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Lesson 19
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16 Replies
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Jane’s Act 3: Turning Point
By doing this assignment I learned to think a bit differently about this turning point. I’ve always thought about this point in the script as the point where the transformational journey really launches. All that’s been learned by the Protagonist now has to be formulated and acted on or everything is lost. From this lesson I discovered that the lowest point, at least for Chelsea, is nearly going back to her “old ways” which will result in her getting killed. I want her to be angry but instead, she cries. Hmmm? Just gonna keep writing and see what happens.
INT. ARCHIE’S ROOM
Chelsea enters to find the detective nearly dead. She sounds the alert, then disappears before anyone arrives.INT. JULIE’S ROOM
When Chelsea returns, Julie is waiting for her. Julie tries to make a deal to get the real blue Lotus. Chelsea refuses. Julie tries to kill her. Chelsea barely escapes with her life.INT. CRUISE SHIP, BACK HALLS
Chelsea hides from Julie. All of Julie’s verbal manipulation, bullying and abuse floods back and cuts into her.FLASHBACK
Chelsea is convicted of theft that Julie committed. Julie goes free and Chelsea is sent to juvenile corrections.INT. JULIE’S ROOM
Julie finds Chelsea’s phone and sees the surveillance cameras. She spots Chelsea huddled in a service closet.INT. CLOSET
Chelsea cries. -
Alice’s Act 3 Turning point 3
INT. BUNKER OFFICE – DAY
Guard lets Elizabeth in.
Her look wonders about the room.
Bad Guy in his position before his screen.
ELIZABETH
Where is Tobby?
BAD GUY
He took a leave for today.
Feeling lost, Elizabeth follows to her place.
INT. BUNKER OFFICE – AFTERNOON
Elizabeth glances on time.
4:30. Moment is close and close.
She gathers. Turns off completed assignment. Brings out saved video of the office and substitutes it for the office security camera.
Slowly gets up. Pretends she’s after coffee.
With her back to Bad Guy, she coughs, and violently hits him with the chair over the head. He drops on the floor.
She pulls out computer wire and strangles him.
His feet scratch the floor, as he weakly pulls wire away from his throat till he doesn’t subsides.
Elizabeth jumps and proceeds with the cameras.
She observes both Guards at two rooms. At five o’clock one of them jerks to get up.
She quickly streams him a video of another guard, walking down after her.
Seeing, another guy heads for it, Guard drops his jacket and relaxes back on the chair.
Another Guard glances on screen, where peaceful office room displayed, on his watch.
Lisbeth clicks on it, sending him a video of First Guard getting down after her.
Reassured, this is done. Elizabeth emotionally watches them to leave one after another.
5:15
Elizabeth runs to Bad Guy.
Pulls him up. No. He’s too heavy.
With an air of ‘what do you do to me!’ Elizabeth gets up, measuring him up and down.
INT. BUNKER OFFICE – AFTERNOON
5:35
Elizabeth examines pockets of his jacket. Some cash. Wears his jacket.
Slides his ID and gets into corridor.
CORRIDOR
Elizabeth makes it slowly to the end, presses his finger to the screen.
Door clicks. Elizabeth drops bundle with wrist in blood in a garbage been and gets out.
PARRALLEL CORRIDOR
Turns door handle and gets into parallel corridor. It’s empty.
She slowly proceeds.
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KAREN SINCLAIR’S ACT 3 TURNING POINT
What I learned doing this assignment is…?
Sadie is learning to trust Adam on the relationship side, something she has never done before, but she is feeling insecure on the career side because her team knew they needed to step up and save the day with the client presentation. Her securities and insecurities have flipped.
It appears that Sadie would have been happier if her firm simply lost the account. At least that was her expectation. She needs to come to grips with a new reality, that she may have created herself a team that is terrific and knows what they are doing. That is a different kind of ‘credit’ than she is used to receiving.
ASSIGNMENT 19
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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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EXT. STREET – NIGHT
Will reaches the motorcycle, bumps him from behind and sends the caller flying into a hedge. He confronts the caller and sees that he is just a kid.
EXT. STREET – NIGHT
BEGINNING: Will catches up to the motorcycle. He bumps the caller from behind and sends them flying face-first into a hedge. Will flips the caller over and rips off their helmet. They are a 17-19-year-old kid. He gets him up onto his feet, checks the kid’s pockets for a weapon, zip ties his hands behind his back and throws him into the back of his car. He surveys the ground around the bike and finds a cellphone.
MIDDLE: Will reads the kids his Miranda rights and then proceeds to ask him what he was trying to do. The kid doesn’t know anything. All he knows is that he was offered $1,000, $500 up front and $500 at the end, to follow the girl and Facetime her live as he went until he was told to stop.
END: The kid didn’t have any idea who hired him. He was told it was part of a film being shot that required the real live action footage.
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EXT. AMBULANCE – NIGHT
Will pulls in behind an ambulance. Sadie is conscious and on a gurney being loaded into the ambulance. She is hooked up to an IV to administer quick hydration. Adam goes along holding Sadie’s hand. Will fills Adam in that he has the young kid from the motorcycle but still has no answers about what was going on.
EXT. AMBULANCE – NIGHT
BEGINNING: Will pulls in behind an ambulance with its lights flashing. Sadie is conscious and on a gurney being loaded, along with an IV pole, into the ambulance. Adam is holding her hand as he jumps up into the ambulance.
