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Lesson 15
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20 Replies
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Megan’s Act 2 TP – Midpoint
What I learned doing this assignment is… that even though I’m following a beat sheet and have an outline, some minor details may still change as I’m writing. I’m glad to see that sticking to an outline hasn’t seemed to shut down my creativity.
INT. ULTRASOUND ROOM — DAY
Anna is wearing a medical gown lying back on a paper-covered medical table. TESSA, a fit 28-year-old ultrasound technician, squirts petroleum jelly onto Anna’s belly.
TESSA
So is this your first?
ANNA
Thankfully, no. I’ve done this all before. I have a two-year-old at home.
TESSA
That’s great! Boy or girl?
ANNA
Boy. His name is Luke.
TESSA
Aww, Luke! So are you hoping for a girl this time?
ANNA
Honestly, I don’t really have a preference. So long as the baby is healthy.
TESSA
Well let’s find out then, okay?
Tessa places the ultrasound probe on Anna’s bare belly. An image appears on the screen beside Anna’s head.
TESSA
Give me one second . . . There! There’s baby.
Anna nervously scrutinized the tiny fetus on the screen while Tessa expertly takes digital measurements.
TESSA
Head circumference, good. Abdominal circumference. There’s the femur. Your baby is extremely cooperative!
ANNA
I guess that’s a good thing.
TESSA
Based on these measurements, I’d say we’re looking at 21 weeks.
ANNA
21 weeks!? Really?
TESSA
That or you’re having a really big baby! Let’s see. I see ten fingers and—5, 6, 7, 8, 9, 10–ten toes. Now how about we find out what you are?
Staring at the screen, Tessa moves the ultrasound probe around on Anna’s belly. Suddenly, she stops.
TESSA
Oh. That’s unfortunate.
ANNA
What?! Is something wrong with the baby?
Tessa sets down the probe on the counter.
TESSA
I’m sorry. Give me just a minute.
To Anna’s horror, Tessa slips out of the room. Anna looks back to the monitor, frantically studying it for clues.
Tessa reenters, a heavyset NURSE behind her.
ANNA
What is it? What’s going on?
The Nurse lumbers over to Anna’s side while Tessa moves toward the medicine cabinet.
TESSA
We know the gender.
ANNA
We do??
TESSA
It’s a boy.
ANNA
A boy.
Anna looks back at the screen, entranced by the tiny image.
ANNA
A younger brother for Luke.
TESSA
Well, yes and no.
Anna’s head swivels to Tessa.
ANNA
What do you mean?
TESSA
Gender Disparity Act. Male children are limited to one per household.
When Tessa turns around, she is holding a syringe. Anna’s eyes widen.
ANNA
What does that mean?
TESSA
It means we need to terminate the pregnancy.
Anna moves to jump off the table but the Nurse beside her grabs her by the shoulders and holds her down.
TESSA
I’m sorry. I don’t like it either, but it’s the law. They’ll prosecute both me and you if we don’t.
ANNA
Who will??
TESSA
Who do you think? The Matriarchy.
Tessa crosses to Anna with the syringe.
TESSA
Look, I promise to make this as quick and painless as possible. When you wake up, you won’t even remember it happened.
ANNA
No!
As Tess brings the syringe down toward Anna’s arm, Anna pulls the Nurse in toward her as a shield. The unexpected movement sends the syringe into the Nurse’s arm.
TESSA
Oh! Susan! I’m sorry!
The stunned Nurse passes out onto the floor.
Anna jumps off the table, pushing past Tessa as she races to the door.
TESSA
Anna! Stop!
Tessa attempts to grab Anna, but Anna yanks the door open, slamming it into Tessa’s face. Tessa howls in pain.
Anna slips out of the room, barely managing to clasp the back of her hospital gown closed. Tessa’s shouts follow Anna down the hall.
TESSA (O.S.)
Come back! Somebody stop her!
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Wendy’s Act 2TP- Midpoint.
What I learned doing this assignment is that I hate spelling and I love the person who invented spellcheck. Seriously though, I thought I had the perfect plan but with doing these outlines this way I have found a new twist.
Beginning: Inside the Krensha home. Mr. Kren is going crazy with the kids terrorizing the house. He buys front row tickets and bribes the kids to behave.
Middle: At the concert the Krencha the thugs manage to get backstage and go after Michele.
End: Dean intervenes and the thugs capture him.
INT. MR. KREN’S HOME – EVENING
MR. KREN
… and this time she will fall at our feet.
Mr. Kren holds up TICKETS that have the words FRONT ROW on them.
The kids in the background are playing and being very noisy and disrupting the household.
MR. KREN (CONT’D)
(to thugs)
Okay, you two have your orders.
THUG 1
(bowing)
Yes. We will not harm her
(beat)
Until we get the ring.
THUG 2
What do you want us to do about her partner?
MR. KREN
What ever you like. I am not opposed to a little old style torture.
THUG 2
We are out of practice.
MR. KREN
Speaking of torture…
(singing)
Oh kids… I have something for you.
They all stop what they are doing and gather around Mr. Kren. He holds the tickets where they all can see them.
MR. KREN (CONT’D)
Now, we will go to the concert, but it is on the condition that you must behave like good children.
MEGAN
What’s a condition?
JOHN
It’s a rule.
MEGAN
Oh. So we can’t play?
MR. KREN
No, you can play… Quietly.
MEGAN
How do you play quiet?
MR. KREN
You don’t talk.
MEGAN
But that’s not playing.
MR. KREN
Exactly.
MEGAN
Okay, but you will have to show me how to do it.
Megan grabs Mr. Kren’s hand and begins to drag him to the living room where all of her toys are at. His eyes almost bug out of his head.
EXT. CONCERT ARENA – NIGHT
Michele is still in the rafters and watching the crowd diligently.
DEAN
Skully, come in. This is Moulder.
Michele rolls her eyes and almost falls again.
MICHELE
I refuse to answer.
Dean takes a heavy sigh.
MICHELE (CONT’D)
Alright, Skully here. I feel more like Hawkeye.
DEAN
(perks up)
I have a visual on the thugs.
MICHELE
Yeah, I got them too. How did they get past security?
DEAN
They are posing as Paramedics.
MICHELE
What?! That is so wrong! Pretending to be of a help to society.
DEAN
Well, it is working.
MICHELE
Have they seen us yet?
DEAN
I don’t think so.
Just then one of the thugs points at Michele.
DEAN (CONT’D)
Well, let me rephrase that.
MICHELE
Did they see you? I can’t see them.
DEAN
No…
MICHELE
What do you mean “no”?
DEAN
Well… they have spotted you.
MICHELE
I’m not liking your plan so far.
DEAN
Wait! Where did they go? They just disappeared in the crowd.
Dean stands on his toes and looks over the crowd. No thugs in sight.
MICHELE
Ah! I have them in my sight. They made it backstage.
DEAN
I’ll go stop them. You just keep watch over the guys.
Dean moves farther backstage where there is no one. He stops and looks around but can’t see the thugs.
DEAN (CONT’D)
Hey Skully, do you see them anymore?
MICHELE
Ok, stop calling me that. Oh MY GOSH! I see them!
DEAN
Where?
MICHELE
Lookout!!!
Dean is hit over the head and flopped onto a stretcher and is being wheeled out to an awaiting ambulance.
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Kevin’s Act 2 TP Midpoint
What I learned from this assignment is that the harder you set them up, the harder they fall.
INT. BATMOBILE – DAY
The Batmobile races through the streets of Gotham. The daycare looms in the distance growing closer. Batman crammed in the batmobile wearin the familar mask and a giant black cape surrounding him glances at the clock on his dash.
BATMAN
One minute thirty. You timed it just right didn’t you Joker?
He comes to a screeching halt at the front doors and a thick fog pours forth from the front of the batmobile engulfing the day care in white.
Batman emerges from the vehicle a shadow of black with the signature sillouette bursting through the doors surrounded by fog that fills the room instantly.
BATMAN
Made it. Now where is that infernal button?
He lunges forward, but trips on the oversized cape, falling forward just short of the button. The timer around the base counts down 3,2,1 Batman lunges to hit the timer.. 0 buzz. He hits it a second too late.
JOKER
Too late Batman!
The Joker’s laughter is loud and raucous as no explosion happens. The kids and teachers rejoice and laugh. Sirens come screaming up to the scene.
BATMAN
Time to evaporate. (to the room) The authorities are here now to release you.
Batman disappears back into the Batmobile as the fog dissipates. He vanishes back into the streets as the police and fire rescue vehicles pull up.
BATMAN
That doesn’t make sense. I was a second too late. No explosion. What was the laughter about?
His police scanner jumps to life.
SCANNER
All cars, an explosion at 22 Elm. Bowie elementary has gone up in a blaze. All cars. Respond to 454 Forrest, an explosion has torn Townhome elementary apart. All cars, respond to 225 Sycamore. Daisy daycare has exploded in a ball of fire. All cars. Respond to 667 Mimosa drive, Gotham Day care has been destroyed in a massive explosion.
BATMAN
No!!!
Alarms and sirens fill the air from all directions as the Batmobile screams off into the distance.
INT. WAYNE MANOR – NIGHT
Images of destroyed elementary and Day school buildings flood the screens in front of Bruce, sitting in despair, tears running down his face.
A silver figure walks over to him and puts his hand on Bruce’s shoulder.
Bruce instinctively turns to grab the arm and remove it, but it doesn’t budge, but cuts Bruce’s hand as it slides up the gleaming metal.
BRUCE
Who? What?
He tries to stand but is held in place by the android being now standing beside him. Ali is hanging by the doorway.
ALI
His name is Robin.
BRUCE
No. I don’t need a tin can to help. This is all my fault, I will fix it.
ALI
Come on Bruce, he can give you the advantage you’ve lost. And then some.
BRUCE
Thanks but no thanks. I can do it on my own.
ALI
Alright then. Let’s put him to the test. If he passes, he’s part of the team. If he fails, well. He won’t fail.
BRUCE
Fine. My rules.
ALI
To the lab.
INT. JOKER’S LAIR – NIGHT
Joker is pacing the floor of his lair, shooting up the new mannequin of Batman.
JOKER
Stupid, stupid, stupid. What a waste of chaos! What went wrong oh winged one? I timed everythig out to the second, even built in a few to spare…
He picks up a shotgun and blasts Batman over and over as he walks up, black plastic flying with each blast until he’s point blank and demolishes what’s left.
JOKER
ANOTHER!
He storms back to the table to reload as the henchman quickly places a new Batman in place of the old one, running out of the way just before Joker blasts the new one with the the rocket launcher.
JOKER
Another!
The henchman limps out the door not quite having escaped the debris.
JOKER
Still… I suppose now I have your full attention. Let’s see you get out of this one…
Joker goes to the intercom and hits the button.
JOKER
Oh my jolly elves, listen up! We’re going ballistic this time, only we’re going to use social media to do our bidding. Hit the streams my chuckles, open the floodgates of influence. We’re going to bury the bat in shame, and then hit him where it really hurts!
Joker laughs maniacally and sends another missile screaming at the new Batman just being placed in the target zone.
KABOOM! SPLAT.
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Jane’s Act 2: Turning Point Mid-Point
<div>By doing this assignment I just felt good about
Chelsea getting to the point of understanding who Julie is. She now can concentrate on saving
herself and she knows that the one she has to save herself from is Julie. None of it is well written and I’m
going to have to take time in the second draft to pull in all of the
psychological thrill that this story needs. But again, writing fast and not worrying. I feel like I might be getting the hang
of it!</div><div>INT. GOON’S ROOM
Chelsea enters to find both goons dead. Their guns and their phones are gone. The wedding dress lies in a pile on the floor. It is covered in blood. Chelsea picks up the dress. Something drops that she knows to be Julie’s.FLASHBACK
Another day in another shop. Julie steals and plants some things on Chelsea. Chelsea gets caught. Julie watches.INT. GOON’S ROOM
Chelsea realizes that Julie is not only alive and still on board, she didn’t find the Blue Lotus and is looking for it. If Chelsea turns herself in, she’ll be arrested and convicted of murder. She realizes that behind all the death and violence is not the Greek guy, it’s Julie.Julie has set her up to either die or take the fall for her crimes.
</div>
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Rita’s Act 2 TP – Midpoint
What I learned doing this assignment:
I’m not sure this is actually the midpoint scene since the midpoint is usually two main characters together but mine is the main character avoiding her antagonist, which leads him to the truth. It does change the trajectory but not sure about it changing the meaning.
TE10
EXT. ABERNATHY CUSTOMER’S HOUSE – MORNING
Midpoint Turning Point
BEGINNING: Abernathy finds a two person crew with more work than they can handle.
MIDDLE: Dawn ducks out so she won’t be confronted.
END: Abernathy turns detective. The scheme is unraveling.
TE11
INT. PAINT STORE – DAY
BEGINNING: Abernathy asks questions of the staff.
MIDDLE: He learns that up until this summer, Dawn has only ever been an academic.
END: She lied!
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EXT. ABERNATHY PROJECT – EVENING
Tom pulls up to find a barely competent, two-person crew.
Dawn sees him and bolts to the back yard, up the deck and…
INT. ABERNATHY PROJECT – CONTINUOUS
She ducks into the family room just off the kitchen where ANDREA (50s) cooks dinner, separated only by a partial wall. Practically a home invasion.
ANDREA
Hi, Honey. Dinner’s almost ready.Uninvited entry plus nosy contractor, now Dawn has to avoid two people. She tiptoes through but hears footsteps.
HUSBAND approaches from their bedroom.
HUSBAND
What’s that? Did you say something?Make that three. Dawn slides behind a bookcase, getting more untrustworthy by the second.
