Lesson 18

[Megan Schemenauer]

Megan’s Act 3 Middle Scenes

What I learned doing this assignment is… after the Act 2 turning point, there needs to be a new plan in place, something that seems like it might actually work at first, something that pushes the protagonist out of their comfort zone. I’m excited to write the next turning point!

EXT. HIGH SCHOOL PARKING LOT — NIGHT

Noises from the game still float out behind her as Anna exits the school into the parking lot.

As she walks toward her car, she suddenly stops, hearing a noise. But when she turns around, she sees nothing.

Anna resumes walking. With a shaky hand, Anna pulls her cell phone out of her purse and quickly dials. Evan’s face appears on the screen.

EVAN

Hey, Anna Banana. What’s up? Where are you?

ANNA

Evan! I think someone is following me!

EVAN

Hey. Are you at the girls high school??

ANNA

Evan, focus! Did Adam send someone out after me again? Am I about to have a bag thrown over my head??

EVAN

Jeez, relax. No one is following you. Stop being so paranoid. And you know, maybe if you stopped calling him Adam, the two of you would have a better relationship.

Anna has reached her car. Casting a glance over her shoulder, she yanks open the door and slides into the driver’s seat.

ANNA

Yeah? Well, you know what else would help the relationship? Not sending stalkers out after me.

Anna starts the car, places the phone on the passenger seat, and pulls out of the parking spot.

As she exits the lot, a large MALE FIGURE steps out of the shadows and watches her go.

INT. OVAL OFFICE— DAY

Bianca is sitting at the desk behind a laptop when Nova enters.

NOVA

You asked to see me?

Bianca slams the laptop shut aggressively and stands.

BIANCA

Yes. Do you have any idea what is going on right under our noses? Right here in this very city??

Bianca shoves a paper from intelligence into Nova’s hand. Nova quickly skims it.

NOVA

First Man? What sort of name is that? Honestly, Bianca. You don’t seriously consider this group to be a credible threat?

BIANCA

A male resistance group is always a credible threat, regardless of whatever inane title it goes by! I want them found and quashed. Immediately!

Nova places the brief on the desk.

NOVA

Of course. And it looks like intelligence is already on it.

BIANCA

I’m only looking out for the best interests of our country. Why can’t they see that??

NOVA

To be fair, Bianca, some of your more recent policies have been decidedly misandrist. Repealing compulsory education for boys? The forced estrogen vaccinations? And don’t think I haven’t heard about your method for population control. With all of these rebellions and the upcoming elections, I can’t help but wonder. Perhaps it’s time to consider stepping down.

BIANCA

Stepping down?? After everything I’ve accomplished? After all that I’ve sacrificed? You must be out of your mind!

NOVA

Twenty years, Bianca. Isn’t that enough?

Bianca coolly moves back to the desk and sits.

BIANCA

I’ll be announcing my intention to run this afternoon. You have a few days to decide if you still want to be on the ticket. That’s all.

NOVA

Bianca, can’t we talk about this?

BIANCA

That all.

Bianca resumes work on her laptop. Nova sighs in exasperation and exits the office.

INT. ANNA’S LIVING ROOM — DAY

The news drones on the mounted flat screen, but Anna is no longer watching. She sits on the sofa, lost in thought.

David enters, holding Luke.

DAVID

Hey. You’re still here. Everything okay?

ANNA

Yeah, I’m fine. Where are you two off to?

David holds up a canvas bag.

DAVID

Groceries. Luke has put a serious hurting on the yogurt around here. If I don’t get more, I’m afraid he’s going to rebel.

Luke

Go-gurt!

DAVID

See?

Anna smiles at the two of them wistfully.

ANNA

If you’ve just running to the store, you can leave Luke here.

DAVID

Don’t you have to leave for work?

ANNA

I’m going in a little later today.

David turns to Luke.

DAVID

What do you say, kid? Want to stay home with Mommy for a little bit?

Luke reaches for Anna.

LUKE

Mommy!

David sets Luke down. Luke runs over between Anna’s knees and puts his head on her lap.

DAVID

Okay, you two. I’ll be back.

He pauses and looks back at Anna.

DAVID

You’re sure you’re okay with this?

ANNA

Am I okay with watching my son? Of course! Take your time. Stop and get a beer if you want.

DAVID

(Joking)

Right. A beer. At nine o’clock on. Wednesday. Because that’s what Dads do.

David shakes his head, laughing, and leaves. Anna strokes the top of Luke’s head thoughtful. She whispers in his ear.

ANNA

Hey, Luke. You wanna know a secret?

Luke looks up expectantly.

ANNA

Mommy’s going to have a baby!

Luke cocks his head and studies her.

LUKE

No!

Anna grabs Luke and begins to tickle him playfully. Luke squeals in laughter.

ANNA

What do you mean, no? Mommy’s going to have a baby! And there’s nothing you or anyone else can do to stop it!

With a smile, Anna releases the squirming Luke. He immediately runs toward the canvas toy bins in the corner.

Anna watches him for a moment. Suddenly, the news on the screen catches her attention. Bianca is standing on a platform smiling and waving to an applauding crowd.

News Anchor

You heard it right here, folks. It’s official. President Bianca Harris will indeed be running in the upcoming election, seeking a historic sixth term as president.

Anna’s eyes follow the President, completely oblivious to the fact that Luke has dumped every last toy bin all over the floor.

Anna takes out her cellphone and dials. After a few rings, Adam picks up.

ADAM (O.S.)

Hello?

ANNA

Adam? I’m in.

[Margaret Gendreau]

Margaret’s Act 3 Middle Scenes What I learned completing this assignment is that after the success and momentum of this class where I have been consistently writing every day, I have a new confidence in my abilities to get the writing done. INT. MITCH’S HOUSE – NIGHT

Lake sits on the couch in the great room of Mitch’s house.

Mitch approaches with two empty wine glasses and an open bottle of Zinfandel.

He sets the glasses down and pours her a glass.

He hands it to her and then turns to pour himself a glass.

LAKE

Thank you.

Lake looks around the modern, tastefully done house with very few furnishings.

LAKE

Minimalist…or?

Lake takes a sip of wine.

MITCH

My ex-wife left me when the restaurant closed down. She pretty much took everything. I kinda like it like this though.

LAKE

Oh, my, that is so good.

MITCH

One of my favorites.

LAKE

It smells so good in here.

MITCH

I love how enthusiastic you are about food.

LAKE

Well I love food! Where did you learn to cook?

MITCH

Europe. I worked in the kitchen of Amador in Chicago for a couple of years.

LAKE

THE Amador?

MITCH

Yes. Then I opened La Cuisine.

LAKE

I loved that place! I was so bummed when…wait, you’re Mitch Delange?

MITCH

Guilty.

LAKE

Sorry.

MITCH

What?

LAKE

About losing the restaurant and all that. It must have been hard.

MITCH

It was…is. I’m taking time to decide what’s next. The truth is I was working all the time. I mean ALL the time. I want to find a way to do what I love and have a life at the same time. I want to do it on my terms this time.

LAKE

Understood. A do-over.

MITCH

Exactly. A do-over.

Lake

Same. I have the best idea.

INT. driving car – night

Lake is driving and Mitch is in the passenger side seat with her Foodease bag carefully balanced in his lap.

She pulls up to a house with a for sale sign.

MITCH

You’ve got to be kidding me?

Lake

I think this is a good one to try on. Let’s check it out.

EXT. house for sale – Braiden Lane – night

Lake opens the lockbox and pulls out the key. Mitch stands shifting his weight nervously from one foot to the other, the Foodease bag at his side with the straps over his shoulder.

Mitch

I don’t think this is a very good idea.

Lake

You go in. I’ll go around to the back door and you just have to let me in.

INT. House for sale – braiden lane – night

Blake opens the sliding glass door.

Mitch and Lake unpack the dishes Mitch cooked onto the table.

LAKE

Too bad there’s no candles.

Mitch

My heart is beating like a teenager that snuck his girlfriend in through my bedroom window.

Lake

It’s hot right.

Mitch and Lake drop what they are doing and are all over each other.

Blake is suddenly seated at one of the chairs at the table.

Blake

Getting predictable.

Lake

Three’s a crowd.

Mitch pulls back from her.

MITCH

What?

Lake

Hearing Blake in my head again.

Mitch

I know how to fix that.

He lifts her onto the end of the table and pulls her pants down. He kisses her and opens her legs.

He keeps kissing her. He pulls himself away and bends over, his face between her legs.

Blake

This is just embarrassing.

Lake flips him off and then her head drops back in ecstasy forgetting Blake entirely.

Montage various

1. Lake at a different for sale house each night waking up to a 5:00 a.m. alarm on her phone each morning.

2. Lake parks down the street from a for sale house.

3. Lake’s car very organized – her back seat like a closet and dresser. Lake throws away all the 50 ml bottles of alcohol from the glove box.

4. Lake sneaks into a house carrying a duffle bag.

5. Lake goes to gym very early and showers there.

6. Lake tasting food and writing reviews.

INT. house for sale Montgomery Drive – night

Lake and Mitch are having sex in the bed of a house for sale on Montgomery Drive.

Mitch

I think this is the first time we’ve had sex in a bed.

Lake

It’s kind of comfortable.

Mitch

I know I’ve said this before but this is the last time I sneak into a house with you.

Lake

We could come up with a new way to get an adrenaline rush.

Mitch

Such as…

Lake

Jumping out of an airplane with no chute perhaps?

Mitch

Roulette.

Lake

Funny.

Mitch

You know you don’t have to justify that you lived.

The sound of a door opening.

LAKE

Shit.

Ember walks into the bedroom followed by a COUPLE.

Mitch and lake jump out of bed instinctively, trying to simultaneously cover themselves.

The couple YELLS out in surprise and flee the room.

Ember stays in the room facing them both.

EmBER

So, this is how you’ve been spending your time since mom threw you out.

Lake

I’ve been really good actually.

Ember

I can see that.

MITCH

Wait, you two know each other?

Lake

Ember this is Mitch, Mitch meet my sister, Ember.

Mitch takes a moment to process this information.

Mitch

I recognize our idea of excitement might have been warped by trauma.

EmBER

Did you lose your house too?

Mitch

My restaurant and my marriage but I kept the house.

Ember

Well, you two make a pair. I need to go do some damage control with my clients. Maybe we’ll meet again under different circumstances. And you..

(turning towards Lake)

Best not say anything.

Lake

Yay. Sorry…

Ember

Not a thing.

Blake leans against the bedroom wall chuckling to himself.

Lake looks like she could murder him.

[Jane Turville]

Jane’s Act 3: Middle Scenes

By doing this assignment I figured out a bit more about who Chelsea is and how her background, her past, can actually inform her future rather than her just living in the past. I have wanted this to be a romantic thriller and haven’t really sorted that out yet. But I think some ideas are coming to the fore, particularly with the detective. Not sure. But it is fun to just write without worrying about it right now! I do feel I’m doing a lot better at speed writing than I was a week or so ago!

INT. CRUISE SHIP BAR
Disguised as a maid, Chelsea listens in on the detectives conversation. They are convinced that she, Chelsea, has stolen the Blue Lotus. She decides that’s exactly what she will do.

INT. CRUISE SHIP ROOM
Chelsea hacks into the ships computers and gets into the CCTV cameras for the ship. She spots Julie moving in and out of the engine room, dressed as a crew member.

Chelsea takes the footage back and watches Archie. She sees him hide what looks like the Blue Lotus.

INT. CRUISE SHIP BALL ROOM
Chelsea has to move through the room and retrieve the Blue Lotus right under the noses of the detectives. The main detective thinks he sees something. Chelsea is nearly caught.

INT. JULIE’S ROOM
Chelsea has what looks like the Blue lotus but isn’t. She remembers something about Julie – her greed or something that is Julie’s weakness. (Come up with something good here that attaches to the theme – Confront the past in order to have a future worth living).

INT. ARCHIE’S ROOM
Chelsea sets the trap for Julie.

INT. JULIE’S ROOM
Chelsea waits to see if Julie will take the bait. Instead, the police detective enters the trap. Chelsea watches as a new detective enters to help. Chelsea recognizes the new detective. It’s Julie.

[Rita Roberts]

Rita’s Act 3 Middle Scenes

What I learned: It works better for me to just keep writing in order. I think these two scenes reflect the Scene 2 and 3 goals. Plus it feels better to have several Act 3 scenes first draft finished rather than just writing the four main ones and having to fill in the rest on one day.

EXT. SMITH HOUSE

Andrea claps, gleeful but horrified.

Dawn stands, hands on hips like Wonder Freaking Woman.

Tom approaches.

Dawn waves, totally forgetting her mission to avoid him. Then she remembers. She shrinks behind Big Todd.

TOM

Are we remodeling too?

Andrea gives Tom a sideways hug.

ANDREA

Thank you so much for sending me this angel. These angels.

