-
Lesson 17
Reply to post your assignment.
-
17 Replies
-
Megan’s Act 3 Reaction to Midpoint
What I learned doing this assignment is… birthday week is not conducive to finding time to write! I’m happy with the outcome of this scene, though, just not the pace it took me to write it. And I finally got meek, rule-following Anna to tell a lie. To the president, no less. It was also fun to finally have my protagonist and antagonist meet.
INT. HOSPITAL HALLWAY — DAY
Anna runs down the hallway barefoot in a hospital gown. NURSES and HOSPITAL STAFF give her strange looks as she passes.
Seeing their expressions, Anna slows. She notices a closet and ducks inside.
INT. JANITOR’S CLOSER — DAY
Anna stumbles and nearly trips on something in the dark closet. She flips on a light. It’s a mop and mop bucket. Anna’s eyes light up.
ANNA
Evan!
Anna digs through her bag for her cell phone.
ANNA
Of course I couldn’t grab my clothes before running out.
Anna pulls out her phone and dials Evan. He answers on the third ring.
EVAN (O.S.)
Hello?
ANNA
Evan! It’s Anna!
EVAN (O.S.)
What’s wrong? You sound off.
ANNA
I need you to come and get me. I’m in the hospital.
EVAN (O.S.)
Oh my God! Are you okay??
ANNA
I’m okay, but I want you to take me back to First Man.
EVAN (O.S.)
Seriously? I thought you didn’t want to have anything to do with—
ANNA
Just come quickly, okay?
EVAN (O.S.)
Okay. I’m on my way.
ANNA
And bring clothes!
INT. FIRST MAN HQ — DAY
Anna follows Evan into First Man, clearly wearing some of Evan’s clothes. Adam jumps up as soon as he sees them.
ADAM
Anna! Are you okay? Did they hurt you?
Adam surprises Anna by suddenly giving her a protective hug. The other men in HQ slowly filter out of the room, giving them privacy.
Before he exits, Evan meets Anna’s eyes and mouths the words “Listen to him.”
Adam releases Anna.
ADAM
What happened? You’re pregnant again, aren’t you?
ANNA
Yes. Wait, how did you know?
ADAM
Let me guess. It’s a boy.
ANNA
Yes! Did you know about this Gender Disparity thing?!
ADAM
Yes.
ANNA
How??
Adam gestures to a chair.
ADAM
Maybe you should take a seat. I owe you some answers. About your mother.
ANNA
NOW you want to talk about Mom? After everything I just went through?!
ADAM
That’s exactly why I have to tell you.
Anna drops into a chair but Adam paces restlessly.
ADAM
Maybe you’re wondering how I first got involved with First Man.
ANNA
What does this have to do with Mom?
ADAM
I’m getting there. You should know that First Man isn’t some back water grass roots organization. There’s an entire network of these pockets of resistance all across the country. So far we’ve eluded detection, but I’m afraid it’s only a matter of time.
ANNA
Any chance of you getting to the point sometime soon, Adam?
Adam smiles ruefully.
ADAM
Adam. You know, once upon a time you used to call me Dad.
ANNA
And once upon a time Mom was still alive and we were a happy family. But all fairytales have to end eventually.
ADAM
Yes. They do.
Adam runs a hand across his stubble of beard, clearly uncomfortable.
ADAM
Man, this is worse than the time I had to admit to you and Evan that there isn’t really a Santa Claus.
ANNA
Just tell me already. Clearly Evan already knows. I don’t know why it should be so much harder telling me—
ADAM
Your mother didn’t die by accident. She was killed.
ANNA
Yeah, I know. By a drunk driver.
ADAM
No. There was no car accident. No drunk driver.
ANNA
Then how—
ADAM
You wanted to know how I knew about the Gender Disparity Act. We found out about it when your mother got pregnant the second time.
ANNA
Second time? You mean after Evan and I—?
ADAM
Anna, you had a younger brother. His name was Liam.
Anna freezes.
ANNA
Liam?
ADAM
Do you remember him? You and Evan were so young. Not even three years old.
ANNA
What happened to him? What happened to Mom??
ADAM
The same thing that almost happened to you. They found out your mother was having another boy, and they tried to force her to abort. She fled. We hid her for months by moving around from one friend to another, never staying in one place too long. Your little brother was born right in Uncle Jimmy’s basement in Iowa. Do you remind that?
ANNA
I . . . I remember Iowa, I think. Evan and I had to share a room.
ADAM
And a bed. We all did. Jimmy didn’t have much.
ANNA
What happened to Mom?
But Adam seems lost in the memories.
ADAM
We thought we’d have to live like that for the rest of our lives, on the run. Always afraid.
ANNA
Adam! What happened to Mom?
Adam turns to Anna and his expression is ice, his voice leaden from years of pain and loss.
ADAM
What do you think happened? She wouldn’t terminate the pregnancy, so they ferreted her out and killed them both.
ANNA
Who did?!
ADAM
You already know the answer to that question.
Adam drops into a chair, spent.
ANNA
You can’t seriously believe that President Harris would ever condone such a outrageous law!
ADAM
She doesn’t just condone it; she created it. Forced it through the system without any approval from Congress. Half of those old biddies probably don’t even know the law exists.
Now Anna is the one who jumps out of her seat and begins pacing.
ANNA
There must be something we can do!
ADAM
There is. But we need your help.
Adam levels a piercing gaze at Anna.
ADAM
We’re going to take out the President.
ANNA
Do you have any idea how ridiculous that sounds??
