Post Day 13 Assignment Here

[Mary Chamberlin]

Mary and Rich Chamberlin’s Act 2 Reaction to TP 1

What I learned doing this assignment is that although we needed to go back over our beat sheet and make revisions to stuff after Act 1 (that needs to change) now it is becoming more coherent, ready to be broken down as we did in Act 1 sections.

EXT – JAX APT – DAY

Morty shows up way too early at Jax’s apartment. 8 a.m. Morty is not a late night person, but an early bird. Jax is a late night person, not an early bird. Let in as Jax, groggy, drags himself into the kitchen to make coffee.

Morty sees Jax’s apartment. Looks at his stuff, yells questions to Jax. One word answers. Morty see photo of Kyle, picks it up and looks longingly, before setting back down and pulling out a pad of paper. “Time to work.”

Keep trying to get something outlined, keep procrastinating. Morty finds out about Jax’s Dad, Jax is a rich kid with a fancy place. “Hey I don’t care about money – it never made my Dad happy.”

SCENE:

EXT – JAX APT – DAY

Morty rings the doorbell. Looks around, its a bright sunny day. Beautiful suburban lawns and condos all around.

Morty rings the bell again. Ties his shoes, checks his teeth. Still no answer. Knocks and rings incessantly for 30 seconds.

JAX (opens the door, totally dissheveled)

What?

MORTY

Hey, pencil killer! It’s time to work.

JAX

Uggh. Coffee.

Jax drags himself into the kitchen to make coffee.

Morty takes in Jax’s apartment. The way he looks at the stuff, he’s never seen an episode of “Home Designers” or the like. It’s antiseptic, with only

a few shreds of humanity, mostly stainless steel furniture and artsy bric-a-brac. But he does see a couple of photos on a side table; a woman and a kid.

He smiles at the woman, shaking his head, then picks up the photo of the kid and looks longingly at it. A tear forms in his eye, as he sets it back down

again on the table. He turns and strolls toward the kitchen, starting to talk to Jax by yelling.

MORTY

Pretty fancy digs you got. Must’ve cost a pretty penny.

JAX

My Dad’s dime. I don’t care about “digs” or money.

MORTY

Well, it is where you live.

JAX

Coffee! (takes a long loving drink) Cuppa? (hands him the cup he just drank from)

MORTY (goes to cabinet to pull out a fresh mug, only tiny demitasse cups there)

Uh, maybe you should spend on some glassware?

JAX

Why are we awake at this ungodly hour?

MORTY

So we can send Shakespeare through the what-hole to defeat Hitler, kid.

JAX

Ka-ching! That’ll be a buck for the kitty.

MORTY

(sniff-sniff) I don’t smell any cat around here.

Jax holds out a big can, and taps his foot, waiting. Morty puts a bill in.

• This reply was modified 3 years, 11 months ago by  Mary Chamberlin.

[jaye Blohm]

JAYE’S ACT 2 REACTION TO TP 1

What I learned is that Act 2 doesn’t just continue the story; it raises the stakes. My Hero needs to be outside his comfort zone, get locked in, and has no choice but to move forward.

In summary, Act 1 introduced us to Hero and Villain, mortal enemies, mid fight after Villain has once again broken the law. Getting struck by lightning at the same time caused a freak switching of powers, and now neither Super knows how to function. Villain, out of shear desperation, has called on Hero for help.

INT. HERO’S PENTHOUSE – DAY

Hero sits on the couch, head in his hands as Villain paces incessantly. Two open beer bottles on the coffee table.

VILLAIN
I don’t know what happened,
but I can’t do shit anymore.

Villain grabs his beer.

VILLAIN (CONT’D)
I tried to burn you and all I did
was see your skull. I tried
breathing under water, and I
nearly drowned.
(beat)
And I need to get my money.

Hero stares at the floor.

HERO
Not your money.

VILLAIN
I was gonna kill a guy today and
I couldn’t.

Hero looks up. Villain is disgusted.

VILLAIN (CONT’D)
I felt bad for him.
(beat)
What the fuck is that?!

HERO
Empathy.

He gets up in Hero’s face.

VILLAIN
I know what it is, asshole.
I don’t. Fucking. Want. Empathy.

Villain stares daggers, then recoils.

VILLAIN (CONT’D)
Ugh! There’s your goddamn eye
sockets again.

He slaps Hero’s head and stands back up.

Villain realizes. Points to Hero.

VILLAIN (CONT’D)
You can’t fly. That’s why you fell
off that building.

Hero gives a single nod.

VILLAIN (CONT’D)
How’s your x-ray vision doing?

HERO
Hit me again and I’ll show you.

Villain drops to his knees, throws his hands to the sky.

VILLAIN
I knew it! We switched!

But then he smiles a little.

VILLAIN (CONT’D)
You get the farts?

Hero rolls his eyes. Grabs his beer.

HERO
How is that even a power?

VILLAIN
Puts a bank full of people to sleep
in seconds.

HERO
So what do you want from me?

VILLAIN
Truce.

Hero drinks. Laughs.

VILLAIN (CONT’D)
‘Til we figure this out.

HERO
Work together?

VILLAIN
You teach me, I teach you.

HERO
Why don’t we try to switch back?

VILLAIN
Okay, yeah, when there’s another
lightning storm we can go play in it.
(beat)
But unless you’ve figured it out on
your end, we need each other.

[Byrne]

Bernadette Wilson – Lesson 13 – ACT 2 BEGINS

What I learned from this lesson is that the 2nd act and the third are the hardest for me to write. But I am having fun with the new ideas being introduced and solved. Pressing On.