Crater and his tattoos drops a headboard on top of the mattress.

TOM

Angels?

ANDREA

Like Dawn said, what good is a paint job if the insides aren’t authentic?

TOM

I can’t agree more!

(directed at Dawn)

What good is it?

Dawn tugs at her shirt hem, looks down at the logo. She folds her arms across her front. Not looking transparent.

ANDREA

Next is a phone call because there’s more to clear out.

She winks at Dawn and heads for the house.

TOM

What phone call is she talking about? And where’s Zak? Why isn’t this done yet?

Dawn taps Big Todd and tilts her head toward the house.

BIG TODD

Painters gotta paint.

They get back to work, Dawn turns to follow.

TOM

Oh, no you don’t.

He grabs her arm. She looks at his hand.

DAWN

I most certainly do!

He let’s go.

TOM

Sorry, but we have to talk.

DAWN

Yeah, no kidding.

She lifts her sleeve, checks for welts. It wasn’t that bad.

Tom takes off his cap and runs fingers through a full head of luxurious hair. He smacks the cap on his thigh.

TOM

I can’t even deal with you. Where’s Zak?

DAWN

Oh. I guess —

Tom leaves her at the curb to find Zak.

Dawn watches hunky contractor man walk away.

DAWN

Damn you and your manly… everything.

It’s her chance to make a break for it, until she sees Tom’s bumper touching hers.

Quiet growl of frustration. Then a smile.

She takes off in the paint van.

Just as Andrea hauls bedding to add to the pile. She watches her new savior drive away.

INT. DINER – AFTERNOON

Dawn slides into a booth behind Tom’s mom who finally got lunch.

Same waiter approaches. They check in with Mom first.

WAITER

Is there anything else, honey?

MOM

If it’s okay, I’m just going to sip my tea here for a while.

WAITER

You take as long as you like.

(moving on to Dawn)

We’re all friends here.

DAWN

Boy, that’s good news. I just came from a hostile work environment.

Mom turns around.

MOM

That’s funny, I just experienced a hostile diner environment.

Dawn looks at the waitperson.

She raises her hands, all innocence.

WAITER

Not me! It was her supposed lunch companion who stormed off. Because, you know, truth.

Confused, Dawn looks to Mom for clarification.

DAWN

Was this like a blind date or something?

MOM

No. My son.

They all nod. Enough said.

DAWN

The one I’m dealing with is somebody’s son. Hadn’t really thought about that until now.

MOM

Yep, they all are.

DAWN

You don’t have a good relationship with your son? Does any man actually like his mother? Or at least not wildly suspicious and dysfunctional?

MOM

Why don’t you come over here, that way our friend will have room for another customer.

As delighted as Andrea with her cookies, Dawn switches seats.

[Alice Eden]

Alice’s Act 3

INT. OFFICE ROOM – DAY

Workday almost done. Good Guy comes to coffee station.

GOOD GUY

(to Elizabeth)

Come one, it’s almost your time! Grab some coffee.

Elizabeth removes earplugs and awkwardly goes to pour herself a cup.

Good guy turns away, sipping hot drink.

ELIZABETH

Tobby!

Good Guy jumps in surprise.

ELIZABETH

I shortened your logo.

TOBBY

That’s a nice nickname. And you?

ELIZABETH

Lisa.

TOBBY

Lizard! I’ll call you lizard. You know, some lizard think, they are dragons! But they are just little things, and they drop tail if you catch them, to run away. Do you know that?

Elizabeth nods.

TOBBY

Cigarette?

He pulls out one and tilts it to her.

As she grabs it, he glances into half full pack. Closes and drops it into her pocket.

Door nocks, letting in Guard Body.

TOBBY

That’s after you. Good bye!

ELIZABETH

See you!

INT. OFFICE ROOM – DAY

Bad Guy watches it into screen, vague.

BAD GUY

It’s my birthday today.

Good Guy whistles.

GOOD GUY

Hey! No blue tooth!

Bad Guy sighs in regret.

Elizabeth involuntary drops the look at the date and time on the screen. Stills her breath.

INT. OFFICE ROOM – DAY

Bad Guy wearily gets up, stretching. Pours coffee. Drinks. Then SLOWLY goes to restroom.

Elizabeth who was watching him over, prompts password window before he’s behind the door.

Letters of Bad Guy’s logo quickly fill password space, followed by his birthday numbers.

Strained, Elizabeth hits ENTER.

It loads. And lets her into the system.

On her nerves, Lisbeth opens Internet Page. Types address. Loading!

At the prompt, enters her parameters. She is in her Hacking Field!

She then as quickly as she can, uploads hacking program.

Her eyes in between of screen and doorway.

75% of red over blue.

Guy emerges from bathroom door. And lags to his sit.

95%!

It signals end of uploading.

Elizabeth has time to sign out of Bad Guy’s account right as he drops on his chair, satisfied.

INT. BUNKER OFFICE – AFTERNOON

Coffee break.

ELIZABETH

Would you let me out if you could? Via the door?

TOBBY

This is not the only door out there!

Elizabeth’s face sulking.

ELIZABETH

Are they also fingerprint ones?

TOBBY

Oh no, you just slide… you know.

Brandishes his ID.

TOBBY

They would see you on security cameras. You would be caught long before you reach the yard!

ELIZABETH

And if not?

TOBBY

I am the person who once let hamsters out of the cage. I wanted them to be free. It finished badly.

[Karen Sinclair]

KAREN SINCLAIR’S ACT 3 MIDDLE SCENES

What I learned doing this assignment is…?

I learned that I didn’t really have Act 3 substance. The formula of using the beats and outline exposed that I needed a whole lot more in the third act. The formula made filling in the third act easier than it otherwise would have been.

I also agree with what Rita Roberts said which was…” What I learned: It works better for me to just keep writing in order. I think these two scenes reflect the Scene 2 and 3 goals. Plus, it feels better to have several Act 3 scenes first draft finished rather than just writing the four main ones and having to fill in the rest on one day”.

ASSIGNMENT 18

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 alone.

ACT 1

Inciting Incident

In New York City, Sadie breaks up with her longtime boyfriend which 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

Sadie settles into her new work life in Vancouver. On a personal front, she thinks she has met the love of her life. As is her habit, Sadie goes for an afternoon run immediately preceding a major presentation and is taken hostage by a caller through her cellphone.

ACT 2

Reaction to the Turning Point in Act 1 (ACT 2 – Key Scene 1)

Sadie is trapped and 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 out to free herself.

Protagonist Takes on A Plan and Executes It (ACT 2 – Key Scene 2)

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. She decides she needs to contact the caller directly and negotiate her freedom.

Not Only Does Their Plan Fail But… (ACT 2 – Key Scene 3)

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.

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. (ACT 2 – Key Scene 4)

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. Sadie realizes she has her iPod Touch that she uses to listen to music. Could this be her way out of this mess?

Act 3 includes these Key Scenes:

Key Scene
1: React/Rethink the new reality revealed by Midpoint
Key Scene 2: Makes a new plan.
Key Scene
3: Things start going well, until…
Key Scene
4: Turning Point – Protagonist faces their lowest low.

ACT 3

Reaction/Rethink (ACT 3 – Key Scene 1)

Sadie realizes that she is going to have to trust someone outside of herself, that being Adam, to get her out of this situation.

EXT. STREETS – NIGHT (CONTINUOUS)

Sadie makes it through the intersection and pulls the iPod up to her face. She tells Adam she doesn’t know what is going on or why, but she is being held hostage running.

EXT. STREETS – NIGHT (CONTINUOUS)

BEGINNING: Sadie makes it through another intersection. She can still see the motorcycle rider with the flashlight. She pulls the iPod up to her face. When she sees Adam become emotional again. He stops her right away.

MIDDLE: Slowly, Sadie tells Adam that she doesn’t know what is going on or why, but she is being made to keep running by a guy on a motorcycle tracking her from a block to her west. She feels like she has been taken hostage by the caller.

END: Sadie tells Adam that the caller is threatening to hurt him and the kids if she stops running. She tells him the caller sent pictures and video of him and the kids.

———————————————————————————

INT. HOME OFFICE – NIGHT

When Sadie stops talking, Adam takes a beat to process what she has just disclosed. He understands literally what she said but is not sure as to the why.

INT. HOME OFFICE – NIGHT

BEGINNING: When Sadie stops talking, Adam takes a beat to process what she said.

MIDDLE: Adam asks Sadie why anyone would want to do something like this. If the caller were taking her hostage wouldn’t he be making some kind of demand, for payment.

END: Adam confirms with Sadie that the caller is moving right along side her, just a block west. He asks her if she can describe the caller at all. She replies they are wearing all black, with a helmet and shining a flashlight in her direction.

———————————————————————————

EXT. STREETS – NIGHT

Sadie approaches another intersection. She accelerates to a run and again conceals her cellphone by her thigh.

EXT. STREETS – NIGHT

BEGINNING: Sadie tells Adam to hold on.

MIDDLE: She approaches another intersection; she moves from a walk to a run and conceals her cellphone by her thigh.

END: When Sadie exits the intersection, she slows down and tells Adam she is back.

———————————————————————————

Makes a New Plan (ACT 3 – Key Scene 2)

EXT. STREETS – NIGHT (CONTINUOUS)

Sadie tells Adam that he must warn Hannah to take the kids somewhere safe.

EXT. STREETS – NIGHT (CONTINUOUS)

BEGINNING: When Sadie exits the intersection, she picks up the iPod and tells Adam he needs to get Hannah and the kids somewhere safe but expresses concern that they are being watched.

MIDDLE: Adam tells Sadie he is going to take a minute to call Hannah and make sure everything is alright, but he doesn’t want her to disconnect.

END: Adam comes back to Sadie and tells her he talked to Hannah but wants her to hang tight for another minute. He will be right back.

———————————————————————————

INT. HOME OFFICE – NIGHT

Adam calls his police officer friend Will at home.

INT. HOME OFFICE – NIGHT

BEGINNING: Adam reaches Will at home. He is a police officer but is currently not on a shift.

MIDDLE: Adam warns Will that what he is about to tell him sounds over the top, but he needs him to listen. He fills Will in and asks for his help.

END: Adam gives Hannah’s address to Will and asks him to go stay with Hannah and the kids to make sure they are kept safe.

———————————————————————————

INT. WILL’s HOME– NIGHT

Will hangs up from Adam, grabs his gun belt, throws on a jacket, and heads out the door.

INT. WILL’s HOME– NIGHT

BEGINNING: Will stands up from the sofa, reaches for the remote and turns off the television.

MIDDLE: Will makes a call to an on-duty police officer in the area, provides Hannah’s address and tells her to pick up her and the kids and take them to the station.

END: Will jumps in his car and heads to Adam’s house.

———————————————————————————

Things start going well, until… (ACT 3 – Key Scene 3)

EXT. STREETS – NIGHT (MOMENTS LATER)

Sadie is now feeling weak, a bit dizzy and nauseous from dehydration. Adam flips back over to Facetime, but Sadie has disconnected.

EXT. STREETS – NIGHT (MOMENTS LATER)

BEGINNING: Sadie is now feeling weak, dizzy, and nauseous from dehydration. She also feels confused as to where she is at and what is happening.

MIDDLE: Sadie notices a bright light coming up behind her.

END: The caller, on a motorcycle, is right behind her on the sidewalk. They rev their motor and lunge at Sadie as if to say, get going or I’ll run you over. She keeps running. The caller veers off the sidewalk, drives up the street and turns right at the next intersection, returning to his position for surveillance.

———————————————————————————

INT. HOME OFFICE – NIGHT

Adam hears a honk out front of his house. He sees his friend Will stopped out front with the car running. He can see Will running toward the door.

INT. HOME OFFICE – NIGHT

BEGINNING: Adam paces in his office trying to re-connect with Sadie. She doesn’t respond.

MIDDLE: He hears a honk out front of his house. It is Will’s car, still running, and Will is running toward the front door.

END: Adam grabs a jacket and bursts through the front door and runs down the walk. He and Will jump into the car and it pulls away.

———————————————————————————

INT. CAR – NIGHT

Adam asks Will where Hannah and the kids are, and Will tells him they are safe. Will asks Adam if he knows where Sadie was Facetiming from. Adam says he does not know. Will asks if he has Sadie on ‘Find My Phone’ which he does. They quickly locate the vicinity of where Sadie is running.

INT. CAR – NIGHT

BEGINNING: Adam asks Will where Hannah and the kids are. Will tells Adam he had them picked up and taken to the police station downtown. Will then asks Adam if he knows where Sadie was Facetiming from.

MIDDLE: Adam curses as he did not have a chance to ask Sadie her location before he lost her. He tries to connect again from the car, but she doesn’t answer.

END: Will asks if Adam has Sadie listed in his ‘Find My Phone’ app. Adam jumps to the app and confirms YES, he has her work phone. Will pulls a U-turn and squeals off in the general direction of Sadie’s work phone as indicated by the App.