ADAM
Yes. Just as ridiculous as a Gender Disparity Act.
Anna’s hands immediately drop to her belly protectively. After a minute’s thought, she meet’s Adam stare.
ANNA
Okay. I’ll do it. I’ll help you depose the President.
ADAM
You will??
ANNA
But we’re first going to try to do it peaceably.
ADAM
She’s never going to go down without a fight, Anna.
ANNA
I don’t mind a fight. But I’m not going down in history with the likes of John Wilkes Booth and Lee Harvey Oswald as someone who assassinated a President. No matter how corrupt. Let me at least look for a better way.
ADAM
There is no better way, Anna. You’ll see that eventually. I just hope you do before it’s too late.
INT. HIGH SCHOOL GYMNASIUM — NIGHT
Anna enters an enormous high school gymnasium to the sound of a buzzer, a bouncing basketball, cheering fans, and two competing sets of cheerleader voices.
The girls’ basketball game is well underway as Anna scans the bleachers of the home section. President Bianca Harris sits front and center, surrounded by several members of the SECRET SERVICE.
Bianca stands and cheers loudly as her daughter SOPHIE sinks a shot on the court.
Anna weaves her way through the crowd toward the bleachers, but before she is within 20 feet of the President, Maura accosts her.
MAURA
Hello. Can I help you?
ANNA
Uh, yes. My name is Anna Fitzgerald, and I’m on staff at the Women’s History Museum downtown. I just have a few questions for the President about the upcoming Women’s Day event we’re hosting.
MAURA
I’m sorry, but you’ll have to schedule an appointment. The President is not available to answer any questions at this time.
The buzzer sounds. Anna glances up at the clock. Five seconds remain until the half. When Anna looks back, Bianca is staring steadily at her. Bianca says something to a Secret Service member, and he gestures at Maura to allow Anna to pass.
The start of halftime buzzer sounds as Anna steps up to the President, who rises to meet her.
Bianca
I’m at my daughter’s high school basketball game. I don’t know whether to admire or be annoyed by your temerity.
Anna holds out a nervous hand.
ANNA
Anna Fitzgerald from the Women’s History Museum. Thank you for seeing me.
BIANCA
Ah, yes. Is this in regards to our upcoming speaking engagement? I assure you, I’ve been practicing.
Anna smiles tightly.
ANNA
We’re actually looking to put together a program for the event and we could use some additional information.
BIANCA
Lucky for you it’s halftime. You’ve got ten minutes.
Bianca primly takes a seat on the bleachers, crossing her legs.
Anna glances up at the clock ticking down on the scoreboard and hesitantly sits beside Bianca pulling out a notepad and pen.
ANNA
In your own words, would you give us the history of Women’s Day?
BIANCA
You’re the historian. Shouldn’t you already know all this?
ANNA
We were hoping to get a quote from you. We figured it would be more powerful coming from the woman who started it all.
BIANCA
Yes, you’re probably right. Hard to believe February 14 used to be a day for celebrating couples. As if any woman needs to be part of a couple to obtain a sense of worth! No. The holiday is much more practical now that it’s been rebranded as “Women’s Day.”
ANNA
Have you ever had any men ask why there isn’t an equivalent Men’s Day?
Bianca stares at Anna blankly for a moment.
BIANCA
Of course not. Why would they need their own day? Don’t be ridiculous. Next question.
ANNA
Umm, okay. I’m sure people have begun wondering if you are planning on running again in the next election.
BIANCA
Nothing has been announced officially, but I see no harm in sharing. Yes, I am planning on running for a sixth consecutive term. With all the positive contributions this administration has been able to make in the last two decades, I don’t see why not.
ANNA
Wow. Two decades. I still remember when you pushed through the repeal of the Twenty-second Amendment. I was in high school. Taking a Government class, no less. My teacher adored you. She said you were making history. We watched the news almost every day in that class. Actually, I think that’s when I first realized I wanted to be a historian.
Bianca pulls out her cell phone and checks the time.
BIANCA
So this is how you want to spend the final minutes of this interview? Taking a trip down memory lane?
Anna shakes herself out of her reverie with a glance at the time remaining on the scoreboard: 6:20.
ANNA
Sorry. Where were we? Oh. The Twenty-second Amendment. Was there any backlash in the decision to repeal?
BIANCA
None whatsoever. Repealing the amendment allowed me to stay in office. People don’t actually want change. They want stability. That’s something that I can give them.
ANNA
Will you still be campaigning with the same slogan you began five elections ago: Truth. Justice. Equality?
BIANCA
It’s got a nice ring to it, doesn’t it? And it’s gotten me re-elected so far each time. So why rock the boat?
The familiar phrase catches Anna’s attention.
ANNA
Excuse me? What did you just say?
BIANCA
I said, why rock the boat?
ANNA
Right. Would you say you’ve lived up to the words of your campaign slogan?
Bianca studies Anna, weighing how much to reveal.
BIANCA
Anna . . . may I call you Anna?
ANNA
Of course.
BIANCA
We’re both intelligent women. I want you to consider those words again. Truth. What is truth? You’re a historian. Doesn’t truth become whatever you declare is true and then record in the pages of history? Justice. True justice is a double-edged sword. The one who wields it risks getting cut herself. Tell me, what wisdom is there in that? As for Equality . . .
Bianca looks around at the female players warming up on the court, at the female referees, at the predominantly female crowd.
BIANCA
I would say under my tenure we as women have finally achieved real equality.
ANNA
And the men?
Bianca levels her piercing gaze on Anna.