Husband makes it to the kitchen but now Tom is on the deck. He squints upward, surveying the work.
Tom knocks on the sliding door, peers in with hands shielding reflections on the glass.
Dawn ducks behind the couch, just in time.
Husband greets Tom, slides opens the door…
Goes outside to talk.
Dawn relaxes. Thank God!
Kitchen noises.
Dawn goes back to stealth mode. She crawls toward the front of the house.
Andrea retrieves a jar from the pantry.
Dawn freezes in full sight.
Husband starts to open sliding door but Tom keeps talking.
Andrea turns up some music.
Dawn jumps to her feet, sprints to the front door. Her footsteps covered only by the radio.
Door is locked. She fumbles with a complicated lock, plus there’s an alarm key pad. She panics.
No place to hide! She goes for it and swings the front door open, slams it shut as the alarm goes off.
EXT. ABERNATHY PROJECT
Dawn breaks the land speed record and peels out in the van while the men circle the house to see what tripped the alarm.
Zak had a good view of Dawn’s escape from a high ladder.
He covers with a shrug when the men look up at him.
INT. PAINT STORE – MORNING
Abernathy stomps through the front door, none too happy.
Frank and his clerk give each other the look. Contractors!
FRANK
Hey, Tom. What can I–TOM
You recommended her but now —
FRANK
Hold on. I didn’t recommend anybody. You did that on your own.
Tom is taken aback, unused to being stood up to and by a four-eyed shorty, no less.
TOM
Didn’t you say —
FRANK
Nope.
TOM
But…
Frank gives him a raised eyebrow, waits.
FRANK
All I said is that she works at the college. You took it from there.
Tom rubs his face.
TOM
I did, didn’t I?
Clerk in the back nods emphatically plus draws curves in the air with his hands.
FRANK
She was just buying paint until she got a look at you.
Tom smiles. Just a little. It fades fast.
TOM
Are you telling me she’s like an office worker over there?
FRANK
Professor.(grips Tom’s shoulder)
Of psychology.
Tom’s jaw drops. He shudders just a little.
TOM
But then she said she was a company. Which was a lie! Was it all a lie?
Frank shrugs.
FRANK
I know her about as well as you do but she sure seems to be good with people. She gets a new job paint job every time she comes in here.TOM
So, we know she’s a phony.
FRANK
Head office gave her an account so that’s real. LLC and everything.
But Tom mutters fuming curses already on his way out the door.
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This reply was modified 2 years, 2 months ago by Rita Roberts.
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This reply was modified 2 years, 2 months ago by
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Margaret’s Act 2 TP – Midpoint What I learned completing this assignment is sometimes I am assembling a scene/series is scenes piece by piece, sometimes inspiration hits and sometimes a scene which was only a vague idea become clear. All these ways are writing are equally valuable as long as I am moving forward. INT. house for sale – master bedroom – day
Lake sleeps peacefully in the staged bed of the master bedroom of the house for sale on Olive Court.
She smiles in her sleep.
Blake appears on the side of the bed.
BlAKE
Time to get up babe.
Lake’s smile disappears.
Lake
No. Not you.
EXT. HOUSE FOR SALE – OLIVE COURT – day
Ember pulls up in a flat black Range Rover followed by a COUPLE in a white Mercedes GLC.
Ember passes Lakes’s distinctive Mini Cooper. She notices it immediately and looks around suspiciously.
Ember and her clients approach the front door.
Ember enters her numbers in the lockbox and is relieved to see the key.
INT. house for sale – master bedroom – day
BlAKE
Look, you gotta go.
Lake
Why did you go? Why did you leave me?
BlAKE
I didn’t have a choice.
LAKE
I didn’t have a choice…
INT. house for sale – Olive Court – day
Ember describes the kitchen getting couple to imagine this as their home.
Ember
This Sonoma County stunner features French oak flooring throughout. The open concept kitchen/great room comes complete with an expansive island with a sink and bar seating. Notice the chefs kitchen with everything you need to entertain.
INT. house for sale – Olive Court – day
Lake hears Ember’s voice.
Ember
Notice the professional range and integrated fridge. There’s even a wine cooler.
Lake jumps out of bed in her underwear and a teeshirt.
Lake
Shit, shit shit!
She slides her bags under the bed.
Lake hurriedly straightens the covers and jumps under the bed just in time.
Ember enters the room with the couple in tow.
Legs and voices.
Ember
The master suite is complete with a walk-in closet, an i suite bathroom with his and her sinks.
Embers legs are right next to the bed. Lake holds her breath.
Wife couple
(screeching)
Aha!
She claps excitedly.
Wife couple
Look at the view from the bathroom window.
Husband couple
Spectacular.
Embers legs move towards the bathroom and lake exhales.
EXT. house FOR SALE – OLIVE COURT – day
Lake is lugging her suitcases to the car.
Lake
Angrily wrestling her suitcase into the back seat.
Phone rings. It’s Ember. Lake grits her teeth, smiles big and answers the phone.
Lake
Ember! To what do I owe the pleasure?
EmBER
Lake. What are you up to?
Lake
What do you mean?
EmbER
I just showed the Olive Court property and guess who’s car was there?
Lake twists her face trying to think quickly.
Lake
I’m still here.
Ember
Why are you breathing so hard?
LAKE
I realized this morning I hadn’t checked out the neighborhood so I drove up this morning for a brisk walk.
EmBER
You are a horrendous liar.
Lake
I told you, I’m trying the place on.
EmBER
Just don’t sleep there again. I have to go. I’m busy.
Ember hangs up. Lake screams, trying to shove the suitcase in the back seat.
Lake
Fuck!!!
INT. BEE’S ORGANIC FAST FOOD RESTAURANT – DAY
Lake enters Bee’s her bag over her shoulder and keys and phone in hand.
She walks up to the counter. There is a young woman, COUNTER HELP, smiling ready to help. Lake looks disappointed.
LAKE
Hi, I’m picking up for Annie L. today.
COUNTER HELP
Just a minute.
Counter Help begins looking through the various bags on the pick up shelf.
Mitch appears and speaks to the young woman who disappears to the back.
MITCH
That’s Annie L?
LAKE
Yes, thank you.
MITCH
So, woman about to formerly be known as Lake, what goes on?
LAKE
Oh, you know, brain surgery. You?
MITCH
About the same.
He hands her a bag.
LAKE
Thank you.
He walks around the corner and begins to walk her out.
MITCH
May I walk with you?
Mitch motions towards the door.
LAKE
But of course.
The STAFF at Bee’s watch the two eagerly as they exit the restaurant.
EXT. RESTAURANT – DAY
Mitch and Lake are at her car, the food already in the hatch.
LAKE
You didn’t call?
MITCH
I was embarrassed. It felt…you know…too casual.
LAKE
Hey.
Lake reaches up and kisses him on his cheek.
LAKE
It may have seemed casual but truth be told I haven’t slept with anyone since Blake…
Mitch
Let me guess-ex-boyfriend?
Lake
My husband. He died in the firestorm.
MITCH
Oh. Ummm, you want to talk about it?
LAKE
Noooo. Definitely, no.
MITCH
You should have told me.
LAKE
I was nervous, ya know. I thought just pull it off like a bandaid.
MITCH
You’re so romantic.
LAKE
I know, right.
MITCH
Second date?
Blake shows up.
LAKE
Not you again.
Mitch
I’m getting mixed signals here.
LAKE
Sorry, I’m definitely down for that second date. Do you ever feel like you’re being haunted by your ex?
Mitch
All the time. Why is there luggage in your backseat. Are you going somewhere?
Lake
Yes.
Mitch
Where to?
Lake
Not sure yet.
Mitch
We’ll come over for dinner tonight before you go anywhere.
LAKE
I’d like that. Very much. Now I have to deliver this food before it gets cold and take care of something I’ve been putting off for a very long time.
He opens the car door for her as she steps into the driver’s seat. He closes the door after her.
He waves and she smiles at him as she pulls out of the parking lot in her yellow and black Mini Cooper.
EXT. HILLSIDE PLOT – DAY
Lake pulls up to the hillside plot but this time parks in the driveway.
The area around has been grated and cleaned up except the plot where her house once stood, it is exactly as it was after the fire.
She looks over wearily at her old man neighbor’s house, the only still standing in the area.
A CONTRACTOR approaches her car.
CONTRACTOR
Good afternoon, Mrs. Logan.
LAKE
It’s Turner. I changed it back to my maiden name after…but you can just call me Lake.
CONTRACTOR
Here are a pair of gloves. Do you want me to accompany you or would you rather be alone.
LAKE
I’d rather do this alone. Thanks.
Blake follows her.
Lake
I said I’d rather do this alone. That means you too, whatever you are.
Blake
Oh, I wouldn’t miss this for the world.
Lake walks through where her house used to stand which is nothing but soot and ash. She runs her boot through some ash piles and then turns away.
She walks up the driveway and back towards a partially burned back building with a large tarp over it.
EXT. STUDIO – DAY
The contractor follows her up to the destroyed structure.
He pulls the tarp off a pile of what used to be a building and folds it up.
CONTRACTOR
You shouldn’t do this alone, ma’am.
She looks at the ghost of Blake.
Lake
Don’t worry, I’m never alone anymore.
CONTRACTOR
You just holler if you need anything.
LAKE
Thanks.
The Contractor walks away.
Lake turns towards Blake’s destroyed studio still holding the gloves but doesn’t approach.
INT. Blake’s studio – DAY
Lake walks into Blake’s studio as he paints a colorful abstract. The studio is tastefully decorated with his pictures displayed and framed magazine covers touting his accomplishments.
LAKE
I brought lunch. You hungry?
Blake
I’m not sure.
LAKE
Had a late night in the studio?
Blake
No. I’ve been staying up late working on a painting.
LAKE
Isn’t that what I just asked? Are you gas lighting me? You’re always gas lighting me.
Blake
You dumb bitch that isn’t what I meant.
Lake heads towards the door but Blake is up and blocking her way.
LAKE
Let me out.
BLAKE
You wouldn’t be anything without me.
Lake
Let me out.
Blake
You’re pathetic.
Lake
Get out of my way.
Blake tries to push her back. She pushes him with an almost super human strength.
He falls back and hits his head on the brick around the wood burning stove.
Lake runs out of the room.
Blake lies still on the floor not moving.
EXT. STUDIO – DAY
Gloves on, Lake searches through the wreckage of Blake’s studio. She looks at what is left of the black potbellied stove.
She overturns a piece of burned metal. She uses her foot to comb through sticky ash. Nothing.
Lake spots something and pulls it out of the rubble. She wipes black ash off an intact crystal vase with the side of the glove.
She moves toward the corner of the structure where partially burned wood boards remain.
She moves some boards aside and finds a partially burned canvas covered with an abstract painting.
She picks it up and carries it outside the wrecked building.
She surveys the destruction of the structure and the whole area where the fire’s burned with a look of overwhelm.
She looks down and sees her boot is over a burned and faded picture of her and Blake.
Blake
There were some good times.
Lake
Stop haunting me.
Blake
Who else would l haunt?
Lake
Why me?
BLAKE
You killed me.
She stares at the image for a few minutes and then moves her boot over the picture and grinds the image further into the layer of dirt and ash.
Lake
I didn’t kill you!
The contractor looks up from the clipboard with papers he was looking at.
Blake
You left me for dead which is the same thing.
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Chris Dorsey’s Act 2 TP – Midpoint
What I learned doing this assignment is just get it down on the page. I still have things I need to add to this scene (e.g scene ending). I am still going back to small things, like misspellings, but not as much as I used to. I’m not being too critical of myself though.
INT. ANTAGONIST’S CELL – NIGHT
The Antagonist manipulates Wilbert in to fessing up to snitching on the Antagonist. The Antagonist goes berserk and strangles Wilbert almost to death. Wilbert is saved by the other inmates. The Antagonist goes back to “the hole.”
The Antagonist holds up Wilbert’s clinical chart to the whole dorm. The chart contains also his personal information, the fact he ratted-out the Antagonist and how he feels about other inmates in the dorm. Wilbert is taken off guard.
ANTAGONIST
You know, Wilbert, I’ve been thinking about a lot of things. How we met, how yo’ve helped me, and how we’ve become so close. Like brothers.
Wilbert nods his head. He waits to see where this is going.
ANTAGONIST
And that’s why I asked the Captain to make us cellmates.
Wilbert forces a smile.
WILBERT
That’s… great. But maybe we should take a little time to think this through first.
ANTAGONIST
Think it through?! It’s a done deal, roomie. Congratulations!
A tear rolls down Wilbert’s check.
WILBERT
Tears of joy.
ANTAGONIST
I just have one thing to ask you before we make it official.
WILBERT
What’s that?
ANTAGONIST
Why did you rat me out to the screws when you first got here?
The blood drains from Wilbert’s face
WILBERT
Me? Rat you out? Not me.
The Antagonist removes a chart from under his pillow and shows it to Wilbert.
ANTAGONIST
You’re clinical chart.
WILBERT
How…? How…?
ANTAGONIST
Did I get it? I swiped it. What do you think? It has your whole psychiatric history, including your weekly sessions with the psychologist — everything. You said a lot of terrible things about me? What do you think I’m going to do about it.
WILBERT
Kill me?
ANTAGONIST
Eventually, but not now.
WILBERT
Is there any point in me saying I’m sorry; I just wanted the best for everybody?
ANTAGONIST
Nah. I think I a going to share this with the group and see what they think about it.
WILBERT
You can’t!
ANTAGONIST
I can.
The Antagonist pushes past Wilbert and struts to the center of the cellblock. Wilbert reluctantly follows.
ANTAGONIST
All you lazy, sleepy mother-fuckers, get you stupid asses down here now! Get your assess down here. I got something to say!