———————————————————————————

EXT. STREET – NIGHT

Will and Adam determine they are close to Sadie’s location. They can also see from the App that she has stopped moving. They slow down and start to look around. They see two people and some movement on the sidewalk. It is Sadie and the caller. Adam tends to Sadie and Will takes down the caller.

EXT. STREET – NIGHT

BEGINNING: Will and Adam approach the general vicinity of Sadie’s phone per the location finder on the Find My Phone App. They know they are close because the App indicates that Sadie stopped moving a few minutes ago.

MIDDLE: They spot a heap on the sidewalk and a person standing over the heap. Will quickly skids over to the side of the road. The heap on the ground is Sadie. The person standing over Sadie climbs back onto the motorcycle and takes off. Adam runs to Sadie’s side. Will speeds after the motorcycle.

END: Adam pulls Sadie up to a seated position and hugs her. She is still unconscious but is breathing. He calls 911 on his phone.

———————————————————————————

[Chris Dorsey]

Chris Dorsey’s Act 3 Middle Scenes

What I learned doing this assignment is to continue to focus on big picture turning point, in order to move my story forward and complete my Protagonist’s arc.

1) Make A New Plan: Wilbert is going to open up in individual and group therapy. He is going to make real connections with people by dealing with his own issues.

INT. GROUP ROOM – DAY

PLACEHOLDER: WiLbert opens up in group for the first time.

INMATE SMITH

Why are you even here?

WILBERT

To get honest. To get… real.

INMATE SMITH

Yeah, right. We’re tired of your…

ANOTHER INMATE

Yeah, that’s right. We’re tired of your phony bullshit.

THERAPIST

Give him a chance.

WILBERT

I recently learned I [insert] because I worry about…

Wilbert falters.

THERAPIST

Go on, Wilbert.

WILBERT

When I was ten, both my parents were killed in a car accident, and I was sent to an orphanage. When you guys would tell me about your traumas, I couldn’t hear it because it reminded me of what I went through as a boy. So I… And for that, I’m sorry… I have no business trying to fix people when I need to be fixed.

THERAPIST

Defense mechanism can be a very powerful thing. They can protect you from painful thoughts and memories. But they can also prevent you from living a real life.

Some of the inmates nod their heads in acknowledgement.

WILBERT

My parents always said to be nice to people, no matter what. And when they died…

2) Things Go Well, Until… the Protagonist switches up Wilbert’s antipsychotic medications with Aspirin.

INT. MEDICAL ROOM, MEDICATION ROOM – NIGHT

The Antagonist mops the floor.

An OVERWEIGHT OFFICER sits back in his chair.

ANTAGONIST

Someone just brought in a big box of donuts. They’re on the table in the other room.

OVERWEIGHT OFFICER

I’ll be back in a few. Keep an eye on things for me.

ANTAGONIST

Take your time.

He puts his mop aside and goes snooping. He finds the medication for his dorm. The name on the medication blister pack reads: “Wilbert McNutt.”

He swaps it for another inmates blister pack of aspirin.

ANTAGONIST

Let’s see how long you last off you medications, McNutt.

INT. CAFETERIA – DAY

Wilbert stands on the chow line. He pushes his tray along the [insert].

MALE VOICE

Kill everyone!

Wilbert looks around. Shakes his head to clear his head. The SERVER looks at him. Strange.

INT. PSYCHIATRIST’S OFFICE -DAY

Wilbert sits across from the psychiatrist. Wilbert looks concerned.

PSYCHIATRIST

So what’s going on?

WILBERT

I don’t think my medications are working anymore.

PSYCHIATRIST

I have you on the highest dose possible.

WILBERT

And I’ve been hearing voices again. They’re telling me to do bad things.

PSYCHIATRIST

You know what I think? I think someone’s put you up to this… You are malingering.

WILBERT

What? No. I’m really hearing voices.

PSYCHIATRIST

This reminds me of the time…

INT. CELLBLOCK – NIGHT

PLACEHOLDER: Wilbert has a nervous breakdown. He burns his mattress, floods his cell, Has an imaginary weapon [look at my journal], climbs into the rafters calling himself Spider Man, puts a noose around his neck, talks to himself, paranoid, cursing people out, saying weird shit about people. Manic.

[Wendy Locke]

Wendy’s ACT 3 Middle Scenes

Outline

Key Scene 2 Beginning: Convention center. The kids show up and the band plays

Middle: The Kids get back to mom

End: Dean takes the kids to hotel

Key Scene 3 Beginning: Michele goes back inside to fight the thugs

Middle: Michele fights the thugs at minute made park

End: Dean, Kevin, Elijah and the kids are captured. Michele is captured

KEY SCENES 2&3:

EXT. GEORGE BROWN CONVENTION CENTER, HOUSTON, TEXAS – DAY

Large banner on outside “KIDS EXPO TODAY”

INT. BROWN CONVENTION CENTER – DAY

Numerous parents and their kids wandering thru isles of booths filled with toys and sales people. In the center of all the booths and displays is a stage for performers. Big sign on the stage “Bass Fishing In America today at 3:00 pm”

EXT. GEORGE BROWN CONVENTION CENTER, HOUSTON, TEXAS – DAY

A limo pulls up to the entrance. Joel gets out with the children. As they make their way to the doors the limo slowly drives away. Joel watches it go while entering the center very nervously.

INT. BROWN CONVENTION CENTER – DAY

In the access corridor behind the trout Fishing In America merchandise booth, Michele, KEVIN, ELIJAH, and the real DIRECTOR wait like ducks in the marshes with hunters close by. Dean begins to open the partition to get behind the booth where they all are waiting for the impending doom. The tension is thick enough to choke the very breath form Dean. As Dean’s hand appears on the inside of the access corridor he triggers a jumping response from everyone.

Michele is wearing an ASTROS baseball cap. Dean is posing as the director with a very obvious tag/lanyard displaying that fact.

Everyone stares at Dean without signs of relaxing. Dean shakes his head in disgust.

DEAN

Is everyone ready?

They are here.

Everyone stiffens again.

DEAN

You guys have to be kidding me. Breathe. Nine out of ten doctors recommend it.

MICHELE

But…

DEAN

(interrupting)

You’ve got this.

Dean points at each person as he talks.

DEAN

You two know how to sing and you know how to be a mom, and you… you know how to do nothing… right?

Everyone smiles and nods their heads firm in agreement.

THE ANNOUNCER (O.S.)

… And ladies and gentlemen, it is time for the time of your life. I need not introduce the amazing band we have tonight. So, here we go! Enjoy!

The crowd goes wild with excitement.

DEAN

Okay everyone, let’s do this.

Dean puts his hand out in front of him as if they were a sports team pumping up for action. They all just stare at him and turn to go to their perspective places.

MICHELE

(shaking head)

Really?

Dean mimics her sarcastically and throws his hand up in the air as if everyone had joined him.

DEAN

And, go team!

With a deep breath and a final glance at each other, they make their way through the curtain to the stage and begin the concert.

All isles lead to the stage area at the back of the convention area.

INT. CONVENTION HALL – LATER

Michele, Dean and the Director sit in silence as if waiting for a death sentence. Michele and the Director look at him in fright.

DEAN

I’m going to go check things out.

MICHELE

(grabbing)

Wait.

DEAN

Why?

MICHELE

Are you sure this is going to work?

DEAN

Yesss, I have it all planned out.

Dean turns to leave, Michele tugs harder on his arm.

MICHELE

What if it doesn’t?

DEAN

Then you have my permission to shoot me.

MICHELE

Gladly!

DEAN

Mr. Sherr gave his full support on this. He was the one who said I really used my brains for this.

MICHELE

I believe he said you are “finally” using your brains.

Dean snatches his arm away from Michele.

DEAN

Well, I’m not just an agent that look good in a suit with a gun.

DIRECTOR

(in all honesty)

Really?

DEAN

You have got to be kidding me.

Director’s face shows his puzzled thoughts. Michele and Dean stare in disbelief at the Director. Without looking away from the Director she waves Dean on.

MICHELE

Just GO!

Dean slinks through the curtain and into the bustle. Michele stares at the Director growing weary about his views of reality.

On the showroom floor Dean stops to survey the crowd, realizing that the kids as well as the adults are entranced by the band. Dean quietly makes his way to Joel’s side.

Dean’s face is of half surprise and enjoyment at the performance. Joel see Dean out of the corner of his eye. Dean, focused on the stage, Joel views him as harmless and is glad to strike up a conversation with anyone that is not trying to kill him.

JOEL

They’re good, aren’t they?

DEAN

Yeah, I’m surprised.

JOEL

(gesturing to kids)

We just love them.

Dean nonchalantly looks down at the kids.

DEAN

Which ones are yours?

Joel points to each child. QUICK INTERCUT

JOEL

That is John, the oldest age 9, then Logan, he is 7, then the princess of the family, Megan, she is almost 6.

DEAN

Cute kids.

JOEL

They are all I have left. Their mom died in a tragic accident a few weeks ago.

DEAN

Oh, I’m sorry.

(beat)

Hey, would the kids like something from the booth and an autograph? I mean I am the director after all. It sounds like they could use some special treatment.

JOEL

That would be so cool!

DEAN

Good! My name is Dean

JOEL

Joel

DEAN

T-shirts for everyone. Let’s get them to the booth before the crowd gets there.

JOEL

Come on kids.

Happily the kids raise and bounce over to the booth and begin looking around. Michele is peering through an opening as they draw closer. Her heart begins to race, she is having trouble slowing her breathing down.

JOEL

Thanks a lot. They really have been through a lot lately.

DEAN

Sorry to hear that man. It must be tough.

JOEL

You have no idea.

DEAN

Hey man, if you are trying to hit me up for a discount on the CD’s, the best I can do is 10%.

JOEL

(chuckling)

No, but that is tempting. However, I think that we own them all anyway.

The music stops, the concert is over. KEVIN and ELIJAH make their way back to the booth. As they walk by Dean they very nervously shake his hand as they realize who is standing by him and realizing that things are about to happen.

DEAN

Thanks a lot guys. You really do draw a crowd. Hey, I have some special kids I want you to meet.

JOEL

Kids, bring your things here.

Kids look up from the merchandise, and gleefully greet KEVIN and ELIJAH. Other kids are beginning to clammer around. Dean stays very close to Joel.

DEAN

(to Joel)

Gee, I need to have them back more often.

JOEL

Then you might need to get a bigger auditorium.

DEAN

You might be right

(beat)

Hey, it looks like we need to get your kids into the back for a little privacy.

Dean and Joel look down at Megan only to see her being pushed around by the swarms of kids, she looks up with big urgent eyes.

MEGAN

Daddy, can we?

JOEL

Well, I suppose for a minute or two.

Joel looks around to see if anyone was watching. He is nervous that he does not see anyone of the mob, but he knows that they are there.

JOEL

John, Logan, lets go and get some autographs.

They all head for the access corridor.

INT. CONVENTION CENTER ACCESS CORRIDOR – DAY

Michele sees the group coming their way and scurries to the van at the end of the corridor. She realizes she has her gun on and takes it off so as to not scare the kids and puts her hat on top of the gun. Dean gently holds Joel back from following the kids. KEVIN and ELIJAH disappear behind the curtain with the kids in tow. Dean stays with Joel.

ELIJAH

Okay, whose first?

MEGAN

ME,ME,ME,ME!

ELIJAH

How would you like something better than a t-shirt?

Megan steps back and grabs John’s hand leery of what ELIJAH might be offering.

KEVIN

I think we found something you lost.

John, Logan, and Megan show amused skepticism, but they point to the van down at the end of the corridor. Without a second thought the kids follow. The real director is in the background pacing, unnoticed by the children, sweat building up on his forehead; he is biting his nails.

INT. MERCHANDISE BOOT – DAY

Joel is growing more nervous by the minute, biting his nails too. They continue to talk; Thug one and two walk in the front door of convention center and follow the signs to the stage area. Dean and Joel have their backs to the isles that converge to the stage area, and do not see the thugs approaching.

JOEL

These kids are great. They are handling things so well.

(beat)

Do you have any kids?

DEAN

NO, No, no, no, no. I have never had ummm the pleasure. I am however seeing someone that has three kids of her own. I have only met them once but they seem to like me.

JOEL

What kid wouldn’t like a guy that is the director of the greatest toy display ever?

DEAN

(laughing)

Good point!

EXT. CONVENTION CENTER SERVICE ENTRANCE – DAY

The kids are ushered to the door of the van. The van’s side door opens to reveal Michele sitting in the farthest captains chair just behind the drivers seat. Michele sits facing the door. With her tears flowing she flings her arms open and her eyes reignite with life and hope.

John and Logan look up at ELIJAH as if to ask for permission or to check if this is really a joke. Megan is frozen, staring in total disbelief at a ghost. Megan’s mouth is wide open as if to scream but no sound is uttered. ELIJAH looking at the kids nodding his head in “it is real”.