BIANCA
What about them?
ANNA
I don’t understand. I know you don’t have any sons, but you have a husband. Doesn’t it bother you to see . . .
BIANCA
What? That for the first time in modern society, women are the dominant gender? It’s about time. And as far as my husband goes, he supports whatever I tell him to.
Bianca smiles wryly at Anna.
BIANCA
Not all of us marry for love.
The buzzer blares, ending halftime.
BIANCA
And that brings us to the end of the interview. But I’m sure we’ll meet again. At the event next week.
Bianca turns her attention back to the court as the players return.
ANNA
Thank you for your time, Madam President.
Anna turns to leave.
BIANCA
Congratulations, by the way.
Anna stops and looks back at Bianca, whose eyes never leave the court.
ANNA
I’m sorry?
BIANCA
On your pregnancy. You must be, what, three, four months along?
Anna instinctively raises a protective hand to her stomach.
ANNA
No, you’re— I’m sorry. You’re mistaken. I’m not pregnant.
Bianca simply raises her eyebrows, her eyes never leaving the players on the court. Anna drops her hand, quickly turns, and walks away.
-
Alice’s Act 3 Reaction to Midpoint
What I learned doing this assignment is that either because I write in instalments or I am still unexperienced, it seems to me all the time that my scenes don’t correspond to outline. But actually they do. I still don’t know how much of text would be for every part. Even though I am creator. I noticed my tendency to start writing long boring scenes to illustrate how it is realistic. I must escape it.
INT. INTERROGATION ROOM – DAY
Lisbeth is dropped by guards on the chair.
Her head down. She’s waiting for it to start.
Beat.
Beat again.
Nothing happens.
She looks up to see unfamiliar officer. His face calm and indifferent as he browses documents before him from boredom.
ELIZABETH
Hello. Who are you?
Officer jumps on his chair.
OFFICER
Oh! I’m sorry! I thought, you are dummy.
Elizabeth waves her head negatively.
ELIZABETH
Where is the one who was prior?
OFFICER
He got moved. I am here instead of him.
Elizabeth considers.
ELIZABETH
Why do you keep me in here?
OFFICER
This is military bunker. You was considered to be dangerous and now are confined.
ELIZABETH
What have I done?
OFFICER
Still don’t know it? I cannot help you about it, as it is classified.
ELIZABETH
Then why am I here?
OFFICER
I need to speak with every subject. Your status changed. Would be less pressing. But they won’t let you go.
ELIZABETH
You could use me. It’s boring in the cell. I could work for you on the comp. Processing data. I’m good with it, you know.
Officer waves no.
Lisbeth’s astonished.
ELIZABETH
It doesn’t say anything about me? I have photographic memory.
Officer considers. Turns dossier before himself. Bends it to conceal crucial paragraph, and turns it to Elizabeth.
OFFICER
Read it!
Elizabeth drops look down on the text.
Officer quickly turns it back.
OFFICER
What was the name of my predecessor?
ELIZABETH
XSELERATOR204.593-FA
Officer drops look on text. Compares.
Unbends page, puts back in order. ‘YES’ on his face.
ELIZABETH
Only I need more oxygen! There, in the cell. You know, for the brain work. And exercise.
-
Rita’s Act 3 Reaction to Midpoint
What I learned doing this assignment:
I’m wondering if the protagonist on an emotional seesaw is a rethink? Or is that not definitive enough for this point in the script?
—————————
EXT. SMITH HOUSE – MORNING
Zak and the crew unload the van.
Somber silence. Not quite a powder keg waiting to blow but polite cooperation isn’t normal for this bunch.
Zak rolls with it, literally.
INT. DAWN’S STUDY – MORNING
Dawn types away at her computer, narrates as she goes.
DAWN
Dear Tom,
(deletes)
Too friendly… Dear Mr Abernathy, I regret to inform you… that I am a total fucking fraud who lied to you and let you down. I feel like and idiot and I know you’ll never date me now, so I’ll probably die alone, but hey, I’ll most assuredly have a cat, who will starve to death or eat my carcass, either way, I don’t now nor have I ever been a painting company. So, nice knowing you. Please don’t sue me.
She drops her head onto the desk. Continues narrating without typing.
DAWN
I am an esteemed professor of psychology as you can probably tell by the stable tone of the above paragraph.
She thumps her forehead on the desk. Accidentally hits the keyboard. It makes an action noise. She straightens.
DAWN
Oh my god, it didn’t send did it?
The curser still blinks at the end of her typed tirade.
She exhales relieved and reads through her copy of their contract.
DAWN
Maybe it’s better if he fires me. Which he most assuredly will.
(straightens her spine)
I can handle that, one failure does not define who I am.
Her spine liquifies and her head hits the desk again.
DAWN
Dad’s gonna love this.
SERIES OF SCENES
Dawn avoids Abernathy all over town.
INT. POST OFFICE – MORNING
Dawn closes her PO box and flips through envelopes.
Tom gets in line at the counter. Waits. Looks around.
Dawn sees him at the same moment. He signals to her but she pretends to see someone outside.
Tom moves to follow her but three people with large packages have joined the queue and block him in.
EXT. POST OFFICE – CONTINUOUS
Dawn sprints to her car. Peels out just as Tom makes it to the parking lot.
EXT. GROCERY STORE – NIGHT
Tom sees Dawn at the deli counter and makes a beeline.
Dawn can’t fake a no-see. She waves with a friendly smile.
A half-blind OLD MAN with a squeaky cart stops right in front of him. It won’t move, wheel is stuck.
