-
Post day 11 Assignment Here
Reply to Post your assignment.
-
5 Replies
-
Emmanuel’s Turning Point 1 Scenes
What I learned doing this assignment is the turning point for each act is a key component. For act 1 the turning point locks the protagonist in the main conflict. The hero can’t turn back and must move forward.
-
Lee’s End of Act 1
What I learned while doing this lesson is…this is not the time to stew about the story or whether it’s any good or not, or will it attract producers or actors or anything else. This is the time to bang out a first draft—nothing else.
Outline – Turning Point 1 scenes
INT. MILLY’S HOUSE – DAY
Beginning – Milly and Justin make phone calls. No help.
Middle – Milly and Justin look around through the house for clues. They find little. Milly remembers that years ago, Dad told her that, if there was ever a time that he didn’t come home, he’d left a folder for her of what to do. After some frantic searching, they find it.
End – Instruction say to call a phone number, say that he didn’t come home, that bad men will show up, and then she should do a bunch of impossible things that make no sense.
Locked In
INT. MILLY’S HOUSE – EVENING
Beginning – Loud knocking on the door. Milly goes to answer, against the instructions. The door’s blasted in. People in unmarked uniforms charge in.
Middle – And old lady shows up with a shotgun type weapon. She fires it at the intruders. They are blown off their feet, sent flying out the door, etc. She chastises them for not following the instructions.
End – As mayhem continues, Milly and Justin grab the instructions, Milly’s dad’s collection of military miniatures, and then Milly makes each of them just two or three inches tall, and they dash away. Once at Justin’s truck, she re-sizes them, and they drive away.
Script – Turning Point 1
EXT. FOOTHILL LOOKOUT – HOURS LATER
Dry, dusty, rocky, a few trees. From it, a clear view of Milly’s house, Justin’s truck, etc.
A guy dressed in camouflage sits behind a big rock. A sniper rifle with a sniper-scope is mounted on a nearby log.
The guy talks on a satellite phone.
CAMO GUY
They just got back from going for a drive. The drone tracked them … Nah, nothing. They didn’t find a thing.
INT. UNDERGROUND HANGAR
Janus (ten years older) talks on a small cell phone.
Behind him, two sleek trucks filled with several armed men dressed in black head for the light of an opening hangar door.
A mini-tank type vehicle follows them.
INTERCUT with Camo Guy at the Foothill Lookout
JANUS
They’ll be there in a few hours–approach from your rear. Wait until dusk, then eliminate everything.
CAMO GUY
Understood.
JANUS
Remember her abilities. You’ll have to physically confirm she’s there.
CAMO GUY
Don’t worry. We’ll take her out, then wipe the place off the map.
He clicks off his phone.
INT. MILLY’S HOUSE – DUSK
The place is mess. Cupboards open, papers all over, books, dishes, clothes lay out all through it.
Justin goes through things in a Marcus’s bedroom.
JUSTIN
(calls out)
Anything ring a bell yet?
MILLY
Not yet. Found anything?
JUSTIN
Just more of the same.
Justin gets up, paces around the room, notes several pictures. He smiles, goes to one, takes it down. Blank wall behind.
He goes to another, then another, then…
JUSTIN
Whoa! Hey Mills? Think this might be it.
Milly appears at the doorway. She sees what Justin sees–something that looks like a safe behind a picture.
MILLY
That’s it! I remember now. He said the stuff was in a safe.
They both examine it. It’s a medium-sized wall safe with a combination lock and a handle. Milly spins the lock’s dial.
MILLY
Great. I have no idea what the combination is. In fact, I don’t think he even said anything about a combination.
She tries the handle. Locked.
MILLY
Damn! He said you could just open it–something about saying open up and you could…
As she continues to jiggle the handle, suddenly it works when she pulls it down. The safe swings open.
The two sit, stunned.
MILLY
What happened? How come it–
JUSTIN
Who cares. There’s a folder inside.
He pulls it out. Written on it in black Sharpie… “In case I don’t come home.”