JOHN

MOM!!! I knew it wasn’t true! I knew you were still alive!

John and Logan jump into the van and squeeze Michele as if they will never let her go again. Megan, still stunned until Michele catches a glimpse of her out of the corner of her eye. Michele opens one arm and gestures reassuringly for Megan to come to her without letting go of John and Logan.

MICHELE

It’s all right princess. It really is Mommy.

MEGAN

Mommy??!

Slowly Megan moves towards Michele. As she approaches, she reaches out haltingly as if when she touches her mommy the dream will go away. Their fingers touch, Megan, bewildered, retracts slightly, then touches again to see if what she felt was real. Michele lovingly grabs hold of her hand and pulls her in to hold her too.

MICHELE

I am really here sweetheart.

ELIJAH

Ahem, we probably should get going.

MICHELE

Yes! Lets get them out of here.

Michele leans back kisses each child on the cheek.

MEGAN

Are we going with you?

MICHELE

Yes, sweeheart.

MEGAN

When we turn into spirits, is it going to hurt?

JOHN

You idiot!

John pushes Megan on the shoulder like common sibling rivalry.

JOHN

She’s not dead and we are not going to die either.

Megan deflated, and almost disappointed. Michele lovingly draws Megan’s attention to her face.

MICHELE

(tears welling)

No honey, I am not a spirit. But I want you to think if I have ever told you a story that wasn’t true, or lied to you.

MEGAN

No??

MICHELE

Then I need all of you to trust me right now and do everything I tell you to do.

ALL KIDS

Okay.

MICHELE

You guys stay here and I will go and get your father and my friend Dean. I will be able to tell you everything, but not right now. Right now mommy needs to go take care of the mean guys that told you ugly stories.

LOGAN

Dad!?!

MICHELE

No, he will be fine. It is his new friends I’m going to have a chat with.

LOGAN

They are really scary people.

MICHELE

You are so smart. Right now we need to get you to a safe place where they wont be able to find you.

Logan grins happily.

ELIJAH

Come on, we need to get going.

MICHELE

Right!

LOGAN

MOM! You promise you are coming back?!

MICHELE

Yes and I will prove it.

Michele whips out her pinkie poised and ready to lock with Logan’s. Logan locks pinkies.

MICHELE

I pinkie swear.

Michele tugs on his pinkie and then leans into to kiss her thumb and then spits on the ground.

MICHELE

Now stay or I will be forced to tell your friends that the princess diaries is your favorite movie.

Logan sheepishly grins, embarrassed about the hard fact he has been exposed but now ecstatic realizing that is really is his mom. Michele kisses the kids again trying to break free, but they only let her go reluctantly. Michele turns, hugs KEVIN and ELIJAH then disappears back into the building service entrance.

MICHELE

(to KEVIN and ELIJAH)

Thank you soooo much!

KEVIN

No problem.

INT. GEORGE BROWN CONVENTION CENTER, HOUSTON, TEXAS – DAY

Dean and Joel are in a good conversation about computers and seeming if they are male bonding. Joel keeps looking at the curtain waiting for the kids to emerge.

Michele peers back through the curtain from the access corridor and sees Dean and Joel talking. Simultaneously the thugs see Dean and Joel talking and begin to head towards them. Michele leans back looking for a way to get Dean’s attention. It suddenly registers to Michele that she also saw the thugs headed towards them.

INTERCUT MICHELE’S P.O.V. Looking back through the curtain to confirm what she saw. Looking past Dean she sees the thugs walking toward Joel. Michele knows there will be trouble soon and the thugs will have no regard for anyone in their path. She scans the area for a way to get everyone out of the building.

MICHELE

(to director)

Where is the fire alarm?

Director points with hand shaking to a red box on the wall, any other movements will cause him to pee his pants.

MICHELE

It always has to be the difficult way.

Michele dashes over to the pull station. Dean catches a glimpse of Michele through the curtain and knows something is wrong but does not look around to cause attention to himself.

Michele pulls the fire alarm latch. Sirens start going off and chaos begins in the showroom. There is a sudden hush from the crowd, people seen frozen for a second, unsure of what to do. The sprinkler system turns on, there is a loud squeal from the crowd as parents begin flocking to the exits dragging their children behind them. The thugs are now trying to make their way down the isle, but are slowed by the stampede of people. Michele looks up in disgust.

MICHELE

Oh great…. That’s not supposed to happen. Okay, obviously that will let Dean know that there has been a slight change in plans.

BACK TO DEAN AND JOEL:

Joel’s nervousness is overwhelming as he watches everyone scramble out the doorways and is unsure which way to go. Dean is fully aware that Michele caused this.

DEAN

Hey, follow me, we’ll get your kids and I will show you a way out the back.

Joel grabs Deans hand and shakes it as if Dean just saved his life.

JOEL

Thank you so much!

Dean breathes out and pats Joel on the back.

DEAN

Well, you can thank me later.

Dean grabs Joel’s arm and begins to pull him to the curtain and freedom. Before they can make it through, one of the thugs fires off a shot towards them. Dean realizes how close the thugs are and knows that he must draw attention away from the van. Still holding Joel’s arm he makes a break for the stage and the hallways behind it.

JOEL

But the kids are in there….

Dean and Joel stall behind the stage. Dean closes his eyes for a second and shakes his head in an “oh crap” fashion. There are double doors a few feet behind the stage leading to a hallway; the doors are held open towards them by a magnetic latch. With a deep and deliberate breath, Dean shoves a now franticly panting Joel through the doorway. Once on the other side Dean releases the latch that holds the doors and as they close they automatically lock. Dean and Joel make their way down the hall that meets at an intersection of another hallway going back towards the van. The thugs reach the door and find they cannot open it, begin pounding and yelling.

INT. BROWN CONVENTION CENTER/HALLWAY – – DAY

Michele is waiting behind a stack of boxes. A deep scowl on her face, arms crossed, clinched fists. Dean comes the a screeching halt just past where Michele is standing. Dean scans the area outward toward the open service door. The dock door is the same shape and size of a single car garage. Dean is unsure of which way to go now that the plans are changed.

MICHELE

Looking for me?

Dean and Joel respond simultaneously.

DEAN

Michele?

JOEL

LISA!

MICHELE

(to Joel)

Wrong! Thanks for playing.

JOEL

Bu..tt you look… just like

MICHELE

My real name is Michele and you are an idiot. I was only pretending to be Lisa.

JOEL

Then what Mr. Kren said is true.

MICHELE

Yes. Now, I want you to tell me exactly what happened and explain how you got caught up with those creeps, and then after that you can try to persuade me not to kill you for getting our kids mixed up in all this mess.

JOEL

Umm, well.. It is not a big deal really. I lost a lot of money in Vegas, so at work I borrowed a little money from an account that hadn’t been touched in years….

They hear a gun go off and then the sound of crashing glass. Joel is stuttering and stalling.

INTERCUT of thugs getting past the broken doors, confused about which way they should go, but end up going the wrong way and away from the service entrance and ending up back into the showroom floor.

MICHELE

You either finish telling me the truth or I will let the Krensha’s have you.

JOEL

All right! The account belonged to Mr. Kren. He found me, then found out that you were you. I.. I tried to tell him that you were not who he thought you were, but you are…

MICHELE

So you decided to put our kids lives in danger just to save you own hide because YOU lost some stupid bets?

JOEL

Really, it is not as bad as it seems.

Michele’s whole body tenses up and she is so angry her face turns red, her eyes seem as if they are going to pop out of her head any second. Slowly, she creeps towards him like a cougar approaching her prey ready to pounce.

JOEL

Lisa,…Michele…I mean, the kids are not really at any harm. Well, the Kren’s have been nice so far.

(jokingly)

They haven’t hurt us yet…

For Michele it is the last straw. She rears back with her right arm and her fist clinched so tight that her knuckles are white and very prominent.

Michele’s FIST hitting the camera as if it were Joel. Joel falls to the floor unconscious. Dean is impressed and surprised; he looks at Michele as if to say something but realizes that Michele wants more than one hit. He backs up not wanting to be Michele’s next target.

MICHELE

He was always a wimp. C’mon let’s get everyone out of here.

EXT. CONVENTION CENTER SERVICE ENTRANCE – DAY

Michele and Dean drag Joel to the band’s van outside. They argue as they walk. Joel is carried by both of them, each having their arm under his arms.

DEAN

Okay, now what?

MICHELE

Is that a trick question? I mean… come on, this is the part where the good guys get the victims to a safe place. And take the ring with you. I have to deal with these guys and if I fail I don’t want them to get the ring.

DEAN

(references the thugs)

Okay, now what about them?

MICHELE

What!? You said that this was planned perfectly.

DEAN

Yeah, it was! That is until you changed everything.

They reach the back of the van.

MICHELE

If it wasn’t for me….

Dean stops and drops his side of Joel’s body and points to the convention center.

DEAN

Okay! Then you can plan how we are going to get rid of them. You do remember them… Right??!

Michele drops her half of Joel’s body, and Joel hits the pavement with a thud. Neither one of them even notice that a human has fallen to the ground.

MICHELE

Do you honestly think that I have forgotten about them?

They open the back doors of the van and pick up and treat Joel as if he were a sack of potatoes as they put him in the back. The kids are intently staring and almost afraid that their father is dead.

DEAN

(scoffing, sneering)

YEAH, I do. You don’t even have a clue as to what we are going to do next.

MICHELE

HA! Wrong, I do have a plan in mind. The funny thing is, you are the one who needs a clue.

DEAN

I DO NOT!

MICHELE

Yes you do. I read all about you too. This is the part of the case where you choke up and lose it. You are not the only one who does their homework.

DEAN

(very angry)

What do you mean!?

Dean slams the inner door of van; once door is shut and KEVIN and ELIJAH exit the van and appear behind Dean, while the kids appear behind Michele, but all remain unnoticed by the arguing duo. The two are not more than a foot from each other. Each one is trying to get into the other’s space like two quarreling dogs attempting to back each other down. KEVIN and ELIJAH are keeping count on their fingers as to who got the winning points after each comment.

MICHELE

I read all of your files, and just when you get close to the Krensha something always happens.

(beat)

You mean you didn’t figure it out? This is exactly why Mr. Sherr put us together. You were able to get us to this point. I have the brains to finish this off. Together we are the perfect couple.

DEAN

Couple?

Michele stomps her foot, realizing that she had a Freudian slip. KEVIN, ELIJAH and he kids are watching in awe at the fireworks.

MICHELE

You know what I mean….. Partners.

DEAN

(gesturing to the kids)

Oh yeah, smartie pants, so what about them?

MICHELE

This is the part that..I.. have worked out.

DEAN

So when are you gonna let the rest of the world know about your little plans, miss perfect partner.

Michele ignores what Dean has said and bends over to love on the kids. Her voice is soft as they gather in a huddle and Michele begins to explain to them that they will need to go with Dean for a short while and then she will join up with them. Dean begins to rant and rave about women and being ignored. We hear faint sirens in the distance growing louder as they continue to argue.

DEAN (O.C.)

Women think they can just pull things out of thin air. Having a woman as a partner is going to kill me.

MICHELE

(sweetly to the kids)

Okay kids, here is what is going to happen next. This nice man Mr. Dean, will take you guys to a safe place and then in a few hours mommy will you.

DEAN

OH, this is just great! Partner? Partners don’t ignore each other!

Dean has turned his back to Michele and sees KEVIN and ELIJAH there. Without missing a beat, he continues to rant and even tries to gain confirmation of his statements with KEVIN and ELIJAH. They only scratch their heads and try and avoid the conflict at hand.

DEAN

Am I not right here guys, girls always ignore things when they should be listening. Heck, she isn’t acting like a partner or a lady. She is acting like a schoolgirl, NO! She is acting more like a….

Michele stands up and faces Dean; he is still facing the other way, not knowing that she has stood up. She is only inches away from him. She glares icily as she patiently waits for his tantrum to cease. As dean spouts off the next word, he turns back toward her completely taken by surprise as they make solid eye contact and he is overcome again by his strong feelings for her.

DEAN

…wife.

Michele remains calm as always even though her stomach is quivering and she manages to raise one eyebrow in an “oh yeah, now what” attitude. Dean quickly looks away to avoid Michele’s eyes. He tries to pretend to have control of his emotions. KEVIN, ELIJAH and the kids all see what just happened and are all snickering. They hear sirens pulling up to the front of the convention center, snapping everyone back into reality. KEVIN and ELIJAH scramble back into the van. The kids attach to Dean, he is confused.

INTERCUT THUGS: racing back away from the immovable doors deeper into the isles to hide away from the arriving emergency workers. The sprinklers have stopped.

MICHELE

You guys need to get going.

DEAN

US??!

Michele kisses the kids goodbye.

MICHELE

By kids, you guys be nice to Mr. Dean

KIDS

Okay, Mom.