MIDDLE: Will tells Adam he has the kid from the Motorcycle, but he is no closer to having any answers. He tells them he found his cellphone on the ground and turned the whole scene over to the on-duty officer.
END: Adam tells Will that Sadie will be ok.
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Turning Point 3 – Protagonist faces their lowest low (ACT 3 – Key Scene 4)
INT. HOSPITAL – DAY
Sadie finally connects with Randy. He is ecstatic to know that she is ok.
INT. HOSPITAL – DAY
BEGINNING: Sadie calls Randy.
MIDDLE: Randy is so happy to hear from Sadie. He just got off the phone with Adam but is happy to hear her voice. He tells her she sounds good.
END: Sadie quickly dispenses with the pleasantries and tells him she will call the client later today and re-schedule the presentation. Randy tells her they delivered the presentation.
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INT. HOSPITAL – DAY
Sadie is speechless hearing that Randy and the team delivered the presentation without her.
INT. HOSPITAL – DAY
BEGINNING: With silence on the hospital side of the call, Randy says, ‘Hello? Sadie are you there?’
MIDDLE: Sadie repeats back to Randy what he told her but as a question, ‘You delivered the presentation?’
END: Randy corrects her to say that ‘He and the team delivered the presentation.’ He told her they all took a role. He thought it went well.
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<b style=”background-color: transparent; font-family: inherit; font-size: inherit;”>INT. HOSPITAL – DAY
Sadie asks Randy why he would do that…without her. For the first time in the call Randy realizes that Sadie is not happy. Instead, Sadie feels angry to have ‘lost the opportunity to win the client’ and depressed that the team could think they should go ahead without her.
INT. HOSPITAL – DAY
BEGINNING: Sadie asks Randy why he would think he should do that, deliver the presentation without her.
MIDDLE: Randy corrects her to say that ‘He and the team delivered the presentation.’ He told her they all took a role.
Randy explains it was never his intention to deliver the presentation without her. He kept thinking that she would show up ready to go.
The client also told him they were at the end of the process, and they would be picking an agency the next day to make the timeline for the coveted Grey Cup commercials time slots.
END: He thought it went well. He had a video of the presentation that Kandace took. He would have it sent over to her on an iPad right away.
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This reply was modified 2 years, 2 months ago by Karen Sinclair.
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This reply was modified 2 years, 2 months ago by
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Megan’s Act 3 Turning Point
What I learned doing this assignment is…that the Act 3 turning point is the lowest low for the protagonist. At this point she has completely and utterly failed. It is okay to cause some serious pain for the protagonist. She will figure a way out of it!
INT. WOMEN’S HISTORY MUSEUM — DAY
Camera flashes and applause from a packed-out audience. There is no sign of Bianca. Jenny steps up to the microphone on the platform as Anna stands in the back of the audience with her laptop to project the cue cards onto the back wall.
JENNY
Good afternoon. Welcome to the Women’s History Museum. Today we are celebrating not only a very special day but a very special guest. Please join me in welcoming the President of these United States, President Bianca Harris!
Bianca enters the main gallery from a side hallway, surrounded by Secret Service. She waves to the crowd as she approaches the microphone. Jenny shakes her hand vigorously before relinquishing the stage to Bianca.
BIANCA
Good afternoon. Happy Women’s Day!
Bianca pauses for the cheer of approval from the predominantly female crowd.
BIANCA
It’s strange to think how far we’ve come in what feels like so little time. Through war, recovery, and now this season of celebrating. We have finally become a flourishing society again thanks to the Matriarchy!
Bianca pauses again for the cheering crowd.
BIANCA
You know, recently I was questioned about whether or not I should run for reelection. I admit, five terms is a long time and it can begin to take a toll on a person’s health.
The crowd has grown quiet in concern. In the back of the room, Bianca’s speech appears on Anna’s laptop screen one slide at a time and then is projected onto the back wall, giving Anna a few seconds to skim what Bianca will say before she says it.
BIANCA
But then, I remember my girls Sophie and Serena, who are in the audience with us today.
The television camera pans SOPHIE and SERENA, two tall, athletic teenage girls sitting in the front row. They smile. Serena waves.
BIANCA
I think of the system and why this works so well: women supporting women. Something we rarely saw in the previous male-dominated society fueled by competition, greed, and the desire to succeed at all costs. What we have now works. The Matriarchy works.
Once again the crowd cheers even more loudly. Bianca smiles and waits for silence to fall. Anna skims the next slide on her laptop and gasps.
BIANCA
Unfortunately, this truth is not yet evident to all. At this moment, there lurks in this very city a group known as First Man. It is their intention to turn back time, to hunt us down, to force us back into subjugation.
The crowd mimics Anna’s surprise.
BIANCA
But I am neither ready nor willing to go back! We have suffered enough. We have worked too hard. We will not submit.
Bianca glances toward a female SECRET SERVICE agent waiting at the foot of the platform. The agent nods and heads to the hallway.
Anna glances at her laptop screen in confusion. There are no more cue cards.
BIANCA
The Matriarchy works because it is run by women. And it works on all levels. Allow me to introduce to you the notorious leader of First Man, Adam Fitzgerald.
The crowd explodes in a buzz of conversation as two burly Secret Service women lead a gagged and handcuffed Adam up onto the platform. He is scanning the room, clearly looking for Anna. Anna covers her mouth with both hands to keep from crying out.