Tom can’t help himself, he straightens out and unlocks the wheel, sends the geezer on his way.
Dawn vanished.
INT. TAKE OUT JOINT – NIGHT
Dawn gathers plastic cutlery when Tom enters.
Her back is turned. He’s got her this time!
Suddenly two little brats grab his pant legs. Chase each other around his legs. Screams and giggles.
Dawn turns. Horror registers on her face.
The human mulberry bush is immobilized.
Harold appears to corral his kids. Motions to Dawn to make her move.
Mouths a silent, “thank you.”
Tom turns one way then the other, fuming. She escaped again.
-
Margaret’s Act 3 Reaction to Midpoint What I learned completing this assignment is this is definitely the easy way to write. I tried it the hard way and I’m really appreciating the easy way.
This is her reaction to the midpoint – bullet points that take me to the end of Episode 2 –
INT. MITCH’S HOUSE – NIGHT
Lake sits on the couch in the great room of Mitch’s house. A large screen TV plays low in the background.
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.
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.
Sneak into house
Blake shows up
Threes a crowd
Sleeping at a different for sale house each night
Parks down the street.
Car very organized
Only takes one duffle
Wakes up at 5:00 am
Goes to gym
Writing food reviews
Get caught by sister and other client in house for sale having sex with Mitch.
Mitch and Ember meet for the first time.
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 will meet again under different circumstances. And you..
(turning towards Lake)
Best not say anything.
Lake
Yay. Sorry…
Ember
Not a thing.
***Fights with Blake
***Has a fit of rage and breaks crystal vase
***Lake at anger management group
***Sleeps at Mitch’s house 1 night
***Gets up early
***Steals sign from Olive Court regarding home is where you belong.
-
This reply was modified 2 years, 2 months ago by Margaret Gendreau.
-
This reply was modified 2 years, 2 months ago by
-
Chris Dorsey Act 3 Reaction to Midpoint
What I learned doing this assignment is to look for my Protagonist’s transformation to complete his character arc.
INT. WILBERT’S CELL – LATER
Wilbert shifts his way of thinking — it’s told through comedic relationships.
Wilbert sits on his bunk with his head in his hands.
WILBERT
I trusted him and he manipulated him.
WILBERT
You’re the only person in the dorm still talking to me.
CELLMATE
But you’e trying to be everybody’s best friend. You’re not going to survive in here, unless you toughen up. You’re too nice.
WILBERT
How is being too nice a problem?
CELLMATE
I don’t know, but look where it’s gotten you.
WILBERT
If only people played fair, then I wouldn’t have these problems.
CELLMATE
Wilbert, you’re in prison. No one in here plays fair. You have to learn to deal with that, and killing them with kindness isn’t the way. You get me?
-
Tita’s Act 3 Reaction to Midpoint (Assignment-Day 17)
What I learned from this assignment:
How useful it is to have a simple template for the rhythm of scenes. For the first 20%good draft. I can always make it more interesting, richer later. After I’ve survived the challenge of getting the basic script blocked out. What I haven’t learned is why, when I copy/past my Word doc onto this form, some typed sections don’t show up and I have to hand type them in.
Notes to me – SU Guidelines and the Act II -> Act III Transformation (so I remember when I write script)
SU Guidelines – Reminders for me from Assignment 17 and earlier ones:
· Act II Midpoint: As Act 2 was finishing up, the Protagonist had a major shock to their reality — the Midpoint. That moment shifts their life and their way of thinking. The game has changed and for the first time, they see the new rules that they didn’t know. That naturally is going to cause them to rethink things, which will start Act 3.
· Act III. With Midpoint change, Profound moments that give us new ways. New Plan – Purses it, embraces need to change.
o When the Midpoint changes the meaning of the journey, the Protagonist must rethink their situation. Something major has changed, leaving the Hero floundering for a path toward survival or success. They must now face the real story beneath the surface! This is part of the Hero’s transformation —The Midpoint changes everything. This is an important part of the Hero’s transformation.
o Reaction/Rethink scenes are part of character growth and part of the transformational journey.The Hero starts to:
A. Have multiple insights into why things weren’t working.B. See that the Old Ways just won’t cut it anymore.C. Up their game, which means they must change!
Note: In an Action movie, the reaction can be played out as action.
—-
Transformation from Act II to Act III.
SAME JOURNEY: Keep the colonies together with the Mother Country by telling colonists why the laws of Parliament are fair to them and why colonists must obey in order to save their union with the only free nation in the world where people can elect their own representatives in Parliament to pass laws that affect their lives… and if distant, have virtual representation through their colonial representative appointed by the king.
– ACT II Midpoint: Sam’s publishing of Hutchinson’s letters asking for military protection after his home is destroyed turn all colonists against him
– ACT III React/Rethink: Hutchinson’s humiliation, shame… wondering why just giving the best argument did not win over people…then realization that he has been telling people what to do, not listening or involving them as partners
DIFFERENT MEANING: Keep colonies united with the Mother Country by listening, partnering, not ordering them around.
ACT III BEATS/OUTLINES
Key Scene III.1: React/Rethink the new reality revealed by Midpoint. Outline of Beat:
· Beginning: Troops have arrived. Hutchinson welcomes them, justifying them… He overrides complaints that they are taking over the town’s meeting space Faneuil Hall- Sam making fun of them. Otis, head bandaged from beating, praises order, uniforms.