DEAN

Wh..wait a minuet! I’m not going.

MICHELE

Kids, get in the van, I need to have a talk with Mr. Dean here.

The kids climb into the van.

DEAN

What do you mean, me go with them!? There is no way that you could handle those creeps by yourself. If this is your idea of a plan then you better fill me in on the rest of what your Mousekateer brain is thinking because I am at a loss here. What are you planning to do, beat them up with teddy bears?

MICHELE

Why you chauvinist pig!

DEAN

(back pedaling)

No, that’s not….

MICHELE

I can’t believe you! So you think that now I have my children back I should stop playing the agent and go back to being just a mommy and leave all the rough stuff to the guys? I have a job to do and I am going to do it!

DEAN

Would you just wait a minute? That is not what I meant. Why should I go with them? Why not just let the guys take them and we do this together?

MICHELE

Probably because WE would be back to chasing my kids across the country again. These guys are professional musicians. They are not exactly trained to protect anyone. Imagine them trying to aim and shoot a gun. Heck, we would be lucky if they didn’t shoot each other.

INTERCUT INSIDE OF VAN: KEVIN and ELIJAH are listening to the argument outside. They nod their heads in agreement. Kevin holds up another finger.

MICHELE

They need to be taken to a safe place by you.

DEAN

Now we are back to where we started, why aren’t you going to go and protect them yourself?

MICHELE

You are sweet for thinking that they need me to go with them but you keep forgetting the fact that…IT IS ME THEY WANT TO KILL. They are safer with you. Now, GO and you can catch up with me later.

DEAN

Catch up??

MICHELE

Yes. I have to get those creeps away from here, there are other kids here and they don’t need to see any of this or worse, be involved.

DEAN

But how am I supposed to find you?

MICHELE

Geeze, for once in your life trust that gut instinct you have and follow that little voice inside your head telling you ‘yeah this is right.’

Dean grins wildly and grabs Michele, kisses her as if there was no tomorrow; she responds and begins to raise her arms to return the embrace or to push him away, but she only drops them in surrender. Elijah smiles and holds up three fingers.

MICHELE

What was that for?

DEAN

Just practicing that gut-voice thing.

MICHELE

(back to reality)

Umm, wait a minute.

Michele “slugs” him as if she were and elementary girl, trying to hid the fact that there is an attraction there.

MICHELE

Not now.

DEAN

Okay, okay, you win this time. I’ll go but you be careful.

Michele rolls her eyes, rushes back inside.

INT. VAN – DAY

Sitting outside the hotel Dean wrestling with himself, trying to figure out where Michele might go. He leans his head into the steering wheel to rest for a minute. Just then he notices Michele’s ASTROS baseball cap sitting on the van floor between the seats. He sits back up straight and quickly turns his head to look at MINUTE MAID PARK where the Astros play.

DEAN

Instincts? She leave me a clue the size of Dallas and she thinks I need instincts?

He leans over to pick up the cap but when he lifts it up, Michele’s gun, still in the holster, slides out from underneath.

DEAN

If she is still alive I’M gonna KILL HER!

CONVENTION CENTER ACCESS CORRIDOR – DAY

Michele reaches for her gun from where the holster should be Remembering she left it in the van.

MICHELE

Oh geeze! I left in the van. Now, what am I supposed to do?

Carefully she goes into the access corridor and into the showroom floor looking around the sea of wet things scattered everywhere. The noise from the thug’s grumbling is heard from a toy display.

MICHELE

(under breath)

Well, at least the fire sprinklers have quit.

The thugs are grumbling about the situation but it is not decipherable. She sees the firefighters ushering people out the front door. Quickly she returns to facing the wall of toys knowing that she must act soon before anyone innocent gets hurt. The look on her face is “now what?” Beginning to look around for anything to help, she scans the area, then scans up a wall of stuffed animals. In exasperation she lets her head fall back on to the end-cap behind her and a bottle of baby powder is nudged back. Michele extends her head back a little to see what has been moved. Her face glows with a smirk as she takes the bottle from the shelf and she looks at it, nodding with a happy yes. Quietly, she finds a stuffed animal that is in plastic wrap. She unwraps it quietly. We see her begin to douse the bear with the baby powder.

MICHELE

(mockingly)

Teddy bears, huh!

INTERCUT the thugs hear a whirring sound growing closer. A remote control monster truck rounds the corner and faces them. As the two thugs hurry thru the isles in the direction were it came from they pass Michele unnoticed on the top of a display. CAMERA LEAVES the thugs and CIRCLES AROUND THE DISPLAY TO FIND Michele atop the display that is taller then the thugs. Michele is sprinkling the teddy bear in the baby powder. She makes a noise to attract the thugs attention. As soon as they look up she throws the teddy bear at them and misses them. As the teddy bear hits the ground it creates a plume of dust that was supposed to hit them and cause them not to be able to see.

MICHELE

Oh my gosh!!! I missed!

The thugs snicker and begin to climb up to Michele. Michele flinches and looks down at her hands where she is still holding the bottle of baby powder, sprays them hitting their faces and eyes. They fall back to the ground coughing and rubbing their eyes. Michele jumps down and runs to the exit where the van was and where Dean’s car is waiting. The thugs fumble as they get up. The firefighters hear them coughing and dash to their aid and assist them out to the front of the building. They are leaned up against their limo and administered oxygen while medics are checking their pulse and breath sounds.

EXT. CONVENTION CENTER SERVICE ENTRANCE – DAY

Michele is standing by Dean’s car dancing to try and get the keys out of her pants pocket. She finally gets them out and fumbles, gets in the car and drives around the front to where she is in plain sight of the thugs.

Michele allows just enough time for the thugs to break free from the medics and get positioned in their limo. Michele begins a slow roll off to make sure they follow.

INT. BROWN CONVENTION CENTER HILTON HOTEL – DAY

KEVIN and ELIJAH are walking in with a bellhop cart full of luggage bags concealing Joel. Joel starts to moan in waking.

KEVIN

(to Joel)

Shh!

JOEL (O.S.)

(feebly)

Okay,

The lavish lobby area with routine daily activities going on, Dean is at the desk checking them into a room with the kids at his side. KEVIN and ELIJAH pull the cart up behind them. The clerk hands him the hotel keys.

DEAN

Suite eight twenty one, got it.

Dean scoops up Megan and the all rush to the elevators. Once inside the room Dean tries to put Megan down but she will not let go.

DEAN

Lemmie’ guess, you are just following mommy’s orders to make sure that I stay with you.

MEGAN

No.

DEAN

No?

MEGAN

No, I like you. I think you are cute.

Dean melts a little. Joel walks up to Dean rubbing his reddened face and pry’s Megan away from Dean.

JOEL

Okay Megan, that’s enough.

Dean composes himself back to a professional state.

DEAN

Now, all of you are to stay here until we come back to get you.

All look on silently. Dean turns to go. Megan reaches up to grab his sleeve

MEGAN

But what if it doesn’t work Mr. Dean?

DEAN

(sighing)

This must run in the family. Look Megan, have you ever seen anything not work out for your mom?

Megan shakes her head “no”

DEAN

See, everything will be just fine.

Megan hugs Dean and he smiles as he opens the door. There stands some of the Krensha mob.

DEAN

Hey, um, you guys look lost.

Dean quickly tries to close the door. One of the thugs shoves his steel toed SHOE in it.

THUG 3

No, it is you that is going to be lost soon!

The thugs shove their way through the DOOR. They start beating up on Dean. He is knocked out. Thug 3 takes the ring off of Deans hand.

THUG 3

We will take that.

Thug 3 tosses the ring and it lands back in his hand.

THUG 3

Mr. Kren is going to be very happy.

INT. MINUTE MAID PARK – DAY

The door shuts behind Michele and she realizes that she is at a crossing in the hallways and is unsure of the way she should go. Her eye connect with a caretaker that is sweeping the hall. Without speaking he points to the right and down the stairs.

MICHELE

Thank you!

Michele scurries down the stairway.

The thugs blast through the same door and look around with altogether familiar confusion of placement. The caretaker kindly ushers them to the left as if he knew what they were looking for. The Thugs rush past him but thank him with a respectful head bow.

Michele is dashing down corridors and coming to the ‘visitors’ locker room. She quietly enters, there are sounds of showers in the back and a few voices here and there. Michele tries her best to make it across the locker room unnoticed but keeps tripping over things, hitting her head, barely makes it by a player that has just turned his back, dodges a dirty towel tossed at a hamper, ducking in the nick of time. With a deep breath she makes a dash for the way out of the maze of lockers to hopefully find the only possible weapon in the place.

Thugs running through the food court of the lower level seating they enter the mezzanine seating area and descend toward the field.

Michele creeping out of the dugout. She hears voices but does not see anyone. Crouched over she makes her way over to the bat bag. Just as she pulls out a bat, one of the thugs fires off a shot barely missing her.

Jus then Mr. Kren comes through the same door and with 4 thugs following him.

The caretaker points to the left again.

Mr. Kren finds his way to the announcers booth.

MR. KREN

(into microphone)

It’s over Michele. We have the ring, Dean and your kids.

Michele whispers to herself with tears welling up.

MICHELE

No, this can’t be true.

Mr. Kren, answers, as if he herad her.

MR. KREN

Yes, it is true. If you surrender now they will go free.

Michele slides down the wall on her back to the wall, and begins to cry profusely.

MICHELE

Now what? They have everything.

She drops the bat and two thugs appear and handcuff her and take her to the limo and shove her in.

BACK TO:

INT. HOTEL ROOM – DAY

Dean, Kevin, Elijah and the kids are escorted to a limo and taken to a building under construction nearby. Dean, The band, Joel and the kids are ushered to a room nearby with a thug guarding the door. Mr. Kren is in the room with Michele and is pacing in deep thought.

[Tita Beal Anntares]

Tita’s Act III Middle Scenes

What I learned from this assignment:

Dividing the act into beats and then into outlines for the key scenes helps me deal with the overwhelming thought of writing a whole act. But good to outline the scenes together so I can see how they interact together, impact each other… and therefore know what to change and, as I make changes while writing the draft of the script, the outlines help me make the changes consistent with the actions and characters throughout the first 3 scenes.

Key Scene Outlines for III.2 and III.3

Key Scene III.2: Makes a new plan. Now, the hero creates a new plan and pursues it. With that, they embrace the need to change. This could involve training sequences, bringing on new partners, or taking actions they never would have taken during the first half of the movie. Outline of Beat:

· Beginning: Hutchinson starts ordering soldiers to clean up, stop harassing townspeople and he begins writing new letters to Parliament and King—shows Hancock that he has heard them, is on their side. Advocating. Otis, his head still bandaged, out of control. His wife and adopted Native American son get him to leave. (Note to me: “Otis Two” but get him a Wampanoag or Mashpee name)

· Middle: Hancock offers to give banquet for the people and invite Hutchinson who declines – they will want Hancock as Gov. [Note to me – check details about how/when Hancock buddied up with Hutch]

· End: Hutchinson tries to connect with Sam, saying they are fellow colonists, neither wants soldiers. Sam – and then why did you ask for them? Hutchinson – the mobs. My home – Sam, because of unfair tax. Did you write home to stop it. Hutch understands now – says he is writing to get the tax repealed.

Key Scene 3: Things start going well, until… Outline of Beat:

· Beginning: Increased complaints about dirty troops taking over their Town Meetings by bunking in Faneuil Hall. Crowd is taunting, throwing snowballs. Otis egging them on – free citizens should not have military controlling them. His wife tries to get him away.

· Middle: Soldiers shoot, kill. Crowd shocked. Sam and Betsy, mob leaders, trying to help wounded. Otis horrified.

· End: Hutchinson comforting, taking depositions. both Hutch and Sam comforting relatives of the wounded and dead, compassionate for losses, panic.

TE 4 – H realizes how much he cares about people of Boston and Mass.

· Otis sees Hutchinson upset. Weeps for him, praising the beautiful order of their Mother Country – just need same rights here. Tensions between Hutchinson’s focus on law/order and Sam’s focus on freedom/rights are driving Otis insane Betsy confronts Hutch – Sam gets her away… her actual line – drag his hoary head

First Draft Script for Key Scene 2 – Makes a new plan

INT. HANCOCK PARLOR -AFTERNOO

Hutchinson being escorted into over-luxurious parlor by overly-flouncy Dolly Hancock as Hancock points out a table laden with tea setting plus too many drinks and hors d’oevres

DOLLY HANCOCK

We are so honored to have you in our home, Mr. Hutchinson.

HANCOCK

Governor, Dolly! Here sir –

HUTCHINSON

Acting Governor. Still Lieutenant Governor. But Thomas is fine, Mrs. Hancock

HANCOCK

Here – tea? Or do you prefer rum or wine first? And we have these little sausages or this smoked cod… or we can have Cook bring something lighter if a savory tea is too –

[Dolly rushes to pour tea for Hutchinson]

HUTCHINSON

Nothing thank you.