They look inside. A single sheet of paper. Milly reads.
MILLY
First, call this phone number. Tell the machine that I didn’t come home. Second, put my miniature models into a bag and wait for an old woman to show up. When she does, do as she says. She will also give you some instructions. Leave and follow them.
Milly and Justin give each other confused looks.
MILLY
Third, if anyone else comes before the old woman, they will be there to kill you. Do not let them in. Say to yourself “Make me small.” If someone else is with you, say “Make him small” or “Make her small.” Then leave the house. When you’re safe, say “Restore,” find a vehicle, and leave. The woman will find you and give you your instructions.
Even more confused looks.
MILLY
Fourth, do not deviate from these instructions. When we meet again, I’ll explain everything. Be careful. I love you…
Silence, then…
JUSTIN
What the hell is that all about? Do you have any idea what he’s talking about?
MILLY
No way! This is the dumbest thing I’ve ever heard. It’s almost like a joke. I mean…
Suddenly, there’s a loud knock on the door. The two look at each other as if to say “Oh my god!”
JUSTIN
What do we do?
Milly starts to edge toward the foot of the bed they sit on.
JUSTIN
W-w-wait! What’re you doing?
MILLY
Going to answer the door?
She edges off the bed, stands.
JUSTIN
But it says not to let anyone in until the old woman comes, that they’ll kill us.
MILLY
It also says I’m supposed to tell you to become small, and me to become small. It’s all stupid.
She heads for the door. The knocking gets louder.
JUSTIN
That’s not a good idea!
MILLY
What if it’s the old woman? We don’t want to leave her standing out there.
She walks to the door.
JUSTIN
Huh? I never thought of that.
INT. MILLY’S HOUSE – LIVING ROOM
MILLY
Coming!
Instantly, the front door CRASHES down. Armed men in black stand in the doorway. Milly SCREAMS!!!
Every window in the room shatters! The men in black cower, drop weapons, cover their ears.
A second later, an old woman, GRANNY SUE, with a curious-looking weapon barges in.
GRANNY SUE
Shut up!
Milly shuts up.
GRANNY SUE
You didn’t follow the instructions, did you? Stupid teenagers. Get back into that room and do what you’re supposed to do. I’ll take care of these fellas. And take these.
She hands Milly a small round metal container.
GRANNY SUE
Do what they say once you’re safe and outta here. I most likely won’t be seein’ you again. Now git!
She shoves Milly back into Marcus’s room, turns just as the men in black recover their weapons.
GRANNY SUE
Begone, morons!
She fires an invisible blast from her weapon. All four of the men in black fly off their feet and into the night as if swept away by a tornado.
Then she sees the tank-like weapon approach out of the dark.
GRANNY SUE
Get the hell away from my granddaughter!
INT. MILLY’S HOUSE – MARCUS’S ROOM
Milly, half-sobbing, looks to Justin.
MILLY
Make him small!
Justin instantly becomes two inches tall.
MILLY
Holy shit!
She grabs the bag of her father’s military toys and the metal cylinder given to her by Granny Sue.
MILLY
Make me small.
She joins Justin as a mini-person. What she carries is tiny as well. They run from the room.
EXT. JUSTIN’S TRUCK – NIGHT
Milly and Justin materialize at their normal size beside it. The jump in, Justin burns rubber as they head toward the desert.
Behind them, and EXPLOSION! The house is flattened instantly.
EXT. FOOTHILL LOOKOUT
Sniper notes the truck’s exit. He turns, aims his rifle at it, fires away. It keeps going, disappears into the dark.
The sniper sights on its headlights. Has them in the crosshairs.
A sudden gust of hurricane-force wind sweeps across his position. The gun flies from his hands. Rocks and dust fly everywhere.
It quickly subsides. After Sniper gets his bearings back, the truck is long gone.
-
30 Day Script Lesson 11: Kimbal Thompson’s Act 1 Turning Point 09.17.21
What I learned doing this assignment is Turning Points can to turn to different locations, likely where they should be.. .