BIANCA
If this were a male-dominated democracy, Adam here would currently be undergoing some sort of physical torture to make him reveal the whereabouts of his companions. But in the Matriarchy, we use our intelligence not violence to accomplish our goals. These nests of male dissenters have already been uncovered and are being raided as I speak. Why? Because the Matriarchy works. A government led by women works because women govern with heart and head.
The report of a gun suddenly explodes from a vent in the back of the room, just over Anna’s head. Bianca is struck in the left shoulder, the bullet narrowly missing her heart.
Several Secret Service agents immediately swarm the stage, throwing their bodies over the wounded President. Another points in the direction of the vent.
SECRET SERVICE AGENT
There! Up there!
Four or five Secret Service agents take aim and begin firing at the vent, the wall, the ceiling. Chunks of the building shower down. Anna dives out of harm’s way.
The crowd screams and flees at the sound of raining bullets. In the ensuing chaos, Adam runs for an exit.
Suddenly, Evan falls through the grate and lands with a thud on the debris-strewn floor below, his body riddled with holes. A horrified Anna rushes to her brother’s body.
ANNA
Evan! Evan!!
The Secret Service agent pushes her way through the crowd and grabs Anna by the arm, dragging her to her feet.
SECRET SERVICE AGENT
You’re under arrest for conspiracy in the attempted assassination of the President. You have the right to remain silent. Anything you say can and will be used against you in a court of law. You have the right to speak to an attorney—
The Secret Service agent drags Anna off. Anna’s eyes never leave Evan’s body.
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Chris Dorsey’s Act 3 Turning Point
What I learned doing this assignment is to switch a prior scene from the Day 18 assignment to today’s turning Act 3 turning point.
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.
INT. MEDICAL UNIT – DAY
Individual Plexiglas cells. Wilbert is strapped down on a gurney.
Another inmate, a few feet away, is also strapped down to a gurney. This inmate is wearing a helmet, canvass mitts, and a mesh spit guard. He’s calm.
WILBERT
So, what are you in here for?
The other inmate struggles to get out of his restraints. He bangs the back of his helmet-covered head on the gurney. MUFFLED SHOUTING.
WILBERT
Ohh, sorry.
Nurses rush into the room. The hold him down and inject him in the buttocks. Within seconds he calms down.
NURSE 1
I wonder what set him off?
NURSE 2
Who knows?
NURSE 1
How are you doing today, Wilbert?
WILBERT
Better. Much better. The voices stopped.
NURSE 1
I want to take a look at you blister pack.
Nurse 1 takes Wilbert’s blister back out of a cabinet. Three sheets of medications are secured with a rubber band. She studies each blister pack.
NURSE 1
This is strange. This doesn’t look like any of the medications you’re supposed to be prescribed. This looks like Aspirin, vitamins, and something else. It has your name on it. I don’t understand.
WILBERT
Someone switched them. My medications for someone else’s.
NURSE 1
But why would someone do that?
Wilbert doesn’t answer. He’s fuming. He’s going to get even.
NURSE 1
I’m going to look into it. It’s very concerning. But the good news is you’re free to go back to the dorm this afternoon.
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Wendy’s ACT 3 Turning Point:
What I learned doing this assignment is that you have to pair down and be choosy about how much you can put it.
KEY SCENE 4 TURNING POINT:
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.
MR. KREN
(stops pacing)
(to Michele)
You took my family away. Now I will return the favor and make you suffer in like kind.
Mr Kren nods to a thug outside the room where her kids are at. He draws his gun and goes in the room.
There is a pause in the room, then a crash and then 6 shots are heard.
Michele hangs her head and cries.
MR. KREN
(gleefully)
Ah, the sound of victory.
MICHELE
Karma will get you back. Those were innocent kids.
MR. KREN
My dear, no. THIS is Karma getting you back.
MICHELE
You can’t kill my children and not have me exact revenge on you, even if it is from the other side.
THUG 1
(laughing)
Oh buddy, this is where I get my fun.
Mr. Kren holds up the ring.
MR. KREN
I have everything I wanted.
(beat)
My sweet revenge, torturing you, and getting the ring back. Zaijian, Ms. Dunn.
Mr. Kren leaves the room as if he is on cloud 9.
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Margaret’s Act 3 Turning Point
What I learned completing this assignment is that momentum makes writing easy.
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 an actual 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 flees 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
Yeah. Sorry…
Ember
Not a thing.
Blake leaning against the wall laughs. Lake looks like she could murder him.
INT. Parked car – night
Lake’s yellow and black Mini Cooper is parked in Mitch’s driveway with the two of them sitting in the car.
LAKE
I’m sorry about earlier. I know it was super embarrassing.
Mitch
I’m still not sure about you.
Lake
Still makes two of us.
Mitch
Listen, regressing with you has been really fun but I still wake up with myself.
Lake
I understand.
Mitch
Maybe we can just give it some time.
Lake
Sure. Good Night Mitch.
Mitch
Do you have somewhere to go?
Lake
Don’t worry about me.
EXT. HOUSE FOR SALE – OLIVE COURT – night
Lake walks down the street a duffel bag over her shoulder.
She approaches the front door and enters Ember’s number into the lockbox. It doesn’t open. She tries again. Still nothing.
Lake
Damn it.
She looks through the front window. The dining room table with the sign over it is just visible: Home, Where memories are made, Love is felt and refuge is found. You belong here.
EXT. hillside plot – night
Lake drives her car into her old driveway. The plot has now been grated.