DOLLY

Oh, dear. What else can I get you?

HUTCHINSON

Nothing. I just want to reassure you, I have ordered Captain Preston to control his troops better. Clean up after themselves in Faneuil hall. Use the privies. And I want to assure you, I understand what you and other men of commerce have been saying that the colonial charters –

HANCOCK

Spare me more legal points. You can tell me hundreds of your facts but-

HUTCHINSON

You’re right.

HANCOCK

I’m what??

HUTCHINSON

I should apologize. I have written Lord Dalrymple and others that they cannot just pay off their war debt by taxing the colonies. I have explained that of course Parliament can make final decisions for the colonies but our charters –

DOLLY

Oh, Mr. ah – Thomas. I knew you were on our side. We’re all British citizens – no reason to fight over a stupid tax.

HANCOCK

Dolly, the government issues are not stupid

HUTCHINSON

Mrs. Hancock is very wise. No reason to fight at all. Just a matter of policy. The charters gave all rights to the people – let them vote on anything. But we – any of us with education and sensibility – we know we need a balance between the voice of everyman, the experience of men of influence, and the mediating benevolence of royalty. I wanted to ask you to help me organize a meeting of men of influence. Together, we –

HANCOCK

I’m very honored.

HUTCHINSON

Honored?

HANCOCK

That you think I can bring them together.

HUTCHINSON

You’ve been very effective in supporting the boycott of any products taxed.

DOLLY

My husband was only talking with the radicals to learn what they are doing. So he could warn you.

HANCOCK

Right! I was never –

HUTCHINSON

The past is past. What we need to do now is join to together with other men of commerce. Develop proposals that I can pass on to leaders of Parliament.

HANCOCK

Can we trust you? I did. But you were secretly calling in the royal army.

HUtCHINSON

What if mobs had pillaged and burned this beautiful home of yours?

DOLLY

Oh, la, I’m going to faint.

HANCOCK

Don’t worry. She never does. Forgive me for asking – but it’s just hard to trust…

HUTCHINSON

If I cannot get Parliament – or even the King – to understand the concerns of colonists, I will resign as Acting Governor.

HANCOCK

Give up all that money?

HUTCHINSON

You thought I accepted this position this for money? No amount of money could make this job worth it. You probably believe all the attacks on me. But I love our colony. But if I cannot get them to listen to me, I will tell them to find a stronger man to be Governor.

###

First Draft Script for Key Scene 3 – Things go well, until…

EXT. OUTSIDE GOVERNMENT BUILDING – SNOWY EVENING

Royal army soldiers are lined up, armed. Crowd is gathering, shouting “Bloody lobsters!”… “Looking at our women!”… One boy throws a snowball. Otis, head still bandaged, runs up, shouts to crowd as more and more men and boys, black as well as white – and including Crispus Attucks, a large half African/half Native American, pick up snow to make snowballs

OTIS

You see what one of their men did to me? Their royal tax Commissioner?! And last week – the soldiers attacks our own boys. Our colony has our own militia. If we need protection, we can call in our own troops! Free citizens can protect ourselves!

[His wife, Ruth, and his adopted Native American son, try to draw him away but he frees himself and runs back. They stop him from making his own snowball and get him away from the crowd.

[Crowd pelts the soldiers with snowballs. One soldier, hit, yells in pain, “Rocks!” more and more snowballs thrown, soldiers nervous. Soldiers are shouting back – “Criminals!” – “Stand back” – “Worse than your own savages”… “Violent mob!” In the midst of the shouting and onslaught of snowballs, someone yells “Fire!” and the soldiers, already feeling attacked, fire on the crowd.

Four drop dead including Crispus Attucks- and a young boy lies wounded. Gasps. Silence. Some in crowd run, some rush to the fallen, the troops, guns still aimed at the crowd, stare, frozen. Sam and Betsy Adams run to help the fallen. Otis is wandering around glazed, horrified. Sam starts to guide him out of the crowd but he shakes Sam off and yells at Sam]

OTIS

Murderer! Now look what you’ve caused!!

[Runs off. Betsy Adams rushes to the government building]

BETSY ADAMS

Hutchinson!! [Turns to crowd] Hutchinson called in the royal army against us!

[looking up at the empty balcony and shaking her fist]

Murderer!!!! I’ll drag your hoary head through the streets of Boston.

[She and Sam go back to tending to the fallen. Hutchinson rushes in, also tends to wounded in other areas.]

INT. GOVERNOR’S OFFICE – MORNING

[Hutchinson comforting, taking depositions. Hutchinson is clearly in mourning along with the town. Townspeople lined up, giving short overlapping testimonies]

[INSERT quotes from actual ones]

[Otis runs in, has not changed clothes. Startles townspeople and Hutchinson by falling on Hutchinson’s shoulders, weeping]

OTIS

I’m sorry… so sorry. You were trying to protect us – balance our ship.

HUTCHINSON

Very unfortunate incident.

OTIS

You were trying to balance the –

HUTCHINSON

Please, Mr. Otis, I am taking witness testimonies.

OTIS

But now — Sam Adams has already sent out a letter to his correspondence committees. To every county in Massachusetts Bay and all the other colonies. Even King and Parliament. Blaming you for – for – a “Massacre”!

###

• This reply was modified 2 years, 2 months ago by  Tita Beal Anntares. Reason: typo

[SUNIL BATRA]

_{LESSON 18.}

_{I LEARNED, I MIXED LESSON 18 AND 19. PROTAGONIST JOURNEY CONTINUOUS TILL POLICE ENTERED.}

_{POLICE PATROLLING OUTSIDE THE JEFF HOUSE. JEFF CALL JULIA AND PLAN TO} kill Andrew.

Julia,

he is your nephew.

JEFF

No, he is a dead person killing a dead person is not a crime. Who knows he is alive

Julia leaves Jeff.

jeff call Andrew and serve him cereal with poison. Andrew’s Rescue by a cat.

[Margaret Gendreau]

Margaret’s Act 3 Middle Scenes What I learned completing this assignment is that after the success and momentum of this class where I have been consistently writing every day, I have a new confidence in my abilities to get the writing done. INT. MITCH’S HOUSE – NIGHT

Lake sits on the couch in the great room of Mitch’s house.

Mitch approaches with two empty wine glasses and an open bottle of Zinfandel.

He sets the glasses down and pours her a glass.

He hands it to her and then turns to pour himself a glass.

LAKE

Thank you.

Lake looks around the modern, tastefully done house with very few furnishings.

LAKE

Minimalist…or?

Lake takes a sip of wine.

MITCH

My ex-wife left me when the restaurant closed down. She pretty much took everything. I kinda like it like this though.

LAKE

Oh, my, that is so good.

MITCH

One of my favorites.

LAKE

It smells so good in here.

MITCH

I love how enthusiastic you are about food.

LAKE

Well I love food! Where did you learn to cook?

MITCH

Europe. I worked in the kitchen of Amador in Chicago for a couple of years.

LAKE

THE Amador?

MITCH

Yes. Then I opened La Cuisine.

LAKE

I loved that place! I was so bummed when…wait, you’re Mitch Delange?

MITCH

Guilty.

LAKE

Sorry.

MITCH

What?

LAKE

About losing the restaurant and all that. It must have been hard.

MITCH

It was…is. I’m taking time to decide what’s next. The truth is I was working all the time. I mean ALL the time. I want to find a way to do what I love and have a life at the same time. I want to do it on my terms this time.

LAKE

Understood. A do-over.

MITCH

Exactly. A do-over.

Lake

Same. I have the best idea.

INT. driving car – night

Lake is driving and Mitch is in the passenger side seat with her Foodease bag carefully balanced in his lap.

She pulls up to a house with a for sale sign.

MITCH

You’ve got to be kidding me?

Lake

I think this is a good one to try on. Let’s check it out.

EXT. house for sale – Braiden Lane – night

Lake opens the lockbox and pulls out the key. Mitch stands shifting his weight nervously from one foot to the other, the Foodease bag at his side with the straps over his shoulder.

Mitch

I don’t think this is a very good idea.

Lake

You go in. I’ll go around to the back door and you just have to let me in.

INT. House for sale – braiden lane – night

Blake opens the sliding glass door.

Mitch and Lake unpack the dishes Mitch cooked onto the table.

LAKE

Too bad there’s no candles.

Mitch

My heart is beating like a teenager that snuck his girlfriend in through my bedroom window.

Lake

It’s hot right.

Mitch and Lake drop what they are doing and are all over each other.

Blake is suddenly seated at one of the chairs at the table.

Blake

Getting predictable.

Lake

Three’s a crowd.

Mitch pulls back from her.

MITCH

What?

Lake

Hearing Blake in my head again.

Mitch

I know how to fix that.

He lifts her onto the end of the table and pulls her pants down. He kisses her and opens her legs.

He keeps kissing her. He pulls himself away and bends over, his face between her legs.

Blake

This is just embarrassing.

Lake flips him off and then her head drops back in ecstasy forgetting Blake entirely.

Montage various

1. Lake at a different for sale house each night waking up to a 5:00 a.m. alarm on her phone each morning.

2. Lake parks down the street from a for sale house.

3. Lake’s car very organized – her back seat like a closet and dresser. Lake throws away all the 50 ml bottles of alcohol from the glove box.

4. Lake sneaks into a house carrying a duffle bag.

5. Lake goes to gym very early and showers there.

6. Lake tasting food and writing reviews.

INT. house for sale Montgomery Drive – night

Lake and Mitch are having sex in the bed of a house for sale on Montgomery Drive.

Mitch

I think this is the first time we’ve had sex in a bed.

Lake

It’s kind of comfortable.

Mitch

I know I’ve said this before but this is the last time I sneak into a house with you.

Lake

We could come up with a new way to get an adrenaline rush.

Mitch

Such as…

Lake

Jumping out of an airplane with no chute perhaps?

Mitch

Roulette.

Lake

Funny.

Mitch

You know you don’t have to justify that you lived.

The sound of a door opening.

LAKE

Shit.

Ember walks into the bedroom followed by a COUPLE.

Mitch and lake jump out of bed instinctively, trying to simultaneously cover themselves.

The couple YELLS out in surprise and flee the room.

Ember stays in the room facing them both.

EmBER

So, this is how you’ve been spending your time since mom threw you out.

Lake

I’ve been really good actually.

Ember

I can see that.

MITCH

Wait, you two know each other?

Lake

Ember this is Mitch, Mitch meet my sister, Ember.

Mitch takes a moment to process this information.

Mitch

I recognize our idea of excitement might have been warped by trauma.

EmBER

Did you lose your house too?

Mitch

My restaurant and my marriage but I kept the house.

Ember

Well, you two make a pair. I need to go do some damage control with my clients. Maybe we’ll meet again under different circumstances. And you..

(turning towards Lake)

Best not say anything.

Lake

Yay. Sorry…

Ember

Not a thing.

[Kevin Ash]

LESSON EIGHTEEN

Kevin’s Act 3 Middle Scenes

What I learned from this assignment is that sometimes the answers hit you harder than you try to hit them.

INT. WAYNE MANOR – NIGHT

Bruce and Ali are sitting in the dining room eating dinner.

BRUCE

Thank you for agreeing to join me tonight.

ALI

It’s not like I refused any invitations before. I just never received any.

BRUCE

I know. I’m sorry. I guess after Alfred… I just lost my way.

ALI

I know. We all did. He held us all together more than anyone knew.

BRUCE

I want to make it up to you. All my … whatever that was for the past … anyway, I want to make you my heir.

ALI

Well. That’s very flattering, thank you.

BRUCE

Don’t say no, it’s done. I spoke with the lawyers this afternoon. It took a little convincing to get them to believe it was me, but the paperwork is finished.

ALI

Then, thank you I guess.

BRUCE

You already run the company. You know all my secrets. Between you and Robin, I’m pretty much obsolete anyway.

Ali starts to protest. Bruce holds up a hand.

BRUCE

I know, sorry. Just running off at the mouth. You are indispensable to me and were even before I disappeared into a bottle.

ALI

Thanks.

BRUCE

Robin and I hit upon a plan while you were busy running the company today. I think it will work. He zeroed in on Joker’s lair. We’ll make a pre-emptive strike and get him on the run again. That should give us more time. I’ll fill you in while we eat.

EXT. BOX STORE – DAY

Joker stands in front of a row of televisions for sale, holding a clicker in his hand with glee.

JOKER

Three, two, one.

He pushes a button and all the televisions turn to static, then at once his face appears on all of them. He cackles with excitement.

