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Day 21 Assignments
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5 Replies
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Ron’s Completed Act 3
What I learned writing this lesson: now we’re at a bit of a higher level, “assembling” “pieces” that we’ve already written. This seems straightforward, and it moves quickly. I have to remind myself that we’re aiming for a 20% solution here, we’re just getting down a foundation on paper, a foundation that is likely to go through a LOT of changes in multiple rewrites.
Scene 1 – React/Rethink
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.
Scene 2 – Makes a New Plan
INT – “O club” – DAY
CUCCINELLI is playing poker with 3 other skippers in what passes for an “O club”. The guys are smoking, and someone’s found some booze, and they’re trying to put the war off for a few more hours.
CUCCINELLI: ” boy, that was different last night, right? Did anybody see a destroyer at all? Have the Japs gone totally to these barges?”
HOFFMAN: “I didn’t see anything”
SKIPPER 3: “Me neither”
SKIPPER 4: “Nope. Had two of those barges, sank one, hurt the second one but he got away. They’re pretty tough, though, plenty of 50 cals and armored”.
HOFFMAN: “and the US Navy issues us wooden boats”.
CUCCINELLI: “well, what’s everybody think about going barge hunting without the torpedoes? They’re useless against the barges anyway, it’d make us lighter and faster, and we could go after the barges with the 37mm and the 40mm”.
SKIPPER 4: “you know, I don’t know why I hadn’t thought of that, but that’s a great idea!”
CUCCINELLI: “we’ll start tonight, see how it goes?”
CUCCINELLI plays a few more hands, and bags out of the game. He walks down to the 129 sitting at its dock and looks at it.
CUCCINELLI: “well, old girl, tonight’s a new night for you. We’re going to turn you into a gunboat”.
Scene 3 -Everything Starts Going Well, Until……………
2. EXT – ON WATER – NIGHT
Once more, we’re on a powerful vessel, motors turned off, in the dark. The boat is actually anchored just offshore an island, trying to be soundless so the guys can hear across the water, to augment the radar, which doesn’t work as well on barges as it does on big destroyers.
LECROIX: (whispering): “Skipper, you hear that?”
CUCCINELLI (whispering back): I think so. What do you think? Northwest? How far?
LECROIX (still whispering): “I’d say about 3 or 4 miles”, probably hugging the coast.
CUCCINELLI: (whispering to Jaworski, motor mech): “how long for you to fire these babies up, Jaworski?”
JAWORSKI: “give me 60 seconds, Mr. Cuccinelli, and you’ll be good to go”.
The sound of the barge(s) come closer. They ARE hugging the coastline, and we’re (in an inversion of our approach to the destroyers) out in the strait, so we can pin these guys up against the shoreline. Then it becomes clear that there must be two barges, in close proximity.
CUCCINELLI (whispering to Jaworski): “Now, Jaworski”
Jaworski starts engine #1, followed 20 seconds later by engine #2, and then again, another 20 seconds, third engine’s up at idle.
CUCCINELLI: (in normal voice): “battle stations, everybody”…………..and ITALIAN, send a “G” to DUMBROWSKI”.
CUCCINELLI advances the throttles to full and aims ahead of the noise, actually leading the noise a bit. He plans to come in at the barge orthoganally to the boat’s course, so he can use his speed, giving the 50 cal gunners plenty of time to rake the barges but scooting away when they start firing back. His first run is unusually effective, takes out the driver of the barge and rakes the sailors within, killing almost half. The Oerlikon puts a few holes in the sides, the 129 rushes back out to sea. The entire encounter lasts no more than 20 seconds, during which time the barge sailors are doing their best to defend themselves. But Cooch is calm, cool and collected by now, turns to hide in the dark and smoke, goes out half a mile, turns as hard as he can to return. This time it’s the port gunner who gets his shots in, again with the Oerlikon. By now the barge is down in the water, there are fires in the stores. It’s going to go down. Where’s that second barge?
Then, out of the night, as if on cue, the second barge shows up dead ahead of the 129. Cooch goes full throttle again, cranking the wheel to get some distance. There are 50 cal rounds incoming, got to find some defense in the dark!