The Floor Officers look at each other, unsure.
Inmates leave their cells and gather in the center of the cellblock.
The Antagonist jumps up on a table and holds Wilbert’s clinical chart up to the crowd.
ANTAGONIST
What am I holding in my hand? You’re hero’s clinical chart.
Wilbert hangs back. His head’s hung low.
PINKIE
So what? We all have one of those.
ANTAGONIST
But not one like this. Where do I begin.
The Antagonist thumbs through the chart.
ANTAGONIST
Here’s a good place. This part is about you, Pinky. Here’s what [insert] wrote, “Inmate McNutt expressed clear frustration at another inmate he called Pinky (a.k.a. Joseph Lee).
WILBERT
Okay. Yes, I said those things. But it’s just talk. I didn’t mean anything by it. It was just…
PINKY
… Talk. I thought you were my friend, Wilbert. You’re right; I am as stupid as I look.
Pinky turns his back to Wilbert and [walks] back to his cell.
WILBERT
(to Pinky)
Wait…
(softly)
… I’m sorry.
ANTAGONIST
I’m going to pass this around so you can see what he said about all of you.
The Antagonist calls out to the floor officers.
ANTAGONIST
And you bunch are mentioned in there too.
Placeholder: The Antagonist attacks and strangles Wilbert. The only one who comes to his aid is his roommate and eventually, begrudgingly the building officers.
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KAREN SINCLAIR’S TURNING POINT 2 – MIDPOINT – EVERYTHING CHANGES
What I learned doing this assignment is…?
What I learned doing this assignment is the first half of my screenplay is much more developed than my second half. I’ve got a lot of work to do on the second half, everything after the midpoint, to get it to the 20% first draft stage.
ASSIGNMENT 15
Concept
Ad Exec Sadie Hilliard goes out for a noontime run to get in the right state of mind to make a presentation to her agency’s most significant client. While running, she receives a call on her cellphone threatening the lives of her and her family if she should stop running.
Theme
Sadie has never had to think about anyone but herself. Because of that, she places very little value on relationships and family. She is confident as it relates to her skills in her career but insecure as a partner and family member. Can the right person make the difference in her life or is she destined to be a loner.
Act 1
Inciting Incident
In New York City, Sadie breaks up with her longtime boyfriend. It has been a long time coming. She accepts a proposal from her company’s CEO that she move to Vancouver, BC, and establish a branch of the advertising agency. A partnership could be in the offering if she is successful in Vancouver.
Turning Point 1
Sadie settles into her new work life in Vancouver, and she meets the love of her life. She goes out for an afternoon run immediately preceding a major presentation and is taken hostage by a caller using her cellphone.
Act 2
Reaction to the Turning Point in Act 1 (Key Scene 1)
Sadie is trapped but knows she must do something. She makes several obvious attempts to test the caller and see how trapped she really might be. Everything is up to her. Her old ways have her needing to figure this all out to free herself.
EXT. STREETS – DAY
Sadie keeps running. She decides she must do something.
EXT. STREETS – DAY
BEGINNING: Sadie keeps running but realizes she must do something. She decides to test the caller by jumping up onto the sidewalk and running among walkers.
MIDDLE: Sadie receives no reaction to her jump to the sidewalk. She slows to a walk.
END: Her phone vibrates with a text, RUN!
———————————————————————————
EXT. STREETS – DAY (MOMENTS LATER)
Sadie sprints full out. When she crosses at the intersection she doesn’t see the motor bike.
EXT. STREETS – DAY (MOMENTS LATER)
BEGINNING: Sadie starts to sprint, all out for a block.
MIDDLE: Just as she arrives at the intersection the light turns green. She crosses the street looking to the right and doesn’t see the motorcycle.
END: She thinks she may be in the clear, so she slows to a walk again.
———————————————————————————
EXT. STREETS – DAY (CONTINUOUS)
As Sadie walks she dials 911 on her cellphone.
EXT. STREETS – DAY (CONTINUOUS)
BEGINNING: While walking, Sadie dials 911 on her cellphone.
MIDDLE: Her cellphone makes a funny sounds. A digitally enhanced voice chimes in…
END: NICE TRY!
———————————————————————————
EXT. STREETS – DAY (CONTINUOUS)
Sadie starts to run again. She tries unsuccessfully to engage a couple pushing a baby carriage to help her.
EXT. STREETS – DAY (CONTINUOUS)
BEGINNING: Sadie starts to run again.
MIDDLE: She runs up beside a couple pushing a baby carriage. She is out of breath from her earlier sprint but tries to tell them that she is being held hostage and implores them to call the police.
END: The couple looks around, over their shoulder, to see who Sadie is talking to. When they realize it is them, they suddenly turn right, around a corner, without saying a word.
———————————————————————————
EXT. STREETS – DAY (CONTINUOUS)
Sadie calls after the couple. They don’t look back. The caller texts her again and attaches two short video clips of her stepchildren and her husband.
EXT. STREETS – DAY (CONTINUOUS)
BEGINNING: As the couple moves away from her, they head right, straight toward the caller on the motorcycle with the flashlight. Sadie yells at the couple. They ignore her and speed up.
MIDDLE: The caller turns the flashlight off before the couple has a chance to notice them.
END: Shortly thereafter, Sadie receives a text. It includes a short video of her stepchildren playing at the park with them mother, followed by a video of Adam walking back from the mailbox to their house.
———————————————————————————
EXT. STREETS – DUSK (LATER)
Sadie continues running. It starts to rain. She looks to her right at every intersection. The person on the motorbike is still tracking her and shining a flashlight at her to let her know they are there.
EXT. STREETS – DUSK (LATER)
BEGINNING: Sadie continues running. It starts to rain.
MIDDLE: She looks to her right at every intersection and sees the person on the motorcycle still tracking her.
END: The flashlight continues to shine in her direction. The rain makes the light look more sinister.
———————————————————————————
EXT. STREETS – DUSK
Sadie has been running for over two hours and needs to urinate. She has been holding it for a while.
EXT. STREETS – DUSK
BEGINNING: Sadie has been running for over two hours. She starts to squirm as now she really needs to urinate. It is raining which gives her cover to just let the urine flow. She is already wet from head to toe.
MIDDLE: The urine runs down her legs and into her new shoes. Sadie is in agony as it hits a blister that has formed and popped.
END: Sadie clenches her teeth as she runs. She looks down. The inside of the left toe of her shoe is turning red with blood.
———————————————————————————
EXT. STREETS – DUSK (LATER)
It is an hour later, starting to get dark and the rain is really coming down. Sadie’s bangs are flat against her forehead, her ponytail has fallen, and her feet are bloody. She is a mess. Sadie decides to flag down a car. Her attempt is thwarted when a motorcycle pulls up behind her and revs its motor.
EXT. STREETS – DUSK (LATER)
BEGINNING: It is an hour later, starting to get dark and the rain is pounding down. Sadie’s bangs are flat against her forehead, her ponytail has fallen, and her feet are bloody. She is a mess. The sidewalks are deserted. She gets strange looks from cars coming up beside her.
MIDDLE: A car pulls up beside Sadie and they start to roll down the passenger window. Just as Sadie is about to engage them, a motorcycle pulls up behind her and revs its engine.
END: She blows them off, they roll up the window and continue. The motorcycle passes her and speeds off. She realizes that they probably weren’t the caller but just an impatient motorcyclist trying to get home and out of the rain. She continues running around and through puddles.
———————————————————————————
INT. AGENCY BULLPEN
Back at the office, Sadie’s team is concerned. They have everything ready and loaded in the van. The only thing missing is Sadie. They try to call her, but her phone goes direct to voice mail. They decide to head over to the client’s office and set up.
INT. AGENCY BULLPEN
BEGINNING: Sadie’s team has everything loaded into their van. They are standing in a huddle discussing what they should do about their missing boss.
MIDDLE: Randy assures the group that Sadie will be there as he is dialing her cellphone. The call goes directly to voice mail. Randy leaves a message telling Sadie that he and the others are taking everything to the client’s office to set up and be ready when she gets there.
END: The gang picks up their purses and jackets and heads to the van. Randy tells everyone, as they are walking out, not to say anything to the client about Sadie’s whereabouts. He is sure she will show up.
———————————————————————————
Protagonist Takes on A Plan and Executes It (Key Scene 2)
EXT. STREETS – NIGHT
Sadie looks at the time on her phone and realizes she is going to miss her presentation. She sees no evidence that anyone has tried to get in contact with her.
EXT. STREETS – NIGHT
BEGINNING: Sadie checks the time on her phone realizing she is going to miss her presentation. She decides she needs to contact the caller and negotiate her freedom. The rain is making it difficult for her fingers to text. She flips over to her recent phone calls and sees a number that she doesn’t recognize.
MIDDLE: Sadie hits the number. It starts to ring but goes directly to a voice mail with a standard response instructing her to leave a message. She leaves a message threatening that she is just about to call the caller’s bluff and stop running.
END: She puts her phone back in her leg pocket and keeps running.
———————————————————————————
EXT. VAN – NIGHT
Randy decides to drive the van over to where he knows Sadie likes to go for a short run. He wonders if maybe she is injured or something.
EXT. VAN – NIGHT
BEGINNING: Randy takes a sudden turn with the van, deciding to quickly drive the route he knows Sadie takes when she’s going on a short run.
MIDDLE: The gang asks him what he’s doing, and he lies saying that he saw an alert on his phone about a roadblock. He drives the path and then cuts back to the main route.
END: Sadie is no where to be seen on this short route. She has been running for over three hours.
———————————————————————————
Not Only Does Their Plan Fail But… (Key Scene 3)
EXT. STREETS – NIGHT
Hearing nothing back from the caller, Sadie feels desperate. She decides she is going to jump in a cab, borrow the cabbie’s phone and call the police. Her plan backfires and she gets booted from the cab.
EXT. STREETS – NIGHT
BEGINNING: Receiving no response to her message to the caller, and feeling desperate, Sadie decides she must do something. She sees a cab coming up beside her. As it passes, she speeds up, bangs on the window and when the cab slows, she opens the door and jumps in the back seat with a couple who are dressed to the nines and heading for a night out on the town.
MIDDLE: The couple recoils at Sadie’s condition. Her phones starts to emit an ear-piercing sound that she can’t stop. She fumbles with her phone and drops it on the floor. While she is bent over retrieving it, the cabbie stops the cab, jumps out and runs around to the back passenger door. He pulls Sadie out and slams the door, runs back around, jumps in, and takes off.
END: Sadie crumbles to the ground with her cellphone in her hand. It vibrates. She takes the call and a digital voice yells, STAND UP AND RUN!
———————————————————————————
EXT. STREETS – NIGHT
Sadie drags herself up onto her feet. She slowly moves from a trudging walk to a bent-over, slow foot-dragging jog to an upright jog.
EXT. STREETS – NIGHT
BEGINNING: Sadie drags herself onto her hands and knees. She grabs a tree and pulls herself up onto her feet.
MIDDLE: Sadie puts one soggy foot in front of another as she moves from a bent-over, slow foot-dragging jog to an upright jog. She resigns herself to the fact that she will miss her presentation. And she knows that no one will believe her, ‘the dog ate my homework’ story.
END: Sadie feels something dangling and banging against her leg. She grabs a cord and realizes it is her iPod touch that she uses to listen to music. It was in her sleeve cuff but fell out when she was pulled out of the cab. The earphones are around her neck. Sadie immediately wonders how she might be able to use her iPod to get a message to Adam.
———————————————————————————
Turning Point 2: MIDPOINT: The journey is still moving in the same direction, but the meaning has changed in a big way that shifts reality.
EXT. STREETS – NIGHT
In between intersections, Sadie opens the Facetime on her iPod touch and plugs in Adam’s phone number. It rings and Adam picks it up right away. He asks her what is going on and tells her that he and everyone else she knows has been trying to get in touch with her.
EXT. STREETS – NIGHT
BEGINNING: As Sadie runs between intersections, she slows down enough that she hopes the caller will not notice. She opens Facetime on her iPod and plugs in Adam’s phone number. He picks it up right away.
MIDDLE: Sadie starts crying and talking, trying to tell Adam what she is going through and how she doesn’t know what to do. She finally breaks down and is hysterical. Adam yells at her to stop screaming, catch her breath and slow down.
END: Sadie takes a beat and then realizes she is coming to an intersection. She hides the iPod in her hand and puts her hand down alongside her leg. Adam calls out wondering where she has gone.
———————————————————————————
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This reply was modified 2 years, 2 months ago by Karen Sinclair.
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This reply was modified 2 years, 2 months ago by
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Alex Act 2 TP
What I learned doing this assignment, is to live with the 20% rule. This is my weakest point so far – I know for Act 3 we will descend into mayhem and I’m glad I have bad girl Rosemary right now pushing the boundaries too much (which might make my lead too passive)… she is stealing the show from Oona right now, but she will find her early demise soon and Oona has to clean up for her.
Heading to: Rethink everything… DO YOU MATTER GANG REVOLUTION
Midpoint Turning Point
Key Scene 4: Turning Point = Midpoint – There’s a huge change in meaning!
PLACE HOLDER 2024
Rosemary has gone to the journalist and claims she is the local girl behind DYM. She needs Bernhard at her side.
PLACE HOLDER
Oona is glad Bernhard is gone. Life can go back to normal.
She tells Rosemary Bernhard is gone. (Maybe even admits it to her mother?)
Rosemary tries to convince her to go back to 1850 and check on him… since he will be executed soon (does Oona not know that from the books?)
Oona refuses. Especially since she doesn’t know what caused the trip in the first place… Rosemary does.
