great time together.

The scene dissolves to another time when it is only Pen and Danni in the thicket.

EXT. THICKET – DAY

Danni sits hunched up against the tree while Pen faces her, sitting cross-legged in the grass.

DANNI

You’re a good listener, Pen.

PEN

Thanks. I was afraid what with you being older, you’d think I was gauche or something.

DANNI

No, you’re very kind, Pen. Not like that boy –

PEN

You didn’t really say what happened with him.

DANNI

(whispers)

I really liked him. And I thought he liked me. But he got so rough. He hit me when I said I didn’t want to.

Danni’s hand creeps up to her cheek, as if she can still feel the blow. Pen curls her hands into fists.

DANNI

He ran when he heard someone coming. After that, I stayed away from him, and he pretended he didn’t see me when he passed me in the school hallways.

Danni pulls her knees up to her chest; her eyes are downcast.

Pen stretches her hand out tentatively to pat Danni’s arm for comfort. The kind gesture seems to crack the floodgates as Danni pillows her face on her knees and weeps.

Pen moves over to put her arms around her protectively while Danni cries on her shoulder.

Danni’s sobs cease and she lifts her head. Her eyes are red, her face tearstained. Pen picks up her sweatshirt from the ground nearby and uses one sleeve to wipe Danni’s eyes and cheeks.

Danni’s smile is tremulous. Moved by her bravery, Pen leans over to softly brush her lips against Danni’s.

She suddenly pulls back in horror.

PEN

I’m sorry, Danni, I didn’t mean to. I –

DANNI

(lays a finger on Pen’s lips)

It’s all right, Pen. You’re not like him. Not at all.

Danni’s fingertips trace the outline of Pen’s lips. She takes her fingers away and kisses Pen.

Return to present with Pen in thicket.

Pen opens her eyes to see the ground dappled with weak winter sunlight under the trees. She feels a kind of peace she hasn’t felt in years. The thought of Danni no longer torments her, she feels forgiven by both of them and Terry as well and feels ready to move on.

[Angelina Fluehler]

Angelina Fluehler – Act 3 Middle Scenes

KEY SCENE 2: MAKES A NEW PLAN

EXT- DAY- TRAIN STATION

OPENING:

So they decided to travel together as a couple to get away.

PLACEHOLDER: DIALOG waiting for train. Getting in the train.

INT- EVENING- ORIENTAL EXPRESS RESTAURANT WAGON

They get to know each other. They talk a lot to each other.

PLACEHOLDER: DIALOG at the restaurant.

INT- NIGHT- ORIENTAL EXPRESS inside COMPARTMENT

TRIGGERING EVENT 1:

Protagonist tells her many things he knows about earth and universe laws etc. Charlotte is impressed about his knowledge.

PLACEHOLDER: DIALOG inside compartment

INT- MORNING- ORIENTAL EXPRESS RESTAURANT WAGON

INCITING INCIDENT:

Breakfast at the wagon restaurant. Protagonist kisses Charlotte with words that they should look like a couple, however the kiss seems to become real for both. Protagonist falls in love with her. She is in love as well. Protagonist says that he needs to tell her something important about him and he will do it later when they arrive to the destination hotel. They need to get out of the train as they arrived to their destination.

EXT- EVENING- ORIENTAL HOTEL DINNER OUTSIDE

TRIGGERING EVENT 2:

At the dinner in the hotel protagonist is in love he tells who he really is. He tries to give more examples about his knowledge and who he really is. Charlotte does not really believe.

KEY SCENE 3: THINGS GO WELL, UNTIL…

“What I learned doing this assignment is…?” I followed the structure. Thanks again for matrix reference.

• This reply was modified 2 years, 7 months ago by  Angelina Fluehler.