And then, right behind the barge, comes DUMBROWSKI on the 151! He takes his shots at the barge and passes into the night. CUCCINELLI steps in, almost balletically, and sweeps past the barge, already in trouble, and has his way with its crew and contents. It starts to sink, DUMBROWSKI comes in one more time on the 151 and finishes her off.
Scene 4 – Turning Point – Protagonist Faces Their Lowest Low
EXT – ON WATER – NIGHT
It has been about a week since the events above. In the meantime, CUCCINELLI has refined his approach and these days he usually comes home with at least one sinking every night . Cooch has been telling his fellow skippers about his approach, and so other skippers are prevailing in their encounters as well (of course, the secret radio code must remain secret). Overall the squadron has sunk almost 12 barges in the past week. Commander Hart is pleased.
CUCCINELLI radios Keresey an “M” when he learns there are three barges in loose formation coming his way. This is confirmed by his radar operator from a bit of a distance (~6 miles). Consequently, Cooch has the time to set up a pass by all three barges. Keresey’s on the way, can be in our location in ~12 minutes.
The barges “appear” in the dusk and gloom of night, but the telltale green phosphoresence gives them away. Cooch lines up an attack profile to rake all three barges, and hopes the altercation will be obvious to Keresey when he approaches the area. After one pass, Cooch does his now-routine path of wheeling out into the deeper water, turning as tight as possible and coming back for more. One barge is shot up pretty good, and it’s blocking the path of the second barge, so Cooch’s gunners make sure it’s going down, saving a few rounds for the second barge.
Just then, out of the gloom comes Keresey. He’s shooting at the barges too. But he’s opposite the 129, apparently doesn’t see it there. And the 129 starts to get shot up. Worse and worse over the course of ~40 seconds. The radio and radar get shot out, there are a few rounds into the kitchen and the berthing areas, one round hits the smoke generator, which starts spewing lots of smoke, making visibility even worse. Then the 40mm comes after the 129. It takes out a big chunk of the cabin on top.
CUCCINELLI withdraws. But now he’s going to have to square up stories with Keresey to explain how he got his boat all shot up. And Keresey’s boat is pretty shot up too. And while nobody’s going to want to admit this to Commander Hart, this was friendly fire!
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Carol Dougherty’s Act 4 First Scenes
What I learned doing this assignment: I am seriously re-thinking the structure I’ve come up with for a lot of reasons. At the same time, in order to finish this draft in the time allowed, I have to keep going, so I am. I can see how much sense it makes to make major changes in the outline/beat sheet format first, then figure out the scenes. If the structure isn’t right, the rest of it won’t make sense.
Outlines:
Key Scene 1 – reaction to 3<sup>rd</sup> act turning point
BEGINNING: Pen is walking back to theatre with Kate after being shut down.
MIDDLE: Pen lets Kate go ahead and calls Sarah. Tells her what happened with Kate.
END: Pen decides she has to be the honorable one and respect Kate’s decision.
Key Scene 2 – protagonist faces her dilemma
BEGINNING: Pen invites the entire company to the farm for a picnic.
MIDDLE: Pen makes a point of speaking with everyone and connecting in some way with them. She wants Kate to see she is different and has changed so perhaps she will be open to listening to Pen. They talk and end up in an argument.
END: Kate tells Pen she’s been offered another job and will leave after the opening night.
Key Scene 1
EXT. LAKESIDE – DAY – IMMEDIATELY FOLLOWING
Pen and Kate are on the far side of the footbridge, heading up to the theatre.
PEN
Why don’t you and Trixie go on ahead. I need to make a brief call before the read-through.
KATE
Sounds good. Come on, Trixie.
Kate encourages the dog to follow her and moves quickly toward the theatre without a backward glance. Pen watches her go. When she is out of earshot, Pen calls Sarah.
PEN
Sarah, it’s Pen. It’s not too late, is it?
SARAH (V.O.)
Not at all, Pen. How is it being back?
PEN
She won’t talk to me.
SARAH (V.O.)
Katie won’t? Why not?
PEN
I don’t know. She’s angry that I left her a letter instead of talking to her, but she refuses to discuss that or anything. It’s as if she’s written me off.
SARAH (V.O.)
Do you think she’ll get over it?
PEN
I wish I knew. She’s quite stubborn, I know that.
SARAH (V.O.)