PLACE HOLDER
Rosemary gets Oona drunk and slips her the ecstasy again.
She is talking in her sleep. Bernhard gives Rosemary instructions?
PLACE HOLDER
Oona lands in 1854 and speaks with Bernhard in jail?
Or is he no longer in jail because he is being sentenced (we could have a court scene?)
PLACE HOLDER 2024
Rosemary has gone to the journalist and claims she is the local girl behind DYM.
PLACE HOLDER 2024
She hacks Oona’s account and starts posting Do You Matter Challenges.
EXT. JVA
With the help of Bernhard Oona channeling, Rosemary liberates ALPHA and BETA from JVA and is finally the Gangster Moll she always wanted to be.
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Lonnie’s ACT II TP
What I learned from this assignment: The importance of the TP in Act II, the Midpoint of the script. This lesson helped me connect the previous actions of the protagonist with the TP, and the protagonist’s failure, and how the stakes are now even higher. The antagonist is much bigger than previously thought.
INT. CAFETERIA – KSU CAMPUS – DAY
Karen and Chuck, disheveled, finish dinner, slurp their coke. Chuck pulls up a wrinkled newspaper from an adjacent chair. Scans front page.
CHUCK
I can’t believe this!
KAREN
Now what?
CHUCK
This jerk of a President is calling us bums. Says we’re blowing up campuses.
KAREN
What?
CHUCK
Check this out.
He reads.
CHUCK
You see these bums, you know, blowing up the campuses.
Karen is astonished.
CHUCK
He goes on to say, “get rid of the war there will be another…”
He slowly folds the paper, drops it back on the adjacent chair. They stare at each other.
KAREN
I can’t believe that asshole. Hey, let’s see what’s going on out there. Wonder if anything’s gonna really happen to the ROTC building.
CHUCK
Rumor from the SDS group is that all of the ROTC sites on the campuses everywhere are just offices designed to spy on the students.
KAREN
FBI?
CHUCK
Dunno. Probably. Could just be the military.
EXT. KSU CAMPUS – DAY
Helicopters buzz overhead of students.
National Guard are everywhere–armed with bayonets.
Students gather in peaceful protest as sun sets.
ONE FEMALE STUDENT walks up to a young GUARDSMAN
FEMALE STUDENT
Hey, Cutie.
She flashes her bare breasts at him.
FEMALE STUDENT
What’s your wife doing while you’re here watching us? Huh?
Guardsman ignores her.
Other MALE STUDENTS yell obsenities at the guard.
MALE STUDENT
What the fuck are you doing on our campus, jerk?
Chuck and Karen stroll with a large group headed to the “bell”, but notice another group forming at the ROTC building.
Chuck nods toward the ROTC building, and pulls out his camera. They walk briskly to the ROTC.
EXT. ROTC BUILDING – KSU CAMPUS – NIGHT
A handful of Guardsmen stand in the area. No police.
Two young men start throwing moltoff cocktails into the building, a fire starts.
The building is vacant. No one tries to put out the fire.
It smolders and goes out.
A few minutes later, a younger boy comes up throws another flame or cocktails into the building this time, it is sustained. Fire starts engulfing building.
Chuck notices the suspicious other photographer and takes pics of him, ash the suspicious guy takes pics of the students–not the fire.
Firemen arrive and start putting out the , but some of the radicals turn off the water, and even try and cut the fire hoses.
The large FIRE CHIEF walks up to one of the PROFESSORS present.
FIRE CHIEF
I’m pulling my men out. They’re at risk here, and with no police, I have to protect them. Where is the police anyway?
PROFESSOR
I don’t know….I Just don’t know. We’ve put calls in several times to the station downtown. (KSU police? Where were they?)
National Guard quarantined off the building as it burns to the ground.
Chuck continues to take pics of burning building
INT. OVAL OFFICE – WHITE HOUSE – WASHINGTON D.C. – NIGHT
President Nixon holds the phone with feet propped up.
NIXON
Let me get this straight, Rhodes, you got students who burned down a building there, a government facility?
OHIO GOVERNOR RHODES sits in his office in Columbus, holds phone close.
RHODES
Yes, Mr. President. I’m hot and at my wits end with these kids.
NIXON
Well make sure those guards have live ammo. These kids need to know who’s in charge there.
RHODES
Yes, Sir. You got it.
NIXON
Rhodes, you’re the governor…you know what to do.
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Margaret had completed Act 2 Draft 1 What I learned completing this assignment is I realized except for one day where I had plans and scheduled that I wouldn’t write, I’ve written every day since the beginning of this class. Even though I’ve been writing for 30+ years I have never accomplished this until now. The momentum is fantastic but I now take myself seriously as a writer on a new level. I know I will continue at this pace to achieve my goals for this year and beyond. I’m all in. Because I’m writing a series and not a feature my structure is a little different but for the purposes of this assignment, I’ve brought together what would be my second act (which is in fact the last scene of episode one and the first half of episode two). EXT. mom’s house – night
Lake struggles with a large suitcase an overnight bag and har handbag.
She drops them beside the car.
Lake opens the passenger side door and moves the seat back and struggles to get her suitcase and bags into the back seat.
EXT. HILLSIDE PLOT – NEIGHBORHOOD – night
Lake pulls up in her car and parks in front of the burned plot where her house used to stand.
INT. parked car – night
Lake
What the fuck am I supposed to do now? What the actual fuck!?
Blake appears in her driver side seat.
Lake
Just when I thought nothing could get worse.
Blake
You have everything you need.
Lake
I need to find where I belong. That was never with you.
Blake
But it wasn’t all bad.
Lake
No it wasn’t all bad.
Blake
You have a clean slate.
Lake
It seems pretty crowded for a clean slate.
Blake
Home is where you belong.
Lake raises her head and smiles at Blake for the first time.
EXT. House for sale – Olive Court – day
Lake surrounded by her bags at her feet on the front step, quickly enters Ember’s code into the lockbox and opens to reveal the key.
She unlocks the front door and steps dramatically over the threshold and looks around.
INT. House for sale – Olive Court – day
She carries all the bags into the house and drops them inside.
INT. House for sale – Olive Court – day
Lake opens the sliding glass door at the other side of the great room.
ExT. House for sale – Olive Court – day
Lake exits the front door. She locks the front door and carefully put the key back in the lockbox.
INt. House for sale – Olive Court – day
Lake enters the house through the glass door.
She shuts the door behind her and locks it.
She heads back towards her bag but stops in front of the sign over the dining room table: Home where memories are made, love is felt and refuge is found. You belong here.
Lake smiles wryly. INT. house for sale – master bedroom – day
Lake sleeps peacefully in the staged bed of the master bedroom of the house for sale on Olive Court.
She smiles in her sleep.
Blake appears on the side of the bed.
BlAKE
Time to get up babe.
Lake’s smile disappears.
Lake
No. Not you.
EXT. HOUSE FOR SALE – OLIVE COURT – day
Ember pulls up in a flat black Range Rover followed by a COUPLE in a white Mercedes GLC.
Ember passes Lakes’s distinctive Mini Cooper. She notices it immediately and looks around suspiciously.
Ember and her clients approach the front door.
Ember enters her numbers in the lockbox and is relieved to see the key.
INT. house for sale – master bedroom – day
BlAKE
Look, you gotta go.
Lake
Why did you go? Why did you leave me?
BlAKE
I didn’t have a choice.
LAKE
I didn’t have a choice…
INT. house for sale – Olive Court – day
Ember describes the kitchen getting couple to imagine this as their home.
Ember
This Sonoma County stunner features French oak flooring throughout. The open concept kitchen/great room comes complete with an expansive island with a sink and bar seating. Notice the chefs kitchen with everything you need to entertain.
INT. house for sale – Olive Court – day
Lake hears Ember’s voice.
Ember
Notice the professional range and integrated fridge. There’s even a wine cooler.
Lake jumps out of bed in her underwear and a teeshirt.
Lake
Shit, shit shit!
She slides her bags under the bed.
Lake hurriedly straightens the covers and jumps under the bed just in time.
Ember enters the room with the couple in tow.
Legs and voices.
Ember
The master suite is complete with a walk-in closet, an i suite bathroom with his and her sinks.
Embers legs are right next to the bed. Lake holds her breath.
Wife couple
(screeching)
Aha!
She claps excitedly.
Wife couple
Look at the view from the bathroom window.
Husband couple
Spectacular.
Embers legs move towards the bathroom and lake exhales.
EXT. house FOR SALE – OLIVE COURT – day
Lake is lugging her suitcases to the car.
Lake
Angrily wrestling her suitcase into the back seat.
Phone rings. It’s Ember. Lake grits her teeth, smiles big and answers the phone.
Lake
Ember! To what do I owe the pleasure?
EmBER
Lake. What are you up to?
Lake
What do you mean?
EmbER
I just showed the Olive Court property and guess who’s car was there?
Lake twists her face trying to think quickly.
Lake
I’m still here.
Ember
Why are you breathing so hard?
LAKE
I realized this morning I hadn’t checked out the neighborhood so I drove up this morning for a brisk walk.
EmBER
You are a horrendous liar.
Lake
I told you, I’m trying the place on.
EmBER
Just don’t sleep there again. I have to go. I’m busy.
Ember hangs up. Lake screams, trying to shove the suitcase in the back seat.
Lake
Fuck!!!
INT. BEE’S ORGANIC FAST FOOD RESTAURANT – DAY
Lake enters Bee’s her bag over her shoulder and keys and phone in hand.
She walks up to the counter. There is a young woman, COUNTER HELP, smiling ready to help. Lake looks disappointed.
LAKE
Hi, I’m picking up for Annie L. today.
COUNTER HELP
Just a minute.
Counter Help begins looking through the various bags on the pick up shelf.
Mitch appears and speaks to the young woman who disappears to the back.
MITCH
That’s Annie L?
LAKE
Yes, thank you.
MITCH
So, woman about to formerly be known as Lake, what goes on?
LAKE
Oh, you know, brain surgery. You?
MITCH
About the same.
He hands her a bag.
LAKE
Thank you.
He walks around the corner and begins to walk her out.
MITCH
May I walk with you?
Mitch motions towards the door.
LAKE
But of course.
The STAFF at Bee’s watch the two eagerly as they exit the restaurant.
EXT. RESTAURANT – DAY
Mitch and Lake are at her car, the food already in the hatch.
LAKE
You didn’t call?
MITCH
I was embarrassed. It felt…you know…too casual.
LAKE
Hey.
Lake reaches up and kisses him on his cheek.
LAKE
It may have seemed casual but truth be told I haven’t slept with anyone since Blake…
Mitch
Let me guess-ex-boyfriend?
Lake
My husband. He died in the firestorm.
MITCH
Oh. Ummm, you want to talk about it?
LAKE
Noooo. Definitely, no.
MITCH
You should have told me.
LAKE
I was nervous, ya know. I thought just pull it off like a bandaid.
MITCH
You’re so romantic.
LAKE
I know, right.
MITCH
Second date?
Blake shows up.
LAKE
Not you again.
Mitch
I’m getting mixed signals here.
LAKE
Sorry, I’m definitely down for that second date. Do you ever feel like you’re being haunted by your ex?
Mitch
All the time. Why is there luggage in your backseat. Are you going somewhere?
Lake
Yes.
Mitch
Where to?
Lake
Not sure yet.
Mitch
We’ll come over for dinner tonight before you go anywhere.
LAKE
I’d like that. Very much. Now I have to deliver this food before it gets cold and take care of something I’ve been putting off for a very long time.
He opens the car door for her as she steps into the driver’s seat. He closes the door after her.
He waves and she smiles at him as she pulls out of the parking lot in her yellow and black Mini Cooper.
EXT. HILLSIDE PLOT – DAY
Lake pulls up to the hillside plot but this time parks in the driveway.
The area around has been grated and cleaned up except the plot where her house once stood, it is exactly as it was after the fire.
She looks over wearily at her old man neighbor’s house, the only still standing in the area.
A CONTRACTOR approaches her car.
CONTRACTOR
Good afternoon, Mrs. Logan.
LAKE
It’s Turner. I changed it back to my maiden name after…but you can just call me Lake.
CONTRACTOR
Here are a pair of gloves. Do you want me to accompany you or would you rather be alone.
LAKE
I’d rather do this alone. Thanks.
Blake follows her.
Lake
I said I’d rather do this alone. That means you too, whatever you are.
Blake
Oh, I wouldn’t miss this for the world.
Lake walks through where her house used to stand which is nothing but soot and ash. She runs her boot through some ash piles and then turns away.
She walks up the driveway and back towards a partially burned back building with a large tarp over it.
EXT. STUDIO – DAY
The contractor follows her up to the destroyed structure.
He pulls the tarp off a pile of what used to be a building and folds it up.
CONTRACTOR
You shouldn’t do this alone, ma’am.
She looks at the ghost of Blake.
Lake
Don’t worry, I’m never alone anymore.
CONTRACTOR
You just holler if you need anything.
LAKE
Thanks.
The Contractor walks away.
Lake turns towards Blake’s destroyed studio still holding the gloves but doesn’t approach.
INT. Blake’s studio – DAY
Lake walks into Blake’s studio as he paints a colorful abstract. The studio is tastefully decorated with his pictures displayed and framed magazine covers touting his accomplishments.
LAKE
I brought lunch. You hungry?
Blake
I’m not sure.
LAKE
Had a late night in the studio?
Blake
No. I’ve been staying up late working on a painting.
LAKE
Isn’t that what I just asked? Are you gas lighting me? You’re always gas lighting me.
Blake
You dumb bitch that isn’t what I meant.
Lake heads towards the door but Blake is up and blocking her way.
LAKE
Let me out.
BLAKE
You wouldn’t be anything without me.