INT. parked car – hillside plot – night
Lake opens her glove box and looks through it desperately looking for alcohol.
She pulls a jacket from her backseat. Lake reclines the car seat as far as it will go. She shoves the jacket under her head trying to get comfortable.
She looks out into the night sky filled with stars.
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LESSON NINETEEN
Kevin’s Act 3 Turning Point
What I learned from this lesson is that I am able to go deeper than I thought in giving my protagonist the lowest low. Taking everything away from him is devastating.
EXT. CONVENTION CENTER – NIGHT
Robin looks down on the last of the conventioneers escaping the center from the rooftop. He holds the timer in his hand as it hits zero and unceremoniously gives a tiny zap.
INT. JOKER’S LAIR – NIGHT
Joker lounges on the sofa, watching a black and white surveillance video of both the convention center and the police headquarters.
JOKER
Ah, finally. The bat returns! Looks like you’ve gained a little weight there!
BATMAN
You’re plans have failed Joker.
JOKER
Impressive actually. I’m curious. Who’s this little fellow you’ve got working for you? I thought you always worked alone!
BATMAN
Times have changed, and I guess I had to adapt.
Joker stands and strolls to a table beside the televisions.
JOKER
Well, you certainly have done that. You might consider a different outfit though. That one’s a bit stretched out, don’t you think?
BATMAN
Your time is up Joker.
JOKER
I couldn’t agree more. As much fun as all this has been, I’m tired. I have a treat for you.
Joker reaches for a detonator on the table and holds it in the air.
BATMAN
Your bombs are all disabled. That won’t do you any good.
JOKER
Oh, those little things? Ah well, you win some you lose some. The one you have there? It’s not even real. (He laughs maniacally.) See?
He reaches behind his back and draws a large handgun, firing it into the bomb. Batman reacts, throwing the Batarang and knocking the gun from Joker’s hand, a second too late, but still shocking Joker and sending hinm flying.
JOKER
Hahahahaha! Now THAT was invigorating! Best pick me up I’ve had in years! WHERE have you been!?
BATMAN
That’s enough. Time to give yourself up Joker, by now the police have this building surrounded.
JOKER
Oh I’m sure they do. Sadly, that’s not the plan, oh bat of my heart. You see, there is no surrender this time. There’s only one way out for me, and one way out for you.
BATMAN
What are you talking about?
JOKER
Oh don’t worry, there’s no trap. Not a physical one, anyway. You see, you and I are outdated, outmoded, antiques. I was never supposed to live this long.
BATMAN
Well, I guess that’s life.
JOKER
That’s the thing though. I’m done with this life, and you’re going to break your one rule and help me out of it.
BATMAN
No. I’m not.
JOKER
Oh, but you are. Because if you don’t. This detonator –
He flips the switch to arm it.
JOKER
Will go off and the city really will devolve into chaos.
BATMAN
What do you mean?
JOKER
There. Next to you. It’s a hand gun. Pick it up.
BATMAN
No.
JOKER
Pick it up, or I drop this stick. When it hits the ground, boom.
BATMAN
Boom? What explodes?
JOKER
Everything. The headquarters you were just at. The rooftop was just window dressing. The basement is loaded!
BATMAN
The commissioner and the others are on their way here. Those left behind know the risks they take.
JOKER
Maybe so, but what about Bruce Wayne and the social elite? What about all the other precincts and the computer banks that tie them together? What I hold in my hand is the fabric of society. I spent months setting up this punch line. Society will crumble and chaos will reign.
BATMAN
That’s not possible.
JOKER
Oh, but it is. The ultra rich sit at the opera for a fund raiser set up by Wayne Enterprises for the unfortunate. They sit on a ton of C4 tonight.
BATMAN
You couldn’t have possibly-
JOKER
Twitter twitter. Can’t keep anything from the socials! Just look at the riche, lining up like cattle for the slaughter!
Joker switches the view to the opera, as the ultra rich walk up the red carpeted steps. Ali graces the screen with Robin on her arm.
BATMAN
What do you gain?
JOKER
An end. Finality. Surely you must be tired. I’m exhausted. But if you can’t end one life, then so many others will have to die.
BATMAN
There’s no way out for you.
JOKER
Well. Your choice. 10, 9, 8,
BATMAN
I’m not going to kill you, but you are going with me.
JOKER
7, 6, 5, not this time.
Batman fires a net which Joker just ducks under.
JOKER
4, 3, 2 too slow Batman!
Joker throws the detonator in the air. Batman dives for it and catches it as Joker dives for the sofa which flips upside down, spinning back up empty.
Batman rushes to the sofa and pushes it halfway. He reveals a slide disappearing to nowhere. Just as he starts to dive after him, an explosion rings out in the distance.
A ball of fire lights up the sky. Another explosion and another ball of fire. Batman is drawn to the broken window in horror as the night sky lights up with billows of fire and smoke revealing the city as far as he can see.
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What I learned from this assignment:
Just when I want to stop, breathe, think, get away from this, get back to my life, I force myself to keep my commitment to myself and I lay out the outline for the scenes, make a copy and start writing slug lines, directions/descriptions and dialog – sort of writing over the outline notes… letting myself be bad, not insisting I hit flow, enter each character… although sometimes I do get into flow, despite following a structural template and assignment instructions. (90 minutes/day? Finally getting there, but my mind keeps obsessing)
SU NOTES on Turning Point 3 )so I can see them as I write
· Act III ends with a third Turning Point – Protagonist faces their lowest low. In Turning Point 3 The “All is lost” or “lowest of the lows” moment where everything has failed. Turning Point: Huge failure / Major shift.