Well, what are you going to do?
PEN
I think I have to accept it. She made it clear early on that honor and respect mean a great deal to her. It’s ironic, but at least for now I think I should honor her feelings and back off.
SARAH (V.O.)
Can you do that, Pen?
PEN
(sighs)
I guess I have to, don’t I?
SARAH (V.O.)
Oh, love, take care of yourself.
PEN
I’ll try, Sarah, thanks.
SARAH (V.O.)
Call me anytime you need to talk. Ta!
PEN
Thanks. Talk to you soon.
(hangs up)
Pen looks up at the theatre and braces herself for the challenge ahead.
CUT TO:
Key Scene 2
INT. PEN’S KITCHEN – EVENING
Pen is bagging some trash and tidying up from the picnic, which can still be heard outside. People are singing to a guitar.
Kate enters the kitchen. Pen turns when she hears the door.
PEN
Katie! Did you need something? More to eat or drink?
KATE
No, thank you, I’ve had plenty.
Pen waits for Kate to speak.
KATE
Thank you for Terry’s script. It means a lot to me.
PEN
(smiles)
I’m glad you like it. He’d love for you to have it.
KATE
What are you doing, Pen?
PEN
Cleaning up a little, why?
KATE
Don’t be cute, that’s not what I meant.
PEN
Katie, I honestly have no idea what you’re asking me.
KATE
All the mementos for everyone, making sure to talk to each person – you’re trying to be Terry and I want to know why?
PEN
Why does it make you so angry?
KATE
I didn’t say I was angry.
PEN
Not in words, no. But your voice is tight, your shoulders are tense, and you never minded Terry being a good host so why don’t you like it in me?
KATE
When Terry died you shut down and wouldn’t let anyone in. As if his death happened only to you. Nobody could help the great Penelope Parrish.
PEN
That isn’t fair, Katie.
KATE
Fair! What was fair about the night we spent together before you left for England? Instead of staying with the love that was right there in front of you, you ran off to try to find yourself in memories of your father and Terry and Danni –
Kate stops herself. Her shoulders slump and Pen wants desperately to go to her, but she can’t. She sees Kate’s pain and knows she needs to hear whatever Kate wants to say.
Kate straightens up and looks at Pen.
KATE
Maybe that’s not fair, maybe you did need to go. But you didn’t even have the courage to tell me to my face. You didn’t trust me enough to ask me to wait, and you came back acting as if nothing had happened.
Pen couldn’t help it. She took one step toward Kate, who thrust out her hand to prevent her from coming closer. Pen immediately stopped.
KATE
No, Pen. Don’t. How could you even think I’d come to you after you ignored my letter. I begged you to talk to me, even once, and not a word from you. Why?
Pen hesitated. Whatever answer she gave Kate would likely walk away forever.
KATE
Was it another case of ‘couldn’t be bothered?’
PEN
No. And the day I said I couldn’t be bothered it was a lie. I tried to push you away for your own sake.
KATE
I see. And is that why you ignored my letter? For my sake?
PEN
No. For mine.
KATE
What do you mean?
PEN
I was afraid. Of you. Of myself. I was afraid to talk with you; afraid you’d see me too clearly and turn away.
KATE
I don’t understand.
PEN
I didn’t either. It felt such a tangle to me. Do you remember what I wrote about you in my letter?
KATE
That I was stronger than you.
PEN
Yes. I wasn’t ready to face you then. And when I got your letter, I still wasn’t ready to face you, even on the phone.
KATE
You were protecting yourself, Pen, like you are now, like you always do. I think I should take the job in Chicago.
PEN
Please don’t do that because of me. Talk to Sebastian first.
KATE
I intend to. But I think it’s best.
(glances out at the picnic in full swing)
Please tell everyone I said goodbye.
(her eyes bore into Pen’s)
I love you, Pen. I always have. I wish you felt the same.
PEN
I –
Kate runs through the cottage and out the front door before Pen can finish.
PEN
– do.
CUT TO:
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What I learned in doing this assignment is trying to capture strong emotion in my protagonist’s dilemma scene:
Additional Act 3 Scene- Protagonist faces her dilemma
Beginning: Tina is distraught that Jayla has ran after Barry. There’s a prayer event at her church that she originally wasn’t planning to attend. She decides to go.