Lake
Let me out.
Blake
You’re pathetic.
Lake
Get out of my way.
Blake tries to push her back. She pushes him with an almost super human strength.
He falls back and hits his head on the brick around the wood burning stove.
Lake runs out of the room.
Blake lies still on the floor not moving.
EXT. STUDIO – DAY
Gloves on, Lake searches through the wreckage of Blake’s studio. She looks at what is left of the black potbellied stove.
She overturns a piece of burned metal. She uses her foot to comb through sticky ash. Nothing.
Lake spots something and pulls it out of the rubble. She wipes black ash off an intact crystal vase with the side of the glove.
She moves toward the corner of the structure where partially burned wood boards remain.
She moves some boards aside and finds a partially burned canvas covered with an abstract painting.
She picks it up and carries it outside the wrecked building.
She surveys the destruction of the structure and the whole area where the fire’s burned with a look of overwhelm.
She looks down and sees her boot is over a burned and faded picture of her and Blake.
Blake
There were some good times.
Lake
Stop haunting me.
Blake
Who else would l haunt?
Lake
Why me?
BLAKE
You killed me.
She stares at the image for a few minutes and then moves her boot over the picture and grinds the image further into the layer of dirt and ash.
Lake
I didn’t kill you!
The contractor looks up from the clipboard with papers he was looking at.
Blake
You left me for dead which is the same thing
-
Tita’s Act 2 TP – Midpoint (Assignment 15)
BEAT SHEET FOR THIS SCENE
Hutchinson has won the sympathy and respect of Boston’s merchants and shopkeepers. He reassures people he is doing everything to try to get the Stamp Tax rescinded and has isolated Sam Adams – no one speaks to him. Suddenly Sam receives a copy of Hutchinson’s letters to king and Parliament asking them to send troops after the destruction of his home and his fear of future violence.
SAME JOURNEY: Keep the colonists loyal, obeying Parliament’s laws/taxes, and united to the Mother Country to protect the only nation in world to give citizens right to vote for own leaders
DIFFERENT MEANING: Advocate to King and Parliament for colonists’ rights in order to keep colonies loyal and united to the Mother Country and to protect colonists from tyrannical nations plundering them
SU NOTES (REMINDERS TO KEEP IN MIND AS I COMPLETE THIS ASSIGNMENT)
Up until now, the protagonist thinks the story is about one thing. The audience is with them in their journey. By providing a stark change in context or meaning, you get to explore the journey in a new way.
MIDPOINT = A major twist. It changes the meaning of the journey, but we’re still the same physical journey.
The Midpoint has the same characteristics as the other turning points — major twist, no turning back — but it also has one unique thing that the others don’t. It changes the meaning of the journey! That takes the story to a new level and demands the character make another change in their life.
This isn’t about suddenly changing the story’s Genre or Protagonist – it’s about going deeper into the story.
The journey is still moving in the same direction, but the meaning has changed in a big way that shifts reality. It could be any of these:
· The forces of antagonism are 10 times bigger than we thought.
· Reality has changed (The Matrix). We’re through the looking glass.
· The whole first half of the movie was a con.
· They discover who has been betraying them.
· Everything they based their success on is wrong!
Whatever shift you choose, it completely disrupts the Hero’s reality.
Midpoints are always some of the most interesting scenes in a movie. Why? Because they are more than a Turning Point. They shift everything that happens from that point on.
Throughout the 2nd Act, your characters have implemented their first plan to resolve this story, which brings them to this very special moment where everything changes.
Just remember, same journey, different meaning.
OUTLINE OF MID-POINT SCENE
EXT. STREET NEAR DOCKS – DAY
Sam and Betsy walking past docks. Otis runs to them with letter from Franklin in England. They open letter and read that Franklin is enclosing copy of Hutchinson’s letter to Parliament/King requesting army to protect him and decent citizens. Otis shocked – secretly turning Parliament and King against us. Wife Betsy insists the world must know. Tell the world that H not friend, cannot trust him, just wants his money, titles and power to give others royal appointments. Otis switches begs Sam not to publish the letters – says But then says we destroyed his home, his history. You loosed the mad dogs on him. Sam but the people need to know he is asking for troops while pretending to be with us. Otis suddenly switches his position back again, rails against Hutchinson – he lied. Chose violence of authority over us. Sam agrees as if Otis suggested it – H is making everyone advocating freedom and liberty look like rioterspeople must know troops may be coming. Hutchinson as their secretive, hypocritical enemy.
· Theme exploring: When people advocating social order over freedom are not transparent and choose the violence of authority, they give power to the people advocating freedom and liberty above all else to make leaders look like unfairly treated victims
INT. BOSTON GAZETTE – DAY
Printing machine spewing forth copies of Hutchinson’s letters – despite printer’s fear he will be closed down by govt
EXT. BOSTON STREET – DAY
Papers being passed around to people in street. Hutchinson is accosted by people from all classes and becomes defensive. shamed and mortified. Otis, even more insane, rushes to him demanding the head of King George on a platter.
· Theme exploring: More on above (– When law/order people are not transparent and choose the violence of authority, they give power to the freedom/rights people to look like unfairly treated victims) – even turns some people who were more for law/order to swing over to freedom/rights as more important
INT. H NEW HOME – DAY.
Daughter trying to comfort Hutchinson who feels alone, deserted, failure and worse, hypocritical spy against fellow colonists… he loved them, gave his life to writing their history, the beautiful story of the making of the colony and its connection to the Mother Country… now he hated – and he hates them. Judge Peter Oliver ranting against Sam and Otis
· Theme exploring: The good side of law/order focus
FIRST DRAFT SCRIPT FOR MID-POINT SCENE
EXT. STREET NEAR DOCKS– DAY (Continuous time)
[Sam and Betsy walking past docks when James Otis rushes up with an envelope]
OTIS
I was just going to your house. Here – the captain had this letter for you from London. Look – it’s from the American colonies’ representative in Parliament.
SAM
Thank you, James. I’ll open it as soon as we get home.
OTIS
Now – Franklin must have something urgent.
[They open it. Find several letters enclosed inside. Skim them]
OTIS
They’re from Hutchinson!
SAM
Hutchinson asked Parliament to send the royal army. To Boston.
BETSY
I knew he’d do that.
OTIS
Secretly turning Parliament and King against us!
BETSY
Finally, people will know who he really is.
OTIS
No – these are confidential
BETSY
Won’t be after we get them to the Boston Gazette
OTIS
You can’t publish his letters – look – he says we destroyed his home, his history.
SAM
You don’t think people need to be warned that troops may be coming?
OTIS
You loosed mob leaders and their mad dogs on him. He’s afraid.
BETSY
People need to know he’s calling for troops against us.
OTIS
Against the people who looted and burned his home!
SAM
We have a colonial militia. Our soldiers beat the French out of their forts. Why didn’t he call out our militia to guard against the mobs? And against me, you, anyone fighting his grab for power? Stole your father’s chance to be appointed Chief Justice. Kept that position and also accepted his royal appointment as Lieutenant Governor and member of the King’s Council to advise our House of Representatives. What did you say about the separation of powers?
OTIS
He’s grabbed them all for himself – executive, legislative and judicial. Pure tyranny.
SAM
And now choosing the royal army’s authority over us. Just when we’ve shown Swift and Mackintosh who got their men drunk, stirred them up. To turn everyone against you and me and others struggling to keep our rights as British citizens.
OTIS
I told you – he acts so polite and perfect. He’s grabbing all the powers he needs to strip away our right to elect our leaders and govern ourselves
SAM
Good point. Agents of Parliament among us. They want to make anyone who advocates liberty look like rioters.
INT. BOSTON GAZETTE PRINTING MACHINES – DAY
Printing machine spewing forth copies of Hutchinson’s letters – despite printer’s fear he will be closed down by govt
EXT. BOSTON STREET – DAY
[Pages rapidly printing out of printers become papers that people in street are passing around to each other, creating anger, fear, shock. Lieutenant Governor Hutchinson is accosted by everyone from laborers to shopkeepers and wealthy merchants. Sam in the crowd is whispering to people who run up to Hutchinson, holding the copy of one of his letters in his face, shouting – as Hutchinson shocked, sputters, tries to defend but at a loss for words, humiliated. Trying to get away.
OTIS
[Rushing through the crowd, shouting, riling people up]
Taxation without representation is tyranny!
LABORER
“Traitor!
SHOPKEEPER
“You’re siccing the royal army on your own people?!”…
“Yeah – it’s our right to elect our own leaders to tax ourselves – or not!”
WEALTHY MERCHANT
“We demand our rights as British citizens and you call in the army?!”
“Secret deals to ruin business – while you pretend to be supporting our right to be taxed by our own leaders?!”
[Tax Commissioner Robinson rushes in, chases Otis off. Hutchinson’s slave Andrew rushes him away, contemptuously pushing back the crowd. Judge Peter Oliver screeches at the people, driving them off. Tax Commissioner Robinson edges Otis into a tavern, signals some men who create their own chaos, pull out clubs aiming at Otis’ head just as he turns to try to punch them. Otis is down.]
INT. H NEW HOME – DAY.
[Hutchinson’s daughter Peggy is giving him tea. Hutchinson slumped, head in hands]
HUTCHINSON
They’ve turned against me.
PEGGY
Hateful people. You loved them. Night after night you were writing their history. Writign a beautiful stories of the people of our colony…. Bringing the liberty of our Mother Country to the wilderness. You are a fine leader.
[Judge Peter Oliver comes in despite Andrew’s attempts to keep him out. He’s the last straw for Peggy and Hutchinson]
JUDGE PETER OLIVER
[TBD – more Oliver ranting against Sam and radicals from his book]
who feels alone, deserted, failure and worse, hypocritical spy against fellow colonists… he loved them, gave his life to writing their history, the beautiful story of the making of the colony and its connection to the Mother Country… now he hated – and he hates them. Judge Peter Oliver ranting against Sam and Otis.]
PEGGY
Judge Oliver. My father needs rest. I’m taking him to his room.
[Peggy guides her father out. Judge Oliver follows them, ranting]
###
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This reply was modified 2 years, 2 months ago by Tita Beal Anntares. Reason: when I copy/paste my Word doc into this system, some key parts are left out for some unknown reason
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This reply was modified 2 years, 2 months ago by
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Tita Has Completed ACT II, Draft 1 (Assignment 16. Finish Act II)<div>
What I learned from this Assignment:
When writing the play so fast every day feels overwhelming, the SU template steps help me keep moving forward, not give up because it’s so bad or so many loose ends are flying around my mind. Curious if this would be as helpful without the pressure to produce a segment every day. Will try using this template on my next play without the daily deadlines… will I work more comfortably or without the time pressure, delay and get lost in over-thinking before I have a 20%-decent first draft?
SU Guidelines and assignment notes to keep in mind:
Scenes for Act 2 at a 20% quality level:
Scene 1: Reaction to the Turning Point.Scene 2: Protagonist makes a plan and executes it.Scene 3: Not only does their plan fail, but…Scene 4: Turning Point = Midpoint.
Once you have those complete, feel free to outline and write out any other scenes that will fill out your 2nd Act. Do a quick read of Act 2 and add/improve anything you’d like. Every day that you get an assignment done, feel good about the accomplishment and celebrate! That communicates to your creative mind that you’re doing something worth repeating. Keep going! You’ll be proud when you’re done!
SCRIPT
Act II – Reaction Scene (First Scene in Act II – Reaction to Turning Point at end of Act I):
Beginning:
1NT. STUDY IN HUTCHINSON’S ELEGANT BOSTON HOME– DAY
[Hutchinson madly working at desk, surrounded by piles of books, paper, files. He writes, crosses out, starts to throw paper away, files it carefully in wastebasket. Knocking on door with a cane]
PEGGY HUTCHINSON
I told you, Judge Oliver. My father is writing his history.
[Hutchinson’s daughter Peggy tries to hold back Judge Peter Oliver who is pushing through the door, shouting]
JUDGE PETER OLIVER
[Yelling]
History is being made right now!! (INSERT PO’s rant against Sam and Otis as sons of Satan)
PEGGY
Please! My father is already upset. He needs to write.
HUTCHINSON
How can I write?! First my sons telling me that I should do whatever the tax Commisioner wants so I do’t lose my position – or a chance to be Governor. Now my cousin ranting
Middle:
JUDGE OLIVER
Not ranting! Trying to force you to face the truth. Otis and Adams are not just ensnaring the people of Boston – they’ve got silversmith jumping on his horse to take copies of all correspondence about the tax into our Western counties And others ride to the borders so people on all our borders – Connecticut, New York, New Hampshire, the Vermont Territory and Rhode Island Then runners tke the letters spople are mobilizing against this Stamp tax all over the colonies. Runners pick up the correspondence I nto the other countries frm there! What are you going to do to put out this prairie fire before this two servants of Satan start a prairie fire in Boston and Mass?
HUTCH
before you barged in –I – I was looking for my copies of letters fro Lord Dartmouth (name?] proving Parliament never gave up their right t tax the colonies.
JUDGE
If you don’t know what to do, I do. The first sign of anyone refusing to pay the tax, we arrest them. Fill the jails – and if the jails overvflow, we arrest and lock them in cell
HUtCH
No, no! That’s just the kind of tyrannical action that will feed them!
JUDGE
So you do nothing?
HUTCH
I’ll keep reasoning with them. Explain the laws. They’re our fellow citizens – we can’t arrest them because they are sure they are protesting an unfair law. Even if the law says Parl an ta them, doensn’t mean it’s fair t tax them.
JUDGE
That really worked – last week you didn’t even finish your speech. Had people sneering and jeering. Walking off. Some of them who found a bench fell asleep.