KEY SCENE 1

Brinda has to learn how to shoot A GUN. She feels uncomfortable with learning how to shoot, but as she does it, she realizes she’s a perfect shot and impresses Cal and the others.
INT. – SHOOTING GALLERY – DAY
Shooting range where Cal takes Brinda.
Cal hands Brinda a gun. She can barely hold it. She’s shaking a little because it’s loaded.
CAL
It’s ok. It’s just a gun.
BRINDA
And it’s loaded?
CAL
Yeah.
BRINDA
Oh boy
CAL
It’s ok – Just breathe. Like it’s part of you.
Brinda breathes in.
CAL
Now try to hit the mark.
BRINDA
Kind of far away.
CAL
Maybe. Hold it with both hands. Focus your eye on the target.
BRINDA
Target.
CAL
In the heart or head to kill. In the knee to hurt.
BRINDA
Ok.
Brinda shoots for the heart and it is a bullseye.
CAL
Jeez
Brinda can’t believe it either.
They pull the target further away. Brinda shoots again. BULLSEYE.
CAL
I don’t believe this. You sure you’ve never done this?
BRINDA
Positive.
CAL
To himself – A natural.
PLACEHOLDER:
INT. BRINDA’S APARTMENT – NIGHT
Maybelle is doing up Brinda’s hair.
Has to be a little bit of some comic timing here to give the audience a bit of a break.
MAYBELLE
No more flat hair. Now we have dippity do
BRINDA
I hate that stuff.
MAYBELLE
Whatever works baby.
PLACEHOLDER:
INT. DR. SONYA’S OFFICE – NIGHT
There could be a cop undercover that poses as a patient and finds out info about Dr. Sonya, now that Brinda is out of the experiment.
A fake patient comes in and Dr. Sonya figures it out.

INT. POLICE STATION – NIGHT
Cal is dressed up as undercover as well. As a business man.
Both Brinda and Maybelle are with Cal and TWO OTHER UNDERCOVER POLICE.
The police still think that it is a drag queen, meaning a man who is seducing men to their fate.
BOSS
Whoever we’re looking for, keep your eyes tight.
KEY SCENE 2
INT. GENTLEMEN’S CLUB – NIGHT
Brinda is walking around in her outfit as cigarette girl
BRINDA
Cigars, cigarettes – tipparillo.
PLACEHOLDER:
This is a major scene where there are showgirls and men everywhere. One of the guys who is not undercover gets fresh with Brinda. Brinda does not know how to handle it.
Someone else gets hurt. Someone recognizes Brinda.
“Hey did not know you worked here.”
It turns into Mayham and it goes wrong and the police are called.
MAybelle might kick someone’s ass too like Brinda. They blow cover and get in trouble.
Cal is really pissed. He starts yelling at Brinda and Maybelle.
What they realize is that there is no killer there. A call comes in.
TP – another murder of the ATTORNEY has happened at another club.
KEY SCENE 3
I could intercut with Mimi at another club. We think it’s the same club but it’s not.

It’s a completely different club where Mimi is hanging out with the ATTORNEY.
KEY # 4
Cal is really pissed at this because the police are laughing at him. He’s a proud man.
PLACEHOLDER
We need a scene where they figure out that Mimi is after anyone close to Brinda.
TP – They realize that it’s someone who knows or who is close to Brinda. The cops start really moving in and investigating what they can find.

[Karin Hallen]

Karin Hallén’s Act 2 Reaction to TP 1

What I learned doing this assignment is that I am starting to understand on a more internal level how frustrated both my protagonist and antagonist are at this moment and I am starting to hear their reactions and how they feel and how they scramble to come up with ways to deal with their problems. And why they react the way they do.

Outline Key scene 1 reaction to Turning Point

INT. HOTEL BAR – NIGHT

Beginning

George is sad. Absentmindedly he puts his dirty sock in his pocket, leaves the hotel room and goes down to the bar.

Middle

There’s a woman at the bar. She has George’s book in her purse, which he doesn’t notice. George orders drink after drink. His sock falls out of his pocket. The woman picks it up and gives it back.

End

George comes on to her with a drunken ramble, trying to get loved. He zonks out. The woman and the bartender help him out of the bar.

INT. CONVENTION CENTER – DAY

New plan

Health and wellness book convention. George arrives straight from traveling with a carry-on suitcase, worse for wear, severely hungover.

He sees that other public speakers have assistants. George realizes/thinks that he would look very successful with an assistant. He tells someone that he has had an assistant for years and that he was just generous and gave her the morning off today to sleep in. That she’ll be there later.

Middle

INT. CONVENTION CENTER – BATHROOM – DAY

Placeholder: George takes the lamp out of his carry-on bag and rubs it and Geena appears. George asks for his second wish; for Geena to be by his side and help him anytime he demands.

End

People look funny at them and make comments when they exit the men’s room together.

Beginning

INT. CONVENTION, LECTURE HALL – DAY

Beginning.

George uses Geena to sit in as a sidekick at lectures and to take payment for book sales, to appear rich and successful. Geena very reluctantly obeys. She looks bored.

Middle

In an attempt to wear George out so he’ll make his final wish, Geena deliberately succeeds in sabotaging more than helping.

End

George holds out for the sake of the successful image of having an assistant.

Write Reaction to Turning Point

INT. HOTEL BAR – NIGHT

George sits at the middle of the bar with a scotch in front of him. He’s the only one there except a woman, REBECCA, 40s at the end of the bar. George downs his scotch in one sweep.

GEORGE

Another one, please.

The bartender fills his glass. George sweeps that one as well.

GEORGE

One more.

The bartender hesitates but then fills his glass.

Rebecca stands up and passes George as she heads for the Ladies Room at the other end of the bar. There is a book sticking up from the purse hanging on her shoulder.

While she is gone George finishes his fourth drink.

A few minutes later Rebecca exits the ladies room. She stops and bends down next to George. As she does, the title of the book in her purse becomes visible. It’s George’s book. He doesn’t notice it. Rebecca holds up a sock (the sock he held in his hand while sitting on the bed earlier)

REBECCA

Hey. You dropped this.

George recognizes his dirty sock.

GEORGE

That’s not mine.

REBECCA

It just fell out of your pocket.

George stands up, very drunk. He takes his sock.