Middle: Tina goes to her church and sees the same woman from Act 1 who gave her a bitter prophecy. Tina cries out. The woman consoles her.
End: Tina repents for her past and gains spiritual faith.
INT. CHURCH – NIGHT
Tina enters the church and sees the women at her church praying together. The women are surprised to see her. Tina is worried, upset and distraught. The same woman that gave her a bitter prophecy before notices and comes to her aid.
TINA: My baby… she ran after him… if he hurts her, it’s my fault… I’m so sorry…
The woman consoles Tina and continues to pray.
WOMAN: It’s gonna turn around. It’s gonna be okay.
TINA: How do you know?
WOMAN: Because you’re ready to change.
Tina cries as she continues to pray.
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M.M.’s Act 4 First Scenes
What I learned in this assignment is to put Bella in the most difficult position she could be in on two levels – professionally in the MLB draft, and personally discovering she is pregnant and is married to an abusive man.
TWO MONTHS LATER
INT. EMILIO/BELLA’S HOME – TV ROOM – NIGHT
Emilio is a couch potato watching the MLB draft. The house is furnished impeccably, a gift from Emilio’s parents.
He yells out to Bella.
EMILIO: Where are you? I’m hungry. Snacks. Now.
INT. EMILIO/BELLA’S HOME – BATHROOM – NIGHT
BELLA: Be there in a minute.
Bella checks the pregnancy test and jumps for joy! Then bites her lip, unsure of what Emilio will say.
BELLA: Coming!
INT. EMILIO/BELLA’S HOME – TV ROOM – NIGHT
Emilio is on the phone with his agent, the one his parents bought off.
EMILIO: Jackson, my favorite agent. What’s happening? Wait – repeat that. The top team in the league is going to draft me? What pick? That low? Ok, Ok. It’s my stats. Got it. Thanks for the call, bro.
Bella sets a tray laden with sandwiches, chips, dips and other snacks on the table. She snuggles up to Emilio and kisses him on the cheek. He edges away from her, concentrating on the TV.
BELLA: Could we talk for a minute?
EMILIO: Not now. The draft just started. And I’m in! What do you think about that?
BELLA: Honey, I am so happy for you. Congratulations. Actually, congratulations twice. I waited till I was sure. Now I am. I’m having a baby. Isn’t it wonderful?
Emilio doesn’t look at her, trying to concentrate on the TV.
He pulls a stack of $100 bills from his wallet.
EMILIO: Get an abortion. Tomorrow.
She is shocked, disillusioned, angry.
BELLA: Absolutely not!
EMILIO: You heard me. I can’t be saddled with a kid and make it to the Show.
BELLA: I gave up baseball for you and now we’re starting a family. Your parents will be thrilled, even if you aren’t.
She reaches for the phone. He grabs it out of her hand and yanks it out of the wall.
She stands up and tries to run to the bedroom to escape. He grabs her shirt and pulls her back. Then he knocks her down to the floor.
EMILIO: I’ll kill you and the baby if I have to. Nothing is going to stop my career.
He turns back to the TV.
Bella takes her opportunity to escape and locks herself in the bedroom.
Emilio watches the draft and throws the entire snack tray at the TV. Luke is the number 1 draft pick.
INT. MLB DRAFT, PRESS ROOM – DAY
Luke and Coach Matt hold a press conference after Luke as the # 1 pick.
REPORTERS clamor for a question to Matt.
REPORTER # 1: So is it going to be like father, like son, Coach Matt?
Matt waves him off but grins at looks at Luke.
MATT: Luke is his own man. He did the work and earned this all on his own.
LUKE: It’s my honor to sign with this amazing team. I owe it all to my Mom, Dad and stepmom Grace. And I have to say my agent Phil Allen did have a hand in this, too.
Laughter throughout the room.
Luke’s cell buzzes with a text. He looks at it and goes white as a sheet.
LUKE: Thank you everyone. I am sorry but I have an emergency.
He leaves everyone wondering, including Matt until he leans down and explains. Matt nods and turns to the reporters.
MATT: Now, gentlemen, maybe you CAN give me some of the spotlight after all.