Ending
HUTCH
Believe me – we can trust our government to realize they rescind the tax. They should stick to tariffs on imports if anything
JUDGE
What did the empire get for their troubles when they were just imposing tariffs? Supposedly decent men of wealth refusing to pay the tax, smuggling heir stuff – then that Otis radical calling us tyrants because we send Customs aentpppgents to take back the contrabnand fast as a fox,they
HUTCH
Sloppy thinking, Judge – the first arrest will turn every Brtish citzens in our colony into a tax evader = and proud of it.
JUDGE
So what are you going to do?
HUTCH
Not arrest them
JUDGE
That’s n ot an answer
[Stomps out]
PEGGY
He’s proably going to get Gov Bernard to arrest anyone not buying the tax stamp.
HUTCH
Gov Bernard just wants to get recalled to London. He won’t do anything that might make the Kng tell him to stay her
PEGGY
Or worse – that tax commissioner threatened t write a bad report about you to the king. If you lose your appointment – everyone in the family may lose shipping contracts – future placements… Billy and Tommy – and what about cousin Andrew – if the king turns on you, wont he cancel the appointment of cousin Andrew as tax master?
HUTCH
I’ll write Lord Dartmouth again. I trust our nation to do the right thing… even after they do the worst first. We live in the only nation with liberty in a world of tyrants around the world – monarchies. Parliament will realize the Stam tax may be legal but its not a good strategy. King Charles of Spain, King Louis of France – and xxxxx. If they see we can’t control our own citizens, make them pay taxes – they will all band together to take bites out f us –
PEGGY
But we beat back the French. All the colonies of New England stayed British
HUTCH
They can all move into Indian country.- the French ccan come down from the North, the Spaniards up from Florida… Don’t worry, I’ll write Lord Dartmouth again . And some other. keep writing Parl… show them why taxing the colonies is legal and their right, They will see reason.
Act II Key Scene 2 Protagonist takes on a plan and executes itL
Beginning:
EXT. TREE OF LIBERTY IN BOSTON GREEN- NIGHT
Following Judge Peter Oliver who rushes in pointing in rage to view the protest, Hutchinson is shocked. Tax Commissioner Robinson stays, frightened, at the back. Townspeople – merchants, shopkeepers, laborers, dockworkers, even ministers and some policemen in uniform but part of the crowd – stand around a large wagon with a glowing lantern inside a sheet painted with dancing devils – and hanging from a pole on the wagon, an effigy of a man labeled “Tax Master” and a large boot labeled “Lord Bute.”
JUDGE PETER OLIVER
Arrest them!
HUTCHINSON
For…?
JAMES OTIS
[Leaps out from crowd]
We’ll be hanging the Lords of Parliament as soon as-
SAM ADAMS
[Pulling Otis away to back]
Jemmy, keep it peaceful.
JOHN HANCOCK
[Apologetically]
But Judge Oliver, they reassured me that our Constitution gives every British citizen –
JAMES OTIS
[Breaking free and in Oliver’s face]
Anywhere! Damn right! Every citizen of Great Britain has the right to vote for our own leaders to make laws for us, tax us. Our forefathers never gave up that right by moving to the New World!
JOHN HANCOCK
They showed me the King’s charter to the first settlers of our colony. Too far to elect people for Parliament so the king gave them the right –
JAME OTIS
[Interrupting]
Right to elect our own leaders. As long as we are loyal to our monarch. By standing against the illegal Stamp Tax, we are showing our loyalty to our king and the Constitution of our nation Great Britain!
[Crowd cheers]
We got one of those boxes of Stamp Tax papers – make us prove we paid your illegal tax by stamping every purchase? People of this colony – what are we going to do with Parliament’s illegal tax on us? Hold up your stamp papers! You don’t have one? Hold up any paper you got.
[Grabs a torch, lights it from a lantern, and starts lighting stamp papers, people light each others’ paper until the circle around the wagon becomes a circle of fires]
JUDGE OLIVER
Where’s Sheriff Greenleaf?!
OTIS
[Now in Hutchinson’s face]
See? The people trust me. They know I resigned from the royal position rather than let our officers break into people’s homes.
COMMISSIONER ROBINSON
Smugglers’ homes. And you’re inebriated.
JUDGE OLIVER
[to Robinson] That’s just what he’s like.
[to Hutchinson] Lieutenant Gov – we don’t want the Commissioner reporting back that we;’re unruly savages – do something! Get the police – disburse this crowd. Arrest him arrested and I’ll jail him
[Angry roar from crowd]
HUTCHINSON
If we arrest him, this whole crowd will become enraged –
[Eying Sam Adams who is guiding Otis away again.]
– and another rabble rouser will pop up then –
Middle:
SAM ADAMS
[Handing Otis over to Hancock]
Gentlemen, come see this magnificent creation the people have created – their peaceful protest against your illegal tax
[Two men rush forward, each trying to be the first to explain proudly]
HENRY SWIFT
[Dockworker pointing proudly to the boot]
I hanged Lord Bute here for telling Parliament to stick us with the Stamp Act? And –
EBENEEZER MACKINTOSH
King Louis. We sent his French troops and their Indians back into Canada. Even Satan here couldn’t help him invade our British colonies!
HENRY SWIFT
And – and we’re hanging the Tax Master – Ain’t he your cousin, Lieutenant Governor?
JAMES OTIS
See?! Anyone stealing our rights will be hanged for – Mr. Hancock, leave me be – for depriving our right as British citizens to govern and tax ourselves! Anyone! House of Lords, House of Commoners. Even royal appointees born right here in Boston!
[Crowd getting agitate]
JUDGE OLIVER
Police! We’re outnumbered? Go fast – get the Sheriff and reinforcements!
[The policemen who had been part of the crowd run off blowing their whistles to alert the Sheriff. Crowd becomes angrier]
SAM ADAMS
[To Crowd]
How can we show the good Judge Oliver and all of Lieutenant Governor’s other family and friends that we are peaceful citizens exercising our lawful right to express our concerns?
MACKINTOSH
[Jumping up to effigies on wagon]
Yeah – me and my South End boys’ll show how we’re gonna hang anyone takes away our rights!
HANCOCK
Mr. Adams, this is –
SWIFT
You’re full of it, Mackintosh – me and my North Enders’ll send their tax men back to London or down to Hell!
Ending
SAM ADAMS
[To Crowd}
A law abiding people. But we’re free to protest Parliament’s illegal tax on us. Who are we?
[Many in crowd shout “Sons of Liberty!”]
Do the Sons of Liberty have the courage and strength to cart our wagon up to the top of that hill and sacrifice our effigies for trying to take away our rights as British citizens? Mr. Mackintosh – Mr. Swift – can you and your men start the procession?
[The procession begins, taking the wagon off]
JUDGE OLIVER
[TBD – Fuming as in his book against Otis and Adams]
COMMISSIONER ROBINSON
Harvard graduates. Good families – why?!
JUDGE OLIVER
Jealousy. Sons of men who helped us win the war last year against the French.
HUTCHINSON
The king gave me the appointment Colonel Otis wanted – James accused me of buying his father’s position. And Samuel Adams? His father wanted us to allow farmers to set up a Land Bank -use land as currentcy. Ridiculous. Both of them loyal sons, each blaming me for the idiocy of their fathers.
JUDGE OLIVER
Look!
[They see on a hill a bonfire and silhouette shadows of people dancing around it]
COMMISSIONER ROBINSON
Primitive savages. Why do the men of commerce join with them?
JUDGE OLIVER
Scared.
COMMISSIONER ROBINSON
Understandable. Most from the poorhouses and prisons of the Mother Country. People back home thought the colonies were just rich farmers and shippers. I’ll tell ‘em.
HUTCHINSON
To survive in the wilderness. Often under attack by the tribes And recently by the French and the Indians. Even the wealthiest had to be tough. Parliament must rescind this Stamp Tax.
COMMISSIONER ROBINSON
Not you, too?!
—
Additional Scene/Placeholder
EXT. PORCH OF GREEN DRAGON TAVERN. TWO WEEKS LATER/AFTERNOON
Sam mobilizes merchants, workers, ministers, gang members, farmers etc. into Committee of Correspondence to end news of the peaceful protest, pride in the people… send throughout Massachusetts and the other colonies.
[TBD Insert part of Sam’s words from his actual letter praising the bravery and patriotism of the people]
Joyful celebration – Otis ecstatic – the real spirit of the people…
—
Key Scene 3: Not Only Does the Plan Fail, but…Old ways don’t work
Beginning:
EXT. OUTSIDE HUTCHINSON’S HOME IN BOSTON – NIGHT
Large angry group is gathering with torches yelling at Hutchinson who is on his porch alone. His slave Andrew and his daughter Peggy come out.
HUTCHINSON
Andrew – take Peggy inside – no – take her to Judge Oliver’s home – anywhere safe.
[Peggy refuses to go with Andrew – he can’t physically touch her to force her. So stand to guard her.
Otis and Sam Adams rush in at the back of the crowd. Sam’s wife Betsy joins him]
OTIS
Too late! Hancock told me someone got the South and North Enders drunk… but so many have joined them!
SAM
Betsy – this isn’t safe.
BETSY
They’re going to ruin all the respect and unity you built
[Sam starts going from one person to another, saying “We’re loyal civilized people – are we going to let ourselves act like criminals? Help us stop this!” – Betsy does same, working the crowd but going to the few women in the crowd – “Get your man to go home” . Otis takes his cue and goes to others… Hancock joins them too… but no one listens to them or laughs at them, yells at them to join The People, or worse, snap back at the men (not at Betsy – just polite ignoring of her). They burrow into the crowd.
Throughout, Hutchinson is addressing the crowd. TBD – Get his actual words from letters and splice into these 3 sections:]
HUTCHINSON
I understand your concerns – we have always had the right to elect representatives who can pass laws and tax us.
[Yells – cannot tax us – only our elected reps can… Otis joins in with his phrase from earlier – Taxation without representation is tyranny – but Sam shuts him up, gestures to keep the crowd peaceful.]
Hutchinson, Continues
The king can appoint administrators and judges because we can wait two months for the royal papers to arrive… I’ve heard you – we all know the king gave us charters allowing us to set up our own elected assemblies of elected representatives.
[Some cheers from crowd mixed with shouts like “Then stop the Stamp tax!”
Hutchinson, Continues
Each colony has rights… But Parliament did not give up the right to pass laws that are necessary for all colonies…
[Crowd starts jeering, throwing things.]
PEGGY HUTCHINSON
Father – come – you have to leave!
HUTCHINSON
Andrew! I told you to take her to safety.
PEGGY
I’m not leaving without you!
ANDREW
Come with me, Miss Hutchinson. You can get someone to call the sheriff. I promise, I’ll come back to help him.
PEGGY
It will be too late. Father
[Rioters rush up to the porch. Andrew Hutchinson away. Peggy follows. The three watch in horror from a safe distance and the crowd loots, bringing their elegant thing out and giving to people to take away… boxes of papers are just dumped….torches start fire. The house starts to burn – Hutchinson forces himself from his slave Andrew to try to collect his papers from the ground.
[Hutchinson is desperately trying to collect papers from ground as rioters step on them, push Hutchinson out of their way as they run in and out of the housewith his possessions]
HUTCHINSON
My history – our history
[Andrew rushes in, fights off attacks, grabs and drags Hutchinson, still clutching papers, to safety.
Middle: (Next Plan)
INT. HUTCHINSON’S OFFICE – DAY
[Hutchinson has been awake all night, in same clothes, trying to sort his papers. Standing near him is Judge Oliver. And sitting near by, the Tax Commissioner Robinson. Quietly, merchants including Hancock and shopkeepers, come in to put their hands on his shoulders, whisper apologies – Hancock, others
[Otis runs in, weeping, gives Hutchinson an unwanted bear hug, Tax Commissioner pulls him off]
OTIS
My deep apologies! Damn them. Damn Sam Adams. Believe me, Thomas – Mr. Hutchinson. I will fight them to the death. I was so wrong. –
JUDGE OLIVER
[starts his rant again – TBD get from book]
HUTCHINSON
Thank you, Mr. Otis. That took courage and decency.
OTIS
How could I be so misled. I was so wrong. You were right – our nation is the only nation in the world where Lords and Commoners can elect their own representatives in Parliament. We can’t destroy that beautiful order – with our monarch serving all the people, defending us –
[Gestures for Oliver Andrew to get Otis out – which he does, firmly, with contempt. Practically throws him out, closes the door – cutting off the line of people waiting to apologize.]
JUDGE OLIVER
[Rant against the people continues – get the actual words]
COMMISSIONER ROBINSON
You know you are in danger here. All the people of your colony are in danger. You don’t have enough police. Your militia cant be trusted – they may be part of the mob.
HUTCHINSON
You saw how people apologized – they are still lined up.
COMMISSIONER ROBINSON
Apologies only because your home was destroyed. They care about property at least. But they wont stop fighting you
HUTCHINSON
My family and I can move to our country home in Milton. We will be all right. But my writings – the history of each person who built our colony from nothing . I was bringing them to life again – each burning page was their second death
JUDGE OLIVER
[Ranting against people again]
HUTCHINSON
Judge Oliver. Think. The ugly violence last night – so many people coming to apologize.
COMMISSIONER ROBINSON
Those radicals – they will stir them up again. You need to call for troops from England.
HUTCHINSON
That will only inflame them again… But if we build on this foundation – their goodwill right now. Show them we are fellow citizens. They’ve seen me as their competitor for royal appointments. As if because I may be wealthier, I think I’m better. The radicals are making them fantasize about equality… I can show I am listening to them, respect their concerns about taxes. Build consensus. I can write Lord XXXX – explain the reasoning for repealing the Stamp Act. Just focus on tariffs on imports.
