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Lesson 15
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ASSIGNMENT 15
Subject line: Pat’s Act 2 TP – Midpoint
What I learned doing this assignment is that this places more influence on plot points.
1. Outline your Key Scene 4: The Midpoint.
Beginning: A city Auditor visits Hank’s office
Middle: Validates that his license is not up to date
End: Closes Hank’s business.
2. Write the Midpoint scene.
INT. HANK’S OFFICE/Reception – DAY
City auditor enters Hank’s reception area and asks to speak to Hank.
Reception takes him back to Hank’s office.
INT. HANK’S OFFICE – DAY
He sits in Hank’s office questioning him about his license. Hank tells him it’s on the wall.
City Auditor
Mr. Bonner can I see the certificate?
Hank
Sure it’s hanging right there.
The auditor walks over to the certificate and sees that the date is way wrong.
City Auditor
Mr. Bonner, I’m afraid that you need to close your doors until further notice.
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Tasha’s Act 2 TP – Midpoint
Doing this assignment, I learned the following: The midpoint doesn’t have to have something big happen in it. A small thing could be discovered. Also, the protagonist doesn’t even have to understand it, but it can still drive them deeper into their story.
Another lesson I learned is that sometimes you might mistake the wrong scene for the midpoint.
1. Outline your Key Scene 4: The Midpoint.
EXT. FARMHOUSE – DAY
Beginning: Bethany goes to her parents’ farmhouse. She talks to Frank (her mama don’t want to speak to her). She asks after everyone. Frank tells her to get to the point.
Middle: She asks him if he and her mother are sending people the tape of her exorcism.
End: Frank tells her the only person who made a tape of that was Deacon Anders. He guesses she’s dealing with her demon again. Bethany doesn’t like the way he says it’s her demon (maybe add something in the beginning where Demon 23 says something particular about his claim/bond/connection to Frank that convinces him that Bethany is involved in or the reason for the demon. (Note: Will need to address why Demon 23 picked her – does he prey on her fears that she is evil and therefore attracts it, does he let her off the hook at the end? Then Frank tells her to leave and never come back.
INT. RECTORY – DAY
Beginning: Bethany looks for Deacon Anders in the rectory.
Middle: She sees bouquet after bouquet of rotting roses. Ending: The Cleaning Lady says she has no idea where they come from, they just keep appearing. Bethany asks if the Deacon is here and she said he’s in his chambers not to be disturbed. He’s in deep prayer. Bethany leaves.
2. Write the Midpoint scene.
EXT. FARMHOUSE – DAY
Bethany looks up at the farmhouse. It looms over her, intimidating. She closes her eyes and walks up the front porch steps. She hesitates to knock on the front door. KNOCK, KNOCK, KNOCK.
After a moment Bethany hears somebody approach the door on the other side.
FRANK (O.S.)
(through the door)
Who’s there?
BETHANY
(clearing her throat)
Uh…I’m looking for Frank Sawyer.
The door creaks open. Frank, 49 y.o., flannel, still brawny but haggard, stands in the frame holding a rifle.
FRANK
I don’t know you.
BETHANY
You used to.
Frank stares at her and then recognition flickers across his face.
Bethany picks up on this.
BETHANY
How’s mama?
FRANK
She don’t want to talk to you.
BETHANY
She doesn’t have to talk to me. I just want to know how she’s doing. And the twins and Joey? How are they?
FRANK
I told that priest never to bring you around here again or I’d kill you myself.
He cocks his rifle.
BETHANY
What? I just need to know if you’re sending people videos of my exorcism.
Frank’s rifle involuntarily lowers and his mouth drops open a bit. He did not expect such a question.
FRANK
I don’t have video of that. The person who recorded the events of that God-forsaken day was that little guy who came with the Father.
Bethany flashes to that day. She sees a series of events:
Deacon Anders telling Father Ptolemy he won’t fail him again.
Deacon Anders putting the camera back in its bag.
Deacon Anders with the camera bag and tripod on his shoulder as he helps Bethany walk past her father and leave her room.
BETHANY
How did I forget that?
FRANK
Maybe your demon made you forget.
BETHANY
My demon? It’s not my demon. It doesn’t belong to me.