· Act III Turning Point: the protagonist has met some kind of failure. They have tried the New Ways and came up short. They have hit the lowest point of the journey.
· Having a strong Act 3 Turning Point will cause the audience to feel empathy for the character and set them up for a breakthrough at the conclusion of the 4th Act.
· Remember this: This isn’t the place to be nice to your character. Put them in serious pain and make this a meaningful Turning Point.
· Even though the protagonist has resisted the New Ways for as long as possible, they go into this moment using the New Ways. They have changed inside and this is their chance to prove it. We’re not in the final Act yet, but they now believe in the New Ways.
· A shift has taken place, but is it enough?
· Sadly, the answer is “no.” They are using the New Ways, but something is missing. It is either too late in the competition or they just haven’t figured it out or there is still a part of them that hasn’t changed.
· Whatever the reason, they are crushed! They are defeated.
· This defeat will cause them to reach deeper, to discover what is missing, and to arrive at the Climax empowered. But all of that will all happen in Act 4.
· The job here is to prove with finality that the Protagonist must embrace the New Ways and complete their transformational journey!
OUTLINE OF ACT III.4 Protagonist faces their lowest low.
· <b style=”font-weight: bold;”>
Beginning: The town is demanding Hutch remove both regiments or none. Royal tax Commissioner is scared – Not mob that pulled down your home. Must keep the peace. Remove one and keep other orderly. As Gen Gage in NY says Hutch says he can’t order people to be orderly. Hutch – none, Judge Oliver agrees. Town committee arrives (Otis’ wife trying to stop him from entering. He says she’s embarrassing him – promises he is better). Hutch calls the killings an “unfortunate incident”. None – protect nation. Town – heard that General Gage in NY says remove one and watch the other better.
<b style=”font-weight: bold;”>·
Middle: Hutch greets group – understand – fellow colonists. Hutch gently, lovingly insists no regiments because of need to protect beautiful balance of mixed monarchy with elected reps. Appeals to shared love of liberty. Hutch stands up to them by talking about the fine quality of Boston, Mass, colonies. And shames them for not understanding need for obedience to laws/preservation of order… Group – shamed that they are not standing strong for their nation – caves, Sam holds steady – once at back, now ends up in front. Slams back – touches Hutchinson’s integrity and H gives in. Remove both regiments
o Sam confronts H by focusing on charter rights to freedom/rights in colonies, British Constitution and values for freedom/rights — and if you can move one, can move both… playing to his knowledge that H loves Mass, charter, Brit rights as Brit citizens…
o Despite pressure from Oliver, H agrees. Both regiments will be removed.
o Fury at H by Judge Oliver – Parl, King will see you caved, even less than Gen’ Gage
<b style=”font-weight: bold;”>·
Ending: Others leave, he will write, alone while others celebrate, Ruth Otis arrives. TE5 H realizes he has lost all but he is proud he stood up for British rights
{Note: build him and affair in thru script in revision] <b style=”font-weight: bold;”>
FIRST DRAFT SCRIPT FOR III.4 Turning Point #3
<b style=”font-family: inherit; font-size: inherit;”>
EXT. BALCONY IN GOVERNMENT BUILDING– LATE AFTERNOON:
Hutchinson, Judge Oliver, Royal Tax Commissioner on balcony.
HUTCHINSON
I see someone running here from the Town Meeting at Old South Church
JUDGE OLIVER
No matter what – do not remove the troops. You don’t want Parliament or King thinking you let the colonists run the British empire.
ROYAL TAX COMMISSIONER ROBINSON
You must remove the regiment that fired on them. If you refuse, they might turn all the colonies into a raging mob against our government.
HUTCHINSON
Not a mob. They’re understandably upset – innocent lives.
JUDGE OLIVER
“Innocent?!”
]ROBINSON
General Gage says we can remove the regiment that shot people. That will show the nation shares their grief. also don’t want to give colonists an excuse.
HUTCHINSON
General Gage can come up from New York and do that himself.
[Below in street, Dr. Benjamin Church, a spy for Hutch, has run to the building and yells up to balcony]
DR. BENJAMIN CHURCH
Governor Hutchinson! A committee’s coming from Town Meeting
HUTCHINSON
Their mission?
DR. CHURCH
Can you hear them?!
[Chant in distance becomes louder and louder – “Both Regiments or none!” ]
They found out that General Gage agreed to moving out the regiment that killed townspeople. And make sure the other one is more orderly
HUTCHINSON
I can’t order people to be orderly.
ROBINSON
At least General knows what’s at stake. If you don’t remove that regiment, I guaranty, mobs in all the colonies will rise up.
DR. CHURCH
Not mobs – the men coming right now are not the mobs that took down your house, Governor. Leaders of commerce, influence. All of them – shocked and grieving. Our own army has killed British citizens. Got to run – good luck, Governor
[Starts to leave]
ROBINSON
Wait, Dr. Church. Come up – we need all the reinforcements we can get.
DR. CHURCH
I have to leave before they see me. Leaves.
JUDGE OLIVER
Commissioner Robinson, this is confidential of course, but Dr. Church, he, ah, keeps us informed. Don’t want to lose him.
ROBINSON
Governor –Can’t you just send that Sheriff of yours – tell that Committee they don’t need to meet with you – you’re going to remove the regiment out of Boston.