COMMISSIONER ROBINSON
Then they win.
HUTCHINSON
Not about winning. We must rebuild trust – this is our opportunity. To reconnect with people of influence, men of commerce. Please – open the door.
COMMISSIONER ROBINSON
Sounds ridiculous. That mob last night could have killed you. And your daughter.
HUTCHINSON
Let the next one in. I will stay here, accepting their shared grief.
[Robinson lets in the next one and leaves himself. Otis’s Tory wife come in. As he leaves:]
COMMISSIONER ROBINSON
Whatever you do, ask the king for protection.
RUTH OTIS
Does he mean the royal army? [Hutchinson nods] You need troops. My husband – the people – he has started an anger in them. He will not stop. None of them will
[She touches him carefully]
I am so very sorry. I wonder. Should you and I just take our children home to the Mother Country?
[Hutchinson looks at her for a moment, wishing]
HUTCHINSON
I must save the unity of – our nation. The Mother Country needs us. Our colony – all the others. We need Great Britain. The only nation in the world to allow the people to elect their reps in Parl – if we look divided, the kings of Spain, France, Russia – even the Ottomans
JUDGE OLIVER
Mrs. Otis, how could you ever marry that Satanic madman? The Cunninghams – you come from one of our best families.
RUTH
Peter – what could I do? His father and my father, both Colonels in our long war against the French. And before he became political – James was an excellent lawyer.
[To Hutchinson]
And I saw how happy you and your Margaret were. Oh, dear, there are many waiting to give you their commiserations and support. I shouldn’t take up your time.
[She starts to leave. Looks back]
If I can help in any way…
Ending – Plan in Action
EXT. OUTSIDE GREEN DRAGON TAVERN
[Sam is walking with his wife Betsy near the tavern. Former friends pass, nod. Hurry away. Some ignore him. Merchants, shop keepers. friends, avoiding Sam. Some mutter negative comments, some look at him and laugh. Most ignore Sam’s nod of greeting.]
[REWRITE NOTE – Revise this so as they talk, they are feeling their love for each other and lighten the political talk]
“So glad His Majesty appointed Thomas Hutchinson to be our new Governor – first American-born governor!”
“His inauguration today starts a new government. Orderly. Peaceful. Hutchinson will try to get the Stamp Act repealed – but going through the process, not using the mobs!”
“If you want to show your support, I’m sure they’ll let you into the inauguration party – seriously. We’ll all be better off if we stand together against the violent extremists.”
BETSY
They think you caused the riots. So unfair. You were standing up for liberty
SAM ADAMS
We must keep standing for liberty
BETSY
Who’s “we?” No one even wants to say hello to you now. I heard Hutchinson’s men got people to get the mobs drunk.
SAM
Probably. We need to be closer to the people. To the poorest of the poor. Keep them closer to us
BETSY
Question is how.
SAM
I don’t know. But what I do know is someday England will be a tiny island, the American colonies will be the new power . [TO DO: get exact quote from letter]
B<b style=”font-family: inherit; font-size: inherit;”>ETSY
Shhh – don’t put your name at the top of the King’s hanging list.
SAM
Why? We are loyal to our king, aren’t we? Our charters already give each colony’s assembly the right to make our own laws and tax ourselves through our elected representatives.
BETSY
But will the king support 13 little Parliaments in the New World – or just one in London?
SAM
Why not? We can all stay loyal to the king. Little Parliaments in the New World. All loyal to the king, just like the Parliament in England. But we must keep standing for liberty.
BETSY
But if no one stands with you? You brought together merchants, shopkeepers, craftsmen, laborers. Now they think you caused the riot.
SAM
Will you stand with me?
BETSY
Do you have to ask?!
SAM
Even if it’s just the two of us. If they take away our right to govern and tax ourselves through our elected representatives, that is the first step to giving Parliament a tyrant’s control over us.
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Midpoint – Turning Point, last scene of Act II
Beginning
EXT. STREET NEAR DOCKS– DAY (Continuous time)
[Sam and Betsy walking past docks when James Otis rushes up with an envelope]
OTIS
I was just going to your house. Here – the captain had this letter for you from London. Look – it’s from the American colonies’ representative in Parliament.
SAM
Thank you, James. I’ll open it as soon as we get home.
OTIS
Now – Franklin must have something urgent.
[They open it. Find several letters enclosed inside. Skim them]
OTIS
They’re from Hutchinson!
SAM
Hutchinson asked Parliament to send the royal army. To Boston.
BETSY
I knew he’d do that.
OTIS
Secretly turning Parliament and King against us!
BETSY
Finally, people will know who he really is.
OTIS
No – these are confidential
BETSY
Won’t be after we get them to the Boston Gazette
OTIS
You can’t publish his letters – look – he says we destroyed his home, his history.
SAM
You don’t think people need to be warned that troops may be coming?
OTIS
You loosed mob leaders and their mad dogs on him. He’s afraid.
BETSY
People need to know he’s calling for troops against us.
OTIS
Against the people who looted and burned his home!
SAM
We have a colonial militia. Our soldiers beat the French out of their forts. Why didn’t he call out our militia to guard against the mobs? And against me, you, anyone fighting his grab for power? Stole your father’s chance to be appointed Chief Justice. Kept that position and also accepted his royal appointment as Lieutenant Governor and member of the King’s Council to advise our House of Representatives. What did you say about the separation of powers?
OTIS
He’s grabbed them all for himself – executive, legislative and judicial. Pure tyranny.
SAM
And now choosing the royal army’s authority over us. Just when we’ve shown Swift and Mackintosh who got their men drunk, stirred them up. To turn everyone against you and me and others struggling to keep our rights as British citizens.
OTIS
I told you – he acts so polite and perfect. He’s grabbing all the powers he needs to strip away our right to elect our leaders and govern ourselves
SAM
Good point. Agents of Parliament among us. They want to make anyone who advocates liberty look like rioters.
Middle
INT. BOSTON GAZETTE PRINTING MACHINES – DAY
Printing machine spewing forth copies of Hutchinson’s letters – despite printer’s fear he will be closed down by govt
EXT. BOSTON STREET – DAY
[Pages rapidly printing out of printers become papers that people in street are passing around to each other, creating anger, fear, shock. Lieutenant Governor Hutchinson is accosted by everyone from laborers to shopkeepers and wealthy merchants. Sam in the crowd is whispering to people who run up to Hutchinson, holding the copy of one of his letters in his face, shouting – as Hutchinson shocked, sputters, tries to defend but at a loss for words, humiliated. Trying to get away.
OTIS
[Rushing through the crowd, shouting, riling people up]
Taxation without representation is tyranny!
LABORER
“Traitor!
SHOPKEEPER
“You’re siccing the royal army on your own people?!”…
“Yeah – it’s our right to elect our own leaders to tax ourselves – or not!”
WEALTHY MERCHANT
“We demand our rights as British citizens and you call in the army?!”
“Secret deals to ruin busi<b style=”font-family: inherit; font-size: inherit;”>ness – while you pretend to be supporting our right to be taxed by our own leaders?!”
<b style=”font-family: inherit; font-size: inherit;”>
[Tax Commissioner Robinson rushes in, chases Otis off. Hutchinson’s slave Andrew rushes him away, contemptuously pushing back the crowd. Judge Peter Oliver screeches at the people, driving them off. Tax Commissioner Robinson edges Otis into a tavern, signals some men who create their own chaos, pull out clubs aiming at Otis’ head just as he turns to try to punch them. Otis is down.]
Midpoint Ending:
INT. HUTVHINSON NEW COUNTRY HOME IN MILTON – DAY.
[Hutchinson’s daughter Peggy is giving him tea. Hutchinson slumped, head in hands]
HUTCHINSON
They’ve turned against me.
PEGGY
Hateful people. You loved them. Night after night you were writing their history. Writign a beautiful stories of the people of our colony…. Bringing the liberty of our Mother Country to the wilderness. You are a fine leader.
[Judge Peter Oliver comes in despite Andrew’s attempts to keep him out. He’s the last straw for Peggy and Hutchinson]
JUDGE PETER OLIVER
[TBD – more Oliver ranting against Sam and radicals from his book]
who feels alone, deserted, failure and worse, hypocritical spy against fellow colonists… he loved them, gave his life to writing their history, the beautiful story of the making of the colony and its connection to the Mother Country… now he hated – and he hates them. Judge Peter Oliver ranting against Sam and Otis.]
PEGGY
Judge Oliver. My father needs rest. I’m taking him to his room.
[Peggy guides her father out. Judge Oliver follows them, ranting]
###
End of Act II
</div>
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Lesson 15.
Act 2 tp midpoint
I have learned that that first he tries to escape then midpoint he starts using his wit to escape but, remained unsuccessful
Andrew controls emotion and walks towards the truck. While Jeff fixes the wire window and follow him. Andrew sobs. Jeff shows him a knife JEFF (Angry) Quiet! I said, “Be quiet!” Son of b You’re becoming very clever! Andrew exhale as Jeff starts the truck. Jeff drives truck fast and he applies breaks and taking turns. Andrew shakes and touches his shoulder. Jeff pushes him back JEFF (CONT’D) Sit properly! You poppycock ANDREW (DEMURELY) Yes sir! Andrew pushes towards the door and holds it.
INT. JEFF HOUSE – LATE NIGHT Julia calls kitty. A cat tumbles his pot outside. Two cats fighting. There sounds coming inside. JULIA Kitty, Jeff is not home. KITTY He is drinking again. JULIA The shop close at 9 p.m. I was home and lock the shop at 9. KITTY He will be home any time till midnight JULIA I know — Let me go! Someone knocks the door.
EXT. JEFF HOUSE – NIGHT
EXT. JEFF HOUSE – MORNING Andrew listens the harass words of Jeff, He terrorized and immediately gets inside the truck. Andrew exhale. ANDREW (Whisper) Oh Jesus! When will I see my parents. I don’t know my dad is still alive or not. Andrew howls as he sees Jeff walks towards the truck. Andrew picks up the tissue from the Jeff’s box clean up tears and hides the tissue. INT. TRUCK – MORNING Jeff lit the cigarette, blows On Andrew face and start the truck. While driving Jeff truck gets struck in pot hole. His truck tires bust. He stops the truck. A police man standing on side road driving toward Jeff. Jeff confuses. Suddenly policeman flashes his car and crosses Jeff. Jeff takes a deep breath. Andrew helping Jeff to fix the tire.
EXT. DRUGSTORE – EVENING Jeff stops the car in front of drugstore window exchanging words with pharmacist. Andrew sees his friend shopping with mom when he pretends having cramps. JEFF Sit properly! ANDREW I am having pain in the stomach. JEFF Don’t eat too much. ANDREW, Can I go to the Rest room? Jeff opens the gloves compartment and takes out the cramp medicine and gives him. Andrew raises his two figure as Jeff hold the finger and moves it down.
EXT. INT. LEE COUNTY – ROBINSON FRIEND FAMILY CAR – DAY The couple walk out and get inside their car. Sheila opens the drink. They drive off. SHEILA, have you noticed that boy looked exactly like Andrew. Maybe he is Robinson son, Andrew. He Smile at me. DAVIDSON Their son was died in hurricane. He was also a nicely dressed person not like this boy. SHEILA Maybe I am wrong. But to me he looks like Andrew. DAVIDSON No, not possible! He is not a Jesus. If he is Andrew, he should talk to us. SHEILA We are going to see Robinson family shortly. DAVIDSON And you are going to tell them your son are alive. He is Jesus
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Day 15 Act 2 TP – The Midpoint
James’ Act 2 TP – Midpoint
What I learned doing this assignment is… that while my hero was trying to keep her past hidden, she did not take into account that one day it will surface whether willfully or by chance. Nevertheless, the shit hits the fan when the suitor surprises her and sees all the sex toys scattered throughout the living room. He’s in shock as he never expected this from her making him to doubt his young relationship with her. She attempts to explain, but he is so stunned it’s best if he just leaves. The relationship changes for the worse, yet the same journey continues as this couple can still manage to work the situation out.
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Philips Act 2 TP – Midpoint
“What I learned doing this assignment is finding a deeper meaning for the hero to complete his goal”
The manager destroys Dmitris’ trailer in order to make him play, and reveals himself to be the demon
The manager discovers Vincents true identity and offers Dmitri a deal – he can save Virginia and himself but includes the band if he fails
Different Meaning: …now she is doing it for herself, not to win Werner bac
Same journey Different Meaning now Dmitri wants to complete the contract to save not just him but Virginia and the band
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Lesson 15 Act 2 TP The Midpoint Assignment
Laura Woodworth’s Act 2 TP – Midpoint
What I learned doing this assignment was that this was the point I was most excited to write as her journey “remains the same” of a search for truth, but the meaning has changed.
INT. BEDROOM – NIGHT
Natalia enters the room, seeking solace, seeking peace. She looks up at the light. The bug is not there anymore. She moves to her desk. Her books have been moved — her pen lays in a different spot. Someone’s been in the room.
INT. BEDROOM – NIGHT
Distraught from her encounter with the shopkeeper, Natalia paces in the room, unable to voice her frustrations for fear of being recorded. She grabs her journal and writes, scratching out her shame and guilt and fear. And his words, “She always believed for you.”
On journal: Believed for me — what??
She moves to the closet and pulls down the box of her grandmother’s things and starts digging. Clothes, useless knicknacks. She closes the box back up and surveys the room. She feels the mattress, looking for bumps, anything out of the ordinary. Nothing. Nothing under the mattress, nothing under the bed.
And then she hears it. A squeak in the floor as she moves. She gets down on her hands and knees and discover a floor board sticking up just slightly from the rest. She pries it loose and reaches into the gap — and discovers the bible.