GEORGE

Pocket schmocket. I want to sleep with you. I know you want to sleep with me. Please, want to sleep with me.

George leans in towards Rebecca to hug her, sock in hand. She jerks back. George thinks is the sock.

GEORGE

I’m sorry my sock is dirty. I don’t know why I had it in my pocket. Geena… She… My underwear are clean. They are much whiter. Like your teeth. You should sleep with me now. Right now…

George purses his lips for a kiss, falls down on the barstool again, and zonks out, his head hitting the bar.

Rebecca and the bartender look at each other and then resolutely grab George under one arm each and half drag, half carry him out of the bar.

INT. CONVENTION CENTER – DAY

George arrives straight from traveling with his carry on suitcase and box of books. He struggles to carry the box with one hand. He looks worse for wear, severely hangover. He stands in line to check in at a check-in table. A YOUNG PERKY GIRL is checking in in front of him. She hands her ID to a CONVENTION EMPLOYEE.

YOUNG PERKY GIRL

I’m checking in for Mr Brad Brightly.

CONVENTION EMPLOYEE

And who are you?

YOUNG PERKY GIRL

I’m his assistant, Sarah.

The Convention Employee hands Sarah two badges. Sarah leaves. The Convention Employee turns to George.

CONVENTION EMPLOYEE

And who are you checking in for?

GEORGE

George Wallow.

CONVENTION EMPLOYEE

And who are you?

GEORGE

George Wallow.

The Convention Employee eyes him.

CONVENTION EMPLOYEE

And just one badge? No assistant?

The comment triggers George’s insecurity and an uncomfortable look washes over his face. He glances looks around while waiting. He notices several other speakers/exhibitors in line behind him having assistants helping them carry and waiting to check them in.

George starts laughing an unnatural laughter and turns around to make sure other people around him understands how ludicrous the Convention Employee’s comment is.

GEORGE

Of course I have an assistant! I’ve had an assistant for years. I simply gave her the morning of to sleep in. I pride myself in being a kind and generous employer.

CONVENTION EMPLOYEE

Ok, so she will be here later?

GEORGE

Of course! Very soon.

CONVENTION EMPLOYEE

And what’s her name?

GEORGE

Uh?

CONVENTION EMPLOYEE

Her name? For the badge.

GEORGE

Uh…, uh… Geena

CONVENTION EMPLOYEE

Geena what?

The growing line of people waiting behind George is getting impatient. George grasps for a name. He spots an ad in the convention program on the table. The ad is for Mr Woo’s Modern Chinese Cuisine.

GEORGE

Woo.

The convention employee hands George two badges. He struggles to take them while lifting the box of books and removing his suitcase out of the line. George steps to the side by a window and puts his box of books down. He paces for a minute. He spots Brad Brightly in the distance meeting up with Sarah, getting his badge. They walk together into the convention, talking, smiling.

George takes his books and carry-on and resolutely heads for the Men’s Room.

INT. CONVENTION CENTER – MEN’S ROOM – DAY

George locks himself in the handicap stall. He takes the lamp out of his carry on bag and rubs it. Geena appears. She immediately pinches her nose.

GEENA

Ewww… What kind of a hotel is this?

GEORGE

You’re supposed to say “Your wish is my command!”

GEENA

You just told me you’re not going to wish anyway.

GEORGE

What if I am?

Geena perks up.

GEENA

Are you?

GEORGE

Yes. I have my second wish. I wish, no, I command you to be by my side and help me with anything I ask for at any time I demand it.

GEENA

What, no! That’s not… As you…

Geena being forced to answer with a “As you Wish” genie style tries to hold in her response. She purses her lips and uses her fingers to hold her lips shut, to no avail. She can’t stop herself.

GEENA

…wish.

GEORGE

Yes!

GEENA

Nooo! Almighty creator in genie heaven, please help me!

INT. CONVENTION CENTER – DAY

People look funny at George and Geena as they exit the Men’s Room together.

INT. CONVENTION, LECTURE HALL – DAY

Plan in action – montage

MONTAGE

George speaks about his book at a seminar. Geena sits by a small table with books to the side.

GEORGE

And when you’re ready purchase the book my assistant Geena is here to help you.

George emphasizes the word assistant.

An ASIAN MAN walks up to the table where Geena sits. He looks at Geena’s name tag.

ASIAN MAN

Ms Woo? You don’t look like a Woo. Where are you from?

GEENA

Adopted.

ASIAN MAN

Oh, I’m sorry.

GEENA

For my name? Me too!

The Asian man looks confused. He picks up a book.

ASIAN MAN

What are your thoughts on his book?

GEENA

Haven’t read it.

ASIAN MAN

You haven’t read it?

GEENA

Would you read a book by someone with his communication skills?

The Asian Man reacts to her comment and puts the book back on the table. Only two other attendees were in line to buy the book and they also heard Geena’s comment. The leave the tabel mumbling to each other.

ATTENDEE 1

Makes sense.

ATTENDEE 2

Yeah, I’m gonna hold off.

No books are sold. George and Geena are left alone in the room.

GEORGE

You haven’t read it! You haven’t read it!!

GEENA

I haven’t.

GEORGE

You are supposed to help me!! Not sabotage me. You are my assistant. Effing lie and say the book is great!

GEENA

I don’t lie.

GEORGE

You just said you were adopted!

GEENA

Which I in a way I am every time someone finds my lamp and rubs it. I’m kind of adopted until they’ve made three wishes.

GEORGE

Aaarrgh! What the f.. am I going to do?

George paces angrily. Geena suddenly becomes very friendly.

GEENA

You could always ask for your last wish and be rid of me.

George stops in his track.

GEORGE

Oh, oh, so that’s we’re you’re going? I should have known. Well, in your dreams. Ms. Woo. Not a chance util you help me for real. Like a real assistant. Pack up!

George storms out of the room. Geena sighs, tiredly.