HUTCHINSON
I welcome the chance to tell them, right here in our royal offices, what I’m going to do –remove both or none? My answer is “None.”
OLIVER
Hah!
ROBINSON
But they’ll mobilize all the colonies against the Crown. They’ve already despatched messengers with letters to every colony that the royal army “massacred” citizens.
[HUTCHINSON turns and goes in. Oliver and Robinson follow him in. Below, Hancock and Otis arrive with a gaggle of merchants, all in formal dress/wigs, followed by Sam Adams in his old patched dark red cloak, no wig.
No one on balcony as the group arrives. Hancock, Adams and all merchants enter the building – except Otis. His wife Ruth rushes over to him and holds him back. Backing her up is Otis Two (the Native American Otis has informally adopted and taught the law} dressed as a lawyer]
RUTH OTIS
No, please! You’ll make another scene – get us in worse trouble.
JAMES OTIS JR
I’m fine. Better. Let go of me.
RUTH
I’m begging – if you love me, come home with me!
OTIS
I love you with all my heart, Ruth. And I love our freedom to govern ourselves!
[He rushes into the building, She gestures for OTIS TWO to follow him]
OTIS TWO
I can’t. The townspeople did not – of course – vote me onto that Committee.
RUTH
Then stand by. In case he makes a commotion.
[She takes a seat on a bench but, as he starts to join her, waves him away from her. He stands aside]
INT. GOVERNOR’S OFFICE – SAME TIME
[The Committee from the Town Meeting is taking their places in front of Hutchinson, behind him Judge Oliver.. Hancock is first with other merchants behind him. Sam takes his place at the very back of the Committee. When OTIS joins the group and stands next to Hancock, Commissioner Robinson takes a position just ouside the door where Otis cannot see him]
HUTCHINSON
Welcome, gentlemen. I am grieving with you.
[Polite but skeptical muttering]
I am glad the Town Meeting appointed you to come talk with me. Our fellow citizens have been killed. We are all dreadfully upset.
[Polite sounds of agreement]
A very unfortunate incident that I-
HANCOCK
“Unfortunate incident?” Five dead, others woulnded. The Town demands you remove both regiments from Boston immediately.
OTIS
Human beings – each one, just protesting a free people
HANCOCK
[TBD – reading the names, ages of the dead and wounded]
[As Hancock names them, Sam Adams slips quickly next to Otis, gives him a signal to quiet down. Otis obeys this signal and Sam moves to the back again.]
The town of Boston demands you remove both regiments immediately.
HUTCHINSON
Only General Gage, Commander of his Majesty’s forces in the American colonies., can do that. And he is in New York at the moment.
HANCOCK
[Checking notes and reading from them]
As our acting Governor, you are also commander of our colony’s royal army and our town and county militias.
HUTCHINSON
Then I must also have the authority to tell General Gage to leave both regiments in the town of Boston.
[Angry reactions among the merchants… but as he keeps speaking, one by one, they step back, move to the wall behind Sam Adams.]
I understand why you want the regiments removed. Whether the soldiers were defending themselves from sharp rocks in ice or just frightened, the tragedy is that people have been killed.
[Someone mutters “You brought the army here, you send them out”]
Of course I understand why you want to order the soldiers out. But each one of you is a very intelligent, experienced influential citizen. Think for a moment, what will happen if our town can give orders to His Majesty’s royal army?… Will other colonies decide they can give orders to King and Parliament whenever they disagree?… What kind of chaos would that make for our nation? …And what about the other empires of the world? They hunger for our resources!
[Someone yells “We beat back the French. We won that war!”
If they think we no longer are loyal to our government, you don’t think the French won’t come down again from Canada. And take more lands of the South? Then there’s Spain’s control from Mexico all the way up to the North of Indian Country. You think they won’t move East? … And what about Russia in the North West?
[Someone else shouts: “We’re talking about Boston. Just get the troops out of our city!”]
Every other country in our world is ruled by one monarch or tyrannical barbarian. If they see our colonies fighting our nation? What happens? Every one of those nations would love to see our nation divided. Take over our lands and fisheries. The empires of France, Spain, Russia the Ottoman = each one a brutal regimes that has and can in the gfutre move against us. Will our nation protect us? Take one stone after another out of a stone wall, soon the wall collapses. Are you willing to grab the first stones? if Boston starts commanding the royal army, think – will Parliament invest money and resources protect us? Will His Majesty care? The Mother Country is not perfect. But the Houses of Parliament are willing to negotiate – you saw that they repealed the Stamp tax. Now we must negotiate tariffs. And better management of the troops. Nothing is perfect. But our nation is close to perfection The exquisite balance between equal liberty for all – our wealthy and our commoners each can vote for representatives to make laws and decisions that impact their lives. Our monarch must also follow rules to protect all groups in his domain. The only nation in the world on in the world with liberty. Are you willing to refuse to honor the laws of the only nation in the world to give people the right to vote for their own leaders. Are you willing to take the first stones out of the beautiful foundation of our government?
[Noises of apologies, reconsideration, etc – All have fallen back behind Sam Adams]
SAM ADAMS
A question, Governor Hutchinson. If we do not remove both regiments from Boston so they cannot kill us again, If we cannot decide when soldiers can or cannot take over our homes, have we given up our right to protect our own safety? We are all British citizens. Please help me understand. If our townspeople cannot decide when to remove soldiers who have killed innocents, how can we best protect ourselves and our liberty?