JOKER (ON SCREEN)

Hello Gotham! Me again, your friendly, neighborhood Joke-man! It’s been such a breath of fresh air, well smoke-filled air, to be back! Sadly The Batman has still to respond to my pleas for a tet-a-tet, so I suppose I must up the ante once again. So Bat-a-tat-tat, here’s your latest challenge: In two hours the Gotham convention center is going to go ‘boom’ unless you can climb to the top and stop the countdown. Only one little problem. All the doors are locked, the streets impassible, and no communications can go in or out. They have no idea they’re about to be incinerated! But you can save them! OR you can save the only other person still alive you care about. Sadly, and hour in the opposite direction. Wait, have we been here before?

The camera swings to show Gordon and his wife Barbara tied to a bomb, bound and gagged on the roof of police headquarters.

JOKER

James and Barbara Gordon! They’re calling for you, Batman! Just look to the skies!

The camera pans again to the joker flipping a switch,, then to a circle of light in the clouds, the bat signal is there with the shadow of Gordon and Barbara tied to it.

EXT. WAYNE MANOR – NIGHT

Robin is in the bat-cave, triangulating something on a screen while Joker’s broadcast plays in the background on another screen. Bruce and Ali burst in.

BRUCE

We have him now! Let’s go, is it ready?

ROBIN

Just through there. Modified and ready to roll!

ALI

What’s going on?

Bruce dashes through the entry Robin pointed to.

ROBIN

I anticipated the scenario which has just played out. Commissioner Gordon contacted Batman earlier today.

ALI

How are you going to save them both-

ROBIN

And catch Joker? I’ve located his new lair.

BATMAN (V.O.)

Coordinates?

ROBIN

In the Batmobile. You’ll have time to get to the commissioner and still catch him before the Convention center blows.

ALI

You’d sacrifice all those-

ROBIN

Of course not. That’s the beauty of having a boy wonder on the team!

ALI

Boy wonder!?

BATMAN

You’re welcome!

A black figure and cape flash past and disappears into the batmobile. The top closes on the figure of Batman.

BATMAN

The Bat is back, baby!

ALI

Spare me.

EXT. CONVENTION CENTER – NIGHT

People stream out of the convention center doors, which have been torn away from the frames. Robin is clambering up the side of the convention center, racing toward the top.

EXT. POLICE HEADQUARTERS – NIGHT

The Bat grappling hook shoots over the side of the rooftop. As it retracts, Batman flies over the side and onto the roof. He races to Gordon and Barbara, unties them and grabs the bomb.

GORDON

Bruce, is that you?

BATMAN

It’s Batman, commissioner. Been a long time. We’ll catch up later. I have a surprise party to get to, in honor of the Joker.

Batman runs to the side of the building and hooks the ledge, he grabs the cable and jumps over the edge.

BATMAN

It’s going to be a bomb!

EXT. CONVENTION CENTER – NIGHT

Robin reaches the top. He looks over the vast roof with vents and pipes reaching as far as the eye can see.

ROBIN

Where are you? Rock, scissors, and paper!

He looks in the middle of the building and jumps to the center. The roofs gives way to a courtyard below. As he falls to the garden level, a wide array of bombs are woven together. In the center of the maze is a clock counting down from 5 minutes.

ROBIN

And chaos says-

He looks around the perimeter and sees a lone tree in the corner.

ROBIN

You.

He walks over to the tree and finds one wire looped around the base. He walks around behind the tree and picks up a handful of dirt. He crushes it between his hand and blows the dust over the field.

ROBIN

Et voila.

The field jumps alive with lasers crisscrossing the field of bombs. He follows the wire to the top of the tree and finds a laser. He crushes it in his hand and the field goes dark except for the counter.

INT. JOKER’S LAIR – DAY

Batman, in a transformed suit, crashes through the window. He holds the bomb that was tied to Barbara and Gordon.

[Lonnie Nichols]

Lonnie’s ACT III Middle Scenes

What I learned from this assignment: Though I still have much research to do on this historical fiction, I was able to come up with a general set of scenes, in line with history, that fit the models for key scenes #2 and #3. Getting ready for the big turn around at the end of ACTIII.

ACT III

Key scene #2:

EXT. KSU CAMPUS – DAY

Hundreds of National Guardsmen move about the campus, while some stand in pairs watching students. All with M1 rifles, bayonets attached. The ROTC building, now in ashes, is heavily guarded by the National Guard.

Chuck and Karen confront two guards cordially.

KAREN

Do you know why you’re here?

GUARDSMAN

Not sure, to suppress any violence, I guess.

Chuck moves in closer.

CHUCK

You don’t seem like the violent type–

GUARDSMAN

Please stand back, Sir.

CHUCK

Why the bayonets?

GUARDSMAN

Orders, Sir.

Chuck takes a step back.

KAREN

Are you married?

GUARDSMAN

Engaged, Mam.

KAREN

Want a family?

GUARDSMAN

Mam, I’m on duty, no response.

He looks to his side, watches students move around.

CHUCK

You seem like a good guy. Please, no shooting.

The guardsman gives a slight nod, turns the other way to observe the other students mulling around.

Chuck and Karen move on.

CHUCK

We need more peaceful protesting, more students here. They might leave.

INT. OFFICE – REP. PETE MCCARTHY – SOMEWHERE CALIFORNIA – DAY

DAN ELLSBERG (mid 40-s) –slim, dark hair, the man who has been running copies sits in front of U.S. Congressman, PETE MCCARTHY.

ELLSBERG

Congressman McCarthy, if you take these papers to the Senate, it is not illegal.

MCCARTHY

I’m concerned about you being put in prison for this.

ELLSBERG

Look these over. There are lies and atrocities that you won’t believe.

MCCARTHY

Well, I have indeed been against this war all along. I’ll see what I can do, but understand the majority of Congressmen support this war.

ELLSBERG

Just give it a try, Congressmen, we must stop the endless killing.

Chuck and Karen call all their friends to help demonstrate.

“These guys aren’t mean”

Key Scene #3

SUPER: MONDAY MAY 4th, 1970

EXT. KSU CAMPUS

Several hundred students gather around the “bell” . At noon many more gather, some in the parking lot, simply going between classes and observing.

The National Guard becomes aggressive when a couple students (or non-students) start throwing rocks… Very few even reach the Guard.

The Guard starts marching together pushing back the students, most are hundreds of feet away.

[Philip Neale]

Philips Act 3 Middle Scenes

What I learned doing this assignment is Im relying on rewriting the scenes to get through the course?”

2. Dmitris asks Toady what is the secret of L’Dalba’ powers to find a way out of the contract

3. Toady ask Dmitri to gather his band mates together to maximise their Unconscious powers

As all go into a trance, L’Dabla appears to each and offers them their wildest dreams – each one falls for the same contract

If Dmitri fails to keep the whole band together and complete his end of the bargain – they will all go to hell

[Laura Woodworth]

Lesson 18 Act 3 Middle Scenes Assignment

Laura Woodworth’s Act 3 Middle Scenes

What I learned doing this assignment is – again, to write quickly. I’m traveling again (in LA) and feel like I’ve got ideas that I can better flesh out when I’m back at my office this week. These are very “skeleton” scenes.

INT. BEDROOM – DAY

Natalia reads in the bible and pauses, excited.

“For everyone has sinned; we all fall short of God’s glorious standard. Yet God, in his grace, freely makes us right in his sight. He did this through Christ Jesus when he freed us from the penalty for our sins.” Romans 3:23-24

(or: “Then Jesus said, “Come to me, all of you who are weary and carry heavy burdens, and I will give you rest. Take my yoke upon you. Let me teach you, because I am humble and gentle at heart, and you will find rest for your souls.” Matthew 11:28-29

She softly repeats the phrase, trying to memorize it. She glances at the clock and realizes she’s out of time. She carefully tears the page out of the bible and slips it into her textbook.

EXT. CAMPUS – DAY

With Jack at her side, Natalia sees Marina with others. They join them and Natalia whispers into Marina’s ear.

NATALIA

Marina — we’ll never be good enough. But there is a way —

She presses the slip of paper into Marina’s hand.

MARINA

What is this —

Natalia shakes her head and silences her as Alex approaches.

EXT. COLLEGE CAMPUS – DAY

The group of students chatter. Natalia and Jack share a secret bond through scripture and it shows. Alex seethes with jealousy and in a spur of the moment he jumps in.

ALEX

Natalia — there’s no better time than now in front of our friends.

He’s got the whole group’s attention now. He holds out his hand and she almost reluctantly takes it.

ALEX

Will you —

NATALIA

Alex, not here. Not —

ALEX

Marry me, Natalia. Be my wife.

Conflicted — and yet he demands a response. All eyes are on Natalia and she is forced to save face — for her and for Alex.

NATALIA

You know I love you.

The tension is high. He adjust, working to contain a rising anger.

ALEX

I’ll take that as a yes.

The group claps and he squeezes her hand, his eyes intent.

ALEX

I figure Jack will be returning to America and I’ll have you back.

[James Hernandez]

Day 18 Act 3 Middle Scenes

James’ Act 3 Middle Scenes

What I learned doing this assignment is… my protagonist is starting to use her smarts for her own benefit. Before she would serve in a subservient role, which only benefited her employers. Now she realizes that to get ahead, improve her life and achieve her dream of running and owning a boutique, she must put herself first and not look back. Her roommate offers support, and the love interest finds her fascinating, even though he hasn’t directly told her, which sets up a relationship that will eventually have deep revelations for the couple.

[Susan Rose]

Susan’s Act 3 Turning Point

What I learned doing this assignment: Everything is going according to plan. It is amazing how things are unfolding with a purpose and seem to reveal themselves to me with each scene.

ACT 3

INT. HOME OFFICE – NIGHT

Shelby sits at the desk, her lap top open and a video paused on the screen. Between the laptop and camping manuals, she talks to Abbey on her tablet.

ABBEY

Do you have everything on the list?

SHELBY

Yes, I have the tent, which I have already assembled, broken down and reassembled three times over, I think I have that much down.

ABBEY

Well, the most obvious task is complete. What’s next?

SHELBY

That depends…

ABBEY

On what?

Shelby moves the books around, perusing the titles.

SHELBY

How do I prioritize? Alphabetically or importance for survival? We’ve got Starting Your Fire, Flint to Flame; Know Your Knots; Foraging For Real…

On the mini screen Abbey stops mid-sip of wine.

ABBEY

Foraging?

SHELBY

That’s when you have to find food like edible plants and what not.

ABBEY

Thank you, Einstein, I know what foraging is, but the only foraging we do is in the aisle of the grocery store. Honey, put that one away.

SHELBY

I have to learn this stuff, Abs, if I am going to keep up with Liam.

ABBEY

Not tonight you don’t. I say start with the easy tasks and work your way up to the harder stuff.

INT. FOYER – NIGHT

Liam enters carrying a six pack and kicks his boots off in the entryway. He pauses when he hears Shelby GROAN from the office.

INT. HOME OFFICE – NIGHT

Shelby is holding the tablet in the air shaking her friend on the screen frustrated.

SHELBY

You are supposed to be helping me not making me crazy.

ABBEY

I can’t help you when you are shaking me all over the place. Now put me down, you know I would be there if I could, but oh damn, I’m covering somebody’s trip so they can become a camping guru.

Shelby returns the tablet to the desk. She breathes in deeply then exhales.

ABBEY

There you go, I like this Shelby, calm, cool and collected. What do you say, start getting to know your knots?

SHELBY

Sure, I can introduce these (holding up the loose strands of rope) to the ones in my stomach, which by the way, I know very well.

INT. HALLWAY – NIGHT

Liam has made his way down the hall. Standing outside the office door he peeks inside listening to Shelby and Abbey’s conversation.

ABBEY (OS)

Shel, you’ve got this, and I am so proud of you. I don’t think I have ever seen you this determined or committed to anything, well not since graduation night and Mark Glover –

SHELBY (Whispering harshly)

SHHH! We vowed we would never speak of that again!

ABBEY (OS)

My bad, but it’s just you and me, take it easy.

A tune plays, Abbey’s cell is ringing.

ABBEY (OS)

Damn, I got to take this, it’s scheduling, I’m hoping they’re canceling my flight.

SHELBY

Yeah, go on get it. I’ll talk to you tomorrow. Hey Abs, thank you, love you.

ABBEY (OS)

Love you too girl and happy studying, bye.

Liam watches Shelby. She grabs the rope strands and the knot manual and situates the items and herself on the floor in front of the desk.

INT. HOME OFFICE – NIGHT

Shelby sits Indian style opening the manual to the first knot and picks up two pieces of rope, reading from the page.

SHELBY

The Reef Knot or Square Knot is quick and easy to tie; it is a good knot for securing non-critical items, blah blah blah; be sure to form the square knot and avoid tying a granny knot.

Looking at the picture she attempts to follow the illustrated instruction with a strand in each hand.

SHELBY

Let’s see, this goes here, and this one here.

She pulls taut on the rope and examines her handy work comparing it to the manual, she frowns.

SHELBY

Well, that doesn’t look quite like the picture.

Liam stands behind her looking over her shoulder at the knot and the page.

LIAM

That’s because you have tied a perfectly lovely granny knot.