She flips through the pages in awe — the forbidden book. Her grandmother’s forbidden book. Inside, her mother and father’s names, birthdates; then Oleg, Irina, and her. The memories come flooding in —
INT. HOUSE – DAY – FLASHBACK
Natalia snuggled next to her grandmother as she reads from the book…
INT. HOUSE/KITCHEN – NIGHT – FLASHBACK
Natalia’s family seated around the dinner table, a hearty meal before them. Father and mother reach for hands and they all bow their heads as Father prays a blessing.
INT. HOUSE – DAY – FLASHBACK
Natalia mimes Queen Esther’s entrance to the king — seeking the golden scepter — bravely proclaiming herself the deliverer of her people.
END FLASHBACK
Natalia turns in the book to find Esther. She reads from Esther 4:12-16.
NATALIA
“Do not imagine that because you are in the king’s palace you alone will escape the fate of all the Jews. For if you remain silent at this time, relief and deliverance for the Jews will arise from another place, but you and your father’s house will perish. And who knows if perhaps you have come to the kingdom for such a time as this?”
She continues reading the passage and finishes with —
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30-Day Screenplay Lesson 15: Act 2 TP – The Midpoint
What I learned doing this assignment is… I can’t wait to do each assignment. I love this, especially since I know I can keep writing, or stop even though I know it doesn’t have to be my best action or dialogue. I can always go back and elevate it.
Bonnie’s Act 2 TP – Midpoint
INT. TREEHOUSE – DAY
Key Scene 4: MIDPOINT TURNING: There’s a huge change in meaning. They charge in to battle the forces that are attacking Wisdom, Memory and Dream without knowing who or what they’re up against.
BEGINNING: Myka, Gabi, Yuri and Rafi gather inside. Myka brews mugwort tea and pours everyone a cup, Gabi passes them out, Myka drinks from an oversized pottery mug with her name on it.
MYKA
So, guys, the clock is ticking. Time for battle. Are you ready?
Rafi passes around a plate of cookies. Myka takes the biggest one.
Gabi shoots her a glance of disapproval. Myka shrugs.
MYKA
What?
Yuri lays out four mats and pillows on the floor in a sunburst pattern with the heads facing towards the center.
YURI
Do we have any idea what we’re going to be up against?
GABI
Yeah, no.
YURI
Maybe one of us ought to go in and check out the situation before we all charge in blind.
RAFI
Too dangerous. We need to know we have one another’s backs.
GABI
Rafi’s right, we’ll have a better chance going in as a team.
MYKA
Maybe I should stay behind in case you guys can’t wake up.
GABI
Seriously? It’s all of us or none of us. The only way we were ever able to enter the Multiversity was if we went in together. You know that, Myka.
MYKA
Right, sure. Okay, then. Yuri, you enter from the tunnel in the cave. Rafi, by boat from the shore. Gabi flies in from over the cliffs —
GABI
We know, Myka, and you drop down from a hot air balloon… just like when we were kids. Come on.
Gabi takes Myka’s hand. Yuri and Rafi shake their heads.
They take their places on the mats, lie down on their backs, close their eyes and join hands, closing the circle.
Everyone takes a few deep breaths. Their breathing slows. Rafi falls asleep first. Myka opens one eye and looks around.
Gabi turns her head towards Myka without opening her eyes.
GABI
(whispers)
What are you, the sleep police? Relax. Everyone’s going to be okay.
The clock is ticking. The team prepares for battle.
EXT./INT. MULTIVERSITY – HIDDEN COVE – NIGHT
Same journey: They’re still trying to enter shared synesthestic dream and find out what’s going on.
Different Meaning: They discover who and what has been destroying the Multiversity.
MIDDLE: Myka backs down from a dangerous opportunity to conquer the villain, and retreats. Gabi witnesses it.
Rafi rows in from the ocean, pulls her little green boat onto the shore and steps onto the sand.
Gabi flies in over the cliffs and lands on soft sand.
Yuri emerges from the cave in the side of the cliff.
Myka makes a grand entrance in her red hot air balloon.
They gather in front of the Multiversity.
The GATEKEEPER greets them at the entrance, the tall, arched, double wooden doors.
GATEKEEPER
What is the correct time?
They answer in unison.
MYKA/GABI/RAFI/YURI
The time is now.
GATEKEEPER
You may enter.
The Gatekeeper opens the doors and they go inside.
They explore each of the schools and libraries, speechless at the sight of the disintegration.
PLACEHOLDER Describe these in more detail here.
Gabi spots a gigantic gelatinous blob, hurries towards it.
GABI
Myka, look! Come on.
The blob notices her and slimes towards her.
Gabi runs, just escaping from being absorbed.
Myka freezes at the sight.
GABI
Yuri! Rafi! Run!
Gabi grabs Myka’s hand and the four of them run out through the wooden doors.
INT. TREEHOUSE – NIGHT
END: They’re no match for the villains.
The four of them sit up simultaneously, eyes wide, in shock.
MYKA
We’re clearly not ready, gang. Something more powerful than I thought is going on in there.
YURI
Yeah, that was some weird shit show. What do we do now, team?
RAFI
We’ll figure it out.
GABI
(whispers)
What happened back there, Myka?
MYKA
I don’t know. I froze. I’m sorry.
GABI
(under her breath)
Coward.
MYKA
What?
Gabi waves it off.
YURI
Guys, synesthesia shared dream state 101… Don’t freak out!
RAFI
Exactly. If only we could maintain our shared dream long enough to implement our powers, maybe we’d find out who or what wants to bring down the Multiversity.
Gabi walks out muttering under her breath.
Gabi confronts Myka. Calls her a coward.
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This reply was modified 2 years, 2 months ago by Diane Denham.
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This reply was modified 2 years, 2 months ago by
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Alex Midpoint Turning Point
“What I learned doing this assignment is…?” I can get back in after a break.
I was gone for over a week, did have short attempts to get back in during the Berlin Film Festival, but could not divide my attention well enough… did browse over the exercise, read it… Going back in today, I might have spent a bit too much time with 2-1 instead of moving on, trying to fix details… but am moving forward to 2-2 now.
Key Scene 4: Turning Point = Midpoint – There’s a huge change in meaning!
PLACE HOLDER 2024
Rosemary tells Journalist Uta she herself is the local girl posting as Bernhard Matter.
She needs Bernhard at her side for her goal to be a gangster moll.
PLACE HOLDER 2024 – ROSEMARY WANTS TO REPLACE OONA (is Bernhard on board with this or not?)
Oona is glad Bernhard is gone. Life can go back to normal.
She tells Rosemary Bernhard is gone. (Maybe even admits it to her mother?)
Rosemary convinces Oona to go back to 1850 to check on him… since he will be executed soon.
Would Rosemary be willing to get rid of Oona/send her to her death?/ Does Rosemary try to go to 1850 herself?
(Good for end when Barbara goes with Oona – we establish it can’t be done)
Oona struggles. Especially since she doesn’t know what caused the trip in the first place… Rosemary does.
They try a bunch of things – but have to go to the Club again?
PLACE HOLDER 2024
Rosemary gets Oona drunk and slips her the ecstasy again. Oona is walking/talking in her sleep.
Rosemary is channeling Bernhard through an unconscious person (wow lol würg???) – she is like a rag doll, they are abusing a person not in control – kinda like Garp. Bernhard gives Rosemary instructions to break out the juvenile delinquents. DO YOU MATTER GANG.
PLACE HOLDER 1854
Oona lands in 1854 and speaks with Bernhard in jail? Or is he no longer in jail because he is being sentenced (we could have a court scene?)
PLACE HOLDER 2024
Rosemary hacks Oona’s TWINSTA account and starts posting Do You Matter Challenges.
EXT. JVA
With the help of Bernhard Oona channeling, Rosemary liberates ALPHA and BETA from JVA and is finally the Gangster Moll she always wanted to be.
PLACE HOLDER
Oona learns to gain control of the sleep traveling.
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This reply was modified 2 years, 2 months ago by Alex Surer.
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This reply was modified 2 years, 2 months ago by
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Susan’s Act 2 – Mid Point TP
What I learned doing this assignment: Every scene should end like a TV series episode with some kind of mini cliffhanger, and the last scene of the Act should end like the season finale.
INT. FOYER – DAY
Shelby enters, red faced but relaxed.
SHELBY
Liam! I got it, the prescription for this winter burn.
She peeks into the LR doorway, no one. She moves down the hall to –
INT. KITCHEN – DAY
She sees Liam on the back deck, looking serious as he converses with his best friend, Sam. Shelby frowns, biting a fingernail, debating. She quietly opens the window, to eaves drop on the conversation.
EXT. BACK DECK – DAY
LIAM
I don’t know Sam, I mean she is trying.
SAM
Whining and making bullshit excuses about jinxes and curses is not the same as trying.
Liam has no response but lifts a bottle of beer and finishes it off.
SAM
Dude, you’re my best friend, you are the most gifted outdoorsman I have ever known, but when you go off with Shelby, it’s like the grim reaper is riding third wheel.
LIAM
Really, the Grim Reaper, who’s talking bullshit now?
SAM
Before Shelby, you have camped every single year for 20 years, WITHOUT incident. The past two trips, with your jinx in tow, have ended for you in near death experiences. You think third time’s the charm?
Liam pulls out two more beers from a cooler at his feet and tosses one to Sam.
LIAM
Ok, I admit it, the trips ended abruptly and a bit precariously, but Shelby can’t control wildlife, woods, or the weather.
Sam merely raises his eyebrows, HARRUMPHS, and takes a drink.
SAM
Precariously? You almost died the first time out, then had your face scorched off the next! That shit never happened with your dad, or with me. I know I sound like a jealous bitch, but I can’t believe you’re blowing me off for the jinx.
LIAM
That’s enough, Sam, I know this isn’t working. It seems like we are growing apart and I had hoped if she could find the appreciation in the outdoors like I do, it might have brought us closer together.
SAM
Closer together or closer to death? Cuz I’d say death is pulling away here.
You gotta choose my friend, a short, reckless, unhappy life, or one that sees old age, a pension, and a walker.
LIAM
Yeah I can see it now, you and me racing up and down the old folks home with our clacking walkers on the tile floor.
SAM
No way, Dude, we’re putting tennis balls on the feet of those bitches and hobbling ninja style, we’ll be close to invisible.
The men laugh and carry on comfortable with their joking one another while –
INT. KITCHEN – DAY
Shelby watches the two men carry on comfortable with each other and in their own skin. She quietly closes the window as a tear slips down her cheek. She picks up her purse and departs the house.
EXT. BACK DECK – DAY
Liam and Sam look up at the kitchen window.
LIAM
Did you hear something?
SAM
No. (Looking close at Liam) Are you ok? It looks like your face is about to melt off.
LIAM
That’s the least of my worries. I don’t know what I’m going to do. If I have to choose between this camping thing and Shelby, there is no choice, Sam, I choose Shelby every time.
SAM
Does she know why this is so important to you, have you told her about your dad?
Liam says not a word but shakes his head, no.
SAM
Then maybe you need to have a talk, put the ball in her court and let her make a choice. As much as I hate to say this, she just might surprise you.
EXT. LIBRARY – DAY
Shelby passes outside the entry doors with her phone to her ear.
ABBEY (VO)
Hey, this is Abbey, you know what to do baby, leave a number and I’ll call you maybe.
Frustrated, Shelby whisper yells into the receiver.
SHELBY
Oh my god, Abbey, where are you? We need to talk ASAP! Please meet me at the library.
She prepares to hang up then remembers something else.
SHELBY
And please, change your voicemail message. I think seven years of call you maybe is maybe to much! See you soon, maybe.
She disconnects, shoves the cell into her purse and enters the library.
INT. LIBRARY – DAY
Shelby slowly walks down the aisle, books shelves on either side. He arms are laden with no less than eight manuals. As she squints to see a title on an upper shelf a dainty hand lands on her shoulder, the armload of books end up on the floor..
SHELBY
Jesus Abbey, what are you sneaking up on me like that for?
Her friend looks around them confused.
ABBEY
I wasn’t sneaking, this is a library for Christ’s sake, you’re supposed to be quiet. So where’s the fire, why all your urgent life and death messages?
Shelby fights back the tears.
SHELBY
It’s Liam…
ABBEY
Let’s skip the parts I know and get to the real problem.
Shelby collapses to the floor, gathering the books into her lap.
SHELBY
I think he’s done, I mean really done this time. I hear him and Sam talking about me and my nonexistent camping abilities.
Abbey seems to brighten and takes a spot on the floor against the opposite shelves.
ABBEY
This sounds interesting, proceed.
SHELBY
He told Sam things were falling apart between us and he is going to have to make a decision, soon.
ABBEY
A decision, about what?
SHELBY (shrugging)
Not about, but between what. He is going to have to choose between me and camping.
ABBEY (In disbelief)
Shel, stop being stupid, that’s not even a choice. Of course, he would choose you over some ridiculous boy scout romp.
SHELBY
It’s not just a romp, this is something he’s been doing since he was eight, religiously! That’s 20 years to my five.
ABBEY
But you’re engaged, that means something.
SHELBY
Engaged for three years, Abs, I’d say that means he is reluctant to get married, maybe I’m not the right person for him and he has finally realized that by my camping failures.
ABBEY
I don’t believe that…
She glances at the stack of texts on Shelby’s lap.
ABBEY (CONT)
And neither do you, or you wouldn’t be here researching.
Abbey stands holding out her hands to Shelby who is now looking confused.
ABBEY (CONT)
Come on, if we’re going to
get you camp worthy and break this curse, you’re going to need help, and lots
of it
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