[Teasing – with a sparkle and smile as he zeroes in]
I need your advice. If the town of Boston cannot decide to remove both regiments, – do you want us to ask our representatives in the Massachusetts Bay Assembly to make that decision? Or perhaps you would like us to ask each colony’s House of Rep to vote on whether a town has the right to decide to remove soldiers to a fort when they have killed innocent citizens in an “unfortunate incident?” Whether intentionally or in confusion, soldiers have killed citizens. Do townspeople have the right to order both regiments to the fort outside Boston? Or would you advise us to ask our own and other colonies’ elected representatives?”
JUDGE OLIVER
You must follow the instructions of your Governor.
SAM ADAMS
Thanks you Governor Hutchinson for your praise of liberty. All of us in this room share our love as citizens the only nation in the world to give its citizens the liberty to govern our own lives through our elected representatives. We would all appreciate your counsel for us, the townspeople of Boston, the elected representatives throughout Massachusetts Bay and in the Houses of Representatives throughout the colonies.
HUTCHINSON
The townspeople have voted. No need to ask the other assemblies. We will remove both regiments.
[Gasps of shock]
This meeting is adjourned.
[Everyone files out – some praising him, patting him, shaking his hand… Some so angry they cannot look at him. Alone, he sits to start writing.]
JUDGE OLIVER
[On his way out]
You fool!
EXT. OUTSIDE GOVERNMENT BUILDING – NIIGHT
[As Hutchinson wearily leaves the building alone, exhausted, he sees Ruth Otis sitting alone on the bench.]
HUTCHINSON
Ruth. It’s late – Is something wrong? – Your husband?
RUTH OTIS
We got him to sleep. You’re working late.
HUTCHINSON
I had to write up an explanaton for my decision. A courier will take my letter early tomorrow to General Gage in New York. And the next ship to London.
RUTH
I heard you are removing not one but both regiments.
HUTCHINSON
Yes.
RUTH
Sit a moment.
HUTCHINSON
I’m very tired.
RUTH
You have every reason. James was surprisingly calm when we took him home.
HUTCHINSON
He seemed to understand what I was saying. How did you every marry him?
RUTH
Fathers. His father and mine. Both Colonels in the war against the French. And he certainly wasn’t boring… not a typical son of a rich father.
HUTCHINSON
He hates me for being appointed Chief Justice instead of his father.
RUTH
Let’s not talk about him. Will you be okay – with Parliament? You know, for removing both regiments?
HUTCHINSON
I don’t know.
RUTH
I hope Parliament won’t recall you to face inquiries in London.
HUTCHINSON
Easier than if the King appoints me as actual, not acting governor.
[Quiet for a moment]
At least I made sure we will stay united.
RUTH
We’re one country. The colonies would never survive without the Mother Country.
HUTCHINSON
It’s late. May I walk you home?
[They get up and slowly leave, together.]
###
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This reply was modified 2 years, 2 months ago by Tita Beal Anntares. Reason: the system added some computer-speak gobbledegook and when I copied/pasted from my Word doc, it left out some headings so notes, outline, script all smushed together so I put in manually
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This reply was modified 2 years, 2 months ago by
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Lonnie’s ACT 3 TURNING POINT
What I learned from this assignment: How to make this the lowest point for the protagonist, setting up ACT 4. In this historical fiction, it was a bit easy, as it was the shooting moment at Kent State by the National Guard.
EXT. KSU CAMPUS – DAY
Guardsmen form a line, push students around Taylor Hall. A couple kids through rocks, but they do not reach the Guard.
A few hundred kids watch from parking lot, most on their way to class.
INT. SMALL HOUSE – MUNCIE, IN – DAY
Jeffrey plays his drums….louder, Louder.
EXT. KSU CAMPUS – DAY
Six National Guardsmen huddle together near the pagoda by Blanket Hill. Whisper something.
Behind them a short distance is the suspicious photographer. He is surrounded by 6 KIDS (student age) shouting at him:
STUDENTS
You’re undercover! You ass!
The kids close in.
STUDENTS
You’re done, man. You’re busted. You must be FBI or CIA.
The suspicious man pulls out a revolver and fires four shots over their heads. They scatter.
INT. SMALL HOUSE – MUNCIE, IN
Jeffrey keeps playing,his volume and speed incredible as the drums and cymbals crash louder…louder.
EXT. KSU CAMPUS – BLANKET HILL – DAY
Suddenly a doze Guardsmen turn and open fire for 13 seconds, firing 67 shots.
13 students hit. One less than a hundred feet away. Most 200-300 feet away near the parking lot.
Four killed:
placeholder: Allsion Krause, Sandy Sheurer, Jeff Miller, Bill Schroeder (develop bio/history on these four and the nine others)
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Lesson 19
I learn for every reaction there is a turning point.
INT. JEFF SHOP – EVENING
When A policeman walks in. Jeff hides and escapes from back door. As he escalates the truck, police man runs outside and follows the truck. Another police car joins him. Jeff truck overturn and he escapes. Police chasing him. Under the flashing light They surrounds Jeff. Police man force Jeff to open the truck, Jeff hesitates first then he opens the truck door and let police man interrogate him.
POLICEMAN
Is this your photo?
JEFF
HESITATES
. No, it’s not my picture It’s written Robert. My name is Jeff.
POLICEMAN
I have a warrant copy to arrest you
. Police man cuffed Jeff and ass him to get into a police car.