He is still adored as an MLB legend. PHOTOGRAPHERS click away as REPORTERS bombard Matt with questions.
INT. LUKE’S HOTEL ROOM – DAY
Luke calls Bella.
LUKE: What’s wrong? Your text scared me.
INT. BELLA’S BATHROOM – DAY
Bella whispers in response.
BELLA: He hit me. Pushed me down. I’m pregnant and I’m scared he’ll hurt both of us. I’m hiding int the bathroom.
They both hear Emilio screaming and beating a door not far away. It’s the bedroom door.
LUKE: Call 9-1-1.
BELLA: I already did. He’s hitting the bedroom door with a bat.
LUKE: Can you get out?
BELLA: Window is too high and too small. His mother picked it out. I think she went through what I’m going through. She told me to just take it. Let him vent.
INT. EMILIO/BELLA’S HOUSE – BEDROOM – DAY
CRASH!
Emilio breaks through the bedroom door and rushes to the bathroom, beating on it.
EMILIO: Bella? Bella come out or I’m coming in to get you.
Police sirens are heard. They’re closer. They’re at the house. Emilio doesn’t care. He keeps screaming at her.
EMILIO: Open the door!
INTERCUT HOTEL ROOM/PHONE – Continuous
BELLA: Oh, Luke, I’m bleeding. I’m…
LUKE: Bella? Bella are you there?
He hears the POLICE.
POLICE: Hands up! Toss the bat and the gun. Turn around slowly.
Luke hears Emilio screaming, “BELLA!”, then a thud and skirmish, followed by heavy footsteps fading. Then he hears another CRASH!
LUKE: Bella? Bella?
INT. BELLA’S BATHROOM – DAY
Two EMT’s check Bella’s vitals, set up an IV and oxygen. A POLICEWOMAN confers with them as they wheel her out. Then she picks up the phone.
POLICEWOMAN: Hello? Who is this?
INT. LUKE’S HOTEL ROOM – DAY
LUKE: Luke Morrison. A friend, a good friend of Bella Sanchez.
INT. BELLA’S BATHROOM – DAY
POLICEWOMAN: They’re taking her to St. John’s Hospital.
Key Scene 2: Protagonist faces their Dilemma
EIGHT MONTHS LATER
INT. LUKE’S HOUSE – DAY
Luke sets up a crib in one of the guest rooms. Bella fills it with beautiful linens and holds up a long linen christening dress. She hugs it to her growing baby bump.
BELLA: Mom dressed each of us in this when we were baptized. I think she — or he — will look perfect in it.
LUKE: And the new generation begins.
BELLA: I can’t believe I only have one more month. You were a lifesaver letting me live here with you.
LUKE: What else could I do? I need a cheering fan at my first game.
BELLA: It’s right before my due date so I hope I’ll be there.
A doorbell rings. Bella immediately stiffens.
LUKE: Stay calm.
He checks the doorbell app on his phone. A man at the door with a large envelope. Luke frowns and hands the cell to her.
LUKE: Know him?
BELLA: (sigh of relief) My lawyer’s courier. I’ll get it.
She disappears and Luke watches through the window as the courier drives away. Bella returns beaming, pulling legal documents out of the envelope.
BELLA: The divorce came through. Thank goodness.
LUKE: What did his parents do?
BELLA: They set up a trust like they did for Emilio. I’m thankful Inez made me the trustee so I could stay home and raise him — or her.
LUKE: Any strings?
BELLA: It’s Inez. Of course there are strings. She and Hector can see the baby once a month as long as I’m there. The negotiations were more difficult than the divorce.
LUKE: In any case, Emilio is finished. After he got a suspended sentence, the team booted him for breaching his contract’s morality clause. He won’t ever play pro ball.
BELLA: Inez bought his way out. He would have killed me and the baby. I’m sure of it.
LUKE: At least he’s back in Puerto Rico.
BELLA: Hope he stays there.
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Angelina Fluehler – Act 4 Begins
“What I learned doing this assignment is…?” The reaction, which will be expressed in an action (car racing protagonist vs. antagonist). I learned in earlier class that in an ACTION movie, the REACTION can be played out as ACTION. The dilemma of the movie theme and the main character is followed up. Dilemma makes the decision part of the Transformational Journey of the protagonist.
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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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