· Middle: Hancock furious at Hutchinson. Promised. Otis threatening to shoot them – free people. His wife and adopted son force Otis home. Peter Oliver glad some protection. Hutchinson tries to explain – no one listens. Hutch realizes he was telling people what to do not trying to understand their concerns and needs
· End: Hutchinson tries to reset his relationships – listen, hear their grievances but Sam organizes letter writing all over Mass and colonies.
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
Key Scene 4: Turning Point – Protagonist faces their lowest low. Turning Point 3 The “All is lost” or “lowest of the lows” moment where everything has failed. Turning Point: Huge failure / Major shift. Outline of Beat:
· Beginning: Sam Adams gets Town Meeting – in a Church – to demand removal of both regiments or none. Sam in town hall gets townspeople to march demanding removal of both regiments from Boston after what Sam calls the “Massacre” -and Hutch calls an “unfortunate incident”. Otis promising he is better.
· Middle: Hutchinson’s people telling him he must be strong, not give in. Hutch says he can’t order people to be orderlywants to remove the regiment responsible for the killings, but not both.
· End: Hutchison shames Hancock, Otis to back off… But Sam, at back, now ends up in front. Slams back – touches Hutchinson’s integrity and H gives in. Remove both regiments. Notes for this scene: Meeting with H –
o Officials say no regiments leave. Hutch wiling to say he will remove the one that did the killing; Sam has got the Town Meeting and its reps in this meeting to say Both regiments must leave Boston
o Brits and Tories telling him to keep army in Boston. 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
o Hancock, Otis, other Leaders from Town Meeting fall back, too intimidated by Hutch
o Left alone to confront Hutch is Sam who usually is at the back of a demonstration, at the front. Sam confronts H by focusing on charter rights to freedom/rights in colonies, British Constitution and values for freedom/rights —playing to his knowledge that H loves Mass, charter, Brit rights as Brit citizens…
o Despite pressure, H agrees. Both regiments will be removed.
o Fury at H by royals and Tories, blaming H for weakness, coddling fellow Amer…
o TE5 H realizes he has lost all but he is proud he stood up for Brit
FIRST DRAFT SCRIPT FOR III.1 REACT/RETHINK
Beginning:
EXT. KING STREET BENEATH GOVERNMENT BUILDING – DAY
[Troops arrive, line up outside the Government building in their fine redcoat uniforms, armed. A crowd is gathering. Some boys are pretend marching, trying to see the guns close up. Tax Commissioner Robinson shakes Captain Preston’s hand. Hutchinson , with Judge Oliver behind him, comes out to greet Captain Preston. When James Otis and his wife Ruth walk by, Otis looks at Commissioner Robinson, as if trying to remember. Robinson steps a safe distance away. John Hancock rushes out of his gold plaited carriage]
HUTCHINSON
Captain Preston, the people of Boston welcome you and your regiments.
JUDGE OLIVER
And about time too. Thank heavens we have some protection
SAM ADAMS
Oh, yes, Captain. We are so grateful for your protection… from, ah … Maybe the French sneaked back out of Quebec?
JAMES OTIS
Our warriors, back from beating the French!
[Moving too close to Captain Preston, touching his musket]
RUTH OTIS
[Guiding Otis away]
Sorry, Governor Hutchinson. He hasn’t recovered from that bar fight. [To Otis] We beat the French five years ago.
SAM
Maybe these fine soldiers have come to protect us from a Mohawk uprising? Or the Algonquins? – although I thought the peace treaties were holding.
Middle
JOHN HANCOCK
Governor Hutchinson – you should keep them in the fort. No one would see them – they’re making a mess of Faneuil Hall.
JUDGE OLIVER
We’re all relieved to bring back order to this colony.JOHN HANCOCK
Order?! They’re making a filthy, smelly mess of our hall. Buckets of excrement
SAM
[Coaching him]
John – the town meetings…
JOHN HANCOCK
Right – how are we supposed to hold our Town Meetings with soldiers bunked down all over the floor?!
SAM
Maybe that’s the point? To stop townspeople from electing representatives who can call for the repeal of the tax. Mr. Hancock – didn’t you say something about quatering, you know, the law?
[NOTE TO ME – Did I write the scene where Sam wooes Hancock by getting mob leaders to call him King Hancock? If not, add it to Act I]
HANCOCK
Quartering soldiers among peaceful townspeople… isn’t there a law
HUTCHINSON
[TBD – spouts the law]
SAM ADAMS
That’s our Governor. Mr. Hutchinson is going to lecture us again about the law – while breaking it by quartering the military in [TBD – get the legal phrase]
[As crowd agrees with Sam. Mocks his quoting of laws. Hutchinson takes Hancock into the government building. They soon appear on the balcony. Hancock is mesmerized by the view from the top.]
Ending:
HUTCHINSON
Mr. Hancock, can you feel the power? I’m just as upset about this as you and all our townspeople. I only asked for a small guard. To protect my family if the mobs tried to attack us in our new home. And to protect other men of commerce. Like yourself. I never expected the king to send two regiments! I understand why everyone is so upset about the Stamp Tax. Look, I had to enforce it. My job. But I am also a fellow Bostonian. Together we can meet with merchants. Specially now that Otis has been silenced. Temporarily. It’s our change. None of us want a tax imposed on us. Parliament never gave up their right – but colonists also have the right. What did you say about colonial charters –
HANCOCK
Not me. Samuel will know – [Starting to call down] Mr. Ad–
HUTCHINSON
No, don’t get him involved. We can work this out together. And with other men of influence.