FRANK
But you belong to it. Whatever you did, you belong to it.
BETHANY
I didn’t do anything.
FRANK
Sometimes the wicked don’t have to do anything. Just existing is enough.
Bethany is stunned into silence. This statement cuts her to the quick.
FRANK
I answered your question. You have about 3 seconds to get off my property before I see to it you don’t do anything ever again, wicked or not.
Lost in thought, Bethany absentmindedly raises her hand in a polite and automatic gesture of farewell, but cuts him off just the same.
BETHANY
(interrupting)
Thank you.
She blindly turns aways and walks down the steps to her car.
Frank slams the door behind her.
INT. RECTORY – DAY
Bethany slips into the rectory. It’s deserted.
She quietly makes her way across the ceramic tile steps towards the back where the entrance to Deacon Anders chambers is visible.
As she walks along the hallway, she notices vase after vase of dead floors. The smell of rot fills the air. Flies BUZZ around the deadened black petals are strewn all over the floor.
As if mesmerized, Bethany picks up a dead floor off the ground and holds her nose.
BETHANY
(to herself)
Dead roses?
HAZEL
Smells terrible doesn’t it?
HAZEL, 62 y.o., medium build, short, choppy, dyed-blond custodian with a smoker’s lip, wheels in a trash can.
Bethany waves away the scent in vain.
BETHANY
Why do you keep them around for so long?
HAZEL
Oh, these were fresh this morning.
She stretches her arm wide and gestures to the other flowers.
HAZEL
All of them were.
BETHANY
What happened?
HAZEL
I don’t know. Probably the HVAC on the fritz.
She bends down with a grown and starts shoveling the dead flowers into the trash can.
HAZEL
Only thing I can’t figure is how they became roses.
BETHANY
What do you mean?
HAZEL
I may be an old broad so maybe the old noodle ain’t what it used to be, but I could have sworn these were all chrysanthemums this morning.
BETHANY
Are you sure?
HAZEL
Pretty sure. It’s not the first time this has happened, but the Deacon, forgive me, Father Anders, doesn’t seem to believe me, so I just clean them up. I’m okay with being crazy.
BETHANY
Where is…Father Anders now?
HAZEL
In his chambers not to be disturbed. He’s in deep prayer.
BETHANY
Really?
(under her breath)
Sometimes the wicked don’t have to do anything. And sometimes they pray.
HAZEL
Come again.
Bethany smiles.
BETHANY
Oh, I didn’t say anything. Well, if the priest is in his room, I better be on my way.
HAZEL
Did you need me to tell him anything?
BETHANY
No. I just had a question, but I think I answered it myself.
Have a good evening.
Bethany leaves. Hazel dumps another putrid bouquet in the trash can.
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H. Vince’s Act 2 TP – Midpoint
The 30-Day Screenplay – 2023
Lesson 15: Act 2 TP – The Midpoint
What I learned from doing this assignment is…
Since I signed up for too many Screenwriting Classes at once, I have to outline this rather than write it out to stay on track with the class.
Act 2:
Midpoint Turning Point:
BEGINNING: Victor finds out about his real mom
MIDDLE: Donna was assigned to take care of Victor
END: Victor is devastated that he was supposed to be aborted and Donna is not his mom.
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Can’t find the forum for Lesson 14. Anyone have the same experience?
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I had the same issue as well.
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I sent a note to Customer Service…
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Chuck Czech’s Act 2 TP – Midpoint
What I learned — I learned the midpoint can be very subtle. Some really great examples were provided in the lesson.
Outline your Key Scene 4: The Midpoint
BEGINNING: Ronan narrowly escapes a trap by the Strangers at the Gibraltar facility.
MIDDLE: Fleeing the facility, Ronan violates every road rule he extolled up to this point — speeding, running red lights, not yielding, staying off the main routes. He cries bitterly, mourning the loss of his friends.
END: Ronan comes out of the incident discontent with being alone. He gets an idea to solve the problem that involves his friends.
Write the Midpoint scene.
INT. GIBRALTAR GARAGE
Ronan pins the accelerator, SCREECHING THE TIRES, fishtailing into the ramp.
INT. RONAN’S CAR – TRAVELING
The cracked windshield shows only smoke. Ronan’s driving blind. The walls of the ramp blur by at a dangerous speed.