• This reply was modified 3 years, 10 months ago by  Karin Hallen. Reason: I realized that the first scenes of what I thought was going to be in today's lesson 14, actually belong here in lesson 13

[James Clark]

THIRTY DAY SCREENPLAY ASSIGNMENT #13

James E. Clark Reaction to the Turning Point scene.

What I learned from this assignment: The transition from Act 1 TP to Act 2 needs to be obvious. It needs to show the Protagonist in circumstances that are outside of their comfort zones.

INT. RV – DAY

Carrie pulls out of the base gate and onto a highway. The sign reads Big Sur 175 miles.

Carrie is driving on a highway

BEAT A

EXT. BOONDOCK SITE – DAY

Carrie rankles people in an RV caravan by giving orders when she thinks she’s suggesting. She can’t understand why people dislike her.

EXT BOONDOCK SITE – DAY

There’s a problem with her solar electrical system and she can’t figure it out. She asks for help from the group. Everyone turns her down except for one person, a guy with other interests

INT. RV – DAY

Carrie s cooking a large pot of food

EXT. BOONDOCK SITE – NIGHT

She tries is to be nice by sharing food. A couple of people warm up to her, both women. But others still reject her and the guy treats her poorly because he didn’t get the kind of attention he wanted.

INT. RV – DAY

Carrie gets out of bed. Somethings different. She starts manifesting physical ailments that hinder her – slight, but there.

EXT BOONDOCK SITE – DAY

She’s feeling hurt but thankful for the two friends she made. She leaves the caravan group and goes off on her own.

OUTLINE A

EXT. BOONDOCK SITE – DAY

Beginning

Carrie finds a location she likes and starts to set up her camp

Middle

Carrie wanders around introducing herself to people. She tells a guy how to improve his RV. The guy gets mad at her. She doesn’t understand why. She tells someone else the best way to set up their solar panels. The tell her to mind her own business.

Back at her site, she goes over to the nearest RV and knocks on the door. A woman peaks through the blinds of a window. A man opens the door and is holding a rifle at port arms. He chews out Carrie for not following camp site protocol. Ya don’t knock on RV doors. That’s considered invading space.

People around camp are watching her and chit catting about her. Carrie notices.

End

Carrie retreats to the inside of her RV. She pulls up a YouTube video on RV camp site etiquette.

EXT. BOONDOCK SITE – DAY

Beginning

Carrie is having trouble with her internet reception. She approaches people in small groups and asks for advice. She’s rebuffed. Except by a guy who had other interests. Carrie picks up the vibe and declines the guys offer of assistance.

Middle

A woman comes to Carrie and tells her she shouldn’t be bossy. People will not like that in the nomad life.

End

Carrie goes to her RV and starts to cook a large pot of stew and makes biscuits.

EXT. BOONDOCK SITE – NIGHT

Beginning

Carrie places the pot on a folding table.

Middle

She invites the gal who gave her advice to get some stew.

The gal sees how much is there and tells Carrie that sharing of food is a good way to make friends. Carrie goes around inviting the rest of the campers. Each person took a single serving , thanking Carrie. She makes friends.

End

She approaches the neighbors who had the gun. Offers them dinner. They decline, angrily.

INT. RV – DAY

Beginning

Carrie gets out of bed. She has trouble walking

Middle

She tries to put her sox on and isn’t able to. It takes her twce as long to get dressed than usual.

End

Carrie struggles to break camp.

[mickey Gonzo]

Mickey Gonzalez Act 2 Reaction to TP 1

What I learned doing this assignment is take it over the top. If I were to hand out any more information on the happenings through the breakthrough. I be writing for not. Reality sets in and got to keep it flowing.

Using your Beat Sheet, outline Key Scene 1.

Write the “Reaction to the Turning Point” scene.

Act 2: 20 to 30 PAGES, challenge the old ways.

Inciting incident: Mark expectations from his experiences that their intentions are to steal a Vast collection of writings that is worth a lot of money from him.

Turning point: A looking like James Dean comes in surprises Mark. He suddenly takes up to fight. Mark picks up the casket and flips it over b4 he comes around and lays a hand on him. Quickly he grabs James’s hand and attempts to break it. If he cannot say anything why did they set Mark up there.

Reaction: Surprise at warehouse Mark is getting nowhere. From the Kafel’s Traven he knows something is wrong.

EXT. CARTHRAL – DAY

Beginning: He is in a room filled red velvet and gold trimmings making impossible to understand why so much gold.

Middle: He hears an (OS) voice telling where to stand.

END: What are you here? Mark has one answer. He wants to talk to the archbishop.

INT. WAREHOUSE – DAY

Mark expectations from his experiences that their intentions are to steal a Vast collection of writings that is worth a lot of money from him.

Beginning: He at the end flips over a wooden casket. There are some laying around on tables. (The Irishman)

Middle: A looking like James Dean comes in surprises Mark. He suddenly takes up to fight.

End: Mark picks up the casket and flips it over b4 he comes around and lays a hand on him. Quickly he grabs James’s hand and attempts to break it. If he can’t say anything why did he set Mark up there.

INT. APARTMENT – DAY

Beginning: Mark gets a phone call from a man; He wants Mark to meet him at the inner country barn. Across from the landing of the boat.

Middle: He makes a police call. Two motorcycles cops meet up with Mark at the McKinley express way on ramp.

End: Mark and two cops ride up on the express way. For 27 miles the motorcycles cops ride alongside Mark. That’s that young crazy writer, do the math

EXT. DUCK ISLAND – DAY

Beginning: The run after the burglar keeps Mark at bay. Mark looks for him around Duck Island and stops at Kafel’s Traven.

Middle: A patron comes up to Mark. He suggests Mark talk to man there about what he wants.

End: The man who name is Bob Peterson. He wants Mark to tell him why he is asking about a manuscript.