Jeff lock Andrew in lock and key. Andrew has no news of jeff escape. Andrew crying thinking of his parents where they will be.
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So, in the midst of a course on how to fly through a screenplay in 30 days, I got grounded. I did move forward every day by writing the scenes for Lessons 17-19, but I felt lost, like I was going off the rails. And yet, I kept reminding myself that this is the 20% draft, so whatever I’d written on those days didn’t have to be perfect and didn’t have to be in order and maybe would end up being cut and so on.
And then, while I was on my daily walk, the insight came to me about what the third act turning point should be. It was suddenly so obvious, as if it was always there–and the stuff I’d written in previous three days actually fit and were leading to that point. Those scenes will need to be edited, but a bunch of stuff came together, including:
–I kept moving forward.
–I kept going back to the early work on character and the beat sheet to guide me on the scenes I did write.
–I let my unconscious mind work on things in the mean time–and the answers came.
–and once I knew the idea of what I needed to write to get from the middle scenes of Act 3 to the Turning Point, I sketched out a few placeholders for scenes and proceeded with the TP scene so I could move on to Act 4 and add the others during the rewrite.
The magic is working.
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Philips Act 3 Turning Point
What I learned doing this assignment is trying to maintain credibility in the story logic
1. Outline Key Scene 4 – Turning Point 3.
2. Write Turning Point 3 – Protagonist faces their lowest low
1. Virginia rejects him and gets kidnapped by the manager
2. The tour bus is destroyed and the wont be able to travel
3. They realise they have been tricked and there is no going back
4. The band have split up and are lost
5 . He tries to play for a bit and then loses the ability when he sees
the manager holds Virgina hostage at knife point
6. The audience realise that sunglasses will stop the blinding lights and tear their ears off to stop listening
7. The audience go crazy and attack the band
8. The band get attacked by hells angels and are incapable of playing
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Laura Woodworth’s Act 3 Turning Point
What I learned doing this assignment is to think about building in tension as well as creating empathy for my characters. When things were going well, she’s just hit a new reveal, a bump in the road that makes her feel vulnerable and question her new ways and her commitment to them.
INT. HOTEL NATIONAL – DAY
Jack packs, doing his best to hurriedly gather his belongings. He pauses —
NATALIA
I can’t believe you have to leave so quickly. Your visa allowed for two more weeks.
JACK
You still don’t get it do you? I’ll have to watch my back in the states.
NATALIA
In America? What about your freedoms there.
JACK
The arm of the Soviet Union is long. I’ve upset your Alex and now I’m on their list.
NATALIA
You’re overestimating —
JACK
You know what will happen if you marry him, right?
NATALIA
I’ve always known I would marry him. This is just — fate working out.
JACK
And then you’ll be — quite literally — in bed with the enemy.
NATALIA
Jack is not my enemy.
All packed, he slings his bag over his shoulder.
JACK
Check your back. See who’s following you.
EXT. NATIONAL HOTEL – DAY
Natalia watches as Jack gets into a car. She glances around — noting the men watching from across the street and another dark car following the one Jack is in.
She walks toward home, fully aware she is being watched.
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Day 19 Act 3 Turning Point
James’ Act 3 Turning Point
What I learned doing this assignment is… my protagonist earnestly wants her relationship with Rufus to work out, but the surrounding occurrences of life keep getting in the way. She is caught in a compromising position, yet Rufus manages to remain calm and excuses himself before leaving. Previously, they had shared intimate moments revealing their pasts which helped them grow closer. It’s a moment Jessica does not want to lose due to a misunderstanding. This turning point will test if Jessica and Rufus can ultimately work things out, although now everything seems unsalvageable.
INT. JESSICA’S HOME – NIGHT
Jessica helps Paul try on different bikini and thong swimwear. He appears virtually naked.
His ass cheeks bulge out with a strand of dental floss between them.
PAUL
Did you have a high streaming rate?
JESSICA
It was streamed all across the country. It’s gone viral.
Paul flexes his entire body.
PAUL
What’d you think of this one?
JESSICA
It accentuates your leg muscles.
PAUL
Yeah, frontal shots are important.
Paul slides into beach sandals.
JESSICA
Those are nice.
PAUL
But they fit too tight.
JESSICA
Because they’re new. You have to break them in. Here, let me.
Jessica kneels down in front of Paul and softens the sides of the sandals.
The front door swings open and FOOTSTEPS emerge…
TAMMY (O.S.)
This time she’ll be extremely thrilled.
Tammy accompanied by Rufus enter the living room and find Jessica literally in a compromising position.
Rufus holding a bouquet of flowers releases a GASP as Jessica peeks around Paul’s leg.
JESSICA
Rufus!
RUFUS
You quit your job. For something better?
JESSICA
Rufus —
RUFUS
Rufus. I can explain. You can’t.
He places the bouquet of flowers on the coffee table.
RUFUS
Those are for you.
Jessica rises to her feet as Rufus storms out.
Tammy is beside herself and Paul covers up with his hands. Too late.
JESSICA
You’ve gotta stop helping me out, Tammy.
TAMMY
Oops.
Silence fills the room as all three attempt to regain their composure.
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Susan’s ACT 3 Turning Point
What I learned: I was so on a roll that I didn’t even realize I had completed Scene 4 and included it with the Lesson 18 post… oops.
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? Are you ok?
SHELBY
Abbey, I ruined everything. I hate camping!
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