ASSIGNMENT
1. Outline your Act 1 Turning Point.
2. Write your Act 1 Turning Point.
EAGLE STALLION (Act 1 Turning Point)
BEGINNING: Kai decides to take on the airplane project.
MIDDLE: Kai and his dad go see the weathered 2+ story high steel sculpture of a paper airplane stuck into a planter in the courtyard of Kalaheo High School. Kai chooses that as his project although schemes to have the restoration put out to bid for the actual restoration work.
END: School insists he also restore the life-size bronze horse sculpture in which Kai must perform the actual restoration work. Kai accepts.
EXT. SCHOOL COURTYARD – DAY
SCHOOL PRINCIPAL
Kai, we like your idea to restore the Airplane sculpture, but also have something else.
KAI
That’s great, Mahalo. That’s the else?
SCHOOL PRINCIPAL
we have a horse in need of restoration.
KAI
What kind of horse?
INT. STORAGE BUILDING – DAY
The Principal takes Kai to a storage building behind the school and show him a full-size musty crusted metal sculpture of a horse.
HIGH SCHOOL PRINCIPAL
The School team is the Mustangs and this, once restored, will be our mascot.
KAI
(scratching the horse)
It looks like it may be bronze below all this uh, crust.
HIGH SCHOOL PRINCIPAL
That’s what we were lead to believe way back when the horse was donated fifteen or twenty years back.
KAI
How come it’s been kept in here for so long?
HIGH SCHOOL PRINCIPAL
We were just waiting for you to come along.
KAI
In other words, the price is right.
HIGH SCHOOL PRINCIPAL
Then you accept?
KAI
Yes
HIGH SCHOOL PRINCIPAL
Great, now you can bring in a statue refinishing consultant, but we insist you to do all the refinishing on the horse yourself.
-
What I learned. The Turning Point must be a definitive commitment to the story, whether the Protagonist wants it or not. It’s happening.
EXT. TURLOCK RANCH – DAY
Trucks unload Fran, Maggie and her neighbors near the cows and the slaughterhouse. Cows eye them. Fran reassures them.
FRAN
I’m vegetarian.
It stinks and there are flies everywhere. Fran and Maggie close up their noses and swat at the insects.
A neighbor, SAM, a doctor neighbor, joins them.
SAM
We’re here to survive.
FRAN
I can do that.
Sandy and the Army steer them toward farmhand huts. Sandy steers Fran, Maggie and Sam to the low-life huts.
FRAN
You don’t expect us to live here, do you?
SANDY
Why not? This is the way you expected those farmhands to live. The ones who provided food for you.
FRAN
You’re right. We deserve this. But how long do we have to do this?
SANDY
How long did the Cultural Revolution last?
SAM
Till 20 million died.
Fran and the others scream and try to jump back on the trucks to escape.
The revolutionaries shoot one of their comrades. Fran, Maggie and Sam retreat.
SANDY
It’s for the cause. You dirty, elitist pigs. This resettlement is re-education. Get it?!
-
Ed’s Act One Turning Point.
What I learned doing this assignment is how clear and critical the A1 turning point has to be so to solidify the new journey. As the phrase implies, “we’re not in Kansas anymore.” It’s fun to leave the status quo as the new journey now is open to a magnitude of possibilities and adventure. Let’s go!
ACT ONE TURNING POINT
INT. HENRY’S HOUSE – BEDROOM – NIGHT
It’s late into the night. Henry’s sitting up in bed, still dressed from the day, playing a video game. Ear buds muffle the sound.
INSERT VIDEO GAME
A boy rides on a dragon. They are being chased by a wizard. The boy dodges lighting bolts. Until the a fatal blow strikes.
HENRY
Gotcha!
The game continues. Somewhere above, there’s a THUMP and a THUD. Henry’s unaware, the game ear bud’s are loud enough. Another thump and thud. Henry pauses the game. He listens.
HENRY
Mom?
No reply. There it is again, from the roof, even louder. THUMP, THUD, THUMP THUD.