HANCOCK
He said something about the king’s charters for each colony… but I don’t-
HUTCHINSON
Don’t worry. We can join together with other men of commerce to ask Parliament to rescind the Stamp Act. Explain to them why everyone in the colonies is so upset – find other ways to help the Mother Country pay off her debts.
HANCOCK
Yes – Parliament never sent funds to help us fight the French.
HUTCHINSON
Yes. It’s about fairness. I’ve heard you. And I can help you and all your fellow merchants reason with the Lords of Parliament.
HANCOCK
But I thought you –
HUTCHINSON
We are fellow citizens of the only free nation in a world of tyrants.
HANCOCK
Uh-oh. Here comes the but. Please Governor Hutchinson, don’t. My mind spins when you start telling us all the laws we have to obey
HUTCHINSON
Promise. I want to hear your ideas about how the colonies can stay aligned with our Mother Country. If the tyrants of the world commotions between the colonies and our government in England they will join together to tear us apart, chop up our colonies and Indian country into Spain, France, Russia – We can’t let that happen. We are the only nation where people can elect our own representatives to Parliament to make decisions that affect our lives. No tyrants. Our leaders in the Houses of Parliament. They can listen to reason… And I can help you – all of us – explain our concern that our colonial representative in Parliament is our only elected representative to vote on a tax –
HANCOCK
But we don’t vote for –
HUTCHINSON
Exactly. The kind appoints him. But It’s not either our colonial rep in Parl or our elected reps in each colony’s assembly. Now let’s go in and plan – you can give me the names of the most intelligent men of commerce – people we can listen to.
[As Hutchinson reaches out to shake Hancock’s hand, Sam Adams, on the street below, looks up at them on the balcony. Concerned.]
###
-
Jane’s Act 3: Reaction to Midpoint
By doing this assignment I was able to come up with a theme that could run through the story. In the first half, Chelsea lives in the past, remembering what was because she feels she has no future. After she realizes that Julie is not in danger but IS the danger, she starts to live in the present and plan for the future. The first thing is that she starts to lie like Julie to manipulate the Greek guy. She’s hatching a plan.
INT. ARCHIE’S ROOM
Chelsea holds up here as this room has already been searched. She starts to think back to her childhood and relationship with Julie but stops herself. Instead, she searches the room, looking for clues to where the Blue Lotus is. She finds something overlooked by the police.INT. GOON’S ROOM
Chelsea searches the goons phone, finds the Greek guy’s phone number and calls. She tells him she wants to talk with him. Pretending to be Julie, she tells him she misses him.He wants to know what happened to his goons. Chelsea lies and tells him they’ve been caught by the police. He tells her he will be on a boat to collect her in the morning and that she better have the Blue Lotus with her.
She tells him she has it (a lie) and that she’ll see him in the morning.
-
KAREN SINCLAIR’S ACT 3 BEGINS
What I learned doing this assignment is…?
Sadie’s Reaction and Rethink leads to a new plan in Act 3 which is to enlist someone outside of herself to help her. This has never been her style. I’m noticing more and more to listen to my characters. They are telling me where the story needs to go.
ASSIGNMENT 17
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
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.<div><b style=”font-family: inherit; font-size: inherit;”>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.
———————————————————————————
</div>
-
Lonnie’s Act III Reaction to Middle Point
What I learned from this assignment: Being historical fiction, I need more research as to the real events on this day after the burning of the ROTC building. But this is a start. I learned the importance of responding quickly to the MID POINT.
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.
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.
-
Wendy’s ACT 3 reaction
What I learned doing this assignment is that I need a doppelganger so I can send them to work for me and I can write full time.
ACT 3
Tears are welling up in Michele’s eyes as she hands the ring to ELIJAH. A noise is heard outside in the hall, Michele draws her gun. The door is kicked in, Michele is at the ready. The dust settles and a person begins to step through the doorway.
MICHELE
Hand’s up!!
DEAN
Hey! That is twice in one night that you have had a gun pointed at me. I’m beginning to get a complex.
MICHELE
If I am so rusty then why have you been on the wrong side of my gun?
DEAN
Oh, no, you are not going to do this, you are not quitting on me. Maybe I said something wrong. Maybe you took it wrong, or just maybe we were both wrong.
Michele still aiming looks at Dean in an ‘Oh yeah’ manner whit one eyebrow raised.
DEAN
Okay, okay, I was the one who was wrong. I am sorry.
Michele doesn’t move. Dean looks into her eyes, realizes he cares and must be straight with her. His body and tone of voice softens.
DEAN
I can’t do this case without you.
Michele hears the sincerity in his words. She is also captured by his eyes and softens.
DEAN
The gun?…. Can you put it down now?
Michele still aiming but she smiles.
MICHELE
Can I trust you?
DEAN
(trying to be funny)
Well,… That all depends….
Dean tries his best sexy smile. Michele stiffens again.
DEAN
(seriously)
Yes, yes you can trust me.
Michele lowers the gun, her expression turns into curiosity with half disbelief. KEVIN looks up from his cowering position on the floor right besides Michele only to find the gun is now pointing at him by mistake.
KEVIN
AAAHHHH!
MICHELE
(putting gun away)
Oops. Sorry.
(to Dean)
Do you have a plan?
DEAN
I think.
Michele just stares blankly at Dean.
DEAN
Well… at least I have a good idea.
MICHELE
Good! Then you should have a good story to tell Mr. Henderson when he gets the bill for the busted door.
ELIJAH
Hey KEVIN, are you keeping score? I think she got the point for this one.
KEVIN
I think you might be right.