Shelby jumps, she closes the manual turning it over to hide the front cover and slips the ropes under her leg.

SHELBY

What are you doing home? I thought you were playing poker?

He lowers himself to the floor behind her, pulling Shelby back between his legs.

LIAM

I was, but I decided I’d rather be home with you.

He finds the pieces of rope that she tried to hide.

LIAM

Where I can help you get to know your knots.

His arms come around her sides as he holds the pieces in front of her. He methodically displays the steps to properly tie the knot.

LIAM

Tie two over hand knots. First, right over left and twist. Then left over right and twist, and pull both ends tight.

He holds it out for her inspection.

Shelby has lost all interest in any knot knowledge and leans back into Liam.

SHELBY

It’s a perfectly lovely square knot.

EXT. CAMPSITE 4 – DAY

Shelby and Liam unload the camping equipment, gadgets, and coolers from the truck. He separates items into small piles in different areas of their site; tent, canopy, coolers and cooking equipment. Shelby watches, admiring his thoroughness.

SHELBY

Hey there, before your OCD kicks into overdrive and we forget to have breakfast can you run up to the diner and grab us a bite?

He stops appearing confused.

LIAM

Now, right now? We need to get set up before we meet up with our rafting group.

SHELBY

Exactly, and I am starving! I won’t be able to help you here or survive that trip if I don’t get something to eat.

LIAM

Then, you make the run, I’ll take care of everything while you’re gone.

SHELBY

I thought we were doing this together? You grab breakfast and I’ll get us some firewood for tonight.

Clearly disgruntled, Liam agrees and drops what he is doing.

Once the truck is out of sight, Shelby gets to work setting up the campsite.

Liam’s F150 rumbles slowly down the stone path and backs into the designated parking spot. Liam exits in disbelief. In his absence, Shelby has quickly and efficiently set up their home away from home and is parked in a folding chair casually sipping a beer.

LIAM

What the hell?

She smiles proudly.

SHELBY

You like?

Liam forgets the food in his truck and walks the perimeter of their site, inspecting the worthiness of the tent, the pop up canopy with netting installed, table, chairs, and coolers all neatly arranged.

LIAM

No, I don’t… I love!

He looks at her sideways.

LIAM

You? You did this, by yourself, while I was gone?

SHELBY

Of course I did this, and yes, by myself; ye of little faith!

LIAM

I can’t believe this, what happened to the frail inhibited Shelby that abhors camping.

She waves her hand, shooing the memory.

SHELBY

That jinxy little wench? I sent her packing with her tail between her legs!

Liam takes her in his arms, kissing her, then admires her hard work once more.

LIAM

You done great, Shel, you should be truly proud of yourself. The only thing missing is my beer.

Shelby seems to produce a beer from thin air.

SHELBY

Voila! Ask and you shall receive.

LIAM

And she has brew magic too!

SHELBY

Now, if only you could make some food appear.

LIAM

Oh, I can do that, but we better make it quick. We need to meet up at the welcome center in 30 minutes.

EXT. WELCOME CENTER – DAY

The group of 20 visitors are gathered listening to their guide explain the day’s itinerary.

Placeholder: The guide will review rules/protocols and lifesaving practices for rafting on the river.

Placeholder: On the river, Shelby and Liam are having an awesome time. While navigating a Class 5 rapid, she is thrown from and comes up under the raft, panicking she “walks the raft” until breaking the surface where she is hauled back into the boat.

EXT. CAMPSITE 4 – NIGHT

Shelby closes the cooler after retrieving a couple of beers, she hands one to Liam and they toast.

SHELBY

Best day ever, Liam. I can’t remember the last time I had this much fun.

She takes a seat away from the fire.

LIAM

Agreed, but you scared the shit out of me when you flew out of the raft and we couldn’t find you.

SHELBY

You were scared? What about me? When I swam up to nothing but raft, I thought this is it; it wasn’t the camp that killed her it was the river.

LIAM

That’s a bit dramatic.

SHELBY

Seriously, I thought I was so screwed until I heard the guide’s instruction… and I just kept repeating, walk the raft, walk the raft, walk the raft. And then my big hero snatched me from the jaws of death!

Liam rolls his eyes.

LIAM

Why don’t you bring your chair over here by the fire and show your hero how much you appreciate him.

Shelby scrunches her nose at the rollicking flames.

SHELBY

I think I’m fine back here and my face appreciates the distance.

LIAM

Your face could have been scarred for life, babe, and I would still love you.

SHELBY

A hero AND romantic, why don’t you meet me in my chambers –

She gestures toward the tent.

SHELBY (CONT)

And, I’ll really show you how much you are appreciated.

Eyebrows raised, he proceeds with a creditable Godfather impression.

LIAM

She makes me an offer I can’t refuse.

Liam pushes out of the chair and pulls Shelby from hers.

LIAM (CONT)

My lady, I hope your appreciation has no bounds.

SHELBY

Well that depends on how envious you want our neighbors to be of my admiration.

Liam slowly surveys the other campers out and about before turning back to Shelby with a devilish grin.

LIAM

I want them to be green with envy.

She takes his hand and leads him into the tent.

INT. TENT – NIGHT

Shelby and Liam are awakened by a commotion outside their tent and the wind beating against its canvas sides.

MALE CAMPER 1 (OS)

Hey, knock, knock! You’d better wake up! Your fire’s getting out of control.

Inside the tent, the couple is nearly swept up like Dorothy Gale’s home. They quickly escape the tent to find two couples outside bracing against the wind.

The fire which was dying only an hour ago has been stoked by the heavy gusts, sparks flying every which way.

LIAM

Holy shit! Shelby we’ve got to douse this fire.

MALE CAMPER 2

Dude this wind kicked up outta nowhere and your fire went crazy.

Liam scrambles to find the water hose. Shelby frantically grabs a nearby bottle and dumps bourbon over the flames which hungrily grow hotter.

There is a collective GASP of NO! She shamefully tosses the bottle away. Suddenly, the pop up canopy is blown free from its ties scattering the bystanders as it rumbles across the billowing flames, the nylon fabric set quickly afire.

The gusts are relentless. As Liam returns pulling the hose, the canopy is on the move again. Like a burning tumbleweed, it rolls end over end stopped only by their trembling tent. Within seconds it too is ablaze.

Liam squeezes the nozzle, but nothing happens. Shelby immediately realizes her mistake.

SHELBY

The water, Liam, I turned it off after dinner!

She runs to the spigot. Other campers trickle over to observe the disaster.

MALE CAMPER 1

Hey, does anyone have a fire extinguisher?

The water is finally flowing as a female camper runs up with a small handheld extinguisher.

FEMALE CAMPER

Here! Use my extinguisher…

She comes to an abrupt halt when she realizes there is no saving burning mass.

FEMALE CAMPER

For all the good it will do.

Liam tries in vain to water down the flames. Near tears, Shelby observes the futile attempts of her broken fiancé to save his father’s legacy.

EXT. CAMPSITE 4 – NIGHT

Dawn is just on the horizon, it is still dark enough to illuminate the red lights of the lone fire truck on the campground. The curious and nosey have turned in after all the excitement.

Liam stares at the charred ruins of their campsite. One of the firefighters squeezes his upper arm and shakes his hand before departing. After he collapses, Shelby comes to him.

SHELBY

Liam?

Nothing.

SHELBY

Liam, I am so, so very sorry.

She reaches to touch his arm, he pulls away.

LIAM

It’s gone. All that I had left of my father is gone.

SHELBY

I’m going to make this right, Liam; I swear I will fix this.

His hurt and disappointment is too overwhelming, Shelby has to get away. She runs to the only thing left, hiding behind Liam’s truck. She pulls the phone from her jacket pocket and dials. She waits only a second.

SHELBY (In tears)

Abbey? (Beat) Abbey, it’s me, it’s happened again.

ABBEY (OS)

Shelby, where are you? What happened? Are you ok?

SHELBY

Abbey, I ruined everything. I hate camping!

[Diane Denham]

30-Day Screenplay Lesson 18: Act 3 Middle Scenes

What I learned doing this assignment is… at this point, February 26th, post what I’ve got and move on to the next assignment.

Bonnie’s Act 3 Middle Scenes of MYKA’S JOURNEY

INT. MULTIVERSITY – DAY

The attack on Wisdom, Art, Music and Dreams continues full force on the other side of waking life.

INT. BAR – NIGHT

Humanity is losing their dreams, their memories and ancient wisdom. Gabi presses Myka to come up with a solution!

Gabi, Yuri and Rafi corner Myka. It’s not just about her.

Key Scene 2 MAKE A NEW PLAN: Protagonist is forced to step even further outside her comfort zone. Myka lets go of more Old Ways that aren’t working, takes on more New riskier Ways.

They plan to use their combined synesthesia talents of sight, hearing, touch, smell and taste to fight the villains of the Multiversity in the shared dream space.

The team demands that Myka listens to their ideas.

BEGINNING: Gabi, Yuri and Rafi sit at corner booth with bottles of beer. Myka nurses a glass of ice water. A heated discussion is underway.

MYKA

Gabi’s right, we need a better plan. I’ll brainstorm some strategies and —

RAFI

Seriously? You’ll brainstorm? What about us? I thought we were a team.

GABI

No, not this again, Myka.

YURI

We’re not pups anymore, Myka, so stop trying to play leader of the pack. Let’s brainstorm together.

MYKA

Yeah, sorry, what was I thinking? Yeah, no, I mean, I realize you guys sometimes have good ideas.

They glare at her. She fidgets uncomfortably.

RAFI

We need a really effective strategy, and that would mean considering everyone’s ideas.

Yuri and Gabi nod in agreement.

GABI

Can you handle that, Myka?

Myka takes a drink of water. Gestures to towards the bar.

MYKA

Excuse me, could I get another coffee over here?

The team goes quiet, waiting for Myka to say something.

MYKA

Okay! Fine, I’ll hear you out.

GABI

So good of you.

They’ll intensify their synesthetic training in waking hours. Practice, strategize, asks questions.

Brainstorm. Make a mission board.

INT. BAR – LATER

The plan unfolds.

MIDDLE: There are several empty bottles of beer and a plate of half-eaten fries on the table, and a coffee cup in front of Myka.

GABI

So, The Plan. Lets recap. We’ll use our combined synesthesia talents —

MYKA

Sight, hearing, touch, smell and taste in various combinations in the shared dream space…

Myka writes notes on paper coasters and arranges them in a pattern on the table.

RAFI

Which we’re already good at to —

YURI

To fight the bad guys in the

Multiversity. We know, but how?

MYKA

Are you guys ready to intensify synesthetic training, practice in waking hours together?

RAFI

We should be clear about who’s going to use which skills.

GABI

Come on, Myka! You can do better than this. We need a bolder plan if we’re going to defeat whatever is attacking the Multiversity.

END: Silence while they lean back and drink in unison.

MYKA

Let’s sleep on it, meet at the Treehouse tomorrow to map this out.

GABI

This better not be a cop out.

Myka looks at the puzzle of coasters laid out on the table.

MYKA

I think we’re going to need some bigger coasters.

They all chuckle. Myka picks up Gabi’s beer and holds it up to the light.

MYKA

Hmmm… Craft beer, mind if I have a little taste?

Gabi shoots daggers of disapproval at her, grabs it back.

GABI

Only if you want the silent treatment for another year.

INT. TREEHOUSE – NIGHT

KEY SCENE 3: Things start going well, until… They attain some initial success with their plans and make some headway in the conflict.

BEGINNING: They send one another signals, knowing which synesthetic skills each of them has.

Myka, Gabi and Yuri create a wall of color and sound around Rafi and she has to get through it using her senses of touch and smell to counteract it.

Gabi, Rafi and Yuri parade around her, wafting violin music and various aromas around Myka, and she has to create opposite visual imagery to dissolve it.

Rafi, Gabi and Myka blindfold Yuri and place various objects around him to taste and smell, and he has to improvise violin music to counteract them.

Yuri, Myka and Rafi blindfold Gabi and lead her through an obstacle course barefoot, and she must create antidotal sound and imagery to alleviate the sensations she feels.

If they achieve a ‘high’ here, it will set them up for even more failure in the Turning Point scene!

EXT. WOODS – DAY

MIDDLE: They practice their skills. The four of them create sheets of color, sound, smell, taste and touch like sheets hanging from a clothesline, and they must venture through them, one at a time, to arrive at a specific destination.

Imagine victory.

Empower themselves for battle. They practice creating the shared dream space. Trial and error until finally… they meet on the other side!

INT. TREEHOUSE – NIGHT

END: The four friends lie down, take hands, fall asleep and go into the dream space far more prepared to explore and investigate inside the Multiversity. They meet with dangerous obstacles and use their gifts to dissolve, transform or circumvent them.

They wake up feeling victorious. They celebrate their victory!

• This reply was modified 2 years, 2 months ago by  Diane Denham.