EXT. GIBRALTAR/ACCESS RAMP
TWO STRANGERS guard the garage door, which is cracked open and spewing smoke. They react to the increasing ROAR of Ronan’s engine.
KEE-RASH! Ronan’s car SHATTERS the door — flattens one Stranger — tosses the other like the empty mannequin he is.
RONAN’S CAR BLASTS down the road like a rocket.
ON RONAN white knuckling the wheel, tears streaming, face twisted by grief.
The speedometer reads 100 mph. Five of the capsule’s lights are BEEPING.
Ronan checks his mirror — Gibraltar smokes in the distance. A black vehicle glints on the road behind him.
Ronan presses the accelerator harder. 105 mph… 110 mph…
RONAN’S CAR leans into a broad curve, SQUEALING. Then it takes a curve in the other direction.
ON RONAN carefully keeping the car under control. He looks —
The black vehicle can’t be seen.
He blows past a farm truck waiting at a rural intersection.
The road splits. He stays on the main road. 110 mph…
A county road sign flashes by. Ronan hits the brake.
RONAN’S CAR SCREECHES and shimmies as it decelerates — but Ronan manages a left turn onto a county road.
ON RONAN accelerating to 50 mph… 60 mph… A farm tractor blurs by. Slowing, Ronan turns onto a farm road.
RONAN’S CAR bounces over uneven ground. It zooms past a sunflower field — thousands of electric yellow sunbursts — their nine-foot stalks hide the car.
ON RONAN scanning the field. He sees a tractor path. Takes it.
He prowls down the dirt track, scraping weeds. The capsule’s lights are dark.
Ronan stops. Puts the car in park. And cries. A loud, messy, pathetic cry.
FLASHBACK – INT. SUBURBAN PARKWAY/MR CAMBRIDGE’S CAR – DAY
SIXTEEN-YEAR-OLD RONAN is behind the wheel of a long Cadillac, nervously navigating traffic. His father, MR CAMBRIDGE (50s) calmly observes him from the passenger seat.
MR CAMBRIDGE
Don’t look so nervous, Ronan. Remember, it’s all about escape routes. Some people prefer the left lane, but the right lane always offers an escape route. Blending in is better than racing.
FLASHBACK – EXT. NEIGHBORHOOD STREET – DAY
MR CAMBRIDGE stands on a sidewalk observing 16-Year-Old Ronan attempting to parallel park the Cadillac. Ronan straightens the wheels too late and bumps the curb. Mr Cambridge leans into the open passenger window.
MR CAMBRIDGE
It’s just geometry and a little physics. That’s all you need to drive.
16-Year-Old Ronan looks with wonder at the steering wheel in his hands.
END FLASHBACK
INT. RONAN’S CAR/RAILROAD CROSSING – EVENING
Current-day Ronan stares at the steering wheel in his hands. No emotion. A freight train slowly RUMBLES BY… then it’s gone. The stop-arms raise to unveil an empty country road.
Ronan studies the route before him. What will it bring?
EXT. FARM COUNTRY – EVENING
Ronan’s car glides past a melon field being harvested by MIGRANT WORKERS, trailing a veil of dust. The vehicle’s white body is scarred with dents and bullet holes.
INT. RONAN’S CAR – TRAVELING
Ronan stares through the cracked windshield. The radio is silent. He notices Radar dangling from the rearview mirror.
RONAN
Hey, buddy. Almost lost you…
But he doesn’t offer his hand.
INT. CONVENIENCE STORE – NIGHT
Ronan’s at the counter buying his usual stash of snack foods and energy drinks. He pulls his credit card from the scanner — and freezes as a question crosses his mind.
CLERK
Receipt?
A BURLY CLERK holds the slip of paper, which Ronan takes and studies. He checks the clock on the wall then strides outside.
EXT. SMALL TOWN/MAIN STREET – DAWN
The morning sun glints off the cowboy mannequin standing on the roadhouse marquee. This is where it all began.
Ronan waits inside his car parked down the street. He blows on his very first cup of coffee… sips… and winces at the bitterness. He watches…
The ROADHOUSE PROPRIETOR opens the front doors for another day of business.
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