DEAN
(disgusted, but pushing on)
Come on, let’s go. I have some intel that indicates that they will be at the EXPO in Houston.
Dean is posing as the director of the concert hall. He has an earpeice in his ear that makes him look like a secret service agent.
Everyone stares at Dean without signs of relaxing. Dean shakes his head in disgust.
DEAN
Is everyone ready?
The audience is growing and 3 black limos pull up to the entrance. Dean turns his head slightly towards the ear that has the earpiece listening to whomever is on the other end.
DEAN
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.
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!
INT. MR. KREN’S HOME – EVENING
MR. KREN
… and this time she will not get away.
Mr. Kren holds up TICKETS that have the words KID’S EXPO FRONT ROW on them.
The kids in the background are playing and being very noisy and disrupting the household.
MR. KREN
(to thugs)
Okay, you two have your orders.
THUG 1
(bowing)
Yes. We will not harm her
(beat)
Until we get the ring.
THUG 2
What do you want us to do about her partner?
MR. KREN
What ever you like. I am not opposed to a little old style torture.
THUG 2
We are out of practice.
MR. KREN
Speaking of torture…
(singing)
Oh kids… I have something for you.
They all stop what they are doing and gather around Mr. Kren. He holds the tickets where they all can see them.
MR. KREN
Now, we will go to the concert, but it is on the condition that you must behave like good children.
MEGAN
What’s a condition?
JOHN
It’s a rule.
MEGAN
Oh. So we can’t play?
MR. KREN
No, you can play… Quietly.
MEGAN
How do you play quiet?
MR. KREN
You don’t talk.
MEGAN
But that’s not playing.
MR. KREN
Exactly.
MEGAN
Okay, but you will have to show me how to do it.
Megan grabs Mr. Kren’s hand and begins to drag him to the living room where all of her toys are at. His eyes almost bug out of his head.
-
Lesson 17
I LEARNED THAT EXPOLOTRING RETHINK AND REACTION WHEN THE PROTOGONIST LEFT ALL THE HOPE HE MUST MAKE A NEW PLAN
Rethink and reaction
Andrew thinks about their parents if all dead as jeff says. Then where I go. His mind says at least my mom and brother is alive. Andrew cries when jeff calls him to make a coffee for him. Andrew’s sees the telephone on the kitchen shelf. His eye is on it. Jeff notices. he turns his head around but cannot see what he sees. Ask him to pay attention on while he makes coffee. Andrew gives him coffee and put the phone in his pocket. He hurries to the room. Cell starts ringing he turns of the phone. Jeff looks behind. Then in his pockets. Andrews calling out when jeff snatches the phone. Abuse and beat him. Lock the room.
-
LESSON SEVENTEEN
Kevin’s Act 3 Reaction to Midpoint
What I learned doing this assignment is staying in the habit of writing every day is hyper-important. Falling back even one day for whatever reason you choose to do so can result in a cascading series of reasons not to write. Giving yourself the deadline of sitting there and writing even 1 page of crap inspires you to keep going … need to keep to it!
INT. POLICE HEADQUARTERS – DAY
BANG! The door to the roof jerks open 6 inches. Bang. Creak. The door swings open and slams against the frame behind. Gordon rubs his shoulder as he passes through. Commissioner Parsons and officers follow.
GORDON
I can see you’ve maintained the place well.
COMMISSIONER PARSONS
We haven’t had a need to keep the old thing in working order. Things have been in hand until now.
GORDON
Uh huh.
Gordon strides over to the bat signal. It’s rusty and tilted at an odd angle.
GORDON
Should I bother.
COMMISSIONER PARSONS
I’m sure it won’t fire up. It’s been years.
Gordon grabs the handle on the side and pushes up to straighten it. The spotlight falls off and nearly crushes him. A rusty hinge is all that’s left on the stand. It rolls against the switch and a blinding light jumps forth, hitting them in the face.
GORDON
At least the torch still lights. Turn that thing off!
One of the policemen dash over to the switch and turn it off.
COMMISSIONER PARSONS
Get that thing mounted again. Do you think he’ll answer?
GORDON
He always has.
INT. WAYNE MANOR – DAY
Ali stands outside Bruce’s bedroom door with a tray holding coffee, green sludge juice, and a paper. She sighs and kicks open the door. The room is empty.
INT. WAYNE MANOR – DAY
Bruce is standing in front of a screen drinking a glass of green juice while jogging on the treadmill. Social media outrage at the bombings fill the screen. Robin stands beside him running in place. Ali stands in the doorway with her tray.
ALI
Well, this is a nice change.
BRUCE
I asked Robin to wake me at dawn. If I’m going to show up in public, I need to at least try to look the part.
ALI
Good for you. I’m glad you seem to have settled your differences with Robin.
BRUCE
I wouldn’t say that. He is a great chiropractor though. I feel better than I have in decades.
ALI
Speaking of decades, here’s your morning coffee and your paper.
Bruce slows his pace.
BRUCE
I’m off the poison, and trying to catch up to the 22nd Century.
ROBIN
Pace, Batman, and that would be the 21st.
BRUCE
Thanks tin-man.
Bruce ramps back up to speed.
ALI
Nice one.
ROBIN
He has a rudimentary skill for insults, although his reference bank is sadly out of date.
BRUCE
Can it.
ROBIN
Very droll.
BRUCE
Thanks. Listen Ali, I want to apologize –
ALI
Stop right there. You don’t have enough breath for all that, and I already forgave you each time I gave you a roundhouse to the head after you went on a bender.
BRUCE
No wonder my head hurt so much!