Light snow is falling outside the window. Henry goes to it and opens it.The street below is quiet. From above on the dormer’s roof there’s a light JINGLE of bells. Henry leans out the window, in the dark of night he sees tip of an antlers and a puff of steam from an unknown source.
HENRY
What the heck?
He throws on a jacket and gingerly climbs out onto the roof.
EXT. HENRY’S BEDROOM – ROOF – NIGHT
He slips and falls on the snow.
The snout of a beast comes into view. It snorts then nudges Henry. Henry scrambles away in terror. Before him is a magnificent reindeer. Its coat shines in the moonlight. Eyes like jewels. Its antler rack wide and strong as oak tree.
The beast’s head nods. The strands of bells around its main jingle softly. The reindeer lowers it’s head,
HENRY
You want me to get on?
The reindeer again nods. It bends at the knees.
HENRY
This is the weirdest dream ever.
Henry cautiously mounts the beast.
A light goes on behind a window on the neighbor’s house. The silhouette of a young girl, BASIL, 12, Henry’s friend and secret admirer.
BASIL
Henry, is that you?
HENRY
Basil, are you in my dream too? Okay, reindeer no funny business because ….
Before Henry can finish the beast is off, nearly straight up into the night sky. Henry holds on for dear life. He screams out of fear and out of excitement.
EXT. BASIL’S BEDROOM – WINDOW – NIGHT
Basil scrambles to get her glasses on. By the time she does she looks again and the apparition of Henry and the reindeer are gone into the darkness. The snow falls lightly in the moonlight before the stars.
EXT. SEATTLE SKYLINE – NIGHT
Henry and reindeer zoom over the skyline shooting between office towers and the clouds. They dive.They climb, more screaming and bells jingling.
HENRY
Hey! Do you now where you are going? Whoaaaa!
Henry and the reindeer zip across the moon and the two are gone from sight.
EXT. NORTH POLE CASTLE – NIGHT
Descending from the clouds there is a towering castle trimmed in silver and gold. The towers and pinnacle topped with pennants and flags. Henry and the reindeer circle it slowly. The ride is now controlled, steady.
On a closer pass the Castle sits atop an ice mountain. A slushy, dripping, cracking ice mountain. A chunk of ice cracks off the falls into deep chasm. A frozen wonderland it is not.
HENRY
Weird.
The reindeer breaks right towards an open archway on one of the castle towers.
INT. NORTH POLE CASTLE – REINDEER STABLES – NIGHT
The reindeer glides through the arch landing softly on the cobble floor. It bends for Henry to slide off. As Henry walks off the sourness, he passes stately oak and chestnut stables. The wood shines.The hay fresh and clean. In each stall a reindeer just as magnificent as his ride.
From around the corner the squeaking of wheels and someone humming. A cart being pushed by an old elf, SAMWISE, senior reindeer keeper.
SAMWISE
There you are. You had me worried. Two days before Christmas
And you up and disappear. Back in the stall you.
The reindeer shakes off the snow and enters its stall. Samwise closes the gate. Behind it stands Henry, much to the shock and surprise of Samwise and Henry. They both scream at the site of each other.
SAMWISE
Who the dickens are you?
Samwise address the reindeer.
SAMEWISE
Is that where you were off to? But who sent you? I’m not taking the blame for this.
That’s for penguin poop sure.
HENRY
You’re an —— elf?
SAMWISE
And you’re a human. Not polite to point out, mind you.
HENRY
Where am I?
SAMWISE
North Pole Castle. Where do you think you are?
HENRY
Am I dreaming?
Samwise walks up to Henry and sucker punches him right in the gut. Henry buckles over.
SAMWISE
Guess not.
HENRY
Your methods need finessing dude.
SAMWISE
Who sent you here?
HENRY
I got a text. I won a contest.
Henry reaches for his phone only to realize he does not have it.
SAMWISE
Loose something?
HENRY
Everything.
Stay right here. Don’t move.
Samwise pushes the cart around the next corner and out of site. Henry wanders off in the opposite direction.
Log in to reply.