[Nancy Lucas]

KEY 2 Reaction to TP 1

Assignment 13 N. Lucas

I think my TP 1 is the first meeting between Isabella (Motel Manager- daughter of owners) and Peter, the BF of the groom looking for a wedding planner. She is subbing in for her sister, Sophia, the REAL wedding planner— and this fills him with doubts about her competency, how nice the wedding will be— and he is actually still sort of angry that all of this — an important event is taking place so haphazardly. So- impulsive. The quick decisions are grating on him and Isabella is flippant on the matter insisting to him that sometimes love doesn’t wait.

Peter extolls on how he could not be that way and that important events are planned out in detail like a day in court. or a business contract. you can’t leave out even the smallest detail.

Peter is steadfast in his feelings- Isabella pays it no mind and knows the truth.

What I learned is that i need to give Peter more emotion and detail out where he would not ‘be impulsive; i will need hard instances mentioned in dialogue where this defines his character— and shows this as his ‘old ways’ .. they just ned to be more pronounced in order for them to change!

[Deleted User]

JUDITH ABINGDON ACT 2 REACTION to TURNING POINT

“What I learned doing this assignment is…? My scenes are constantly changing, shifting things around trying to find the right rhythm

OUTLINE SCENE 2

BEGINNING

Juliet pays a visit to her Godmother, wants her help in getting out of her mother’s house.

Inez tells her she will consider it

MIDDLE

Meanwhile, Juliet meets her new neighbor a savvy alternative type with new ideas.

They get caught smoking pot and another drama ensues with Juliet’s parents.

Now everyone has had enough and they all agree a stint with Inez may be just the ticket.

END

Juliet moves in but freedom proves to be to intoxicating and she is going wild.

Inez’s sister complains and asks to end the arrangement, and send her back home.

INT. INEZ’S HOUSE EVENING

Juliet pays a visit to Inez, she is watching the news, Watergate shenanigans are being reported, Juliet interrupts and explains the drama of the past few days. Inez sympathizes tries to calm her down. Juliet says things must change, particularly since her mother is not on her side. She floats the idea of moving in with Inez. Inez says she will consider it.

REACTION TO TURNING POINT

EXT. INEZ’S YARD DAY

JULIET

You just could not believe how ugly he was, and then he just went off and turned on his favorite show, All in the Family, I’d tell him it was satire but I don’t think he would get it! WHAT does she see in him anyway?

INEZ

I know it sounds like a cop out but marriage is not easy. It takes compromise , at least until we can get men to grasp the idea of feminism. It might take a few decades.

JULIET

Well, I think you have the right idea, I’m never getting married!

INEZ

(laughing) Can I hold you to that!? Listen, I don’t get a free ride. I have to live with Mary remember?! Sometimes I think a man would be easier! Unless you are going to live in a hut by yourself there will always be a compromise with others.

JULIET

I guess, but right now I feel like a slave and a prisoner! I really have to get away from those two. My mother has lost her grip on reality and I think she’s forgotten she was ever a kid. Do you think there is any way I could come and stay with you? Mary’s son is leaving soon, isn’t he?

INEZ

WHOA, pumpkin! Your brain has been working overtime! That’s quite a request. But you know with your mom getting ready to have the baby and tempers high it might be worth considering.

JULIET

(running over to hug her, hard) OH, Inez, you are the bomb, the coolest, I knew you would dig it

INEZ

Just hold onto your bippie, we do need to speak with your parents first

JULIET

AWWWWW yuck, but I have faith in you INez.

Gotta run

( Placeholder) NOt sure if I want to keep this)

INT. SUPERMARKET DAY

While Juliet is grounded and accompanying her mother to the grocery store, They are approached by a neighbor boy, who turns on the charm to her mother and ask if he may have permission to take Juliet out. Her mother is most impressed, while Juliet does not have much interest in this boy, he could be a way out of the house.

INT. JULIET’S HOUSE EVENING

after two weeks of restrictions, Juliet is allowed a bit of freedom. She asks if she can go next door and see the new girl that has recently moved in. She is given permission. It is her first real meeting with the girl, she is Melody, but says call me Mel.

They talk for about 2 hours, she is very enlightened, They share many ideas and agree to meet again. Mel decides to call her Jules.

EXT. MEL’S PORCH EVENING

Mel tells Juliet some friends are going to take the train into the city and catch some fun, does she want to come. Juliet thinks and decides she can escape from her bedroom window and join them.

EXT. NYC EVENING

while out with friends Juliet bumps into her friend’s brother ( Connor ), he is much older and looks like James Dean, she is charmed and starry-eyed, he suggests going out sometime and catching some films and exotic food. She agrees not sure how to pull this off.

INT. JULIET’S HOUSE EVENING

Juliet and Mel are caught with pot there is an intervention and it’s decided that the time has come for her to go stay with Inez. Juliet’s mother is pregnant with her second child, her husband is getting antsy and she thinks space will do them all some good.

INT. DAY. INEZ’S HOUSE

Juliet has moved in with a few things. There is not much room for her as Inez lives with her sister, who has a bedroom with no door that is off the living room, she has her son living there as well, who is soon to leave for college. Juliet sleeps on the pull out sofa in the living room. But all that seems like minor issues as now Juliet has more freedom. She has a party in the currently vacant upstairs apartment, goes out with friends to concerts and best of all is able to go out with Connor ( the older man )

EXT. DAY NYC

It’s two months later Juliet has been in her element, concerts, museums, art house movies, jazz clubs, taking it all in. She is meeting fellow creative souls and finding her mojo.

INT. EVENING INEZ’S HOUSE

Inez’s sister ( Madelyn) stirs up the friction, complains about Juliet’s wild ways, says she is interrupting her sleep and is disrespectful. The sisters argue and Inez’s tells Juliet it may be best to end the arrangement for now.

[Stafford Echols]

Stafford’s Act 2 Reaction to TP 1

What I learned from this assignment was bridging the gaps for every event that takes place in my story. I’m shocked at how fast this story is coming together. These exercises are fun, and helping me get it all out rather quickly.