ALI
Yeah, well. It kept me from losing mine!
BRUCE
Right. Another thing I’m woefully behind on is this social media. I’m getting slammed and I have no idea what’s going on. Can you help?
ALI
It’s just noise, but noise we need to turn to our advantage somehow. What is clear is we need a plan of action.
ROBIN
I’ve run 120,321 scenarios –
BRUCE
Hang on, we don’t have time for that. We need to whittle that down to say, the best 12? I’ll try to come up with one while you do that.
Ali smiles and retreats through the door with her tray.
-
Philips Act 3 Reaction to Midpoint
What I learned doing this assignment is I can make more sense of the story with hindsight
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.
1. Using your Beat Sheet, outline your Act 3 Key Scenes.
2. Write Key Scene 1: Reaction/Rethink.
The turning point was when Dmitri decided to help Virginia escape and risk the wrath of L’Dabla
Scene 1: Reaction to the Turning Point – Reaction/Rethink.
Dmitri realises that by taking Viginia with him, the contract might be sabotaged and he will have no chance of escaping
from Hell, so he abandons at a overnight stop. Virginia has no where else to go, so becomes Percey’s girlfriend and stays on the tour
He realises that the band need to write their own songs instead, and his new found powers allow him to drive the band forward
Scene 2: Protagonist makes a plan and executes it.
Dmitri corners Toady and asks for help to get out of the contract. Toady tells him of a book of spells which might defeat L’Dabla
Scene 3: Not only does their plan fail, but…
Dmitri tries to conjure powers to defeat L’Dabla but he only succeeds in binding his bandmates to the same arrangement as himself.
Now they will not only have to tour hell but they may never leave
Key Scene 4: Turning Point – Protagonist faces their lowest low.
The magic dust provided by Toady is turning him into a skeletal zombie which is revealed when he looks into the miror.
He realises it is killing him slowly and he may not survive to complete the contract
-
Lesson 17 Act 3 Begins
Laura Woodworth’s Act 3 Reaction to Midpoint
What I learned doing this assignment is to think through next steps for my character. How would she react?
INT. BEDROOM – DAY
Dressed for the day, Natalia hides the bible back in it’s hiding place. She checks herself in the mirror — and witha silly grin she speaks softly to herself.
NATALIA
Hello, Queen Esther.
INT. KITCHEN – DAY – CONTINUOUS
Natalia sits opposite Oleg and Irina to eat her breakfast. Oleg is glum and silent. Irina eyes Natalia.
IRINA
Special day planned?
Natalia tries to pull a poker face.
NATALIA
No. Why?
IRINA
You save that blouse for special occasions.
NATALIA
No occasion.
She gulps her food and gets up quickly.
NATALIA
I’ll stop for groceries on my way home —
She exits just as quickly.
-
30-Day Screenplay Lesson 17: Act 3 Begins
What I learned doing this assignment is that I’ve realized this scene is the reaction to the protagonist’s dilemma at the end of Act 2.
Bonnie’s Act 3 Reaction to Midpoint
ACT 3
EXT. SIDEWALK CAFÉ FLOR – DAY
Key Scene 1: React/Rethink the new reality revealed by Midpoint. When the Midpoint changes the meaning of the journey, Myka rethinks her situation. Something major has changed, leaving her floundering for a path toward survival or success. A career opportunity or saving the Multiversity?
BEGINNING: SUPER: FRIDAY 5:00 PM
Myka parks in front of Cafe’ Flor, sees the collector and the investor sitting at an outdoor table. Their eyes meet.
MIDDLE: The collector waves, inviting Myka to their table.
ART COLLECTOR
Michaela! Over here!
Myka stares at them, her synesthesia senses kick in. She sees hundred-dollar bills flying around them in a vortex.
She checks her hair and lipstick in the visor mirror. Makes a face when an acrid green odor wafts under her nose.
Myka flashes on her promise to Gabi, Yuri and Rafi to meet them at the Treehouse. Sees the disappointment in their eyes.
END: She freaks out, changes her mind. She texts the collector: “Sorry. I made a mistake,” and drives away.
-
Day 17 Act 3 Begins
James’ Act 3 Reaction to Midpoint
What I learned doing this assignment is… my female protagonist will do what it takes to save her reputation with the love interest. She also believes the love interest deserves to give her a chance to explain herself. She goes to his building and embarrasses him by having the concierge describe the sex toy she holds. He then quickly says, “Send her up!” When she enters his condo, the antics continue causing him to finally listen to her explanation. I learned this is a good scene to include exposition on her past work history, which has been creating demand in the story making it not seem like an information dump. At the conclusion of this scene all is well, for now, and there’s a new trust between the leads.
-
Susan’s Act 3 Reaction to Midpoint
What I learned doing this assignment: I am learning that I don’t have to have every scene included at this time. I must keep reminding myself that at this point, I only have to concentrate on the “key scenes”, the rest is filler that can be added later.
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 ipad.
ABBEY
Do you have everything on the list?
SHELBY
Yes, I have the tent, which I have already assembled, broke 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 little ipad 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 wayto 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 ipad 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 places the ipad back on 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 on the ipad.
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 close the ipad. 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 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.
Studying the picture, she attempts to follow the instructions with a strand in each hand.
SHELBY
Let’s see, this goes here, and this one here.
She pulls taut on the rope comparing her handy work to the manual, she frowns.
SHELBY
Well, that doesn’t look quite like the picture.
Liam stands behind her looking over her shoulder at her 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 hides 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 tie a 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.
Log in to reply.