• Beginning – Mateo plays the video game at Ricky’s house.
• Middle – Mateo reveals to Ricky he slept with Glorivette.
• End – Mateo decides if he should tell Marisol.

INT. RICKY’S HOUSE – LIVING ROOM – NIGHT

Mateo and Ricky play the X-box as they sit on the couch —

MATEO

Appreciate you letting me come over on such short notice, Ricky. Hope I’m not imposing.

RICKY

It’s all good, dawg. Aylin’s working a double, I could use the company. Usually play “Call of Duty” online. So what brings you by?

Beat. Mateo pauses the game; sets the remote down.

MATEO

I-I fucked Glorivette.

RICKY

Que?! Huh?

MATEO

I slept with Glorivette.

RICKY

You said you weren’t going to pursue her, pendejo. What the fuck, Teo?

MATEO

Ah, I know, man! I know, I know! I already feel like shit about the situation.

RICKY (O.S.)

How long?!

MATEO

Happened after the party. I gave her ride home, one thing lead to another… Then again the next day.

Mateo sighs.

RICKY

Well I hope it was worth it, cabron. You fucked up. When is Mari due back in town, are you gonna tell her?

MATEO

I haven’t thought it. Trying to process how to tell her the truth. I don’t know how the fuck I let this happen, bro!(slaps himself)I’m so fucking stupid!

RICKY

Yo, man, chill. Shit happens.

MATEO

Shit don’t just happen! I betrayed Mari’s trust! Her heart is gonna shatter when she finds out.

RICKY

Don’t beat your up, Teo. I mean — you’re a man… it’s in our nature.

MATEO

Have you?

RICKY

Me?! Cheat on Aylin? Hell, no, dawg. She’d kill me. Now, have I thought about? Of course. But I think about how it’ll ruin what I built with my wife. It ain’t worth it.

MATEO

I have man up and tell Mari. Can’t go into a marriage with lies.

RICKY

You’re gonna keep screwing Glorivette?

MATEO

What? No! It’s out of my system, dawg.

RICKY

How do you plan to continue to work around her?

Long beat.

MATEO

I’ll just have to avoid her.

[Kim Michael]

KIM MICHAEL MCCARTHY Lesson 13 Act 2 Reaction to TP 1

Act 2, Key Scene 1: Reaction to the Turning Point. The Old Ways are not enough.

What I learned is: WASH (Write Quick) … RINSE (use scene structure. e.g. Beginning, Middle, End for all the BEATS which moves the protagonist forward to the climax) and REPEAT. 😊

ACT 2 Scene l

Beginning: WILLIAM is grieving the death of his mother. Feeling that it is his fault.

Middle: WILLIAMS grief turns into anger for METALBAUM and his crew. WILLIAM RE-ACTS, loses control, displaying violent destructive behavior and vows revenge.

END: WILLIAM is exhausted from his rant and violent behavior. WILLIAM is out of energy, sulks into the night alone, sad and broken.

ACT 2 SCENCE ll

EXT. DESERT OASIS – NIGHT FULL MOON STARLIGHT

BEGINNING: WILLIAM collapses from exhaustion and grief. WILLIAM weeps. He slobs on the desert near a pile of rocks and a cactus tree.

MIDDLE: WILLIAM lays his head down between his front outstretched legs. He weeps tears again. His flow of tears creates a pool of water under his head.

TWIN SCORPIONS (a young boy, TANNER wearing a blue baseball cap and a young girl SAMANTHA wearing a pink baseball cap sideways, emerge from the pool of tears covered in ‘mud’. The girl is elated to be covered in wet desert sand. The boy can’t wait to rid himself from it, spitting out mud and “dusting” himself off saying “what is this horrible nasty stuff?”

They see WILLIAM, a mountain goat, never having seen one before. They are amazed and excited for this discovery. TANNER acts cautious. SAMANTHA the TWIN girl, who likes to be called SAM, a biblical name meaning “from the creator”, sees WILLIAM’S goatee and climbs up, grabs it with both claw pincer and yells out as if she were Tarzan swing from trees.

TANNER ducks under the pool of mud for safety. Only his eyes are visible. WILLAIM reacts in shock that something has grabbed him. He jumps to his feet. His eyes pop wide open, an alarm trumpet sound comes from his head horn. He quickly backs up, directly into the caucus tree needles, piercing his butt. He rears up, more stick in his back and neck. He shakes his head from side to side trying to shake off this uninvited goatee rider. SAM elates with joyous screams and delight with every shake of WILLIAM’S head. The scorpion mom hears the ruckus and emerges from under her rock home. She thinks her kids are in danger. She rushes over to protect them. She confronts WILLIAM standing high on her hind legs, claws and pinches at the ready and her poisonous tail ready to strike at WILLIAM.

WILLIAM hops up into the air on all fours. SAM gives out one more laughing TARAZN yell, and release her grip on WILLIAM’S goat goatee, landing in the arms of her mother. SAM laughs uncontrollably with joy.

END: SAM disarms her mother saying that she is just having FUN with her new playmate and that he means no harm. In fact, he is covered with cactus spines that sting, and could use some of our special secret desert care, (HA HA) which is pulling all the needles out, one at a time, with their claw pincers… Ouch!

TANNER emerges from his hiding spot. He boldly walks over to his mother and sister, now that his mother is near for his protection.

WILLIAM apologizes to the three SCOPIONS for any trouble. Explains why he is in the desert and not on the mountain where he belongs. Mom SCORPION and her TWINS listen and emphasize about WILLIAM’S tragedy. They console WILLIAM and offer him a safe place to sleep and some food. All fall asleep as the full moon fades into the starlight night.

[Rae Rodgers]

30 Day Script – #13

RAE’S ACT 2 (REACTION TO THE TURNING POINT)

What I learned from this assignment – I have been doing these assignments in Word and then retyping into final draft. Could I be doing something wrong here? It’s work!

SCENE 1

INT. SCHLINDER INVESTMENTS – DAY

Jesi approaches her manager, Jason Schindler, busy at his desk. She’s brought him Starbucks coffee. He lifts his gaze for a second then buries his head.

JESI

Can we talk for a sec? Can you help me plan my strategy? I need a breakthrough and I hear you’re the one to help me.

JASON

Who told you that?

JESI

I’ve always leaned on my managers – at least at the start.

JASON

I warned you hon, this in the major league. You’ve gotta know your game inside and out. Thanks for the coffee. I’ve got five minutes. Take a seat.

JESI

Well, you could at least give me some clues – or better yet, some leads.

Jason gets up, grabs a huge directory, dumps it in front of her.

JASON

Investment real estate 101. These are your teachers. The property owners. Just keep calling, pretty soon one of them will stick.

(eyes her slim body)

If they could see you in person it would certainly help. As I said before, it’s a man’s world. Hey sorry, I’ve got an eleven o’clock. Why don’t you go on down to The Shores, target some of those twenty unit buildings, knock on the manager’s doors. You got the looks, maybe they’ll spring some owner’s info for you.

Jason slips on his jacket and then whips out the door.

JESI

Thanks for nothing.

MONTAGE:

EXT. STREETS OF APARTMENT BUILDINGS (BELMONT SHORES) – DAY

Jesi goes building to building knocking on Manager’s doors. Only two open – BOTH MANAGERS are tight lipped, will reveal nothing. She continues door knocking for one week without results.

INT. MANAGERS OFFICE – DAY

Jesi continues to ask Jason for listing or buyer leads. Brings him Starbucks daily, with a smile.

END MONTAGE:

ONE WEEK LATER

INT. MANAGER’S OFFICE

Jesi knocks and storms in. She IS NOT bearing coffee!

JESI

I want a lead, NOW! You promised me!

Jason looks and says nothing. Then flips through his Day Planner, scribbles a name, address and phone number on an index card and hands it to her.

JASON

He’s got twenty units he’s thinking of selling. Don’t blow it!

INT. JESI’S CUBICLE – LATER

Jesi returns from a break. Looks for the index card. It’s missing! She storms over to Jason’s office. The door is locked. She goes straight to Henry’s office.

INT. HENRY’S OFFICE

Henry’s writing Haiku. He invites Jesi to sit.

JESI

Was it you? Did you steal my, my lead?

HENRY

Absolutely not! Hey, sit a minute, I wanna read this to you —

She storms out of Henry’s office, slams his door, goes back to the Bull Pen, stands there defiantly.

JESI (shouts to the agents)

Hey you! You assholes! Who was it? Which one of you sleazebags stole my lead!

The AGENTS keep their heads down, faking busy. Michael steps in and takes her arm. She shakes free.

MICHAEL

Hey Jesi, you must have misplaced it. Come, and I’ll help you look for it.

JESI (shouts back to agents)

I know one of you assholes stole it! Your reputation precedes you!

[Donna Rankin]

Lesson 13 Act 2 Begins

Act II Beat Sheet Key Scene 1.

What I learned from doing this assignment:

I have to keep the story moving and the beat sheet helps me plan the scene.

Int: Kendra Apt-Day: Kendra and Michael arrive at her apartment. The front door is open, and the apartment has been ransacked. Kendra gathers her things and leaves the apt.

Int: Apt Hallway-Day: Kenda’s neighbor Alice aged forty approaches Kendra and Michael as they leave the apartment. Alice tells Kendra her apt was ransacked by her ex-husband who was looking for guns. Alice also tells Kendra her husband took her daughter. Alice asks Kendra and for help. Michael tells Kendra they should Alice.

Ext: Jackson’s house day. Jackson packs up his truck. Jackson’s wife is not helping.

Int Apt Hallway-Day: Michael tells Kendra he isn’t leaving her and that he knows all about her past and he still want to be with her. Michael tells Kendra he is going to help Alice get her daughter.

Ext City Street-Day: Michael and Alice walk towards uptown and Kendra walks in the opposite direction.

Ext: Run down Building-Day Michel and Alice wait
outside

[Christi Falk]

Christi’s Act 2 Reaction to TP 1

I’m mortified to realize I was missing Key scenes 3 and 4. To be more precise, several people have read the script and never mentioned the detectives didn’t clarify the situation in these specific spots.

What I’ve learned from today’s reading is that professional coverage is worth the cost. Now I just have to find the proper company. I don’t mind saving up for the right ones as I’ve only found the wrong ones thus far.

[Lora]

Lora’s Act 2 Reaction to the Turning Point 1

What I learned doing this assignment is I’m already rethinking my format and how I’d like to change things.

Act 2:

9 MONTHS EARLIER FLASHBACK – INT. PHOENIX’S HIGH SCHOOL – DAY

Phoenix is walking through the hall at school with some friends, including GABRIELLE (dark curly hair, glasses), HALEY (glasses, wavy light brown hair) and EDEN (stylish, short blonde hair). She sees Levi walking her way. She gets shy and turns away, pretending not to see him.

GABRIELLE (whispering)

I heard he just broke up with his girlfriend. Why don’t you ask him out?

PHOENIX

No way!

HALEY

Why not?

PHOENIX (sadly)

He’d never say yes.

EDEN

You don’t know until you try!

GABRIELLE, HALEY AND EDEN (overlapping encouragement)

Yes! Do it! C’mon!

INT. PHOENIX’S BEDROOM – NIGHT

Phoenix stares at the phone for a long time. Finally, she sighs, picks it up and dials Levi’s number.

LEVI’S MOM

Hello?

PHOENIX (nervously)

Hi, could I speak with Levi?

LEVI’S MOM

Sure. Can I ask who’s calling?

PHOENIX (embarrassed)

This is Phoenix.

LEVI’S MOM (yelling)

Levi, there’s a girl on the phone for you!

LEVI

Hello?

PHOENIX

Hi, Levi, it’s Phoenix.

LEVI

Hi.

PHOENIX

I heard you and your girlfriend broke up?

LEVI

Yeah, we did.

PHOENIX (tiny voice)

Well… would you want to go out with me?

There is a lengthy pause.

LEVI

No.

PHOENIX (shocked)

Why not?

Levi laughs and hangs up with no explanation. Phoenix stares at the phone while the dial tone resounds loudly. She finally sets the phone down and then hugs her knees to her chest as tears roll down her face.

INT. PHOENIX’S HIGH SCHOOL – MORNING

Phoenix heads to school the next morning feeling down and embarrassed. It seems as if all of her classmates are laughing at her.

HALEY

How are you doing?

PHOENIX

Can embarrassment kill you? If so, consider me dead.

EDEN

C’mon, it can’t be that bad!

PHOENIX

He. Hung. Up. On. Me.

GABRIELLE

Just wait until I see him. He’s going to get an ear full from me.

Levi walks down the hall towards them. Phoenix sticks her head in her locker and sighs. Gabrielle glares at him as he passes.

GABRIELLE

You are a fucking coward, Levi!

PHOENIX (from inside locker)

Is he gone yet?

EDEN

Yep, he’s gone.

Phoenix closes her locker and leans against it.

GABRIELLE

I have just the thing to cheer you up! There’s a party at my friend’s house tonight. There will be plenty of single guys there.

PHOENIX

No thanks. I’m done with guys for awhile.

HALEY

I’m going, which means you’re going, too. I already told my mom I’m staying at your house.

Phoenix shoots Haley a dirty look.

HALEY

You’re going! There’s more guys out there than stupid Levi. Give someone else a chance.

GABRIELLE

C’mon, Phoenix. It will be fun. I promise.

Phoenix is silent for a few moments as she stares at her friends eager faces.

PHOENIX (sighing)

Fine.

GABRIELLE

Great! I’ll pick you up at 8.

INT. GABRIELLE’S CAR – NIGHT

Phoenix is sitting white-knuckled in the passenger seat as Gabrielle carelessly uses the whole road as her own personal lane. She runs over an entire family of raccoons and shrugs.

GABRIELLE

Whoops.

PHOENIX

Where did you learn to drive, Gabrielle?

GABRIELLE (puffing on a cigarette)

Driver’s Ed. I think he passed me so I wouldn’t have to take it again.

PHOENIX

I can see why. You’re giving me your keys when we get to this party. I’ll drive us home.

GABRIELLE

Perfect. That means I can drink as much as I want.

Haley holds her beer up from the backseat.

HALEY

Cheers to that!

Eden and Haley clink drinks together and cheer. Gabrielle pulls down a long, gravel lane to a brick house on top of the hill.

EXT. CHRISTOPHER, WILLIAM AND DARREN’S HOUSE – NIGHT

GABRIELLE

We’re here!

Phoenix falls out of the car, happy to be on solid ground. She makes kissing noises towards the grass.

PHOENIX (to grass)

I love you. I’ve never been so happy to be on solid ground in my life.

INT. CHRISTOPHER, WILLIAM & DARREN’S HOUSE – NIGHT

The girls walk into the party. The house is crowded and the music is loud. There is a keg in the kitchen, which Gabrielle, Eden and Haley pour themselves drinks from. Phoenix strolls in behind them carrying Gabrielle’s keys. Gabrielle and Eden wander off to talk to boys while Haley and Phoenix perch in the corner of the living room and take in the scenery. They are laughing about something when Phoenix looks up and spots Chandler for the first time. Chandler is talking to some friends when he sees Phoenix and smiles at her. Haley sees the interaction and nudges Phoenix.

HALEY (slightly slurring)

He’s cute. And he’s been checking you out for awhile now.

Phoenix smiles.

PHOENIX (shrugging)

I’m sure he’s got a girlfriend.

CHRISTOPHER (short, wavy hair, average height) throws an arm around Haley and Phoenix.

CHRISTOPHER

So you’re friends of Gabrielle’s?

The girls nod.

CHRISTOPHER (pointing to roommates)

Welcome to our party! WILLIAM (tall, late 20s/early 30s, mustache, cowboy type) and DARREN (short, buzz cut, good looking but goofy personality) also live here. Let us know if you need anything, otherwise make yourself at home.

The party continues for several more hours. The girls head out to the garage, where they meet more new friends and dance the night away. Haley, Eden and Gabrielle are getting increasingly more intoxicated while Phoenix patiently waits until they are ready to go home. Upon returning into the house, Phoenix is sad to discover Chandler is nowhere to be found.

GABRIELLE

I’m drunk, let’s go home.

The girls head outside and start walking to the car. Chandler runs behind to catch up.

CHANDLER

There you are!

Phoenix looks confused at his outburst.

CHANDLER (To Phoenix)

Hi, I’m Chandler.

PHOENIX (shaking his hand)

Phoenix.

CHANDLER (pointing)

This is my roommate, Joey.

Phoenix shakes his hand and introduces both boys to her friends. JOEY (brown hair, backwards hat) and Haley seem to hit it off. Phoenix and Chandler chat for quite awhile. Chandler’s hand rests on her waist.

GABRIELLE

I’m going to start the car.

Phoenix hands Gabrielle the keys. Chandler uses this opportunity to kiss Phoenix. After they pull apart, he draws her close against him and nuzzles his cheek against hers.

CHANDLER

When can I see you again?

PHOENIX

I’m not sure.

CHANDLER

Can I call you?

Phoenix writes her number on his hand. Chandler smiles and kisses her again.

GABRIELLE (whistling)

C’mon, Lover Girl, let’s go!

PHOENIX (to Chandler)

I’ve got to go. I’ll see you soon.

Chandler let his hand slowly slip out of hers and watches her walk away. He puts his hands in his pockets and grins. Phoenix smiles as she climbs in the car and her friends squeal as they pull down the drive.